13439	----	Divine Songs Attempted in the Easy Language of Children. By I. Watts. _Out of the Mouth of Babes and Sucklings thou hast perfected Praise_. Matt. xxi. 16. Transcriber's Note. Throughout, modern numerals have been substituted for their Roman equivalents. In Watts' dedication the original capitalisation, italics and spelling are retained; the aim thereby is to convey more accurately the flavour of the original. TO Mrs. SARAH ) Mrs. MARY _and_) ABNEY, Mrs. ELIZABETH ) _Daughters of Sir_ THOMAS ABNEY, _Kt. and Alderman of London_. _My Dear Young Friends_, Whom I am constrained to love and honour by many Obligations. It was the generous and condescending Friendship of your Parents under my weak Circumstances of Health, that brought me to their Country-Seat for the Benefit of the Air; but it was an Instance of most uncommon Kindness, to supply me there so chearfully for two Years of Sickness with the richest Conveniences of Life. Such a Favour requires my most affectionate Returns of Service to themselves, and to all that is dear to them; and meer Gratitude demands some solemn and publick Acknowledgment. But great Minds have the true Relish and Pleasure of doing Good, and are content to be unknown. It is such a silent Satisfaction Sir _Thomas Abney_ enjoys in the unspeakable Blessings of this Year, that brought our present King to the Throne: and he permits the World to forget that happy Turn that was given to the Affairs of the Kingdom by his wise Management in the Highest Office of the City, whereby the Settlement of the Crown was so much strengthen'd in the Illustrious Family which now possesses it. O may the Crown flourish many Years on the Head of our Soveraign, and may his House possess it to the End of Time, to secure all Religious and Civil Liberties to the Posterity of those who have been so zealous to establish this Succession! The fair and lovely Character your Honoured Father hath acquired by passing thro' all the chief Offices of the City, and leaving a Lustre upon them, seems imperfect in his own Esteem, without the Addition of this Title, _A Succourer and a Friend of the Ministers of Christ_. And in this part of his Honour the Lady your Mother is resolved to have an unborrow'd Share, and becomes his daily Rival. It is to her unwearied Tenderness, and many kind Offices by Night and Day, in the more violent Seasons of my Indisposition, that (under God) I own my Life, and Power to write or think. And while I remember those Hours, I can't forget the cheerful and ready Attendance of her worthy Sister, her dear Companion and Assistant in every good Work. Under the Influence of two such Examples I have also enjoy'd the Pleasure and Conveniency of your younger Services, according to the Capacity of your Years; and that with such a Degree of sincere and hearty Zeal for my Welfare, that you are ready to vie with each other in the kind Imployment, and assist all you can toward my Recovery and Usefulness. So that whoever shall reap benefit by any of my Labours, it is but a reasonable Request, that you share with me in their Thanks and their Prayers. But this is a small Part of your Praise. If it would not be suspected of Flattery, I could tell the World what an Acquaintance with Scripture, what a Knowledge of Religion, what a Memory of Divine things both in Verse and Prose is found among you; and what a just and regular account is given of Sermons at your Age; to awaken all the Children that shall read these _Songs_, to furnish their memories and beautify their Souls like yours. The Honour you have done me in learning by heart so large a number of the _Hymns_ I have publish'd, perhaps has been of some use towards these greater Improvements, and gives me rich Encouragement to offer you this little Present. Since I have ventured to shew a Part of your early Character to the World, I perswade my self you will remember, that it must inlarge and brighten daily. Remember what the World will expect from the Daughters of Sir _Thomas Abney's_ Family, under such an Education, such Examples, and after such fair and promising Blossoms of Piety and Goodness. Remember what God himself will expect at your hands, from whose Grace you have received plentiful Distributions in the Beginning of your Days. May the Blessings of his Right Hand more enrich you daily, as your Capacities and your Years increase; and may he add bountifully of the Favours of his Left Hand, Riches and Honour. May his Grace make you so large a Return of all the Kindness I have received in your Family, as may prevail above the fondest Hopes of your Parents, and even exceed the warmest Prayers of _Your most Affectionate Monitor and obliged Servant in the daily Views of a future World_, I. WATTS. Theobalds, June 18. 1715. PREFACE To all that are concerned in the Education of Children. My Friends, It is an awful and important charge that is committed to you. The wisdom and welfare of the succeeding generation are intrusted with you beforehand, and depend much on your conduct. The seeds of misery or happiness in this world, and that to come, are oftentimes sown very early, and therefore whatever may conduce to give the minds of children a relish for vertue and religion, ought in the first place to be proposed to you. Verse was at first design'd for the service of God, tho' it hath been wretchedly abused since. The ancients among the Jews and the Heathens taught their children and disciples the precepts of morality and worship in verse. The children of Israel were commanded to learn the words of the song of Moses, Deut. 31. 19,30. And we are directed in the New Testament, not only to sing with grace in the heart, but to teach and admonish one another by hymns and songs, Eph. 5. 19. and there are these four advantages in it: 1. There is a greater delight in the very learning of truths and duties this way. There is something so amusing and entertaining in rhymes and metre, that will incline children to make this part of their business a diversion. And you may turn their very duty into a reward, by giving them the privilege of learning one of these songs every week, if they fulfil the business of the week well, and promising them the book itself when they have learned ten or twenty songs out of it. 2. What is learnt in verse is longer retained in memory, and sooner recollected. The like sounds and the like number of syllables exceedingly assist the remembrance. And it may often happen, that the end of a song running in the mind may be an effectual means to keep off some temptation, or to incline to some duty, when a word of scripture is not upon the thoughts. 3. This will be a constant furniture for the minds of children, that they may have something to think upon when alone, and sing over to themselves. This may sometimes give their thoughts a divine turn, and raise a young meditation. Thus they will not be forced to seek relief for an emptiness of mind out of the loose and dangerous sonnets of the age. 4. These _Divine Songs_ may be a pleasant and proper matter for their daily or weekly worship, to sing one in the family at such time as the parents or governors shall appoint; and therefore I have confin'd the verse to the most usual psalm tunes. The greatest part of this little book was composed several years ago, at the request of a friend, who has been long engaged in the work of catechising a very great number of children of all kinds, and with abundant skill and success. So that you will find here nothing that savours of a party: the children of high and low degree, of the Church of England or Dissenters, baptized in infancy or not, may all join together in these songs. And as I have endeavoured to sink the language to the level of a child's understanding, and yet to keep it (if possible) above contempt; so I have designed to profit all (if possible) and offend none. I hope the more general the sense is, these composures may be of the more universal use and service. I have added at the end an attempt or two of _Sonnets_ on _Moral Subjects_ for children, with an air of pleasantry, to provoke some fitter pen to write a little book of them. My talent doth not lie that way, and a man on the borders of the grave has other work. Besides, if I had health or leisure to lay out this way, it should be employ'd in finishing the _Psalms_, which I have so long promised the world. May the Almighty God make you faithful in this important work of education: may he succeed your cares with his abundant graces, that the rising generation of Great Britain may be a glory amongst the nations, a pattern to the Christian world, and a blessing to the earth. Divine Songs For Children. Song 1. _A General Song of Praise to God_. 1 How glorious is our Heavenly King, Who reigns above the sky! How shall a child presume to sing His dreadful majesty? 2 How great his power is none can tell, Nor think how large his grace; Not men below, nor saints that dwell On high before his face. 3 Not angels that stand round the Lord Can search his secret will; But they perform his heavenly word, And sing his praises still. 4 Then let me join this holy train, And my first offerings bring; Th' eternal God will not disdain To hear an infant sing. 5 My heart resolves, my tongue obeys, And angels shall rejoice To hear their mighty Maker's praise Sound from a feeble voice. Song 2. _Praise for Creation and Providence_. 1 I sing th' almighty power of God, That made the mountains rise, That spread the flowing seas abroad, And built the lofty skies. 2 I sing the wisdom that ordain'd The sun to rule the day; The moon shines full at his command, And all the stars obey. 3 I sing the goodness of the Lord, That fill'd the earth with food; He form'd the creatures with his Word, And then pronounced them good. 4 Lord, how thy wonders are display'd Where'er I turn mine eye, If I survey the ground I tread, Or gaze upon the sky. 5 There's not a plant or flower below But makes thy glories known; And clouds arise and tempests blow By order from thy throne. 6 Creatures (as num'rous as they be) Are subject to thy care: There's not a place where we can flee, But God is present there. 7 In heaven he shines with beams of love, With wrath in hell beneath: 'Tis on his earth I stand or move, And 'tis his air I breathe. 8 His hand is my perpetual guard, He keeps me with his eye: Why should I then forget the Lord Who is for ever nigh? Song 3. _Praise to God for our Redemption_. 1 Blest be the wisdom and the power, The justice and the grace, That join'd in council to restore And save our ruin'd race! 2 Our father eat forbidden fruit, And from his glory fell; And we, his children, thus were brought To death, and near to hell. 3 Blest be the Lord, that sent his Son To take our flesh and blood; He for our lives gave up his own, To make our peace with God. 4 He honour'd all his Father's laws, Which we have disobey'd; He bore our sins upon the cross, And our full ransom paid. 5 Behold him rising from the grave; Behold him rais'd on high: He pleads his merits there to save Transgressors doom'd to die. 6 There on a glorious throne, he reigns, And by his power divine Redeems us from the slavish chains Of Satan, and of sin. 7 Thence shall the Lord to judgment come, And, with a sovereign voice, Shall call, and break up every tomb, While waking saints rejoice. 8 O may I then with joy appear Before the Judge's face, And, with the blest assembly there, Sing his redeeming grace! Song 4. _Praise for Mercies Spiritual and Temporal_. 1 Whene'er I take my walks abroad, How many poor I see? What shall I render to my God For all his gifts to me? 2 Not more than others I deserve, Yet God hath given me more; For I have food, while others starve, Or beg from door to door. 3 How many children in the street Half naked I behold? While I am clothed from head to feet, And cover'd from the cold. 4 While some poor wretches scarce can tell Where they may lay their head, I have a home wherein to dwell, And rest upon my bed. 5 While others early learn to swear, And curse, and lie, and steal, Lord, I am taught thy name to fear, And do thy holy will. 6 Are these thy favours, day by day To me above the rest? Then let me love thee more than they, And try to serve thee best. Song 5. _Praise for Birth and Education in a Christian Land_. 1 Great God, to thee my voice I raise, To thee my youngest hours belong; I would begin my life with praise, Till growing years improve the song. 2 'Tis to thy soveraign grace I owe, That I was born on Brittish ground, Where streams of heavenly mercy flow, And words of sweet salvation sound. 3 I would not change my native land For rich Peru, with all her gold: A nobler prize lies in my hand Than East or Western Indies hold. 4 How do I pity those that dwell Where ignorance and darkness reigns; They know no heav'n, they fear no hell, Those endless joys, those endless pains. 5 Thy glorious promises, O Lord, Kindle my hope and my desire; While all the preachers of thy word Warn me t' escape eternal fire. 6 Thy praise shall still employ my breath, Since thou hast mark'd my way to heaven; Nor will I run the road to death, And wast the blessings thou hast given. Song 6. _Praise for the Gospel_. 1 Lord, I ascribe it to thy grace, And not to chance as others do, That I was born of Christian race, And not a Heathen, or a Jew. 2 What would the ancient Jewish kings, And Jewish prophets once have given, Could they have heard these glorious things, Which Christ reveal'd, and brought from heav'n! 3 How glad the Heathens would have been, That worship idols, wood, and stone, If they the book of God had seen, Or Jesus and his gospel known! 4 Then if the Gospel I refuse, How shall I e'er lift up mine eyes? For all the Gentiles and the Jews Against me will in judgment rise. Song 7. _The Excellency of the Bible_. 1 Great God, with wonder and with praise, On all thy works I look; But still thy wisdom, power and grace Shine brighter in thy Book. 2 The stars that in their courses roll, Have much instruction given; But thy good Word informs my soul How I may climb to heaven. 3 The fields provide me food, and show The goodness of the Lord; But fruits of life and glory grow In thy most holy Word. 4 Here are my choicest treasures hid, Here my best comfort lies; Here my desires are satisfy'd; And hence my hopes arise. 5 Lord, make me understand thy law, Show what my faults have been; And from thy Gospel let me draw Pardon for all my sin. 6 Here would I learn how Christ has dy'd To save my soul from hell: Not all the books on earth beside Such heav'nly wonders tell. 7 Then let me love my Bible more, And take a fresh delight By day to read these wonders o'er, And meditate by night. Song 8. _Praise to God for learning to read_. 1 The praises of my tongue I offer to the Lord, That I was taught, and learnt so young To read his holy Word. 2 That I am taught to know The danger I was in, By nature and by practice too A wretched slave to sin. 3 That I am led to see I can do nothing well; And whither shall a sinner flee, To save himself from hell? 4 Dear Lord, this book of thine Informs me where to go For grace to pardon all my sin, And make me holy too. 5 Here I can read and learn How Christ the Son of God Did undertake our great concern, Our ransom cost his blood. 6 And now he reigns above, He sends his Spirit down, To show the wonders of his love, And make his Gospel known. 7 O may that Spirit teach, And make my heart receive Those truths which all thy servants preach, And all thy saints believe! 8 Then shall I praise the Lord In a more chearful strain, That I was taught to read his Word, And have not learnt in vain. Song 9. The All-Seeing God. 1 Almighty God, thy piercing eye Strikes through the shades of night, And our most secret actions lie All open to thy sight. 2 There's not a sin that we commit, Nor wicked word we say, But in thy dreadful book `tis writ Against the judgment-day. 3 And must the crimes that I have done Be read and publish'd there, Be all exposed before the sun, While men and angels hear? 4 Lord, at thy feet ashamed I lie, Upward I dare not look; Pardon my sins before I die, And blot them from thy book. 5 Remember all the dying pains That my Redeemer felt, And let his blood wash out my stains, And answer for my guilt. 6 O may I now for ever fear T' indulge a sinful thought, Since the great God can see, and hear, And writes down every fault! Song 10. _Solemn Thoughts of God and Death_. 1 There is a God that reigns above, Lord of the heavens, and earth, and seas: I fear his wrath, I ask his love, And with my lips I sing his praise. 2 There is a law which he has writ, To teach us all what we must do; My soul, to his commands submit, For they are holy, just and true. 3 There is a Gospel of rich grace, Whence sinners all their comfort draw; Lord, I repent, and seek thy face; For I have often broke thy law. 4 There is an hour when I must die, Nor do I know how soon `twill come; A thousand children young as I Are call'd by death to hear their doom. 5 Let me improve the hours I have Before the day of grace is fled; There's no repentance in the grave, No pardons offer'd to the dead. 6 Just as a tree cut down, that fell To north, or southward, there it lies: So man departs to heaven or hell, Fix'd in the state wherein he dies. Song 11. _Heaven and Hell_. 1 There is beyond the sky A heaven of joy and love, And holy children, when they die, Go to that world above. 2 There is a dreadful hell, And everlasting pains, There sinners must with devils dwell In darkness, fire, and chains. 3 Can such a wretch as I Escape this cursed end? And may I hope, whene'er I die, I shall to heaven ascend? 4 Then will I read and pray While I have life and breath; Lest I should be cut off to day, And sent t' eternal death. Song 12. _The Advantages of early Religion_. 1 Happy's the child whose youngest years Receive instruction well; Who hates the sinner's path, and fears The road that leads to hell. 2 When we devote our youth to God, 'Tis pleasing in his eyes; A flower, when offer'd in the bud, Is no vain sacrifice. 3 'Tis easier work if we begin To fear the Lord betimes; While sinners that grow old in sin Are hard'ned in their crimes. 4 'Twill save us from a thousand snares To mind religion young; Grace will preserve our following years And make our vertue strong. 5 To thee, Almighty God, to thee Our childhood we resign; 'Twill please us to look back and see That our whole lives were thine. 6 Let the sweet work of prayer and praise, Employ my youngest breath; Thus I'm prepar'd for longer days, Or fit for early death. Song 13. _The Danger of Delay_. 1 Why should I say, "`Tis yet too soon "To seek for heaven or think of death?" A flower may fade before `tis noon, And I this day may lose my breath. 2 If this rebellious heart of mine, Despise the gracious calls of Heaven; I may be hard'ned in my sin, And never have repentance given. 3 What if the Lord grow wroth, and swear While I refuse to read and pray, That he'll refuse to lend an ear, To all my groans another day? 4 What if his dreadful anger burn, While I refuse his offer'd grace, And all his love to fury turn, And strike me dead upon the place? 5 'Tis dangerous to provoke a God; His power and vengeance none can tell: One stroke of his almighty rod Shall send young sinners quick to hell. 6 Then `twill for ever be in vain To cry for pardon or for grace, To wish I had my time again, Or hope to see my Maker's face. Song 14. _Examples of early piety_. 1 What blest examples do I find Writ in the Word of Truth, Of children that began to mind Religion in their youth. 2 Jesus, who reigns above the skie, And keeps the world in awe; Was once a child as young as I, And kept his Father's law. 3 At twelve years old he talk'd with men, (The Jews all wondering stand;) Yet he obey'd his Mother then, And came at her command. 4 Children a sweet hosanna sung, And blest their Saviour's name; They gave him honour with their tongue While scribes and priests blaspheme. 5 Samuel the child was wean'd, and brought To wait upon the Lord; Young Timothy betimes was taught To know his holy Word. 6 Then why should I so long delay What others learn so soon? I would not pass another day Without this work begun. Song 15. _Against Lying_. 1 O `tis a lovely thing for youth To walk betimes in wisdom's way; To fear a lye, to speak the truth, That we may trust to all they say. 2 But lyars we can never trust, Though they should speak the thing that's true, And he that does one fault at first, And lyes to hide it, makes it two. 3 Have we not known, nor heard, nor read, How God abhors deceit and wrong? How Ananias was struck dead Catch'd with a lye upon his tongue? 4 So did his wife Sapphira die When she came in, and grew so bold As to confirm that wicked lye That just before her husband told. 5 The Lord delights in them that speak The words of truth; but every lyar Must have his portion in the lake That burns with brimstone and with fire. 6 Then let me always watch my lips, Lest I be struck to death and hell, Since God a book of reckoning keeps For every lye that children tell. Song 16. _Against Quarrelling and Fighting_. 1 Let dogs delight to bark and bite, For God has made them so; Let bears and lyons growl and fight, For `tis their nature too. 2 But, children, you should never let Such angry passions rise; Your little hands were never made To tear each other's eyes. 3 Let love thro' all your actions run, And all your words be mild; Live like the blessed Virgin's Son, That sweet and lovely child. 4 His soul was gentle as a lamb; And as his stature grew, He grew in favour both with man And God his Father too. 5 Now, Lord of all, he reigns above, And from his heavenly throne, He sees what children dwell in love, And marks them for his own. Song 17. _Love between Brothers and Sisters_. 1 What ever brawls are in the street There should be peace at home; Where sisters dwell and brothers meet Quarrels shou'd never come. 2 Birds in their little nests agree; And `tis a shameful sight, When children of one family Fall out, and chide, and fight. 3 Hard names at first, and threatening words, That are but noisy breath, May grow to clubs and naked swords, To murder and to death. 4 The devil tempts one mother's son To rage against another: So wicked Cain was hurried on, Till he had kill'd his brother. 5 The wise will make their anger cool At least before `tis night; But in the bosom of a fool It burns till morning light. 5 Pardon, O Lord, our childish rage; Our little brawls remove; That as we grow to riper age, Our hearts may all be love. Song 18. _Against Scoffing and calling Names_. 1 Our tongues were made to bless the Lord, And not speak ill of men: When others give a railing word, We must not rail again. 2 Cross words and angry names require To be chastiz'd at school; And he's in danger of hell-fire, That calls his brother, fool. 3 But lips that dare be so prophane To mock and jeer and scoff At holy things, or holy men, The Lord shall cut them off. 4 When children, in their wanton play Served old Elisha so, And bade the prophet go his way, "Go up, thou bald head, go." 5 God quickly stopt their wicked breath, And sent two raging bears, That tore them limb from limb to death, With blood and groans and tears. 6 Great God, how terrible art thou To sinners ne'er so young! Grant me thy grace and teach me how To tame and rule my tongue. Song 19. _Against Swearing and Cursing, and taking God's Name in vain_. 1 Angels that high in glory dwell Adore thy Name, Almighty God! And devils tremble down in hell Beneath the terrors of thy rod. 2 And yet how wicked children dare Abuse thy dreadful glorious Name! And when they're angry, how they swear, And curse their fellows, and blaspheme! 3 How will they stand before thy face, Who treated thee with such disdain, While thou shalt doom them to the place Of everlasting fire and pain? 4 Then never shall one cooling drop To quench their burning tongues be giv'n. But I will praise thee here, and hope Thus to employ my tongue in heav'n. 5 My heart shall be in pain to hear Wretches affront the Lord above; 'Tis that great God whose power I fear, That heavenly Father whom I love. 6 If my companions grow profane, I'll leave their friendship when I hear Young sinners take thy name in vain, And learn to curse, and learn to swear. Song 20. _Against Idleness and Mischief_. 1 How doth the little busy bee Improve each shining hour, And gather honey all the day From every opening flower! 2 How skilfully she builds her cell! How neat she spreads the wax! And labours hard to store it well With the sweet food she makes. 3 In works of labour or of skill I would be busy too: For Satan finds some mischief still For idle hands to do. 4 In books, or work, or healthful play Let my first years be past, That I may give for every day Some good account at last. Song 21. _Against evil Company_. 1 Why should I join with those in play In whom I've no delight; Who curse and swear, but never play; Who call ill names, and fight? 2 I hate to hear a wanton song: Their words offend my ears: I should not dare defile my tongue With language such as theirs. 3 Away from fools I'll turn my eyes, Nor with the scoffers go: I would be walking with the wise, That wiser I may grow. 4 From one rude boy, that's used to mock, They learn the wicked jest: One sickly sheep infects the flock, And poisons all the rest. 5 My God, I hate to walk or dwell With sinful children here: Then let me not be sent to hell, Where none but sinners are. Song 22. _Against Pride in Clothes_. 1 Why should our garments, made to hide Our parents' shame, provoke our pride? The art of dress did ne'er begin Till Eve our mother learnt to sin. 2 When first she put the covering on, Her robe of innocence was gone; And yet her children vainly boast In the sad marks of glory lost. 3 How proud we are! how fond to shew Our clothes, and call them rich and new, When the poor sheep and silkworms wore That very clothing long before! 4 The tulip and the butterfly Appear in gayer coats than I: Let me be dress'd fine as I will, Flies, worms, and flowers exceed me still. 5 Then will I set my heart to find Inward adornings of the mind: Knowledge and virtue, truth and grace, These are the robes of richest dress. 6 No more shall worms with me compare, This is the raiment angels wear: The Son of God, when here below, Put on this blest apparel too. 6 It never fades, it ne'er grows old, Nor fears the rain, nor moth, nor mould: It takes no spot, but still refines; The more `tis worn, the more it shines. 7 In this on earth would I appear, Then go to heaven, and wear it there: God will approve it in his sight; 'Tis his own work, and his delight. Song 23. _Obedience to Parents_. 1 Let children that would fear the Lord Hear what their teachers say; With reverence meet their parents' word, And with delight obey. 2 Have you not heard what dreadful plagues Are threaten'd by the Lord, To him that breaks his father's law, Or mocks his mother's word? 3 What heavy guilt upon him lies! How cursed is his name! The ravens shall pick out his eyes, And eagles eat the same. 4 But those who worship God, and give Their parents honour due, Here on this earth they long shall live, And live hereafter, too. Song 24. _The Child's Complaint_. 1 Why should I love my sports so well, So constant at my play, And lose the thoughts of heaven and hell, And then forget to pray? 2 What do I read my Bible for, But, Lord, to learn thy will? And shall I daily know thee more, And less obey thee still? 3 How senseless is my heart, and wild! How vain are all my thoughts! Pity the weakness of a child, And pardon all my faults. 4 Make me thy heavenly voice to hear, And let me love to pray; Since God will lend a gracious ear To what a child can say. Song 25. _A Morning Song_. 1 My God, who makes the sun to know His proper hour to rise; And, to give light to all below, Doth send him round the skies: 2 When from the chambers of the east His morning race begins, He never tires, nor stops to rest, But round the world he shines. 3 So, like the sun, would I fulfil The business of the day; Begin my work betimes, and still March on my heavenly way. 4 Give me, O Lord, thy early grace, Nor let my soul complain That the young morning of my day Has all been spent in vain! Song 26. _An Evening Song_. 1 And now another day is gone, I'll sing my Maker's praise! My comforts every hour make known His providence and grace. 2 But how my childhood runs to waste My sins how great their sum! Lord, give me pardon for the past, And strength for days to come. 3 I lay my body down to sleep, Let angels guard my head; And, through the hours of darkness, keep Their watch around my head. 4 With cheerful heart I close mine eyes, Since thou wilt not remove; And in the morning let me rise Rejoicing in thy love. Song 27. _For the Lord's Day Morning_. 1 This is the day when Christ arose So early from the dead: Why should I my eyelids close, And waste my hours in bed? 2 This is the day when Jesus broke The powers of death and hell; And shall I still wear Satan's yoke, And love my sins so well? 3 To-day, with pleasure, Christians meet, To pray, and hear thy Word; And I would go with cheerful feet To learn thy will, O Lord! 4 I'll leave my sport, to read and pray, And so prepare for heaven: O may I love this blessed day The best of all the seven! Song 28. _For Lord's Day Evening_. 1 Lord, how delightful `tis to see A whole assembly worship thee! At once they sing, at once they pray; They hear of heaven, and learn the way. 2 I have been there, and still would go 'Tis like a little heaven below! Not all my pleasure and my play Should tempt me to forget this day. 3 O write upon my memory, Lord, The text and doctrines of thy Word, That I may break thy laws no more, But love thee better than before! 4 With thoughts of Christ and things divine Fill up this foolish heart of mine: That, hoping pardon through his blood, I may lie down, and wake with God. The TEN COMMANDMENTS out of the Old Testament put into short Rhime for Children. Exod. 20. 1. Thou shalt have no more Gods but me. 2. Before no idol bow thy knee. 3. Take not the Name of God in vain: 4. Nor dare the Sabbath Day profane. 5. Give both thy parents honour due. 6. Take heed that thou no murder do. 7. Abstain from words and deeds unclean: 8. Nor steal, though thou art poor and mean. 9. Nor make a wilful lie, nor love it. 10. What is thy neighbour's, dare not covet. The Sum of the Commandments out of the New Testament. Matt. 22. 37. With all thy Soul love God above; And as thyself thy Neighbour love. Our Saviour's Golden Rule. Matt. 7. 12. Be you to others Kind and True, As you'd have others be to you. And neither do nor say to Men Whate'er you would not take again. Duty to God and our neighbour. Love God with all your Soul and Strength. With all your Heart and Mind; And love your Neighbour as your self: Be faithful, just, and kind. Deal with another as you'd have Another deal with you. What you're unwilling to receive, Be sure you never do. Out of my Book of _Hymns_, I have here added, the _Hosanna_ and _Glory to the Father_, &c. to be sung at the end of any of these Songs, according to the Direction of Parents or Governors. The _Hosanna_; or Salvation ascribed to Christ. Long Metre. 1 _Hosanna_ to king _David's_ Son, Who reigns on a superior Throne; We bless the Prince of Heav'nly Birth, Who brings Salvation down to Earth. 2 Let every nation, every age, In this delightful work engage; Old Men and Babes in _Sion_ sing The growing glories of her King! Common Metre. 1 _Hosanna_ to the Prince of Grace; _Sion_ behold thy King; Proclaim the Son of _David's_ Race, And teach the Babes to sing. 2 _Hosanna_ to th' Eternal Word, Who from the Father came; Ascribe Salvation to the Lord, With Blessings on his Name! Short Metre. 1 _Hosanna_ to the Son Of _David_ and of God, Who brought the News of Pardon down, And bought it with his Blood. 2 To Christ, th' anointed King, Be endless blessings giv'n, Let the whole Earth his Glory sing Who made our Peace with Heav'n. Glory to the Father and the Son, &c. Long Metre. To God the Father, God the Son, And God the Spirit, Three in One, Be Honour, Praise, and Glory giv'n, By all on Earth, and all in Heav'n. Common Metre. Now let the Father and the Son, And Spirit be ador'd, Where there are works to make him known, Or saints to love the Lord. Short Metre. Give to the Father Praise, Give Glory to the Son, And to the Spirit of his Grace Be equal Honour done. A Slight SPECIMEN of MORAL SONGS, _Such as I wish some happy and condescending Genius would undertake for the use of Children, and perform much better_. The sense and subjects might be borrow'd plentifully from the _Proverbs of Solomon_, from all the common appearances of nature, from all the occurrences in the civil life, both in city and country: (which would also afford matter for other divine songs). Here the language and measures should be easy and flowing with cheerfulness, and without the solemnities of religion, or the sacred names of God and holy things; that children might find delight and profit together. This would be one effectual way to deliver them from the temptation of loving and learning those idle, wanton or profane songs, which give so early an ill taint to the fancy and memory, and become the seeds of future vices. _The Sluggard_. 1 'Tis the voice of the Sluggard. I heard him complain "You have waked me too soon! I must slumber again!" As the door on its hinges, so he on his bed, Turns his sides, and his shoulders, and his heavy head. 2 "A little more sleep, and a little more slumber;" Thus he wastes half his days, and his hours without number: And when he gets up, he sits folding his hands Or walks about sauntering, or trifling he stands. 3 I past by his garden, and saw the wild bryar The thorn and the thistle grow broader and higher: The clothes that hang on him are turning to rags; And his money still wasts, still he starves, or he begs. 4 I made him a visit, still hoping to find He had took better care for improving his mind: He told me his dreams, talk'd of eating and drinking, But he scarce reads his Bible, and never loves thinking. 5 Said I then to my heart, "Here's a lesson for me," That man's but a picture of what I might be: But thanks to my friends for their care in my breeding: Who taught me betimes to love working and reading! _Innocent Play_. 1 Abroad in the meadows to see the young lambs, Run sporting about by the side of their dams With fleeces so clean, and so white; Or a nest of young doves in a large open cage, When they play all in love without anger or rage, How much may we learn from the sight! 2 If we had been ducks, we might dabble in mud: Or dogs, we might play till it ended in blood; So foul, or so fierce are their natures. But Thomas and William, and such pretty names, Should be cleanly and harmless as doves, or as lambs, Those lovely sweet innocent creatures. 3 Not a thing that we do, nor a word that we say, Should injure another in jesting or play; For he's still in earnest that's hurt. How rude are the boys that throw pebbles and mire! There's none but a mad-man will fling about fire, And tell you, "`Tis all but in sport." The End. The TABLE. 1. A General Song of Praise to God. 2. Praise for Creation and Providence. 3. Praise to God for our Redemption. 4. Praise for mercies Spiritual and Temporal. 5. Praise for Birth and Education in a Christian Land. 6. Praise for the Gospel. 7. The Excellency of the Bible. 8. Praise to God for learning to read. 9. The All-seeing God. 10. Solemn Thoughts of God and Death. 11. Heaven and Hell. 12. The Advantages of early Religion. 13. The Danger of Delays. 14. Examples of early Piety. 15. Against lying. 16. Against Quarrelling and Fighting. 17. Love between Brothers and Sisters. 18. Against scoffing and calling Names. 19. Against swearing and cursing, and taking God's Name in vain. 20. Against Idleness and Mischief. 21. Against Evil Company. 22. Against Pride in Clothes. 23. Obedience to Parents. 24. The Child's Complaint. 25. A Morning Song. 26. An Evening Song. 27. An Hymn for the Lord's Day Morning. 28. An Hymn for the Lord's Day Evening. The Ten Commandments. The Sum of the Commandments. Our Saviour's Golden Rule. Duty to God and our Neighbour. The Hosanna in Long Metre. in Common Metre. in Short Metre. Glory to the Father in Long Metre. in Common Metre. in Short Metre. A slight Specimen of Moral Songs, viz. The Sluggard. Innocent Play. The End of the Table. ADDENDUM to the Moral Songs. Transcriber's Note. In the 1715 edition, for the reasons explained by Watts in his Preface, there are only two moral songs, namely "The Sluggard" and "Innocent Play." Those added later are included in this Addendum. The texts are from an 1866 printing in New York, posted into the public domain by the Christian Classics Ethereal Library (CCEL) at http://www.ccel.org/ccel/watts/divsongs.html Song 3. The Rose. 12,8,12,8 How fair is the Rose! what a beautiful flower! The glory of April and May: But the leaves are beginning to fade in an hour, And they wither and die in a day. Yet the Rose has one powerful virtue to boast, Above all the flowers of the field! When its leaves are all dead and fine colours are lost, Still how sweet a perfume it will yield! So frail is the youth and the beauty of man, Though they bloom and look gay like the Rose; But all our fond care to preserve them is vain, Time kills them as fast as he goes. Then I'll not be proud of my youth and my beauty, Since both of them wither and fade; But gain a good name by well doing my duty: This will scent like a Rose when I'm dead. Song 4. The thief 8,7,8,7 Why should I deprive my neighbour Of his goods against his will? Hands were made for honest labour, Not to plunder, or to steal. 'Tis a foolish self-deceiving By such tricks to hope for gain: All that's ever got by thieving Turns to sorrow, shame, and pain. Have not Eve and Adam taught us Their sad profit to compute, To what dismal state they brought us When they stole forbidden fruit? Oft we see a young beginner Practice little pilfering ways, Till grown up a harden'd sinner, Then the gallows ends his days. Theft will not be always hidden, Though we fancy none can spy: When we take a thing forbidden, God beholds it with his eye. Guard my heart, O God of heaven, Lest I covet what's not mine; Lest I steal what is not given, Guard my heart and hands from sin. Song 5. The ant, or emmet. 11,11,8,11,11,8 These Emmets, how little they are in our eyes! We tread them to dust, and a troop of them dies, Without our regard or concern: Yet, as wise as we are, if we went to their school, There's many a sluggard and many a fool Some lessons of wisdom might learn. They wear not their time out in sleeping or play, But gather up corn in a sunshiny day, And for winter they lay up their stores: They manage their work in such regular forms, One would think they foresaw all the frosts and the storms, And so brought their food withindoors. But I have less sense than a poor creeping Ant, If I take not due care for the things I shall want, Nor provide against dangers in time; When death or old age shall once stare in my face, What a wretch shall I be in the end of my days, If I trifle away all their prime! Now, now, while my strength and my youth are in bloom, Let me think what shall serve me when sickness shall come, And pray that my sins be forgiven. Let me read in good books, and believe, and obey; That, when death turns me out of this cottage of clay, I may dwell in a palace in heaven. Song 6. Good resolutions. 7,8,7,8 Though I'm now in younger days, Nor can tell what shall befall me, I'll prepare for every place Where my growing age shall call me. Should I e'er be rich or great, Others shall partake my goodness: I'll supply the poor with meat, Never showing scorn or rudeness. Where I see the blind or lame, Deaf or dumb, I'll kindly treat them: I deserve to feel the same, If I mock, or hurt, or cheat them. If I meet with railing tongues, Why should I return them railing, Since I best revenge my wrongs By my patience never failing? When I hear them telling lies, Talking foolish, cursing, swearing, First I'll try to make them wise, Or I'll soon go out of hearing. What though I be low or mean, I'll engage the rich to love me, While I'm modest, neat, and clean, And submit when they reprove me. If I should be poor and sick, I shall meet, I hope, with pity; Since I love to help the weak, Though they're neither fair nor witty. I'll not willingly offend, Nor be easily offended: What's amiss I'll strive to mend, And endure what can't be mended. May I be so watchful still O'er my humours and my passion, As to speak and do no ill, Though it should be all the fashion. Wicked fashions lead to hell; Ne'er may I be found complying; But in life behave so well, Not to be afraid of dying. Song 7. Summer's evening. 11,11,11,9 How fine has the day been! how bright was the sun! How lovely and joyful the course that he run; Though he rose in a mist when his race he begun, And there followed some droppings of rain: But now the fair traveller's come to the west, His rays are all gold, and his beauties are best; He paints the skies gay as he sinks to his rest, And foretells a bright rising again. Just such is the Christian. His course he begins Like the sun in a mist, while he mourns for his sins, And melts into tears! then he breaks out and shines, And travels his heavenly way: But when he comes nearer to finish his race, Like a fine setting sun, he looks richer in grace; And gives a sure hope, at the end of his days, Of rising in brighter array. Song 8. Cradle hymn. 8,7,8,7 Hush, my dear! Lie still, and slumber! Holy angels guard thy bed! Heavenly blessings, without number, Gently falling on thy head. Sleep, my babe! thy food and raiment, House and home, thy friends provide; All without thy care or payment, All thy wants are well supplied. How much better thou'rt attended Than the Son of God could be, When from heaven he descended, And became a child like thee! Soft and easy is thy cradle: Coarse and hard thy Saviour lay, When his birthplace was a stable, And his softest bed was hay. Blessed Babe! what glorious features,-- Spotless fair, divinely bright! Must he dwell with brutal creatures? How could angels bear the sight? Was there nothing but a manger Cursed sinners could afford, To receive the heavenly stranger? Did they thus affront the Lord? Soft, my child! I did not chide thee, Though my song might sound too hard: 'Tis thy mother sits beside thee, And her arm shall be thy guard. Yet to read the shameful story. How the Jews received their King, How they served the Lord of Glory, Makes me angry while I sing. See the kinder shepherds round him, Telling wonders from the sky! Where hey sought him, there they found him, With his Virgin-mother by. See the lovely Babe a-dressing: Lovely infant, how he smiled! When he wept, his mother's blessing Sooth'd and hush'd the holy Child. Lo, he slumbers in a manger, Where the horned oxen fed!-- Peace, my darling, here's no danger: There's no ox a-near thy bed. 'Twas so save thee, child, from dying, Save my dear from burning flame, Bitter groans and endless crying, That thy blest Redeemer came. May'st thou live to know and fear him, Trust and love him all thy days, Then go dwell for ever near him: See his face, and sing his praise! I could give thee thousand kisses! Hoping what I most desire, Not a mother's fondest wishes Can to greater joys aspire! 
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16688	----	Produced from page scans provided by Internet Archive and University of Florida. HYMNS, SONGS, AND FABLES, FOR YOUNG PEOPLE. BY ELIZA LEE FOLLEN. REVISED AND ENLARGED FROM THE LAST EDITION. BOSTON: WM. CROSBY AND H.P. NICHOLS, 118 WASHINGTON STREET. 1851. [Illustration] Entered according to Act of Congress, in the year 1846, by WM. CROSBY AND H.P. NICHOLS, in the Clerk's Office of the District Court of the District of Massachusetts. CAMBRIDGE: STEREOTYPED AND PRINTED BY METCALF AND COMPANY, PRINTERS TO THE UNIVERSITY. PREFACE TO THE FIRST EDITION. BY CHARLES FOLLEN. This little book is dedicated to parents and children. Most of the poems were written with no other hope, than that they would instruct or please some child. The pleasure they have given in a limited circle has tempted the writer to print them. Some have never before appeared in public, but most of them have been already published in different works; some few, without the author's knowledge. It will be found that these poems are intended for children of different ages and characters. It may be objected to the book, that gay and serious pieces are bound up together; but so it is in human life and human nature, and it is essential to the healthful action of a child's mind that it should be so. The smile that overtakes its tears is as necessary to the child as the sun after a spring shower is to the young plant; and without it a blight will fall upon the opening blossom. The natural love that all have for their literary offspring, perhaps, first induced the author to bring the stray little family together. This motive was strengthened by the hope that children might love the book, and that she might have the pleasure of seeing it among their treasures, with the corners of the leaves well worn by their little fingers, and perhaps sometimes placed upon the pillow where "angels hover round." This success, which must secure to her also the approbation of parents, she does aspire after, and most earnestly desire; this, and this alone, will satisfy her; without this, she would be the first to pronounce it an unworthy offering. CAMBRIDGE, May 19, 1831. PREFACE TO THE PRESENT EDITION. The present edition of Hymns, Songs, and Fables, has been greatly enlarged, by poems either not before printed, or that have had a very limited circulation, and also by a number of translations from the German. If they should have the good fortune to add to the innocent pleasure of the young, and deserve to become associated in their minds with the pure and hallowed recollections of home, and happy early days, my highest ambition with regard to them be entirely gratified. ELIZA LEE FOLLEN. CAMBRIDGE, November 19, 1846. CONTENTS. HYMNS. PAGE "Suffer little children to come unto me" 1 Hymn 2 Hymn for a Little Boy 3 "The Lord is my Strength" 5 Hymn 6 "Thy Will be done" 7 Sabbath Day 8 The Good Boy's Hymn on going to Bed 10 God is good 11 Evening 12 Robinson Crusoe's Hymn 13 Hymn 14 On Prayer 16 "The Spirit giveth Life" 17 We never part from Thee 19 "I will arise and go to my Father" 20 Evening Hymn 22 Autumn 23 The Lord's Day 24 The Ministry of Pain 25 "By Faith ye are saved" 26 Evening Prayer 27 Evening Hymn 28 Lines written at Midnight 29 "Hope in God" 31 Failure and Success 32 SONGS. The Little Spring 35 The Little Boy's May-day Song 36 Guess what I have heard 38 Spring 39 The Little Boy's Good-night 40 The Shepherd's Sabbath-song 41 To Spring 42 Her Voyage is at an End 44 Charley and his Father. A Ballad 47 Remember the Slave 50 Home-sickness 52 Happiness 53 Children in Slavery 54 To Good Resolutions 55 Thanks for a Pleasant Day 56 To a Butterfly 57 To Nature 58 On the Death of a Young Companion 59 The Sabbath is here 60 The Child at her Mother's Grave 62 Child's Song 63 To a Fountain 64 Song for an Infant School 64 The Summer 66 To a Beautiful Girl 68 The Little Slave's Wish 69 FABLES. The Honest Bird 73 Soliloquy of Ellen's Squirrel 76 The Pin, Needle, and Scissors 77 Learned Fred 83 Little Roland 84 Billy Rabbit to Mary 91 The Old and New Shoes 93 The Monkeys and the Bears 97 HYMNS. "SUFFER LITTLE CHILDREN TO COME UNTO ME." "Let little children come to me,"-- This is what the Saviour said; Little children, come and see Where these gracious words are read. Often on these pages look,-- Of the love of God they tell; 'Tis indeed a holy book,-- Learn to read and love it well. Thus you hear the Saviour speak,-- "Come ye all and learn of me"; He was gentle, lowly, meek,-- So should all his followers be. When our Saviour from above, From his Father did descend, He took them in his arms of love, And children knew him for their friend. All little children Jesus blessed,-- Blessed in innocence they are; Little children he caressed; Praise him in your infant prayer. HYMN. Praise to God! O let us raise From our hearts a song of praise! Of that goodness let us sing Whence our lives and blessings spring. Praise to him who made the light, Praise to him who gave us sight, Praise to him who formed the ear; Will he not his children hear? Praise him for our happy hours, Praise him for our varied powers, For these thoughts that rise above, For these hearts he made for love, For the voice he placed within, Bearing witness when we sin; Praise to him whose tender care Keeps this watchful guardian there. Praise his mercy, that did send Jesus for our guide and friend; Praise him, every heart and voice, Him who makes all worlds rejoice. HYMN FOR A LITTLE BOY. "What, mother, makes it seem to me, When I am all alone, As if some one could hear and see, And all my thoughts were known? "Sometimes it makes me very glad, And dance and sing with joy; Sometimes it makes me very sad, And frights your little boy. "O, tell me, mother, tell me why; For I have never known Why 'tis I laugh, or why I cry, When I am all alone." "My child, you never are alone; There is a watchful eye To which your very thoughts are known; 'Tis God is ever nigh. "He made your little heart for joy, He tunes your happy song; O, then, my little timid boy, Fear only doing wrong. "For he who makes your heart so glad, Who bids the good be gay, With the same love will make it sad, Whene'er you disobey. "He is our Father, and he hears Your weakest, faintest prayer; He wipes away an infant's tears, And children are his care." "THE LORD IS MY STRENGTH." Almighty Father! I am weak, But thou wilt strengthen me, If from my heart I humbly seek For help and light from thee. When I am tempted to do wrong, Then, Father, pity me, And make my failing virtue strong; Help me to think of thee! Let Christian courage guard my youth; That courage give to me Which ever speaks and acts the truth, And puts its trust in thee. HYMN. Will God, who made the earth and sea, The night, and shining day, Regard a little child like me, And listen when I pray? If I am hungry, poor, and cold, Then will he hear my cry? And when I shall be sick and old, O, then will God be nigh? Yes; in his holy word we read Of his unfailing love; And when his mercy most we need, His mercy he will prove. To those who seek him, he is near; He looks upon the heart, And from the humble and sincere He never will depart. He sees our thoughts, our wishes knows, He hears our faintest prayer; Where'er the faithful Christian goes, He finds his Father there. Obedient children need not fear; God is a faithful friend, And when no other help is near, He will deliverance send. Then fear not hunger, cold, or pain, But fear to disobey That power which does your life sustain, And guards you every day. "THY WILL BE DONE." How sweet to be allowed to pray To God, the Holy One, With filial love and trust to say,-- "Father, thy will be done!" We in these sacred words can find A cure for every ill; They calm and soothe the troubled mind, And bid all care be still. O, let that will, which gave me breath And an immortal soul, In joy or grief, in life or death, My every wish control! O, could my heart thus ever pray, Thus imitate thy Son! Teach me, O God, with truth to say,-- "Thy will, not mine, be done!" SABBATH DAY. How sweet upon this sacred day, The best of all the seven, To cast our earthly thoughts away, And think of God and heaven! How sweet to be allowed to pray Our sins may be forgiven; With filial confidence to say, "Father, who art in heaven"! With humble hope to bend the knee, And, free from folly's leaven, Confess that we have strayed from thee, Thou righteous Judge in heaven! And if to make all sin depart In vain the will has striven, He who regards the inmost heart Will send his grace from heaven. If from the bosom that is dear By cold unkindness driven, The heart that knows no refuge here Shall find a friend in heaven. Then hail, thou sacred, blessed day, The best of all the seven, When hearts unite their vows to pay Of gratitude to Heaven. THE GOOD BOY'S HYMN ON GOING TO BED. How sweet to lay my weary head Upon my quiet little bed, And feel assured, that all day long I have not knowingly done wrong! How sweet to hear my mother say, "You have been very good to-day!" How sweet to see my father's joy When he can say, "My dear, good boy!" How sweet it is my thoughts to send To many a dear-loved distant friend, And feel, if they my heart could see, How very happy they would be! How sweet to think that He whose love Made all these shining worlds above My pure and happy heart can see, And loves a little boy like me. [Illustration] GOD IS GOOD. Thou art good! Each perfumed flower, Waving fields, the dark green wood, The insect fluttering for an hour,-- All things proclaim that God is good. I hear it in each breath of wind; The hills that have for ages stood, And clouds with gold and silver lined, All still repeat that God is good. Each little rill, that many a year Has the same verdant path pursued, And every bird, in accents clear, Joins in the song that God is good. The restless sea, with haughty roar, Calms each wild wave and billow rude, Retreats submissive from the shore, And swells the chorus, "God is good." The countless hosts of twinkling stars, That sing his praise with light renewed; The rising sun each day declares, In rays of glory, God is good. The moon, that walks in brightness, says, That God is good! and man, endued With power to speak his Maker's praise, Should still repeat that God is good. EVENING. How beautiful the setting sun! The clouds how bright and gay! The stars, appearing one by one, How beautiful are they! And when the moon climbs up the sky, And sheds her gentle light, And hangs her crystal lamp on high, How beautiful is night! And can it be I am possessed Of something brighter far? Glows there a light within this breast Outshining every star? Yes; should the sun and stars turn pale, The mountains melt away, This flame within shall never fail, But live in endless day. This is the soul that God has given,-- Sin may its lustre dim; While goodness bears it up to heaven, And leads it back to him. ROBINSON CRUSOE'S HYMN. My Heavenly Father! all I see, Around me and above, Sends forth a hymn of praise to thee, And speaks thy boundless love. The clear blue sky is full of thee, The woods so dark and lone; The soft south-wind, the sounding sea, Worship the Holy One. The humming of the insect throng, The prattling, sparkling rill, The birds, with their melodious song, Repeat thy praises still. And thou dost hear them every one,-- Father, thou hearest me; I know that I am not alone, When I but think of thee. HYMN. It was my Heavenly Father's love Brought every being forth; He made the shining worlds above, And every thing on earth. Each lovely flower, the smallest fly, The sea, the waterfall, The bright green fields, the clear blue sky,-- 'Tis God that made them all. He gave me all my friends, and taught My heart to love them well, And he bestowed the power of thought, And speech my thoughts to tell. My father and my mother dear,-- He is their father too; He bids me all their precepts hear, And all they teach me, do. God sees and hears me all the day, And 'mid the darkest night; He views me when I disobey, And when I act aright. He guards me with a parent's care, When I am all alone; My hymn of praise, my humble prayer, He hears them every one. God hears what I am saying now,-- O, what a wondrous thought! My Heavenly Father, teach me how To love thee as I ought. ON PRAYER. As through the pathless fields of air Wandered forth the timid dove, So the heart, in humble prayer, Essays to reach the throne of love. Like her it may return unblest, Like her again may soar, And still return and find no rest, No peaceful, happy shore. But now once more she spreads her wings, And takes a bolder flight, And see! the olive-branch she brings, To bless her master's sight. And thus the heart renews its strength, Though spent and tempest-driven, And higher soars, and brings at length A pledge of peace with Heaven. "THE SPIRIT GIVETH LIFE." What was in the viewless wind, Wild rushing through the oak, Seemed to my listening, dreaming mind As though a spirit spoke? What is it to the murmuring stream Doth give so sweet a song, That on its tide my thoughts do seem To pour themselves along? What is it on the dizzy height, What in each glowing star, That speaks of things beyond the sight, And questions what they are? What in the rolling thunder's voice, What in the ocean's roar, Hears the grand chorus, "O, rejoice!" Echo from shore to shore? What in the gentle moon doth see Pure thoughts and tender love, And hears delicious melody Around, below, above? What bids the savage tempest speak Of terror and dismay, And wakes the agonizing shriek Of guilt that fears to pray? It is this ever-living mind; This little throb of life Hears its own echoes in the wind, And in the tempest's strife; To all that's sweet, and bright, and fair, Its own affections gives; Sees its own image everywhere, Through all creation lives. It bids the everlasting hills Give back the solemn tone; This boundless arch of azure fills With accents all its own. What is this life-inspiring mind, This omnipresent thought? How shall it ever utterance find For all itself hath taught? To Him who breathed the heavenly flame, Its mysteries are known; It seeks the source from whence it came, And rests in God alone. WE NEVER PART FROM THEE. God, who dwellest everywhere God, who makest all thy care, God, who hearest every prayer, Thou who see'st the heart; Thou to whom we lift our eyes. Father, help our souls to rise, And, beyond these narrow skies, See thee as thou art! Let our anxious thoughts be still, Holy trust adore thy will, Holy love our bosoms fill, Let our songs ascend! Dearest friends may parted be, All our earthly treasures flee, Yet we never part from thee, Our eternal Friend. "I WILL ARISE AND GO TO MY FATHER." Help me, O God, to trust in thee, Thou high and holy One! And may my troubled spirit flee For rest to thee alone. In thee alone the soul can find Secure and sweet repose; And thou canst bid the desert mind To blossom as the rose. Let not this spirit, formed to rise Where angels claim their birth, Forsake its home beyond the skies, And cling to barren earth. The bird of passage knows the sign That warns him to depart; Shall I not heed the voice divine, That whispers in my heart,-- "Up! plume thy wings, soar far away! No longer idly roam! Fly to the realms of endless day; For this is not thy home." This still, small voice, O, may I hear! Ere clouds and darkness come, And thunders in my startled ear Proclaim my final doom. Father! to thee my spirit cries! Thy wandering child reclaim. Speak! and my dying faith shall rise, And wake a deathless flame. EVENING HYMN. Thou, from whom we never part, Thou, whose love is everywhere, Thou who seest every heart, Listen to our evening prayer. Father! fill our souls with love, Love unfailing, full, and free, Love no injury can move, Love that ever rests on thee. Heavenly Father! through the night Keep us safe from every ill; Cheerful as the morning light, May we wake to do thy will. AUTUMN. Sweet Summer, with her flowers, has past, I hear her parting knell; I hear the moaning, fitful blast, Sighing a sad farewell. But, while she fades and dies away, In rainbow hues she glows; Like the last smile of parting day, Still brightening as she goes. The robin whistles clear and shrill; Sad is the cricket's song; The wind, wild rushing o'er the hill, Bears the dead leaf along. I love this sober, solemn time, This twilight of the year; To me, sweet Spring, in all her prime, Was never half so dear. While death has set his changing seal On all that meets the eye, 'Tis rapture, then, within to feel The soul that cannot die;-- To look far, far beyond this sky, To Him who changes never. This earth, these heavens, shall change and die; God is the same for ever. THE LORD'S DAY. This is the day when Jesus woke From the deep slumbers of the tomb; This is the day the Saviour broke The bonds of fear and hopeless gloom. This is indeed a holy day; No longer may we dread to die. Let every fear be cast away, And tears be wiped from every eye. Sorrow and pain the Saviour knew; A dark and thorny path he trod; But heaven was ever in his view,-- That toilsome path led up to God. Let every heart rejoice and sing; Let every sin and sorrow cease; Let children come this day and bring Their offering of love and peace. THE MINISTRY OF PAIN. Cease, my complaining spirit, cease; Know 'tis a Father's hand you feel; It leads you to the realms of peace; It kindly only wounds to heal. My Father! what a holy joy Bursts on the sad, desponding mind, To say, when fiercest ills annoy,-- "I know my Father still is kind!" This bids each trembling fear be still, Checks every murmur, every sigh; Patience then waits his sovereign will, Rejoiced to live,--resigned to die. O blessed ministry of pain! To teach the soul its real worth; To lead it to that source again, From whence it first derived its birth. "BY FAITH YE ARE SAVED." Christian! when, overwhelmed with grief and care, Thou prayest for the help that thou dost need, As shipwrecked mariner for life will plead, O, then for faith pour forth the fervent prayer! 'Tis faith alone life's heavy ills can bear. O, mark her calm, far-seeing, quickening eye, Full of the light of immortality! It tells of worlds unseen, and calls us there; That look of hers can save thee from despair. When sorrow, like thick darkness, gathers round, And all life's flowers are fading in the dust, Faith lifts our drooping vision from the ground,-- Says, that the hand that smites us yet is just; That human agony hath ever found The mighty God a never-failing trust. EVENING PRAYER. Great Source of being, Father all-seeing! We bow before thee; Our souls adore thee; Help us obey thee; Guide us aright; Keep us, we pray thee, Through the long night. Thou kind, forgiving God of all living, Thy power defend us, Thy peace attend us, While we are closing This day in prayer, Ever reposing Under thy care. EVENING HYMN. Before I close my eyes to-night, Let me myself these questions ask:-- Have I endeavoured to do right, Nor thought my duty was a task? Have I been gentle, lowly, meek, And the small voice of conscience heard? When passion tempted me to speak, Have I repressed the angry word? Have I with cheerful zeal obeyed What my kind parents bid me do, And not by word or action said The thing that was not strictly true? In hard temptation's troubled hour, Then have I stopped to think and pray, That God would give my soul the power To chase the sinful thought away? O Thou who seest all my heart, Wilt thou forgive and love me still! Wilt thou to me new strength impart, And make me love to do thy will! LINES WRITTEN AT MIDNIGHT. TRANSLATED FROM THE GERMAN OF A.G. EBERHARD. The sun in smiles doth dress his face, As evening comes to take his place; So looks the parting loved-one, when He means to quickly come again. With moon and stars all sparkling bright, Advances now the silent night; And with the calm and gentle moon, Sweet peace doth quietly come on. Who at the moon and stars can gaze Without a gush of love and praise? And now it is the midnight hour, And sleep asserts her soothing power. But see, the flickering light is gone, That from my neighbour's window shone; His simple household prayer is said, He rests from toil, on his hard bed. Yet still the watchman wakes, and still Faithful till morning watch he will; But vain, O watchman! is thy care, If God, the Guardian, be not there. By my dull lamp, whose light's near gone, In my small room I sit alone, And, thinking o'er past joys and pain, A sweet contentment doth remain. He's still my trust; he, the true Shepherd, never Will forsake his sheep,--he watcheth ever; The mother may forget her child, but yet Thus saith the Lord,--"Thee I will not forget." I rest in peace, I trust in Thee; Thy faithful eye still watcheth me; For He who ever wakes and lives To loving hearts no night e'er gives. "HOPE IN GOD." TRANSLATED FROM THE GERMAN OF S.A. MAHLMAN. Hope, my heart, in patience hope,-- Thou at last thy flowers shalt gather; God is full of tender love,-- Childlike speak thou to thy Father. From believing, trusting hearts, The God of mercy ne'er departs. Clouds may come, and clouds may go, Rest upon his goodness always; To those joyful, sunny heights Lead these rough and gloomy pathways; Wakes for aye his Eye of Light,-- Tremble not in storm and night. Anchored on the Eternal Rock, To the heart of God fast clinging, Tell him all thy deepest woes, Before him all thy sorrows bringing; He is kind, and comfort gives To every sorrowing heart that lives. Let true faith strong courage give; Strength the Helper now is sending; Soon thou'lt understand His ways, Soon thou'lt find thy sorrows ending. God! who life and goodness art! In patience hope in Him, my heart. FAILURE AND SUCCESS. It is in failure, in distress, When, reft of all, it stands alone, And not in what men call success, The noble, valiant soul is known. He who perfection makes his aim Shoots at a mark he may not reach; The world may laugh, the world may blame. And what it calls _discretion_ preach. And he will fail to win the goal Which low ambition makes its own; But, far beyond, his earnest soul Stands in the light, though all alone. It was through insult, pain, and loss That Jesus won immortal power; Thus the great failure of the cross Was his triumphant, glorious hour. Think not of failure or success; He fails who has a low desire. Up to the highest ever press, Still onward, upward, higher! higher! Make such thy purpose, such thy aim, That they who watch thy spirit's flight Shall look to heaven from whence it came, And loose thee in celestial light. SONGS. THE LITTLE SPRING. Beneath a green and mossy bank There flows a clear and fairy stream; There the pert squirrel oft has drank, And thought, perhaps, 'twas made for him. Their pitchers there the laborers fill, As drop by drop the crystals flow, Singing their silvery welcome still To all who to the fountain go. Then to the river on it glides, Its tributary drop to bear, Its modest head a moment hides, Then rises up and sparkles there. The touching lesson on my heart Falls like the gentle dews of heaven, Bids me with humble love impart The little treasure God has given. For from a source as small as this Full many a cup of joy may flow, And on the stream of human bliss Its little ray of gladness throw. THE LITTLE BOY'S MAY-DAY SONG. "The flowers are blooming everywhere, On every hill and dell, And O, how beautiful they are! How sweetly, too, they smell! "The little brooks, they dance along, And look so glad and gay; I love to hear their pleasant song, I feel as glad as they. "The young lambs bleat and frisk about, The bees hum round their hive, The butterflies are coming out,-- 'Tis good to be alive. "The trees that looked so stiff and gray With green wreaths now are hung; O mother! let me laugh and play, I cannot hold my tongue. "See yonder bird spread out his wings, And mount the clear blue skies; And hark! how merrily he sings, As far away he flies." "Go forth, my child, and laugh and play, And let your cheerful voice, With birds, and brooks, and merry May, Cry loud, Rejoice! rejoice! "I would not check your bounding mirth, My little happy boy, For He who made this blooming earth Smiles on an infant's joy." GUESS WHAT I HAVE HEARD. Dear mother, guess what I have heard! O, it will soon be spring! I'm sure it was a little bird,-- Mother, I heard him sing. Look at this little piece of green That peeps out from the snow, As if it wanted to be seen,-- 'Twill soon be spring, I know. And O, come here, come here and look! How fast it runs along!-- Here is a cunning little brook; O, hear its pretty song! I know 'tis glad the winter's gone That kept it all so still, For now it merrily runs on, And goes just where it will. I feel just like the brook, I know; It says, it seems to me,-- "Good by, cold weather, ice, and snow; Now girls and brooks are free." I love to think of what you said, Mother, to me last night, Of this great world that God has made, So beautiful and bright. And now it is the happy spring No naughty thing I'll do; I would not be the only thing That is not happy, too. SPRING. Hark! the little birds are singing,-- Winter's gone and summer's near; See, the tender grass is springing, And the flowers will soon be here. Who made the winter and the spring? Who painted all the flowers? Who taught the little birds to sing, And made these hearts of ours? O, 'tis God! how good he is! He does every blessing give; All this happy world is his,-- Let us love him while we live. THE LITTLE BOY'S GOOD-NIGHT. The sun is hidden from our sight, The birds are sleeping sound; 'Tis time to say to all, "Good night!" And give a kiss all round. Good night! my father, mother, dear, Now kiss your little son; Good night! my friends, both far and near, Good night to every one. Good night! ye merry, merry birds, Sleep well till morning light; Perhaps if you could sing in words, You would have said, "Good night!" To all my pretty flowers, good night! You blossom while I sleep; And all the stars, that shine so bright, With you their watches keep. The moon is lighting up the skies, The stars are sparkling there; 'Tis time to shut our weary eyes, And say our evening prayer. THE SHEPHERD'S SABBATH-SONG. TRANSLATED FROM THE GERMAN OF UHLAND. This is the Sabbath day! In the wide field I am alone. Hark! now one morning bell's sweet tone,-- Now it has died away. Kneeling I worship Thee; Sweet dread doth o'er my spirit steal, From whispering sounds of those who kneel, Unseen, to pray with me. Around and far away, So clear and solemn is the sky, It seems all opening to my eye; This is the Sabbath day! TO SPRING. Hail! reviving, joyous Spring, Smiling through thy veil of showers; Birds and brooks thy welcome sing,-- Haste, and waken all thy flowers. Hark! a sweet pervading sound! From the breathing, moving earth Life is starting all around, Sending joy and fragrance forth. O'er the oak's gigantic form Blossoms hang their drapery; Branches that defied the storm Now are full of melody. There is not a silent thing In this joyous company; Woods, and hills, and valleys ring With a shout of jubilee. Wake, my spirit! art thou still? Senseless things have found a voice; Shall this throbbing heart be still, When all nature cries, "Rejoice"? Wake, come forth, my bounding soul! Join the universal glee, Yield to nature's kind control, Catch her heavenly harmony. Join the grateful, happy throng, Cast each selfish care away; Birds and brooks shall tune your song; This is nature's holiday. HER VOYAGE IS AT AN END. Hushed was the ocean's stormy roar, Still as an infant's joy; There sat upon the rocky shore A father and his boy. Far off they saw a gallant ship, It came from foreign lands; The boy began to dance and skip, And clap his little hands. Her wished-for port is near at hand, The ship is hastening on; They hear the birds sing on the land; Her voyage is nearly done. The boy's glad notes, his shouts of glee, The rocks with music fill; But now he cries,--"See, father, see! The ship is standing still." Her masts are trembling from the shock. Her white sails all descend; The ship has struck upon a rock,-- Her voyage is at an end. The sailors hurry to and fro, All crowded is the deck; She struggles hard,--she's free;--O, no! She is indeed a wreck. The boy's young heart is full of grief: "Father! what will she do? Let's take the boat to her relief, O, quickly let us go!" They went,--and many a stronger hand Its ready succour gave; They brought the crew all safe to land, And the cargo tried to save. The night comes on, the night is dark, More dark the billows seem; They break against the ship, and hark! The seamew's mournful scream. The boy upon his pillow lies, In sweet repose he sinks; And, as he shuts his weary eyes, On the poor ship he thinks. The sun shines o'er the watery main As it did the day before; The father and his son again Are seated on the shore. With the western wind full many a boat Their white sails gayly fill, They lightly o'er the blue waves float,-- But the gallant ship is still. The sailors now the mournful wreck Of masts and rigging strip; The waves are playing o'er the deck Of the sad and ruined ship. A crow upon the top branch stood Of a lone and blasted tree; He seemed to look upon the flood With a gloomy sympathy. The boy now looks up at the bird, At the sinking vessel now; He does not speak a single word. But a shade is on his brow. Now slowly comes a towering wave, And sweeps with triumph on; It bears her to her watery grave,-- The gallant ship is gone. Hushed is the ocean's stormy roar, Still as an infant's joy; The father sits upon the shore In silence with his boy. _Cohasset Shore, July, 1831._ CHARLEY AND HIS FATHER. A BALLAD. The birds are flown away, The flowers are dead and gone, The clouds look cold and gray Around the setting sun. The trees with solemn sighs Their naked branches swing; The winter winds arise, And mournfully they sing. Upon his father's knee Was Charley's happy place, And very thoughtfully He looked up in his face; And these his simple words:-- "Father, how cold it blows! What 'comes of all the birds Amidst the storms and snows?" "They fly far, far away From storms, and snows, and rain; But, Charley dear, next May They'll all come back again." "And will my flowers come, too?" The little fellow said, "And all be bright and new, That now looks cold and dead?" "O, yes, dear; in the spring The flowers will all revive, The birds return and sing, And all be made alive." "Who shows the birds the way, Father, that they must go? And brings them back in May, When there is no more snow? "And when no flower is seen Upon the hill and plain, Who'll make it all so green, And bring the flowers again?" "My son, there is a Power That none of us can see Takes care of every flower, Gives life to every tree. "He through the pathless air Shows little birds their way; And we, too, are his care,-- He guards us day by day." "Father, when people die, Will they come back in May?" Tears were in Charley's eye,-- "Will they, dear father, say?" "No! they will never come; We go to them, my boy, There, in our heavenly home, To meet in endless joy." Upon his father's knee Still Charley kept his place, And very thoughtfully He looked up in his face. REMEMBER THE SLAVE. Mother! whene'er around your child You clasp your arms in love, And when, with grateful joy, you raise Your eyes to God above, Think of the negro mother, when Her child is torn away, Sold for a little slave,--O, then For that poor mother pray! Father! whene'er your happy boys You look upon with pride, And pray to see them when you're old, All blooming by your side, Think of that father's withered heart, The father of a slave, Who asks a pitying God to give His little son a grave. Brothers and sisters! who with joy Meet round the social hearth, And talk of home and happy days, And laugh in careless mirth, Remember, too, the poor young slave, Who never felt your joy, Who, early old, has never known The bliss to be a boy. Ye Christians! ministers of Him Who came to make men free, When, at the Almighty Maker's throne, You bend the suppliant knee, From the deep fountains of your soul Then let your prayers ascend For the poor slave, who hardly knows That God is still his friend. Let all who know that God is just, That Jesus came to save, Unite in the most holy cause Of the forsaken slave. HOME-SICKNESS. TRANSLATED FROM THE GERMAN. Were I a wild, wild falcon, I'd soar away on high, And seek my father's dwelling, Beyond the far blue sky. Against that well-known door then I'd flap my wings with joy; My mother from the window Sees and admits her boy. "Dear son!" she'd say; "O, welcome! How often has my heart Longed sadly to embrace thee; Now here behold thou art!" Thus memory still is dreaming Of what can never be. My long-lost home,--the loved ones,-- These eyes may never see. HAPPINESS. What is it makes the morning bright? What gilds the evening hours? What makes our hearts seem gay and light, As if we trod on flowers? 'Tis innocence that makes us gay, Bids flowers grow everywhere; Makes it bright sunshine every day. And every evening fair. What makes us, when we look above, See smiling angels there, And think they look on us in love, As if we were their care? 'Tis that the soul, all free from sin, Glows like an inward sun; And heaven above and heaven within Do meet and join in one. CHILDREN IN SLAVERY. When children play the livelong day, Like birds and butterflies, As free and gay sport life away, And know not care nor sighs; Then earth and air seem fresh and fair, All peace below, above; Life's flowers are there, and everywhere Is innocence and love. When children pray with fear all day, A blight must be at hand; Then joys decay, and birds of prey Are hovering o'er the land. When young hearts weep as they go to sleep, Then all the world seems sad; The flesh must creep, and woes are deep, When children are not glad. TO GOOD RESOLUTIONS. How like the morning flower ye are! Which lifts its diamond head, Exulting in the mead; But the rude wind shall steal its gem, Shall break its tender stem, And leave it dead. Frail pledges of the contrite heart, Wherefore so soon decay? O, yet prolong your stay! Until my soul shall boldly rise, And claim its native skies, Haste not away. THANKS FOR A PLEASANT DAY. Come, let us all, with heart and voice, To God our Father sing and pray; In his unceasing love rejoice, And thank him for this pleasant day. The clear blue sky looks full of love; Let all our selfish passions cease! O, let us lift our thoughts above, Where all is brightness, goodness, peace. If we have done a brother wrong, O, let us seek to be forgiven; Nor let one discord spoil the song Our hearts would raise this day to heaven. This blessed day, when the pure air Is full of sweetness, full of joy,-- When all around is calm and fair,-- Shall we the harmony destroy? O, may it be our earnest care To free our souls from every sin; Then will each day be bright and fair, For God's pure sunshine dwells within. TO A BUTTERFLY. [Those who are acquainted with this little poem, translated from Herder, will perceive that a slight liberty has been taken with the last two lines.] Airy, lovely, heavenly thing! Butterfly with quivering wing! Hovering in thy transient hour Over every bush and flower, Feasting upon flowers and dew, Thyself a brilliant blossom, too! Who, with skilful fingers fine, Purpled o'er those wings of thine? Was it some sylph whose tender care Spangled thy robes so fine and fair, And wove them of the morning air? I feel thy little throbbing heart; Thou fear'st e'en now death's bitter smart. Fly, little spirit, fly away! Be free and joyful thy short day! Image thou dost seem to me Of that which I may one day be, When I shall drop this robe of earth, And wake into a spirit's birth. TO NATURE. FROM THE GERMAN OF FREDERICK LEOPOLD, COUNT OF STALBERG. Holy nature! fresh and free, Let me ever follow thee; By the hand, O, lead me still, Like a child, at thy sweet will. When with weariness oppressed, I will on thy bosom rest, Breathe in pleasure from above, In thy mother-arms of love. O, how well it is for me Thee to love, with thee to be! Holy nature! sweet and free, Let me ever follow thee. ON THE DEATH OF A YOUNG COMPANION. Farewell for a time! Thou hast gone to that clime Where sickness and sorrow are o'er. We loved thee when here, We shed the sad tear To think we shall see thee no more. We weep not for thee, We remember that He Who made little children his care In his own fatherland Will reach you his hand, And comfort and welcome you there. Our tears they will flow; But do we not know That thou art released from all pain? Then weep not; for He Who walked on the sea Has said we shall all live again. THE SABBATH IS HERE. FROM KRUMACHER. The Sabbath is here, it is sent us from heaven; Rest, rest, toilsome life, Be silent all strife, Let us stop on our way, And give thanks and pray To Him who all things has given. The Sabbath is here, to the fields let us go; How fresh and how fair! In the still morning air, The bright golden grain Waves over the plain; It is God who doth all this bestow. The Sabbath is here; on this blessed morn No tired ox moans, No creaking wheel groans, At rest is the plough; No noise is heard now, Save the sound of the rustling corn. The Sabbath is here; our seed we have sown In hope and in faith; The Father he saith Amen! Be it so! Behold the corn grow! Rejoicing his goodness we'll own. The Sabbath is here; His love we will sing Who sendeth the rain Upon the young grain. And soon all around The sickle will sound. And home the bright sheaves we will bring. The Sabbath is here; in hope and in love We sow in the dust, While humbly we trust Up yonder shall grow The seed which we sow, And bloom a bright garland above. THE CHILD AT HER MOTHER'S GRAVE. TRANSLATED FROM THE GERMAN. In that little room of thine, Sweet sleep has come to thee; Ah, mother! dearest mother mine! O, call me to that room of thine! O, shut it not from me! I would so gladly be with thee, And be thy child again; 'Tis cold and stormy here with me, 'Tis warm, and, O, so still with thee! Ah! let me, let me in! Thou took'st me gladly once with thee, So gladly held my hand; O, see, thou hast forsaken me! Take me this time again with thee Into the heavenly land. CHILD'S SONG. TRANSLATED FROM THE GERMAN. When at night I go to sleep, Fourteen angels are at hand;-- Two on my right their watches keep; Two on my left to bless me stand; Two hover gently o'er my head; Two guard the foot of my small bed; Two wake me with the sun's first ray; Two dress me nicely every day; Two guide me on the heavenly road, That leads to paradise and God. TO A FOUNTAIN. FROM THE GERMAN OF RAMLER. Lo! this fount is flowing ever; But the fountain prattles never. Traveller! at this fountain stay; Learn of it, with pure endeavour, Good to do, and nothing say. SONG FOR AN INFANT SCHOOL. Children go To and fro, In a merry, pretty row, Footsteps light, Faces bright; 'Tis a happy sight. Swiftly turning round and round, Do not look upon the ground. Follow me, Full of glee, Singing merrily. Birds are free, So are we; And we live as happily. Work we do, Study too, For we learn "twice two"; Then we laugh, and dance, and sing, Gay as birds or any thing. Follow me, Full of glee, Singing merrily. Work is done, Play's begun; Now we have our laugh and fun. Happy days, Pretty plays, And no naughty ways. Holding fast each other's hand, We're a little happy band; Follow me, Full of glee, Singing merrily. THE SUMMER. A FREE TRANSLATION OF A GERMAN POPULAR SONG. Go forth, my heart, and seek the bliss Of such a summer day as this, Bestowed on all by Heaven; The beauties of the garden see, Behold! it is for thee and me Its glories all are given. The trees with whispering leaves are dressed, The earth upon her dusky breast Her robe of green is wearing; The flowers are blooming far and wide,-- Not Solomon in all his pride With them would bear comparing. The dove from out her nest doth fly; Far upward in the clear blue sky The lark her way is winging; Hark to the lovely nightingale! With her sweet song each hill and dale, And woods and rocks, are ringing. The hen brings out her little brood, The swallow finds her young ones food, The stork her house is keeping. The bounding stag, the timid roe, Are full of joy, and to and fro, Through the high grass, are leaping. The brook is tinkling as it goes, And with the myrtle and the rose Its shady banks adorning; While, from the flowery mead near by, The sheep and shepherd's joyful cry Salutes the early morning. The never idle troops of bees Fly here and there, and where they please Their honey food are quaffing; The sap is running up the vine, Round the old elm its tendrils twine, And in the sun are laughing. And can I, may I, silent be? When all God's glorious works I see My soul desires to know him. When all are singing I must sing, And to the Highest I must bring The tribute which I owe him. Are all things here so bright and fair, And has he with a loving care My happy being given? What, in the glorious world above, Where all is beauty, all is love,-- What shall I be in heaven? O, were I there! O, stood I now In that great Presence! there to bow In grateful love before him, Then would I with the angels raise One never-ending song of praise, And worship and adore him! TO A BEAUTIFUL GIRL. Sweet flower! so young, so fresh, so fair, Bright pleasure sparkling in thine eye, Alas! e'en thee time will not spare, And thou must die. The heart with youthful hope so gay, That scarcely ever breathed a sigh, Must weep o'er pleasures fled away, For all must die. But though the rosy cheek may fade, The virtuous wish, the purpose high, The bloom with which the soul's arrayed, Shall never die. THE LITTLE SLAVE'S WISH. I wish I was that little bird Up in the bright blue sky, That sings and flies just where he will, And no one asks him why. I wish I was that little brook That runs so swift along, Through pretty flowers, and shining stones, Singing a merry song. I wish I was a butterfly, Without a fear or care, Spreading my many-colored wings, Like a flower in the air. I wish I was that wild, wild deer, That I saw the other day, Who through the dark green forest flew, Like an arrow far away. I wish I was that little cloud By the gentle south-wind driven, Floating along so calm and bright Up to the gates of heaven. I'd rather be a savage beast, And dwell in a gloomy cave, And shake the forest when I roared, Than what I am,--a slave. My mother calls me her good boy, My father calls me brave; What wicked action have I done That I should be a slave? They tell me God is very good. That his right arm can save; O, is it, can it, be his will That I should be a slave? O, how much better 'tis to die, And lie down in the grave, Than 'tis to be what I am now,-- A little negro slave! [Illustration] FABLES. THE HONEST BIRD. Once on a time, a little bird Within a wicker cage was heard, In mournful tones, these words to sing:-- "In vain I stretch my useless wing; Still round and round I vainly fly, And strive in vain for liberty. Dear liberty, how sweet thou art!" The prisoner sings, with breaking heart:-- "All other things I'd give for thee, Nor ask one joy but liberty." He sang so sweet, a little mouse, Who often ran about the house, Came to his cage; her cunning ear She turned, the mournful bird to hear. Soon as he ceased,--"Suppose," said she, "I could contrive to set you free; Would you those pretty wings give me?" The cage was in the window-seat, The sky was blue, the air was sweet. The bird with eagerness replied,-- "O, yes! my wings, and see, beside, These seeds and apples, sugar, too, All, pretty mouse, I'll give to you, If you will only set me free; For, O, I pant for liberty!" The mouse soon gnawed a hole; the bird, In ecstasy, forgot his word; Swift as an arrow, see, he flies, Far up, far up, towards the skies; But see, he stops, now he descends, Towards the cage his course he bends. "Kind mouse," said he, "behold me now Returned to keep my foolish vow; I only longed for freedom then, Nor thought to want my wings again. Better with life itself to part, Than, living, have a faithless heart; Do with me, therefore, as you will, An honest bird I will be still." His heart seemed full, no more he said, He drooped his wings and hung his head. The mouse, though very pert and smart, Had yet a very tender heart; She minced a little, twirled about, Then thus her sentiments threw out:-- "I don't care much about your wings,-- Apples and cakes are better things; You love the clouds, I choose the house; Wings would look queer upon a mouse. My nice long tail is better far, So keep your wings just where they are." She munched some apple, gave a smack, And ran into her little crack. The bird spread out his wings and flew, And vanished in the sky's deep blue; Far up his joyful song he poured, And sang of freedom as he soared. SOLILOQUY OF ELLEN'S SQUIRREL, ON RECEIVING HIS LIBERTY;--OVERHEARD BY A LOVER OF NATURE AND A FRIEND OF ELLEN. Was that the music of the wind, That whispered in my trembling ear? And can I, free and unconfined, Taste of the joys that still are dear? And can I skip from tree to tree, And fly along the flowery plain, Light as the wind, as fleet, as free, And make my winter's nest again? O, yes! my joyful, trembling heart, The song you heard from yonder tree, Which made awakening memory start, Was the sweet sound of Liberty! Dear Ellen, many thanks I owe For tenderest care bestowed on me; But most my gratitude will flow For your best gift,--sweet Liberty! Oft in your gayest, happiest hour, When all your youthful heart beats high, And, hastening on from flower to flower, You taste the sweets of Liberty, The thought that you have set me free, That I can skip and dance like you, To your kind, tender heart shall be As pure a joy as e'er you knew. Scarce can my wakening sense believe The sounds I hear, the sights I see; Dear Ellen, once again receive Your Squirrel's thanks for Liberty. THE PIN, NEEDLE, AND SCISSORS. 'Tis true, although 'tis sad to say, Disputes are rising every day. You'd think, if no one did deny it, A little work-box might be quiet; But 'tis not so, for I did hear, Or else I dreamed it, 'tis so queer, A Pin and Needle in the cushion Maintain the following discussion. The Needle, "extra fine gold-eyed," Was very sharp and full of pride, And thus, methought, she did begin:-- You clumsy, thick, short, ugly Pin, I wish you were not quite so near; How could my mistress stick me here? She should have put me in my place, With my bright sisters in the case." "Would you were there!" the Pin replied; "I do not want you by my side. I'm rather short and thick, 'tis true; Who'd be so long and thin as you? I've got a head, though, of my own, That you had better let alone." "You make me laugh," the Needle cried; "That you've a head can't be denied; For _you_ a very proper head, Without an eye, and full of lead." "You are so cross, and sharp, and thin," Replied the poor insulted Pin, "I hardly dare a word to say, And wish indeed you were away; That golden eye in your poor head Was only made to hold a thread; All your fine airs are foolish fudge, For you are nothing but a drudge; But I, in spite of your abuse, Am made for pleasure and for use. I fasten the bouquet and sash, And help the ladies make a dash; I go abroad and gayly roam, While you are rusting here at home." "Stop," cried the Needle, "you're too much, You've brass enough to beat the Dutch; Do I not make the ladies' clothes, Ere I retire to my repose? Then who, forsooth, the glory wins? Alas! 'tis finery and pins. This is the world's unjust decree, But what is this vain world to me? I'd rather live with my own kin, Than dance about like you, vain Pin. I'm taken care of every day; You're used awhile, then thrown away, Or else you get all bent up double, And a snug crack for all your trouble." "True," said the Pin, "I am abused, And sometimes very roughly used; I often get an ugly crook, Or fall into a dirty nook; But there I lie, and never mind it; Who wants a pin is sure to find it; In time I am picked up, and then I lead a merry life again. You fuss so at a fall or hurt, And, if you get a little dirt, You keep up such an odious creaking, That where you are there is no speaking; And then your lackey Emery's called, And he, poor thing, is pricked and mauled, Until your daintiness--O, shocking!-- Is fit for what? to mend a stocking!" The Needle now began to speak,-- They might have quarrelled for a week,-- But here the Scissors interposed. And thus the warm debate was closed:-- "You angry Needle! foolish Pin! How did this nonsense first begin? You should have both been better taught; But I will cut the matter short. You both are wrong, and both are right, And both are very impolite. E'en in a work-box 'twill not do To talk of every thing that's true. All personal remarks avoid, For every one will be annoyed At hearing disagreeable truth; Besides, it shows you quite uncouth, And sadly wanting in good taste. But what advantages you waste! Think, Pins and Needles, while you may, How much you hear in one short day; No servants wait on lordly man Can hear one half of what you can. 'Tis not worth while to mince the matter; Nor men nor boys like girls can chatter; All now are learning, forward moving, E'en Pins and Needles are improving; And in this glorious, busy day All have some useful part to play. Go forth, ye Pins, and bring home news! Ye Needles in your cases muse! And take me for your kind adviser, And only think of growing wiser; Then, when you meet again, no doubt, Something you'll have to talk about, And need not get into a passion, And quarrel in this vulgar fashion. Less of yourselves you'll think, and more Of others, than you did before. You'll learn, that in their own right sphere All things with dignity appear. And have, when in their proper place, Peculiar use and native grace." Methought the polished Scissors blushed To have said so much, and all was hushed. LEARNED FRED. FROM THE GERMAN. One short six months had scarcely gone, When, full of all he'd learned, Young Frederick, that hopeful son, From college home returned. To his paternal roof restored, It was not long before The learned man at table poured The treasures of his lore. "Now," said the youngster, "father dear, You doubtless think you see Two roasted fowls before us here; But I say there are three. "_Atqui_ these roasted fowls are two, And one in two must be; _Ergo_,--or logic is not true,-- These roasted fowls are three." "God bless your studies!" quoth papa; "'Tis just as you have said; _This_ is for me, _that_ for mamma, The third for learned Fred." LITTLE ROLAND. TRANSLATED FROM THE GERMAN OF UHLAND. Lady Bertha sat in the rocky cleft, Her bitter woes to weep; Little Roland played in the free fresh air; His sorrows were not deep. "My royal brother, O King Charles, Why did I fly from thee? Splendor and rank I left for love; Now thou art wroth with me. "O Milon, Milon, husband dear! Beneath the waves art thou; For love I have forsaken all, Yet love forsakes me now. "O Roland! thou, my dearest boy, Now fame and love to me; Come quickly, little Roland, come! My hope rests all on thee. "Go to the city, Roland, go! To beg us meat and bread; And whoso gives the smallest gift, Ask blessings on his head." Now great King Charles at table sat, In the golden hall of state; With dish and cup the servants ran, On the noble guests to wait. Flute, harp, and minstrelsy now tune All hearts to joyful mood; The cheerful music does not reach To Bertha's solitude. Before the hall in the court-yard sat Of beggars a motley throng; The meat and drink was more to them Than flute, and harp, and song. The king looked out, through the open door, Upon the beggar throng; Through the crowd he saw a noble boy, Pushing his way along. Strange was the little fellow's dress, Of divers colors all; But with the beggars he would not stay,-- He looked up at the hall. Within the hall little Roland treads, As though it were his own; He takes a dish from the royal board In silence, and is gone. The king he thinks,--"What do I see? This is a curious way"; But, as he quietly submits, The rest do nothing say. In a little while again he comes, To the king he marches up, And little Roland boldly takes The royal golden cup. "Halloo! stop there! thou saucy wight!" King Charles's voice did ring; Little Roland kept the golden cup, And looked up at the king. The king at first looked angrily; But very soon he smiled:-- "You tread here in our golden hall, As in the green woods wild. "From the royal table you take a dish, As they take an apple from a tree; As with the waters of the brook, With my red wine you make free." "The peasant drinks from the running brook, On apples she may dine; My mother must have fish and game, For her is the foaming wine." "Is thy mother such a noble dame As thou, my boy, dost boast, Then surely has she a castle fair, And of vassals a stately host. "Tell me, who may her sewer be? And who cupbearer, too?" "My own right hand her sewer is; My left, cupbearer true." "Tell on; who are her faithful guards?" "My two blue eyes alway." "Tell on; who is her minstrel free?" "My rosy mouth, I say." "Brave servants has the dame, indeed; But does strange livery choose,-- Made up of colors manifold, Shining with rainbow hues." "From each quarter of the city, With eight boys I have fought; Four sorts of cloth to the conqueror, As tribute, they have brought." "The best of servants, to my mind, The dame's must surely be; She is, I wot, the beggar's queen, Who keeps a table free. "The noble lady should not far From my royal palace be; Arise, three ladies, and three lords, And bring her in to me." Little Roland, holding fast the cup, From the splendid hall he hies; To follow him, at the king's command, Three lords, three ladies, rise. And after now a little while, The king sees, far away, The noble ladies and the knights Return without delay. The king he cries out suddenly,-- "Help, Heaven! see I aright? 'Tis my own blood, in open hall, I have treated with cruel slight. "Help, Heaven! in pilgrim dress I see My sister Bertha stand; So pale in my gay palace here, A beggar's staff in her hand!" Lady Bertha sinks down at his feet, Pale image of despair; His wrath returns, and he looks on her With a stern and angry air. Lady Bertha quick cast down her eyes, No word to speak she tried; Little Roland raised his clear blue eyes,-- "My uncle!" loud he cried. "Rise up, my sister Bertha, rise!" The king said tenderly; "For the sake of this dear son of thine, Thou shalt forgiven be." Lady Bertha rose up joyfully:-- "Dear brother! thanks to thee; Little Roland shall requite the boon Thou hast bestowed on me. "He of the glory of his king Shall be an image fair; The colors of many a foreign realm His banner and shield shall bear. "The cup from many a royal board He shall seize with his free right hand, And safety and fresh glory bring To his sighing mother-land." BILLY RABBIT TO MARY. [Billy Rabbit was a little rabbit which a boy caught in the woods, and gave to a little girl of the name of Mary. She was very attentive to the little prisoner, gave him an abundance of good things to eat, and tried her best to make him happy; but all in vain. After many attempts, he at last succeeded in making his escape, and instantly disappeared in the woods. In the course of the day, the following letter, sealed with a sharp thorn, was received by his friend Mary.] Artichoke Woods. You thought, my dear Mary, you had Billy fast, But I tried very hard, and escaped you at last; The chance was so tempting, I thought I would _nab_ it,-- It was not very naughty, I'm sure, in a rabbit. O, let not your kind heart be angry with me; But think what a joy it is to be free, To see the green woods, to feel the fresh air, To skip, and to play, and to run everywhere. The food that you gave me was pleasant and sweet, But I'd rather be free, though with nothing to eat. O, how glad they all were to see me come back, And every one wanted to give me a smack. Dick knocked over Brownie, and jumped over Bun, And the neighbours came in to witness the fun. My father said something, but could not be heard; My mother looked at me, but spoke not a word; And while she was looking, her eyes became pink, And she shed a few tears, I verily think. To him who a hole or a palace inhabits, To all sorts of beings, to men, and to rabbits, Ah! dear to us all is sweet Liberty, Especially, Mary, to you and to me. So I hope you'll forgive me for sending this letter, To tell you I'm safe, and feel so much better, Cut all sorts of capers, and act very silly, And am your devoted, affectionate BILLY. THE OLD AND NEW SHOES. "Good bye, get away, you ugly old things!" Said a little boy once to his shoes; "All stubbed are your toes, all twisted your strings, You're wrinkled, one-sided, and loose. "But here are my new ones, so shiny and bright, They are almost as smooth as my skin; How stiff they are, too! how straight and upright! How snug my feet feel now they're in!" So saying, he gave to his old shoes a kick, And strutted with pride to the door; His unkindness had cut the old shoes to the quick, For nothing contempt can endure. "Master Frank, Master Frank, stop a while, if you please," ('Twas one of the shoes he heard call); "Our _soles_ cannot bear such insults as these, And your pride, Sir, will soon have a fall." Frank stood still with wonder and looked at the shoe, But could not see into the matter; At last he exclaimed,--"As they've nothing to do, I suppose, like Poll Parrot, they chatter." So he opened the door, and walked down the stairs; His shoes were too stiff to go fast; But let us observe him, and see how he fares, How repentant poor Frank was at last. His shoes were so smooth that he could but just stand, So tight, that they pinched in his toes; He could only sit still, and try to look grand, And remember he had on new shoes. But Fido ran in, who loved little Frank, And the shoes were remembered no more; They began to cut capers, but at the first prank Down tumbled poor Frank on the floor. He was a brave boy, he thought not of crying, He said, "Never mind," though in pain; He whistled to Fido, but there is no denying He fell down again and again. He went to his bed with his heart full of sorrow; He said to the nurse,--"I should choose, If you please, when I'm dressed, my good Betsey, to-morrow, To put on my easy old shoes. "See how red my toes are, and I'm all black and blue; I don't like my new shoes at all." "Ah! you see," answered Betsey, "what I told you was true; Your shoes, Master Frank, are too small." His old shoes he was glad in the morning to see, And, forgetting his trouble and pain, "How happy," said he, "my poor toes will be To get into the old shoes again." The voice of the old shoe now once more was heard:-- "Master Frank, will you please to attend? I wish, with your leave, to say just a word,-- 'Tis a word of advice from a friend. "Never part with old shoes till they part from you; Let your new ones be always well tried; Old shoes and old friends are far better than new, And, trust me, more worthy of pride. "Our strings and our toes are bad, we must own, But they can be easily mended. I have done," said the shoe, in a kind, easy tone, And it gaped as the lecture was ended. New toes and new heels now the old shoes have got, New strings, too, their beauty renew; Frank wears them in peace, and has never forgot The words of the friendly old shoe. THE MONKEYS AND THE BEARS. TRANSLATED FROM THE GERMAN OF GELLART. The monkeys, 'tis said, once asked of the bears, How it was that their nation so much surpassed theirs, And begged that the means they would graciously tell By which the young bears were kept hearty and well. "Perhaps it may be," said one of the mothers, Who seemed more considerate and wise than the others, "Perhaps," said she, trembling at even the thought, "We give our dear young ones less food than we ought; We may be impatient; I have really some fears That we rock them too little, the poor little dears; Our milk may cause fever, and their stomachs not suit, Or perhaps they are weakened and injured by fruit. Perhaps the whole mischief is caused by the air, And who 'gainst this evil can ever prepare? In their earliest years, it may poison instil, And through their whole lifetime produce every ill. Perhaps it may be, before we are aware, They breathe in a pestilence, borne on the air. Perhaps, for the nerves of us monkeys are weak, In jumping, or leaping, some bone they may break In their breasts." Here, for weeping, she scarcely could speak, And she snatched up her little one long to her breast; With such vehement love the poor victim she pressed, That all its complainings and troubles were stilled; Alas the poor mother! her pet she had killed. Said the bear,--"No longer I think you need seek For the cause why your young ones are sickly and weak; It is not the milk, nor the fruit, nor the air, Nor fault of the stomach, and 'tis no lack of care. Your blind fondness it is that cuts short their days. How is it that we such multitudes raise? As soon as our young ones are able to run, We take them out with us to play in the sun. We take them through floods, through heat, and through cold, And so they are healthy, and live to be old." THE END. A CATALOGUE OF BOOKS PUBLISHED BY CROSBY & NICHOLS, 111 WASHINGTON STREET, BOSTON. CROSBY & NICHOLS have for sale a general assortment of Books in all the various departments of literature, comprising Theological, School, Juvenile, and Miscellaneous Books of all kinds. All Periodicals, both American and Foreign, supplied promptly. A liberal discount to clubs, societies, or individuals, where several are taken. _Foreign Books imported to order by every steamer._ BOSTON: W.M. CROSBY AND H.P. NICHOLS, 111 WASHINGTON STREET. A LIST OF BOOKS RECENTLY PUBLISHED BY WM. CROSBY & H.P. NICHOLS, 111 WASHINGTON STREET, BOSTON. A MEMOIR OF WILLIAM ELLERY CHANNING, with Extracts from his Correspondence and Manuscripts. Edited by his nephew, WM. HENRY CHANNING. Comprised in three volumes, of from 450 to 500 pages each, uniform with the best edition of the Works. Two very superior portraits of Dr. Channing appear in the volumes; one from a painting by Allston, the other by Gambadella. Price $3.00. CONTENTS.--_Part First_,--Parentage and Birth; Boyhood; College Life; Richmond; Studies and Settlement. _Part Second_,--Early Ministry; Spiritual Growth; The Unitarian Controversy; Middle-age Ministry; European Journey. _Part Third_,--The Ministry and Literature; Religion and Philosophy; Social Reforms; The Antislavery Movement; Politics; Friends; Home Life; Notes. NOTICES OF THE PRESS. "A more interesting and instructive biographical work we have never read. High as was our opinion of Channing,--of his intellectual and moral worth,--the perusal of this work has convinced us that we never duly estimated him.... His letters reveal his character more fully than his sermons and essays. In his letters he lays his heart entirely open; and no man, no matter what his opinions or prejudices, can read them without saying,--'Channing was, indeed, a great and good man,--one who lived for the world!'"--_Christian Messenger._ "Only one who was similar in purpose and temper,--who felt like aspirations, hopes, and faith,--could at all do justice to the distinguished subject. The present book must, therefore, we are sure, give us Channing's character in its completeness, and true harmony and proportions of parts."--_Salem Observer._ "These memoirs of a great and good man will, we apprehend, obtain an uncommonly extensive circulation, not only among the denomination of Christians in which he ranked himself, but with all who reverence purity of character, an enlarged philanthropy, and eminent talents, guided by virtue and piety."--_Salem Register._ "If we mistake not, now is the very time in God's providence when the biography of William Ellery Channing could best make its appearance. We have heard that a distinguished divine, of different speculative religious views from Dr. Channing, has recently said,--'Channing is greatly needed among us at this present moment.' Behold him here! We doubt not that the biography thus prepared is to make a great impression on the age that is passing, and that is yet to come."--_Christian Register._ SERMONS ON CHRISTIAN COMMUNION. Designed to promote the Culture of the Religious Affections. Edited by Rev. T.R. SULLIVAN. 12mo. pp. 403. Price, $1.00. This work is not confined to the subject of the Lord's Supper, but "forms a series of practical discourses of the persuasive kind, relating to repentance, or the duty of commencing the Christian course,--to edification, or the encouragements to progressive Christian improvement,--and to the eucharistic service, as affording exercise for all the grateful and devout affections of the heart in every stage of its subjection to Christian discipline."--_Preface._ The following is a list of the writers:-- Rev. H.A. MILES, Lowell. " F. PARKMAN, D.D., Boston. " S. JUDD, Augusta. " F.D. HUNTINGTON, Boston. " C.T. BROOKS, Newport. " N. HALL, Dorchester. " J.I.T. COOLIDGE, Boston. " G.W. BRIGGS, Plymouth. " A.A. LIVERMORE, Keene. " J. WHITMAN, Lexington. " J.W. THOMPSON, Salem. " H.W. BELLOWS, New York. " E.S. GANNETT, D.D., Boston. " A.P. PEABODY, Portsmouth. " J. WALKER, D.D., Cambridge. " C. ROBBINS, Boston. " G.E. ELLIS, Charlestown. " G. PUTNAM, D.D., Roxbury. " J.H. MORISON, Milton. " A. YOUNG, D.D., Boston. " E.B. HALL, D.D., Providence. " S.G. BULFINCH, Nashua. " O. DEWEY, D.D., New York. " S. OSGOOD, Providence. " A. HILL, Worcester. " W.H. FURNESS, D.D., Philadelphia. " N.L. FROTHINGHAM, D.D., Boston. " E. PEABODY, Boston. " S.K. LOTHROP, " " C.A. BARTOL, " " A.B. MUZZEY, Cambridge. "The design of the work is admirable, and we doubt not it is admirably executed, and will promote the best interests of our churches. We chanced to open at Sermon XVIII., on Christian Education, and were pleased to see the idea of Dr. Bushnell's celebrated book on 'Christian Nurture' illustrated and urged in a sermon by Dr. Putnam, preached two years before Dr. Bushnell's book made its appearance."--_Christian Register._ "The tone of these sermons, their living interest, their unpremeditated variety in unity, fit them well for this purpose,--close personal influence on minds of widely differing views, united in the one great aim of a Christian life. We shall probably take an early opportunity of making some selections."--_Christian Inquirer._ "We think the volume is upon the whole one of the best volumes of discourses ever issued from the American press."--_Boston Daily Atlas._ THE GOSPEL NARRATIVES, their Origin, Peculiarities, and Transmission. By Rev. HENRY A. MILES. 16mo. pp. 174. Price, 50 cents. This work is designed for families and Sunday Schools, and contains a comparison of each Gospel with the education, life, and character of its author, and with the purpose which he had in view in its composition; as also an account of the transmission of the Gospels down to our time, and the evidence of their uncorrupted preservation. "This volume by Mr. Miles has substantial value. It is by the circulation and use of such books that Christian knowledge is to be extended, and Christian faith confirmed. By a thorough study even of this small work in childhood, many persons might have the satisfaction of carrying through life a clear and connected idea of the biographies of Jesus, and of the nature of the external evidence in their favor, instead of remaining in vague uncertainty on the whole subject. Bringing into a simple and popular form, and small compass, information not hitherto accessible, except to a limited number of persons, the 'Gospel Narratives' will be interesting to the general reader, whether youthful or adult. It must, without doubt, be introduced in all our Sunday Schools, and will rank among the most important manuals." NAOMI; or Boston Two Hundred Years Ago. A Tale of the Quaker Persecution in New England. By ELIZA BUCKMINSTER LEE, Author of "The Life of Jean Paul." Second Edition. 12mo. pp. 324. Price, 75 cents. The first edition of this popular book was exhausted within a month after its publication. "Mrs. Lee has given the public a most agreeable book. Her style is elevated and earnest. Her sentiments, of the pure and the true. The characters are well conceived, and are presented each in strong individuality, and with such apparent truthfulness as almost to leave us in doubt whether they are 'beings of the mind,' or were real men and women who bore the parts she assigns them in those dark tragedies that stained this 'fair heritage of freedom' in the early days of Massachusetts."--_Worcester Palladium._ "We have been exceedingly interested in this book, and recommend it as a beautiful picture of female piety and quiet heroism, set in a frame of history and tradition, that cannot fail to please every one connected, however remotely, with the land of the Puritans. The accomplished author of 'The Life of Jean Paul' has produced an American novel which we should like to see followed by others illustrative of the facts and manners of the olden time."--_Christian Inquirer._ THE MARRIAGE OFFERING. Designed as a Gift to the Newly-married. Edited by Rev. A.A. LIVERMORE. 16mo. pp. 215. Price, 50 cents. "It was a happy thought that suggested such a volume. We were not aware before that there was so much and so various Christian literature on the subject."--_Christian Register._ MARTYRIA; a Legend, wherein are contained Homilies, Conversations, and Incidents of the Reign of Edward the Sixth. Written by WILLIAM MOUNTFORD, Clerk. With an Introduction to the American Edition, by Rev. F.D. HUNTINGTON. 16mo. pp. 348. Price, 75 cents. "The charm of the book lies in the elevated tone of thought and moral sentiment which pervades it. You feel, on closing the volume, as if leaving some ancient cathedral, where your soul had been mingling with ascending anthems and prayers. There is scarcely a page which does not contain some fine strain of thought or sentiment, over which you shut the book that you may pause and meditate. "We recommend the volume to our readers, with the assurance that they will find few works in the current literature of the day so well worth perusal."--_Christian Register._ "This is really an original book. We have seen nothing for a long time more fresh or true. The writer has succeeded wonderfully, in taking himself and his readers into the heart of the age he describes. What is more, he has uttered words and thoughts which stir up the deep places of the soul. Let those read who wish to commune with the true and unpretending martyr-spirit, the spread of faith and endurance, courage, self denial, forgiveness, prayer. "Of all the treatises we have ever read on marriage, we have seen none so good as one here called a 'Marriage Sermon'; not that we would ask any couple to hear it all on their marriage day, but we commend it to all who are married, or intend to be. The whole book is precious."--_Providence Journal._ "There are few religious books which breathe a finer spirit than this singular volume. The author's mind seems to have meditated deeply on the awful realities of life. In the thoughtful flow of his periods, and the grave, earnest eloquence of particular passages, we are sometimes reminded of the Old English prose writers. The work is a 'curiosity' of literature, well worth an attentive perusal."--_Graham's Magazine._ A TRANSLATION OF PAUL'S EPISTLE TO THE ROMANS, with an Introduction and Notes. By WILLIAM A. WHITWELL, Minister of the Congregational Society in Wilton, N.H. 16mo. pp. 116. Price, 50 cents. "We would express a high opinion of the book, and can assure the Christian reader who will compare it carefully with our common version, that he will rise up from the joint perusal of the two with a better understanding of Paul than he had before."--_Christian Register._ CHRISTIANITY THE DELIVERANCE OF THE SOUL AND ITS LIFE. By WILLIAM MOUNTFORD. With an Introduction by Rev. F.D. HUNTINGTON. 16mo. pp. 118. Price, 37-1/2 cents. "Mr. Mountford is full of warm religious feeling. He brings religion home to the heart, and applies it as the guide of the life."--_London Inquirer._ SELF-FORMATION; or the History of an Individual Mind: Intended as a Guide for the Intellect through Difficulties to Success. By a Fellow of a College. 12mo. pp. 504. Price, $1.00. "The publishers have done good service by bringing forward an American edition of this work. It may be most unreservedly recommended, especially to the young."--_Daily Advertiser._ "Your gift of 'Self-Formation' is truly a welcome one, and I am greatly obliged to you for it. It is a work of quite original character, and I esteem it (in common with all I know of, who have read it) as possessed of very rare merit. I am glad, for the cause of good education and sound principle, that you have republished it, and I wish every young man and woman in the community might be induced to read it carefully. It is several years since I looked into it in the English edition,--but I yet retain a vivid impression of the great delight it afforded me, and I shall gladly avail of the opportunity of renewing it."--_Extract from a Letter._ "This is emphatically a good book, which may be read with profit by all classes, but more especially by young men, to whose wants it is admirably adapted. The American editor is no doubt right in saying, that it is almost without a question the most valuable and useful work on self education that has appeared in our own, if not in any other language."--_New York Tribune._ THOUGHTS ON MORAL AND SPIRITUAL CULTURE. By Rev. ROBERT C. WATERSTON. Second Edition, revised. 16mo. pp. 302. Price, 62-1/2 cents. This book has met with a ready sale in this country, and has been republished in England. A London periodical, in reviewing it, says:--"We will venture to predict that it will soon take its place on the shelves of our religious libraries, beside Ware 'On the Christian Character,' Greenwood's 'Lives of the Apostles,' and other works to which we might refer as standard publications, the value of which is not likely to be diminished by the lapse of time or the caprices of fashion." "The sense of duty in parents and teachers may be strengthened and elevated by contemplating the high standard which is here held up to them. The style has the great merit of being an earnest one, and there are many passages which rise into genuine eloquence and the glow of poetry."--_N.A. Review._ "The Lecture 'On the Best Means of exerting a Moral and Spiritual Influence in Schools,' no teacher, male or female, possessed of any of the germs of improvement, can read without benefit."--_Hon. Horace Mann, Secretary of the Board of Education._ DOMESTIC WORSHIP. By WILLIAM H. FURNESS, Pastor of the First Congregational Unitarian Church in Philadelphia. Third Edition. 12mo. pp. 272. Price, 75 cents. "We are glad to see this book. It is a work of great and peculiar excellence. It is not a compilation from other books of devotion; nor is it made up of conventional phrases and Scripture quotations, which have been so long employed as the language of prayer, that they are repeated without thought and without feeling. It is admirably adapted to the purpose for which it was written; and it may be read again and again with great interest and profit by any one, who desires to enrich his mind with the purest sentiments of devotion, and with the language in which it finds its best expression. Here we have the genuine utterances of religious sensibility,--fresh, natural, and original, as they come from a mind of singular fertility and beauty, and a heart overflowing with love to God and love to man. They seem not like prayers made with hands, to be printed in a book, but _real praying_, full of spirit and life.... So remarkable is their tone of reality and genuineness, that we cannot bring ourselves to regard them as compositions written for a purpose, but rather as the actual utterances of a pure and elevated soul in reverent and immediate communion with the Infinite Father."--_Christian Examiner._ LAYS FOR THE SABBATH. A Collection of Religious Poetry. Compiled by EMILY TAYLOR. Revised, with Additions, by JOHN PIERPONT. 16mo. pp. 288. Price, 75 cents. "It is simple and unpretending: and though some of the pieces are probably familiar to most readers, they all breathe a pure and elevated spirit, and here and there is an exquisite effusion of genius, which answers to the holiest wants of the soul. "Not only great pleasure may be derived from such a volume, but lasting and useful impressions. Many are keenly alive to the harmony of verse and the fresh outbursts of poetic feeling, who would pore with delight over such a volume, and many might thus be won to high thought and serious reflection."--_Christian Examiner._ THE YOUNG MAIDEN. Seventh Edition. By Rev. A.B. MUZZEY, Author of "The Young Man's Friend," "Sunday School Guide," etc., etc. 16mo. pp. 264. Price, 62-1/2 cents. 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26060	----	images generously made available by The Internet Archive/American Libraries.) _Complete Version of ye_ THREE BLIND MICE _by John W. Ivimey_ _Illustrated by Walton Corbould_ _London FREDERICK WARNE & CO. LTD. New York_ "Three Blind Mice." Round (or Canon) for Three Voices. [Music: _Moderately Quick._ Three blind mice, Three blind mice, Three blind mice, See how they run! See how they run! See how they run! They all ran after the farmer's wife, who cut off their tails with a carving knife, Did you ever see such a sight in your life As three blind mice? _Twice through and finish at pause._] [Illustration: Original MS THREE BLIND MICE] [Illustration] COMPLETE VERSION of ye THREE BLIND MICE by JOHN W. IVIMEY [Illustration: THE STORY OF OUR LIVES] Illustrated By WALTON CORBOULD . FREDERICK WARNE & Co., Ltd. _London & New York_ (All Rights Reserved) [Illustration: Copyright F. WARNE & Co. Ltd. London PRINTED IN ENGLAND] [Illustration] [Illustration: "They made up their minds to set out to roam"] Complete Version of ye THREE BLIND MICE * * * [Illustration] Three Small Mice Three Small Mice Three Small Mice Pined for some fun Pined for some fun Pined for some fun They made up their minds to set out to roam; Said they, "'Tis dull to remain at home," And all the luggage they took was a comb, These three Small Mice Three Bold Mice Three Bold Mice Came to an Inn Came to an Inn Came to an Inn "Good evening, Host, can you give us a bed?" But the Host he grinned and he shook his head; [Illustration] So they all slept out in a field instead, These three Bold Mice. [Illustration] [Illustration] Three Cold Mice Three Cold Mice Woke up next morn Woke up next morn Woke up next morn They each had a cold and a swollen face, Through sleeping all night in an open space; So they rose quite early and left the place, These three Cold Mice. [Illustration] [Illustration] Three Hungry Mice Three Hungry Mice Searched for some food Searched for some food Searched for some food But all they found was a walnut shell That lay by the side of a dried-up well; Who had eaten the nut they could not tell, These three Hungry Mice. [Illustration] Three Starved Mice Three Starved Mice Came to a Farm Came to a Farm Came to a Farm The Farmer was eating some bread and cheese; So they all went down on their hands and knees, And squeaked, "Pray, give us a morsel, please," These three Starved Mice. [Illustration] [Illustration] Three Glad Mice Three Glad Mice Ate all they could Ate all they could Ate all they could They felt so happy they danced with glee; But the Farmer's Wife came in to see What might this merry-making be Of three Glad Mice. [Illustration] [Illustration] Three Poor Mice Three Poor Mice Soon changed their tone Soon changed their tone Soon changed their tone The Farmer's Wife said, "What are you at, And why were you capering round like that? Just wait a minute: I'll fetch the Cat" Oh dear! Poor Mice. [Illustration] [Illustration] Three Scared Mice Three Scared Mice Ran for their lives Ran for their lives Ran for their lives They jumped out on to the window ledge; The mention of "Cat" set their teeth on edge; So they hid themselves in the bramble hedge, These three Scared Mice. [Illustration] Three Sad Mice Three Sad Mice What could they do? What could they do? What could they do? The bramble hedge was most unkind: It scratched their eyes and made them blind, And soon each Mouse went out of his mind, These three Sad Mice. [Illustration] [Illustration] Three Blind Mice Three Blind Mice See how they run See how they run See how they run They all ran after the Farmer's Wife, Who cut off their tails with the carving knife. Did you ever see such a sight in your life As three Blind Mice? [Illustration] [Illustration: "This smells like a Chemist's"] Three Sick Mice Three Sick Mice Gave way to tears Gave way to tears Gave way to tears They could not see and they had no end; They sought a Chemist and found a Friend He gave them some "Never too late to mend," These Three Sick Mice. [Illustration] [Illustration] Three Wise Mice Three Wise Mice Rubbed rubbed away Rubbed rubbed away Rubbed rubbed away And soon their tails began to grow, And their eyes recovered their sight, you know; They looked in the glass and it told them so. These three Wise Mice. [Illustration] [Illustration: WOOD, NIBBLER & Co.'s WORLD-FAMED GNAW MILLS / CHIPS MADE BY EXPERIENCED MICE.] Three Proud Mice Three Proud Mice Soon settled down Soon settled down Soon settled down The name of their house I cannot tell, But they've learnt a trade and are doing well. If you call upon them, ring the bell Three times twice. [Illustration] [Illustration: FINIS] PRINTED FOR THE PUBLISHERS BY W. & J. MACKAY & CO., LTD., CHATHAM. [Illustration: _Reduced illustration from "Johnny Crow's Party"_] BOOKS FOR CHILDREN with Drawings by LESLIE BROOKE . . . JOHNNY CROW'S GARDEN . . . JOHNNY CROW'S PARTY . . . THE GOLDEN GOOSE BOOK The Three Little Pigs The Golden Goose Tom Thumb The Three Bears . . . RING O' ROSES A Collection of Old Nursery Rhymes . . . THE HOUSE IN THE WOOD and other Old Fairy Stories . . . THE TRUTH ABOUT OLD KING COLE AND OTHER VERY NATURAL HISTORIES By G. F. Hill . . . A ROUNDABOUT TURN By Robert H. Charles . . . THE NURSERY RHYME BOOK Edited by Andrew Lang . . . Published by FREDERICK WARNE & CO., LTD. * * * * * * * * * Erratum And all the luggage they took was a comb, These three Small Mice 
37542	----	[Illustration: Book Cover] Watt's Songs AGAINST EVIL McLOUGHLIN BROS., Publishers, NEW YORK _WATTS' DIVINE AND MORAL SONGS._ [Illustration] AGAINST PRIDE IN CLOTHES. Why should our garments, made to hide Our parents' shame, provoke our pride? The art of dress did ne'er begin Till Eve our mother learnt to sin. When first she put the covering on, Her robe of innocence was gone; And yet her children vainly boast In the sad marks of glory lost. How proud we are! how fond to shew Our clothes, and call them rich and new, When the poor sheep and silkworms wore That very clothing long before! The tulip and the butterfly Appear in gayer coats than I: Let me be dress'd fine as I will, Flies, worms, and flowers exceed me still. Then will I set my heart to find Inward adornings of the mind; Knowledge and virtue, truth and grace, These are the robes of richest dress. No more shall worms with me compare, This is the raiment angels wear: The Son of God, when here below, Put on this blest apparel too. It never fades, it ne'er grows old, Nor fears the rain, nor moth, nor mould: It takes no spot, but still refines; The more 'tis worn, the more it shines. In this on earth would I appear, Then go to heaven, and wear it there: God will approve it in his sight; 'Tis his own work, and his delight. [Illustration] THE SLUGGARD. 'Tis the voice of the Sluggard: I heard him complain, 'You have waked me too soon! I must slumber again!' As the door on its hinges, so he on his bed Turn his sides, and his shoulders, and his heavy head. 'A little more sleep, and a little more slumber!' Thus he wastes half his days and his hours without number; And when he gets up he sits folding his hands, Or walks about sauntering, or trifling he stands. I pass'd by his garden, and saw the wild brier, The thorn, and the thistle grow broader and higher; The clothes that hang on him are turning to rags; And his money still wastes, till he starves or he begs. I made him a visit, still hoping to find He had took better care for improving his mind: He told me his dreams, talk'd of eating and drinking; But he scarce reads his Bible, and never loves thinking. Said I then to my heart, 'Here's a lesson for me! That man's but a picture of what I might be; But thanks to my friends for their care in my breeding, Who have taught me by times to love working and reading!' [Illustration] THE ANT, OR EMMET. These Emmets, how little they are in our eyes! We tread them to dust, and a troop of them dies, Without our regard or concern: Yet, as wise as we are, if we went to their school, There's many a sluggard and many a fool Some lessons of wisdom might learn. They wear not their time out in sleeping or play, But gather up corn in a sunshiny day, And for winter they lay up their stores: They manage their work in such regular forms, One would think they foresaw all the frosts and the storms, And so brought their food within doors. But I have less sense than a poor creeping Ant, If I take not due care for the things I shall want, Nor provide against dangers in time: When death or old age shall once stare in my face, What a wretch shall I be in the end of my days, If I trifle away all their prime! Now, now, while my strength and my youth are in bloom, Let me think what shall serve me when sickness shall come, And pray that my sins be forgiven. Let me read in good books, and believe, and obey; That, when death turns me out of this cottage of clay, I may dwell in a palace in heaven. INNOCENT PLAY. Abroad in the meadows, to see the young lambs Run sporting about by the side of their dams, With fleeces so clean and so white; Or a nest of young doves in a large open cage When they play all in love, without anger or rage, How much may we learn from the sight! If we had been ducks, we might dabble in mud; Or dogs, we might play till it ended in blood: So foul and so fierce are their natures; But Thomas and William, and such pretty names, Should be cleanly and harmless as doves or as lambs, Those lovely sweet innocent creatures. Not a thing that we do, nor a word that we say, Should injure another in jesting or play, For he's still in earnest that's hurt: How rude are the boys that throw pebbles and mire; There's none but a madman will fling about fire, And tell you "'Tis all but in sport!" [Illustration] AGAINST EVIL COMPANY. Why should I join with those in play In whom I've no delight; Who curse and swear, but never pray; Who call ill names, and fight? I hate to hear a wanton song: Their words offend my ears: I should not dare defile my tongue With language such as theirs. Away from fools I'll turn my eyes, Nor with the scoffers go: I would be walking with the wise, That wiser I may grow. From one rude boy, that's used to mock, They learn the wicked jest: One sickly sheep infects the flock, And poisons all the rest. My God, I hate to walk or dwell With sinful children here: Then let me not be sent to hell, Where none but sinners are. [Illustration] THE THIEF. Why should I deprive my neighbor Of his goods against his will? Hands were made for honest labor, Not to plunder, or to steal. 'Tis a foolish self-deceiving By such tricks to hope for gain: All that's ever got by thieving Turns to sorrow, shame, and pain. Have not Eve and Adam taught us Their sad profit to compute, To what dismal state they brought us When they stole forbidden fruit? Oft we see a young beginner Practise little pilfering ways, Till grown up a harden'd sinner, Then the gallows ends his days. Theft will not be always hidden, Though we fancy none can spy: When we take a thing forbidden, God beholds it with his eye. Guard my heart, O God of heaven, Lest I covet what's not mine; Lest I steal what is not given, Guard my heart and hands from sin. THE ROSE. How fair is the Rose! what a beautiful flower! The glory of April and May: But the leaves are beginning to fade in an hour, And they wither and die in a day. Yet the Rose has one powerful virtue to boast, Above all the flowers of the field! When its leaves are all dead and fine colors are lost, Still how sweet a perfume it will yield! So frail is the youth and the beauty of man, Though they bloom and look gay like the Rose; But all our fond care to preserve them is vain, Time kills them as fast as he goes. Then I'll not be proud of my youth and my beauty, Since both of them wither and fade; But gain a good name by well doing my duty: This will scent like a Rose when I'm dead. ILLUMINATED TEXTS, --FOR-- SUNDAY SCHOOL REWARDS. BEAUTIFULLY PRINTED IN COLORS. _12 Different Packets, 13 Cents each,_ * * * * * HALF HOURS WITH THE BIBLE. An entirely new Series of Bible Histories for the Young. Elegantly Illustrated by H. W. Herrick. Square. 32 pages. 6 kinds. The Creation of the World and the Deluge. Joseph and His Brethren. Good Children of the Bible. Jesus our Example. Jesus our Saviour. Story of the Apostles. 15 cents each. Uniform with the First. SECOND SERIES. HALF HOURS WITH THE BIBLE. Illustrated by H. W. Herrick. Square. 32 pages. 6 kinds. Moses and the Wanderings of the Children of Israel. Stories of Abraham, Isaac and Jacob. Joshua and the Mighty Men of old. Kings of Israel and Judah. Stories of the Prophets. 15 cents each. * * * * * BEAUTIFUL LITTLE PICTURE BOOKS. _Elegantly Printed in Colors. 6 cents each._ MOTHER'S SERIES. Miss Vanity's Holiday. Passionate Child. Picture Fables. Little Sister. My Mother. Butterfly's Ball. FATHER'S SERIES. Harry Brown. Valentine and Orson. Tom Tearabout. Two Brothers, or the Echo. Puss in Boots. Jemmy String. * * * * * McLOUGHLIN BROS., Publishers, NEW YORK. 
37543	----	[Illustration] Watt's Songs AGAINST FAULTS McLOUGHLIN BROS., Publishers, NEW YORK. _WATTS' DIVINE AND MORAL SONGS._ [Illustration] AGAINST LYING. O 'tis a lovely thing for youth To walk betimes in wisdom's way; To fear a lie, to speak the truth, That we may trust to all they say! But liars we can never trust, Though they should speak the thing that's true; And he that does one fault at first, And lies to hide it, makes it two. Have we not known, nor heard nor read How God abhors deceit and wrong? How Ananias was struck dead, Caught with a lie upon his tongue? So did his wife Sapphira die, When she came in, and grew so bold As to confirm that wicked lie, Which just before her husband told. The Lord delights in them that speak The words of truth; but every liar Must have his portion in the lake That burns with brimstone and with fire. Then let me always watch my lips, Lest I be struck to death and hell, Since God a book of reckoning keeps For every lie that children tell. [Illustration] LOVE BETWEEN BROTHERS AND SISTERS. Whatever brawls disturb the street, There should be peace at home; Where sisters dwell and brothers meet Quarrels should never come. Birds in their little nests agree; And 'tis a shameful sight, When children of one family Fall out, and chide, and fight. Hard names at first, and threat'ning words That are but noisy breath, May grow to clubs and naked swords, To murder and to death. The devil tempts one mother's son To rage against another: So wicked Cain was hurried on, Till he had kill'd his brother. The wise will let their anger cool, At least before 'tis night; But in the bosom of a fool It burns till morning light. Pardon, O Lord, our childish rage, Our little brawls remove, That, as we grow to riper age, Our hearts may all be love! [Illustration] AGAINST IDLENESS AND MISCHIEF. How doth the little busy bee Improve each shining hour, And gather honey all the day From every opening flower! How skilfully she builds her cell! How neat she spreads the wax! And labors hard to store it well With the sweet food she makes. In works of labor or of skill I would be busy too: For Satan finds some mischief still For idle hands to do. In books, or work, or healthful play Let my first years be past, That I may give for every day Some good account at last. SOLEMN THOUGHTS ON GOD AND DEATH. There is a God that reigns above, Lord of the heavens, and earth, and seas: I fear his wrath, I ask his love, And with my lips I sing his praise. There is a law which he has writ, To teach us all what we must do: My soul, to his commands submit, For they are holy, just, and true. There is a Gospel of rich grace, Whence sinners all their comforts draw: Lord, I repent, and seek thy face, For I have often broke thy law. There is an hour when I must die, Nor do I know how soon 'twill come: A thousand children, young as I, Are call'd by death to hear their doom. Let me improve the hours I have, Before the day of grace is fled: There's no repentance in the grave, No pardon offer'd to the dead. Just as a tree cut down, that fell To north or southward, there it lies, So man departs to heaven or hell, Fix'd in the state wherein he dies. SUMMER'S EVENING. How fine has the day been! how bright was the sun! How lovely and joyful the course that he run; Though he rose in a mist when his race he begun, And there follow'd some droppings of rain: But now the fair traveler's come to the west, His rays are all gold, and his beauties are best; He paints the skies gay as he sinks to his rest, And foretells a bright rising again. Just such is the Christian. His course he begins Like the sun in a mist, while he mourns for his sins, And melts into tears; then he breaks out and shines, And travels his heavenly way: But when he comes nearer to finish his race Like a fine setting sun, he looks richer in grace; And gives a sure hope, at the end of his days Of rising in brighter array. [Illustration] AGAINST QUARRELLING AND FIGHTING. Let dogs delight to bark and bite, For God hath made them so; Let bears and lions growl and fight, For 'tis their nature, too. But, children, you should never let Such angry passions rise: Your little hands were never made To tear each other's eyes. Let love through all your actions run And all your words be mild; Live like the blessed Virgin's Son, That sweet and lovely child. His soul was gentle as a lamb; And as his stature grew, He grew in favor both with man, And God his Father, too. Now, Lord of all, he reigns above; And from his heavenly throne He sees what children dwell in love, And makes them for his own. OUR SAVIOUR'S GOLDEN RULE. Be you to others kind and true, As you'd have others be to you; And neither do nor say to men Whate'er you would not take again. DUTY TO GOD AND OUR NEIGHBOUR. Love God with all your soul and strength With all your heart and mind; And love your neighbour as yourself: Be faithful, just, and kind. Deal with another as you'd have Another deal with you: What you're unwilling to receive Be sure you never do. ILLUMINATED TEXTS, --FOR-- SUNDAY SCHOOL REWARDS. BEAUTIFULLY PRINTED IN COLORS. _12 Different Packets, 13 Cents each._ * * * * * HALF HOURS WITH THE BIBLE. An entirely new Series of Bible Histories for the Young. Elegantly Illustrated by H. W. Herrick. Square. 32 pages. 6 kinds. The Creation of the World and the Deluge. Joseph and His Brethren. Good Children of the Bible. Jesus our Example. Jesus our Saviour. Story of the Apostles. 15 cents each. Uniform with the First. SECOND SERIES. HALF HOURS WITH THE BIBLE. Illustrated by H. W. Herrick. Square. 32 pages. 6 kinds. Moses and the Wanderings of the Children of Israel. Stories of Abraham, Isaac and Jacob. Joshua and the Mighty Men of old. Kings of Israel and Judah. Stories of the Prophets. 15 cents each. * * * * * BEAUTIFUL LITTLE PICTURE BOOKS. Elegantly Printed in Colors. 6 cents each. MOTHER'S SERIES. Miss Vanity's Holiday. Passionate Child. Picture Fables. Little Sister. My Mother. Butterfly's Ball. FATHER'S SERIES. Harry Brown. Valentine and Orson. Tom Tearabout. Two Brothers, or the Echo. Puss in Boots. Jemmy String. * * * * * McLOUGHLIN BROS., Publishers, NEW YORK. Transcriber's Note * Obvious punctuation and spelling errors repaired. 
31388	----	[Transcriber's notes] Page numbers in this book are indicated by numbers enclosed in curly braces, e.g. {99}. They have been located where page breaks occurred in the original book. Underscores indicate italics. Several pages have only pictures with no text. None of the images in the book have descriptions and most are abstract, so they are not mentioned in this txt file. View the HTML version to see the images. [End Transcriber's notes] MOTHER TRUTH'S MELODIES. COMMON SENSE FOR CHILDREN. A KINDERGARTEN, BY MRS. E. P. MILLER, AUTHOR OF "A FATHER'S ADVICE; A BOOK FOR EVERY BOY." AND "A MOTHER'S ADVICE; A BOOK FOR EVERY GIRL." 450 ILLUSTRATIONS. NEW AND ENLARGED EDITION. CHICAGO: CRAM STANDARD BOOK CO., BOSTON, MASS., J. Q. ADAMS & Co 1896. COPYRIGHTED 1887, BY STANDARD PUBLISHING COMPANY. COPYRIGHTED BY STANDARD COLUMBIAN COMPANY, 1891, 1892. COPYRIGHTED BY CRAM STANDARD BOOK COMPANY 1894 COPYRIGHTED BY GEORGE F. CRAM, 1895 {5} To all who love the Children, This book, INSCRIBED, I bring,-- Thus reaching forth to draw you Within my charmed ring, Where seeds and germs we'll nurture In babies, children, youth, Till every plant shall blossom, And bear the fruits of TRUTH. {6} INTRODUCTION. Since little ones are _geese_ no more, But _knowing_ have become, It ill beseems that "Mother Goose" Should dwell in every home. So "Mother Truth" in "Melodies" For Babes, here lifts her voice, Assured that parents, children, all, Will welcome and rejoice. {7} NOTE. Let no one suppose that the Author of these "Melodies" considers them poetry. They are simply rhymes, the jingle of which may be music in the children's ears, and the illustrations a delight to eager eyes. The Truths presented, even if not fully understood at first, will leave their impress, and in so far as they fill the little minds, will keep out falsehood and false ideas. The putting of facts in such form as to attract the attention of the little ones, and be readily fixed in their memory, was first suggested to the writer of these rhymes by a valued friend, the well known philanthropist, MRS. ELIZABETH THOMPSON, and her interest in the "Melodies" is such that she has generously assisted in procuring illustrations for the same. Thus "Mother Truth's Melodies" are introduced with the hope that this effort to entertain children with rhyming reason will meet with the approval of every lover of the young, and of Truth. {8} Poetry is the language of the imagination, while "facts are stubborn things," and, in the mass, refuse utterly to be poetized. Yet, even facts may be presented pleasingly and melodiously, and in such way that they will be easily impressed upon the minds of children. This the author of "Mother Truth's Melodies" sought to do, when the little book was first given to the public. Now, however, in the revising and enlarging of the book, she has given wider play to the imagination, has enlarged the range of subjects, has embodied lessons for children of older growth, and feels that altogether, it will meet more fully the demands which its already large sales warrant her in believing to exist. She can ask no more favorable reception than was first met; but, hoping for a continuance of the same, she trusts that as it becomes more widely distributed, its truths and teachings will be impressed upon household after household, till throughout the land, the little ones, and larger, too, shall be influenced thereby. MRS. E. P. M. {9} CONTENTS WHY FLY AWAY, MOTHER GOOSE, 13 TOSS THE BABY, 14 PAT-A-CAKE, PAT-A-CAKE, 15 HEY, MY KITTEN, MY KITTEN, 16 WINKUM, WINKUM, 17 BABY'S BELL, 18 WILLY-NILLY, 19 BABY'S RECORD, 20 SLEEP, LITTLE SWEETEY, 22 NEVER TELL A FIB, 23 HUMPTY-DUMPTY, 24 HUSH-A-BYE, 26 DON'T MAKE ME LAUGH, 30 BYE-BABY-BUNTING, 31 TO BED WITH THE CHICKENS, 32 DIVE ME SUDAR, 33 TAUSE I'M TROSS, 34 THE NEW BOOK 36 WHISKUM, WHISKUM, 37 THE JACK-HORSE, 38 HI-DIDDLE DIDDLE, 39 THE RAIN, 40 FEED THE BIRDIES, 41 ROCK-A-BYE, 42 THE SNOWBALL, 49 LITTLE BO-PEEP, 50 THE TEA PARTY, 51 TELL IT AGAIN, MOTHER, 52 LITTLE JACK HORNER, 54 LITTLE BOY BLUE, 55 MISS VELVET PAWS, 56 {10} POLLY HOPKINS, 57 A, B, C, 58 C-A-T SPELLS CAT, 64 THE KITTEN, 67 DOLLY DIMPLE, 70 IF YOU PLEASE, 75 THE POOR LITTLE CHICK-A-DEES, 76 HEIGH-HO, DAISIES AND BUTTERCUPS, 80 THE PONY, 81 BABY'S RECKONING, 86 TWO LITTLE PINK SHOES, 88 BABY PEARL, 90 MY VALENTINE, 91 FEE-FI-FO-FUM, 92 THE OXEN, 100 THE BROKEN PITCHER, 104 THE ELEPHANTS, 105 THE WIND, THE FOG, THE RAIN, THE SNOW, 106 TRUTH, 110 HI DIDDLE, HO-DIDDLE, 112 WHAT IS THE AXIS, 116 HEAT AND COLD, 119 HARLEY'S DREAM, 120 OUR LANGUAGE KEY, 123 THE SPEECH FAMILY, 124 NUMBER AND GENDER, 126 ONE LITTLE CHICKEN, 127 LETTERS, 128 WORDS, 129 A SMILE, 131 TWINKLE, TWINKLE, 132 OLD SOL IN A JINGLE, 134 "ROBERT OF LINCOLN," 137 LIMPY-DIMPY-DINGLE, 138 CASTLE WONDERFUL, 140 THE RATTLE OF THE BONES 148 {11} WHOLLY HOLE-Y, 153 THE BREATH O' LIFE, 156 THREE LITTLE GIRLS, 157 TEMPERANCE CHILD, 158 LISTEN, CHILDREN, 159 TICK-TOCK, TICK-TOCK, 160 CURIOUS TREES; THE COW TREE, THE SUGAR-PINE, THE BUTTER-TREE, THE BREAD-FRUIT TREE, THE CLOVE-TREE, 161 THE TREE VILLAGE, 166 NO EYES, 168 THE MAMMOTH CAVE, 170 THE CAMELS, 172 KEY NOTES, 177 THE BEARS, 178 THE BEAR, A BLESSING, 181 FRUITS, 183 THE RACCOON, 184 THE BANK SWALLOWS, 190 THE MOCKING BIRD, 194 THE BUSY BEES, 196 HONEY-SWEET, 205 WHAT THEY SAY, 208 BRITAIN'S RULERS, 215 OUR LAND, 218 SIGNS OF THE ZODIAC, 220 GRAPHO, 223 THE STOP FAMILY, 226 LITTLE MISCHIEF, 229 GRANDMA'S CANARY, 233 BABY'S FAITH, 236 THE MEADOW QUAILS, 238 THE LITTLE HOUSEWIFE, 240 MOTHER-LOVE, 242 IT SNOWS! IT SNOWS! 244 AN OLD SAW, 247 {12} THE DANDELION BLOSSOM, 248 SUNSHINE, 250 OUR ETHEL, 250 LITTLE GIRL'S LETTER TO GOD, 254 GRANDMA'S LESSONS, 258 MY LITTLE FOUR YEAR OLD, 260 HANDSOME DICK, 261 BESSIE'S KISSES, 266 THE DINNER POT, 267 NANNY'S PLAY, 268 NANNY'S LESSON, 272 NANNY'S RIDE, 276 THE RACE, 283 OUR KENNETH, 284 MY TEN YEAR'S OLD, 287 DARE TO SAY NO, 288 ASK MOTHER; TELL MOTHER, 291 DON'T TELL A LIE, 292 LITTLE MOSES, 294 THE CHILDREN'S RAILROAD, 298 THE PHOEBE'S NEST IN THE OLD WELL WHEEL, 304 MABEL'S SNOW-FEATHERS 306 FOREST TREES, 310 CHILDHOOD FANCIES, 312 LIZZIE AND THE ANGELS, 317 CHILD MEMORIES, 324 NELLY AND NED, 326 THE CLAMBERERS, 329 THE NEW WHITE JATTET, 330 REMEMBER THE POOR, 331 THE LITTLE STREET SWEEPER, 332 THE HERE, THERE AND EVERYWHERE FAMILY, 338 QUIRKS, 345 SOMEBODY'S BOY, 346 THE LADDIE-AND LASSIE BIRDS, 348 THE GREAT WATCH FULL I, 352 {13} MOTHER TRUTH'S MELODIES. _WHY FLY AWAY, MOTHER GOOSE?_ "MOTHER GOOSE, Mother Goose, Why fly away?" "Because Mother Truth is A-coming to-day. She'll tell you funny things, But they'll be true; She'll bring you pictures So charming and new; She'll sing you Melodies, helping to show How, to true women and men, you may grow." {14} _TOSS THE BABY_. Toss the baby high in air; Catch him though, with special care Lest his little back be strained, Lest his little joints be sprained, Lest his bones be bent or broken; Lest through life he bear some token Of a careless toss or fall, That for sympathy shall call, And that must forever be Painful to our memory. {15} _PAT-A-CAKE, PAT-A-CAKE_. Pat-a-cake, pat-a-cake, Mamma's boy, Laughing and crowing, And jumping with joy; Roll it, and pick it and mark it with B, And toss in the oven for Baby and me. Pat-a-cake, pat-a-cake, Papa's girl, Springing in baby-glee, Shaking her curl; Roll it and pick it and mark it with G, And toss in the oven for Girly and me. {16} _HEY, MY KITTEN, MY KITTEN_. Hey, my kitten, my kitten, Hey, my kitten, my deary; If Mamma should feed him too often, He never could be so cheery. Here we go up, up, up. And here we go down, down, down-y. If we never feed baby too much, He never will give us a frown-y. Hey, my kitten, my kitten, Hey, my kitten, my deary; We'll put him to bed with the birdies, And that will make him so cheery! Here we go up, up, up, And here we go down, down, down-y; If we give him nothing but smiles, He will give us never a frown-y. {17} _WINKUM, WINKUM_. Winkum, winkum, shut your eye, Sweet, my baby, lullaby; For the dew is falling soft, Lights are flickering up aloft, And the head-light's peeping over Yonder hill-top capped with clover; Chickens long have gone to rest, Birds lie snug within their nest, And my birdie soon will be Sleeping with the chick-a-dee, For with only half a try, Winkum, winkum, shuts her eye. {18} _BABY'S BELL_. Jingle! jingle! baby's bell; What a tale its tongue might tell. Could it speak it sure would say, "When the baby's tired with play, And is getting cross, don't try To jingle bells, but hush-a-bye; All so still, now crooning low, Lull-a-bye, bye-o, bye-o,-- Quiet down his quaking nerves, Soothe him as his state deserves;-- Passing hand from head to feet, Sl-o-w-l-y, softly, loving, sweet, As to smooth the feathers down, Rumpled, from your birdling's crown;-- {19} See, he sleeps, and in his dream Yours may hand of angel seem, Raveling out the tangled ills, Knitting up with restful thrills." _WILLY-NILLY_. Willy-Nilly, birdy sings, For he's running over With the music that he flings To his sweet bird-lover;-- Willy-nilly, baby laughs, Gay and glad and gleeful; Brimming over high with health, She is always playful. {20} _BABY'S RECORD_. New-born baby, soft and pink, Of the two worlds on the brink. One month old,--eat and sleep; Precious little human heap. Two months old,--tear and smile; Fists in mouth and eyes the while. Three months old,--"goo-a-goo," Windows wide where soul looks through. Four months old,--finds his toes, Tries to fix them on his nose. {21} Five months old,--first wee pearl; All the household in a whirl. Six months old,--sits alone; Wishes swaddling clothes were gone. Seven months old,--creep and crawl, Wonder-eyed, a charm to all. Eight months old,--confiscate Pussy's tail and papa's pate. Nine months old,--roguish eyes Deepening daily; wilful, wise. Ten months old,--witching ways Wind us in; the baby pays! Eleven months old,--finger-tip Guides the elfin on his trip. Year old,--lots of mischief done; Walking, talking, just for fun. {22} _SLEEP, LITTLE SWEETEY_. Sleep now, my sweetey, Dear one, and pretty! Weary with playing, Weary with straying, Stop little thinkers, Shut little winkers; Sleep, little sweetey, Precious and pretty. Sleep now, my sweetey, Dear One, and pretty! Stop little thinkers, Shut little winkers, Angels a-watching Sleep-doors unlatching; Slip in, my sweetey, Precious and pretty! Sleeping, my sweetey, Dear one, and pretty! Stopped, little thinkers, Shut, little winkers, Angels a-watching, Sleep-doors are latching; Slipped in, my sweetey, Precious and pretty! {23} _NEVER TELL A FIB_. If mamma says she'll punish, She must do it, or she tells A fib, as Sister Annie Told "a story" 'bout the bells; And if mamma tells a fib, Then surely children will, And what a fearful thing, Our home with fibs to fill! {24} _HUMPTY--DUMPTY_. Humpty-Dumpty, hip-o'-to-hop, Baby is crying, why doesn't he stop? What does he cry for? his clothing is tight; No wonder such things make baby a fright. Humpty-dumpty, hip-o'-to-hop, Baby was crying, but now he will stop; What did he cry for? his clothing was wet; No wonder such things should make babies fret. Humpty-dumpty, hip-o'-to-hop, Baby is crying, oh, when will he stop? What does he cry for? his feet are a-cold; No wonder such things should make baby scold. {25} Humpty-dumpty, hip-o'-to-hop, Baby is crying, but soon he will stop; What does he cry for? he had too much food; No baby in this way can ever be good. Humpty-dumpty, hip-o'-to-hop, Baby is laughing and scarcely will stop; What does he laugh for? Oh, when he feels well, He always is happy,--'tis thus we can tell. {26} _HUSH-A-BYE_. Hush-a-bye, baby, On Grandmother's lap; Hush-a-bye, baby, And take a nice nap; Hush-a-bye, baby, What is it you say? Your "teeth are a-coming," You're "ten months to-day;" Well, babies must cry, And Grandmothers must try To comfort and hush them, but never forget The little gums ache, And little nerves quake, Till little lips quiver, and babies must fret. Hush-a-bye, baby, We'll cool his hot gums, Hush-a-bye, baby, With tiny ice-crumbs; Hush-a-bye, baby, We'll rub hard and long With icy-cold finger,-- See him list to my song! {27} Ah, babies are sweet If their wants we but meet, So why should we blame them when fretful and cross? Let us find what is wrong, And remove it ere long, And we'll see that time thus spent is never a loss. Hush-a-bye, baby, What more can we do Hush-a-bye, baby, That will comfort you? Hush-a-bye, baby, We'll lay you down flat, On your stomach, dear baby, On Grandmother's lap. {28} Nor trot you a mite, No matter how slight, But, sure that your clothing is all dry and neat, We'll loosen each band, And with soft and warm hand, Gently rub you all over from head to your feet. Hush-a-bye, baby, We will not forget, Hush-a-bye, baby, That hands may be wet, Hush-a-bye, baby, And soothe you sometimes, When dry hands won't do it, Hush, list to my rhymes! {29} And now we'll not nurse Till the nursing's a curse; Nor dose you, nor drug you, nor feed with sweet-meats; Nor to soothe, will we try, With old "Dame Winslow" by, For our hopes for the babies, she ever defeats. Hush-a-bye, baby, We'll quiet his nerves, Hush-a-bye, baby, The truth it deserves-- Hush-a-bye, baby-- Even here to be known: We will _quiet his nerves_ By _just calming our own!_ And our baby will feel The sweet hush o'er him steal, That brings with it soothing and comfort and rest; And to slumber so soft, His spirit we'll waft, And then lay him away in his own baby nest. {30} _DON'T MAKE ME LAUGH_. Dear Mamma, I've been laughing For Uncle Ben and Pa, And then for sister Lizzie I talked "ar-g o-o" and "gar;" And then a "little story" For Dick and Cousin Jane,-- And now you, Mamma, want me To laugh and talk again. I'd like to do it, Mamma, but if I even try, I am so weary with it, I'm sure I'd only cry! Don't let them try, dear Mamma, to make me laugh and crow, I'll do it when I'm able, for babies always do. {31} _BYE-BABY-BUNTING_. BYE-BABY-BUNTING, The Indians live by hunting, And bring home many a beaver-skin To wrap the little pappoose in. And mother-squaw the baby'll tie Fast on a board, and swinging high, Will hang it up among the trees To rock-a-bye with every breeze; But our dear baby, snug and warm, Shall rock-a-bye on mother's arm. {32} _TO BED WITH THE CHICKENS_. Oh, put me in my bed, Mamma, When chickens go to rest, For I'm your little chick-a-dee, So put me in my nest. Yes, when the birds forget to sing, And lambs forget to play, You'll put your birdy in his nest, Your lamb you'll fold away. {33} _DIVE ME SUDAR_. Papa, when you dive me tandy, Dive me only white,-- 'Tause there's poison in the tolored, Which my health will blight; But you better dive me sudar, Let the tandy be,-- 'Tause I shall not want so much, And that is best for me. {34} _'TAUSE I'M TROSS_ Mamma, 'tause I'm tross don't whip me; I tan't help it, not a bit! 'Tis the tandy hurts my stomat, And that mates me whine and fret. Sometimes, too, I'm whipped for trossness When the trossness tomes from meat; {35} Thint how tiders drowl and drumble, And then dive me food to eat That will mate me well and happy,-- Wheat and oat-meal, rice and truit, These will mate me dood and gentle, 'Stead of mating me a brute. {36} THE NEW BOOK. COCK-A-DOODLE-DOO, A picture-book for you,-- Keep it nice, and in a trice Sing Cock-a-doodle-doo. {37} WHISKUM, WHISKUM. Whiskum, whiskum, over the house, Scud the cloudlets, still as a mouse; Whiskum, whiskum, by-and-by They'll pour rain-drops from the sky. {38} _THE JACK-HORSE_. We will ride our Jack-horse All the meadows across; Oh no, do not whip him, But feed him, my dear! A handful of grass In his mouth as we pass, Will make him trot gaily, And give us good cheer! {39} _HI-DIDDLE-DIDDLE_. HI-DIDDLE-DIDDLE Mother duck's in the middle, Her baby-ducks swimming around; With bills like a ladle, And feet like a paddle, No danger that they will be drowned {40} _THE RAIN_. Come, rain, come, That the water may run, That the meadow grass may grow; That the fruit and grain O'er hill and plain, May greet us as we go. Come, rain, come, That the water may run, That the mill may make our meal;-- 'Twill grind our wheat, And corn so sweet, When it turns the old mill-wheel. {41} _FEED THE BIRDIES_. Feed the birdies, darling, When the snow is here, When there are no berries On the bushes, dear;-- Scatter food out for them, And they'll quickly come, Hopping, singing, chirping "Thank you for the crumb." {42} _ROCK-A-BYE_. Rock-a-bye, baby, Our darling is ill, Rock-a-bye, baby, We'll soon have him well;-- Rock-a-bye, baby, Don't tremble with fear, For that tends to make His slight illness severe. Rock-a-bye, baby, Our darling is ill. Rock-a-bye, baby, We'll soon have him well;-- Rock-a-bye, baby. Don't coax him to nurse, For urging to eat Only makes matters worse. {43} Rock-a-bye, baby, Our darling is ill, Rock-a-bye, baby, We'll soon have him well;-- Rock-a-bye, baby, No company 'round, Not even the dear ones, To make a loud sound. Rock-a-bye, baby, Our darling is ill, Rock-a-bye, baby, We'll soon have him well;-- Rock-a-bye, baby, Don't rattle the papers Nor whisper around, Little nerves cut such capers. {44} Rock-a-bye, baby, Our darling is ill, Rock-a-bye, baby We'll soon have him well;-- Rock-a-bye, baby, Whatever is wrong, Attend to his bowels, Neglected too long, Rock-a-bye, baby, Our darling is ill, Rock-a-bye, baby, We'll soon have him well;-- Rock-a-bye, baby, If he is too hot, Undress him and bathe him; But, ah! he is not. Rock-a-bye, baby, Our darling is ill, Rock-a-bye, baby, We'll soon have him well;-- Rock-a-bye, baby, There is cough with unrest, So we'll wring out hot flannels, And cover his chest, {45} Rock-a-bye, baby, Our darling is ill; Rock-a-bye, baby, We'll soon have him well;-- Rock-a-bye, baby, He's perspiring, to pour! We will keep up this treatment A full hour more. Rock-a-bye, baby, Our darling is ill, Rock-a-bye, baby, We'll soon have him well;-- Rock-a-bye, baby, Now dry him off neat, And wrap him up warm, And to-morrow, repeat. {46} Rock-a-bye, baby, Our darling is ill, Rock-a-bye, baby, We'll soon have him well;-- Rock-a-bye, baby, 'Tis not in his chest? Then place the hot flannels Where he feels the unrest. Rock-a-bye, baby, Our darling is ill, Rock-a-bye, baby, We'll soon have him well;-- Rock-a-bye, baby, He is moaning with pain, And rolling his head, And we pet him in vain. Rock-a-bye, baby, Our darling is ill; Rock-a-bye, baby, We'll soon have him well;-- Rock-a-bye, baby, We will wring out from ice, Linen cloths for his head, All so cooling and nice. {47} Rock-a-bye, baby, Our darling is ill; Rock-a-bye, baby, We'll soon have him well; Rock-a-bye, baby, If cold don't relieve, Use hot and then cold, And then hot, you perceive. Rock-a-bye, baby, Our darling is ill; Rock-a-bye, baby, We'll soon have him well;-- Rock-a-bye, baby, We'll see that his feet Are kept warm all the time, And his clothes dry and neat. {48} Rock-a-bye, baby, Our darling was ill Rock-a-bye, baby, But now he is well; Rock-a-bye, baby, No drugs, not a dose! Yet he's over it finely, Just hear how he crows {49} _THE SNOWBALL_. Have ever you seen how a wee bit of snow, To a big bouncing ball, just by rolling, will grow? 'Tis thus our wee sins, children, let to roll on, Will grow big, bigger, biggest, till Satan has won. {50} _LITTLE BO-PEEP_. Co' Nan, co' Nan, says little Bo-peep, Co' Nan, co' Nan, up come the sheep; They jump the ditch and scale the wall, Where one sheep goes, they follow, all. Co' dea', co' dea', says little Bo-peep, Co' dea', co' dea', I'll shear my sheep; Their wool so fine will make my coat, My blankets and my hose to boot. {51} _THE TEA-PARTY_. Ah! little ones, I'm sure there's not A drop of tea in your weeny pot. For water bright and milk so pure, Alone will bring you health, be sure; And health is beauty, health is cheer, Health is happiness so dear. {52} _TELL IT AGAIN, MOTHER_. "Tell it again, Mother, Tell it again,"-- No matter what story she told We children, would cry, In the days gone by. Before our years were old. "Tell it again, Mother, Tell it again,"-- No matter how weary and worn. For we children knew naught Of the care we brought, Before our sense was born. {53} "Tell it again, Mother, Tell it again,"-- And she, patient, and kind, and wise, The tale would repeat, Or the song so sweet, And 'twas ever a glad surprise. "Tell it again, Mother, Tell it again,"-- Ah! you children, when children no more, Will go back to the days Of sweet babyhood lays, And Mother's sage sayings con o'er. {54} _LITTLE JACK HORNER_. LITTLE JACK HORNER Sat in the corner, Eating a morsel of nice brown bread; "Have some pie, or some cake?" "Nay, not I," with a shake And a toss of his wise little head. "For this bread will make bone, And white teeth like a stone, That will neither grow soft nor decay; But rich cake and rich pie Sure will break, bye and bye, My good health, and that never will pay." {55} _LITTLE BOY BLUE_. "Little Boy Blue, may I go with you now?" "Yes, down to the pasture to drive up the cow." "Little boy blue, what then may I have?" A nice cup of milk as ever cow gave. "Little boy blue, the milk must be set;" "Yes, for 'tis thus the nice cream we shall get." "Little boy blue, what will we do then?" "We'll skim it and dash it, with 'churn, butter, churn.'" "Little boy blue, what else can we make?" "O, cheese, tempting cheese, and the dainty cheese cake." "Little boy blue, is there anything more?" "O, yes, puddings, custards and dainties, a store." "Little boy blue, shall we eat of all these?" "Simple food is far better for us, if you please." {56} _MISS VELVET-PAWS_. Little Miss Velvet-paws, Raveling out her yarn, Catches mice, in a trice, In everybody's barn. Look out for velvet paws, Do not trust them far, For velvet paws cover claws That will leave a scar. {57} _POLLY HOPKINS_. Now little Polly Hopkins Must surely know great A, And B, and C, and D, and E, F, G, H, I, J, K; And L, and M, and N, and O, And P, and Q, R, S, And T, U, V, and W, X, And Y, & Z, I guess. {58} _A, B, C_. A Stands for Alligator, B Stands for Ball, C Stands for Cat in a cream-pot, D Stands for Doll. {59} E Stands for East, or Ellen. F Stands for Fay, G Stands for Goat, a Pen in, H Stands for Hay, I Stands for Indigestion, {60} J Stands for Jar, K Stands for King, or Keepsake, L Stands for La, M Stands for Man, or Thousand, N Stands for Nail, {61} O Stands for Oaken bucket, P Stands for Pail, Q Stands for Queen, or Question. R Stands for Rose, S Stands for Christmas Stocking, {62} T Stands for Toes, U Stands for Urn, or Ulster, V Stands for Vane, W Stands for West, or Winter. {63} X Stands for Ten. Y Stands for Yoke, (with Oxen). Z Stands for Zero. & when you've learned your LETTERS, You'll be a Hero. {64} C-A-T spells CAT, That brought the kittens here; D-O-G spells DOG, That does, the puppies, rear. C-O-W, Cow, The mother of the calf; O-X spells the Ox, That's bigger, yes, by half. {65} B-O-Y spells BOY, That's little brother Lou; G-I-R-L, GIRL, And that is sister Sue. B-I-R-D, BIRD, Just hear canary sing; G-O-L-D, GOLD, That makes a handsome ring B-O-O-K, BOOK, In which we learn to read; C-O-O-K, COOK, Supplies the food we need. {66} S-E-E-D, SEED, From which we raise the plant; S-I-N-G, SING, Just hear the children chant. B-A, BA, B-Y, BY, And that spells BABY, love; L-A, LA, D-Y, DY, And that spells LADY, dove. M-A, MA, R-Y, RY, And that spells MARY, child, E-D, ED, D-Y, DY, That's EDDY, sweet and mild. {67} _THE KITTEN_. ONE, two, (1, 2,) Here's a kitten for you; THREE, four, (3, 4,) She will open the door, FIVE, six, (5, 6,) And your cream she will mix,-- {68} SEVEN, eight, (7, 8,) If you are too late, NINE, ten, (9, 10,) To cover the pan; ELEVEN, twelve, (11, 12,) And then you must delve,-- THIRTEEN, fourteen, (13, 14,) To cover her sporting; FIFTEEN, Sixteen, (15, 16,) But while you are fixing,--- {69} SEVENTEEN, eighteen, (17, 18,) Remember I'm waiting, NINETEEN, twenty, (19, 20,) For butter a plenty. * * * * * To those who serve you, children, all, Be gentle and polite,-- For thus are gentle-women known, Or gentle-men, at sight. {70} _DOLLY DIMPLE_. DOLLY DIMPLE, just for fun, Stands to show us she is ONE. Dolly and her sister Sue Show that ONE and ONE make Two. {71} Dolly, Sue, and Nanny Lee, Show that ONE with TWO make THREE. Doll, Sue, Nan, and little Noah, Show that ONE with THREE make FOUR {72} Doll, Sue, Nan, Noah, and Ben Brive Show that ONE with FOUR make FIVE. Now all these with Jenny Hicks Show that ONE with FIVE make SIX. {73} One more, Ned, a baby, even, Shows that ONE with SIX make SEVEN. With these girls and boys, put Kate, And the ONE with SEVEN make EIGHT. {74} All these eight, with Adaline Show that ONE with EIGHT make NINE. Now with these put Dick, and then You'll see that ONE with NINE make TEN. {75} _IF YOU PLEASE_. I hope my children never will Say, "Give me" this or that,-- But, "If you please," I'd like a bun, Or, "Thank you" for a pat. {76} _THE POOR LITTLE CHICK-A-DEES_. TEN little chick-a-dees clinging to a vine,-- A speckled snake charmed _one_, then there were but NINE. NINE little chick-a-dees,--one without a mate,-- A Sparrow-hawk caught _one_, then there were but EIGHT. {77} EIGHT little chick-a dees, by a 'possum driven,-- He caught _one_ and slaughtered it, then there were but SEVEN. SEVEN little chick-a-dees hopping round the ricks,-- A Weasel came and captured _one_, then there were but six. SIX little chick-a-dees watching Rover dive,-- He sprang ashore and seized _one_, then there were but FIVE. {78} FIVE little chick-a-dees pecking at the door, Kitty-cat caught _one_, then there were but FOUR. FOUR little chick-a-dees full of birdy glee, _One_ was tangled in a net, then there were but THREE. THREE little chick-a-dees dabbling in the dew, A stone fell and crushed _one_, then there were but TWO. {79} TWO little chick-a-dees peeping just for fun, A hungry Kite caught _one_, then there was but ONE. ONE little chick-a-dee, mourning all alone, Flew away to find a mate, and then there was NONE, {80} _HEIGH-HO, DAISIES AND BUTTER-CUPS_. HEIGH-HO, daisies and butter-cups Grow in the meadows for children to gather; But cattle will shun them, And farmers will burn them, Because in their fields they are only a bother. Heigh-ho, red-top and clover-bloom, Filling the air with their sweetness and beauty, Will yield without measure, Their wealth of rich treasure, Rewarding the farmer for doing his duty. {81} _THE PONY_. Once 2 is 2, Here's a pony for you; Two 2s are 4, But be careful the more,-- THREE 2s are 6, For perhaps pony kicks; FOUR 2s are 8, And if so we must wait, {82} FIVE 2s are 10, Till he's trained by the men;-- Six 2s are 12, Before trusting ourselves, {83} SEVEN 2s are 14, To ride him out sporting; EIGHT 2s are 16, But we can be fixing NINE 2s are 18, His food while we're waiting; TEN 2s are 20, Oh, yes, give him plenty,-- ELEVEN 2s are 22, For then he will be gentle to-- {84} TWELVE 2s are 24, Us who feed and pet him more. {85} {86} _BABY'S RECKONING_. One little head, Ah! but what does it hold? No matter,--it's worth its whole weight in pure gold. Two big brown eyes, soft with Heaven's own dew; No diamonds so precious, so sparkling, so true. {87} Three cunning dimples, one deep in her chin, And one in each cheek--Ah! they're just twin and twin. Four little fingers to clutch mamma's hair, But sweeter than honeycomb, even when there. Five, we may call it, with little Tom Thumb, And that fist in her mouth is as sweet as a plum. Six wonderful pearls her bright coral lips hide, And the Kohinoor's nothing these pure pearls beside. Seven brown wavelets are ever in motion, And silken floss to them is naught, to our notion. Eight little giggles run over with glee-- And more if you call them, so merry is she. Nine songs, (they're Greek tho' to all but mamma), Make us think she is destined, an Opera Star. Ten toddling steps, but to us full of grace, For our babe in our hearts ever holds the first place. {88} _TWO LITTLE PINK SHOES_. Two little pink shoes standing by the head Of our Nanny sleeping in the trundle-bed; On the little table, waiting for the morn, Two little pink shoes, our Nanny to adorn. {89} Two little bright eyes, peeping open wide, Spied the little table, and the pink shoes spied. Two little fat hands climbing up to catch; Two little fat feet following to match. Two little fat arms hug them to her breast; Two little fat legs run to show the rest. Never more a treasure can our Nancy choose, That will give such pleasure as these two pink shoes. * * * * * In your work or your play, When you read, talk, or write, Sit always, my child, With your back to the light, {90} _BABY PEARL_. Now listen while I tell you, child, That I am quite a grown-up girl, For I can read, and spell my name, While you,--why, you're just Baby Pearl. I help mamma to "house-keep," too, Although she says I make a whirl! But I can wipe the forks and spoons, While you, Ah, you're just Baby Pearl. And then I dress myself, you see, And comb my hair when not in curl, And I can make my dolly's clothes, While you, you're only Baby Pearl. {91} Tis true, mamma says I must be "A very pattern little girl," Just all for you, and I shall try Because, because, you're Baby Pearl. * * * * * _MY VALENTINE_. Dearest little lover mine, Sweetest, pertest valentine; "Desht I'm two years old," he says,-- Blessings on his pretty ways,-- "'Tan't I be your valentine?" Yes forever, lover mine, Shalt thou be my valentine. {92} _FEE-FI-FO-FUM_. FEE-FI-FO-FUM, From the Spruce-tree comes the gum; From the Pine the turpentine, Tar and pitch, And timber which Is very choice and fine. Fee-fi-fo-fum, How from Spruce-tree comes the gum? Soft enough;--the sticky stuff, From seam and cleft, Both right and left, Flows out, and hardens, rough. {93} Fay-fi-fo-fee, Nut-galls grow on the Oak-tree; By tiny worms the nut-gall forms, Like little ball; And from Nut-gall The Gallic Acid comes. Fee-fi-fo-fade, From Nut-galls, too, the Tannin's made; While Acorns grow in group or row;-- And Live-oak long, Makes ship-knees, strong, That round the world may go. {94} Fee-fi-fo-fap, We tap the Maples, and the sap We find as sweet as sugar-beet, Then boiling hard, Our sure reward, The maple-sugar treat. {95} Fay-fi-fo-fee, See the graceful White-Birch tree, With bark so light, so tough and tight That Indians wrought Canoes we're taught, And paddled out of sight. {96} Fee-fi-fo-fap, Hark and hear the Hemlock snap;-- Little spine so full of wind, Heated, hops, And jumping, pops, And makes the bright eyes shine. Fee-fi-fo-fur, See the curious chestnut-burr; Green and round, then turning brown. Frost opens wide Each prickly side, And out the chestnuts bound. {97} Fee-fi-fo-fay, Now the farmer makes his hay; Grasses grow, which workmen mow,-- Toss every-wise, Till sunshine dries, Then into stacks, they stow. Fay-fee-fi-fo, See the farmer wield his hoe, Lettuce, greens, then corn and beans, With pumpkin-vines Along the lines, Where many a weed o'er-leans. {98} Fee-fi-fo-fog, See the wriggling pollywog,*-- With funny tail; but without fail This pollywog Will grow a frog, And lose his wiggle-tail. [Footnote: Pollywog--Common name for poll wig, or tadpole.] Fee-fi-fo-faint, Colors, seven, the Rainbow paint; Violet bright is first in sight-- Then indigo, Blue, green, yellow, Orange and Red,--the seven, WHITE. {99} Fay-fee-fi-fo, Now you ask, "What makes Rainbow?" It is the sun, my darling one, Shines through the rain, O'er hill and plain, But see, the beauty's flown. Fay-fi-fo-fear, Don't you understand it, dear? Raindrops fall, Sun shines through all, Reflects beyond, This beauteous wand Which we the Rainbow call. {100} _THE OXEN_. The oxen are such clever beasts, They'll drag the plough all day; They're very strong and tug along Great loads of wood or hay. They feed on grass, when green or dry; Their flesh is beef, for food; Their lungs are "lights," their stomach, "tripe," Their skin for leather's good. Their hair men use in mortar, too, Lime, water, sand and hair, They nicely mix and smoothly fix, For plastering, so fair. {101} For making soap their bones are used; Their horns for combs we group; Their feet are boiled for "neat's-foot-oil," Their tails for ox-tail soup. Their heart-case forms a money-bag; Their tallow, candles, white; Their intestine, gold-beater's skin, With which gold-leaf we smite. Thus every part is useful made; The same is true of cows,-- Except their ilk gives luscious milk Instead of dragging ploughs. {102} Oxen and cows are "cattle" called; They go in "herds," when wild; But when they're tame, by other name,-- A "drove," _en masse_, they're styled. Their little ones are "calves,"--and cows' Rich milk produces cream, Which butter makes, and nice cheese-cakes, With curd, whey, and caseine. And now 'tis funny, but 'tis true, Some children young and mazy, Have thought their eyes were used some-wise, To make the ox-eyed daisy! {103} This cannot be, yet creatures' bones Placed round trees, plants and bowers, Will serve to feed just what they need, To grow fine fruits and flowers. {104} _THE BROKEN PITCHER_. "Sweet, my love, I'm sorry That you did not tell, When you broke the pitcher Coming from the well." "Oh, I thought you'd whip me, Just as Betty did; Then when she would ask me, I would tell a fib." "Sweet, my child, I never Punish any one For an accidental Thing that may be done. "Tell me always, darling, Everything you do; This will help to make you Thoughtful, brave and true." {105} _THE ELEPHANTS_. THE ivory for our combs, From elephants' tusks is made; The handles, too for many a knife, And for paper-knives the blade. The elephant knows a friend,-- And well remembers, too, A kindly act, but ne'er forgets The teasing of a foe. {106} _THE WIND_. "What is the wind, Mamma?" "Tis air in motion, child;" "Why can I never see the wind That blows so fierce and wild?" "Because the Gases, dear, Of which the air is made, Are quite transparent, that is, we See through, but see no shade." "And what are Gases, Ma?" "Fluids, which, if we squeeze In space too small, will burst with force;"-- "And what are _fluids_, please?" "Fluids are what will flow, And gases are so light That when we give them room enough, They rush with eager flight." {107} "What gases, dear Mamma, Make up the air or wind?" "'Tis Oxygen and Nitrogen That chiefly there we find; And when the air is full Of Oxygen we're gay, But when there is not quite enough, We're dull, or faint away." _THE FOG_. "What is the fog, Mamma?" "Sometimes the air is light And cannot bear up all the mists, And then 'tis foggy, quite; But when air heavier grows, The fog is borne above, And floated off, the cloudy stuff,-- Just see it, graceful, move." {108} THE RAIN. "What makes the rain, Mamma?" "The mists and vapors rise From land and stream and rolling sea, Up toward the distant skies; And there they form the clouds, Which, when they're watery, dear, Pour all the water down to earth, And rain afar or near." _THE SNOW_. "What makes the Snow, Mamma?" "When very cold above, The mists are frozen high in air, And fall as snow, my love." {109} "And Hail?" "Tis formed the same; Cold streams of air have come And frozen all the water-drops, And thus the hail-stones form. "Now do not question more, Dear child, but run and play, I'll tell you of the Water, Fire, And Light, another day." "Oh yes, and dear Mamma, Of Thunder, Lightning, too, For I shall want to know it all, So tell me, Mamma, do." {110} _TRUTH_. Do not let "Mother Truth" find a falsehood all over,-- Amongst all her children, no, never a lie; Stand for Truth, ye wee babies, for Truth, ye who're older, For Truth while you live, and for Truth till you die. All ye myriads of children this little book talks to, Form now in each household a band for the Truth, Do not let even a "white lie," and still less a "whopper," Find a place in your hearts, nor your heads, nor your mouth. You know God is Truth;--and as you are His children, You want to be like Him as near as you can; Speak the Truth, live the Truth, be the Truth with Him, And Heaven will have come, as Christ taught in his plan. {111} {112} _HI-DIDDLE, HO-DIDDLE_. HI-DIDDLE, HO-DIDDLE, Pop-diddle-dee, This Earth of ours, on which we live, Is round as it can be. Pray, then, what is a Mountain, valley, hill? They are but like little warts, And pores, on orange-peel. Hi-diddle, ho-diddle, Pop-diddle-dee,-- Our Earth is swinging in the air, As you can plainly see;-- {113} Pray, then, what keeps it Hanging up in space? The Sun, my child, attracts the Earth And holds it in its place. Hi-diddle, ho-diddle, Pop-diddle-dee, A lovely Moon is shining for This Earth of ours, you see,-- Held in its cradle Ever since its birth, Because our globe attracted it, As the Sun attracts the Earth. Hi-diddle, ho-diddle, Pop-diddle-dee, What I mean by globe, child, You're wondering now, I see. {114} A globe or a ball, dear, Is what is round and true, And that is why I'm calling it, This Earth, a globe, to you. Hi-diddle, ho-diddle, Pop-diddle-dee, Instead of globe I might have said A _sphere_ for you and me; For all the same, in truth, Are sphere and globe and ball, And _hemi_'s half so half this Earth, A _hemisphere_, we call. Hi-diddle, ho-diddle, Pop-diddle-dee, 'T was once supposed the Earth stood still, While Sun went round it, free;-- But now we've learned it well, That 't is the Earth doth turn Upon its Axis, as it's called; And also round the Sun. {115} Hi-diddle, ho-diddle, Pop-diddle-dee, Our Earth in turning round, How long may she be? She turns on her axis In a day, and a night, But to go around the Sun Takes a year for the flight. {116} _WHAT IS THE AXIS?_ Now you ask, "What is the Axis?" With an apple I will show; Place your thumb upon the stem-place, And your finger at the blow;-- Now we'll just suppose the apple Has a stem that passes through, And this stem would be the Axis; Now we'll whirl the apple, true, Holding fast 'twixt thumb and finger,-- That's the way the Earth goes round On its Axis, as we call it, Though no real stem is found. {117} And the two ends of the Axis Have been called the Poles, my dear; Yes, the North Pole and the South Pole, Where 'tis very cold and drear. Now we'll hold a bigger apple At a distance, for the Sun; Tip the smaller one a little, And then slowly wheel it round All around the larger apple, And it represents the Earth Circling round the Sun that holds it, Ceaseless, in its yearly path. Wondrous is the strong attraction Of the Sun which holds in place All the Planets in their turnings, All the Stars that see his face; But more wondrous far the power That created Sun and us, And that gave a form and being, To this mighty Universe. "The Universe!" now you exclaim: "By the Universe, what do you mean?" {118} 'Tis the Sun and the Planets, and every thing known, That we call by this Universe name. Now the "Planets," you ask, "What are Planets?" They're globes, Some larger, some smaller than Earth,-- Which are swinging in space, And are all held in place, By the God-power that first gave them birth. {119} _HEAT AND COLD_. Our earth has a _North Pole_, Where 'tis very cold; It also has a _South Pole_, That's just the same, we're told. But half-way between, And all the way around, We call it the _Equator_, And heat doth there abound. For there the sun shines always, Though it goes north or south Some twenty-three degrees or more, And sometimes causes drouth. The sun goes north, we call it. But 'tis the earth instead, That tips, and makes it seem the sun Comes higher overhead. And when the sun is northward 'Tis summer here, you see; And when it's to the southward 'Tis there in same degree. {120} _HARLEY'S DREAM_. I know a little brown-eyed boy, His name is Harley Hart; And with a naughty boy or girl, Our Harley has no part. He cons his lessons o'er and o'er, And once he fell asleep, With finger marking A, B, C, As 'twere the place to keep. And then he dreamed a funny dream-- The page jumps up to dance, The letters laugh, and by and by, Like imps they leap and prance. {121} Now Harley oft had wondered whence The letters first had come; And I'm afraid he sometimes wished They all had staid at home, Instead of teasing him with quirks, And bothering him with names That seemed to help him hardly more In learning words than games. One little imp squeaked: "I am _A;_ You could not be a man Without me." Then another cried: "I am E" and quickly ran, Exclaiming: "And without us both You could not have a h_e_ad." Another says: "You'd have no l_i_mbs If _I_ were lost or dead." Then _O_, "You'd have no n_o_se nor t_o_es, If it were not for me;" "And what is more, were I not here," Says _U_, "yo_u_ could not be." {122} And thus they each and all lay claim To parcel and to part Of what he was, or what should do With hand, or head, or heart. They hung a ladder 'gainst the tree, And clambered up and down; They played a thousand pranks as wild As any gipsey clown. They whispered that they came from Rome, And that, if rightly placed, They'd serve our Harley with a feast A king would joy to taste. So when he woke and knew they were The little mystic keys That open Learning's gates so wide, He loved his A, B, C's. {123} _OUR LANGUAGE KEY_. A E I O U Y We are small, and we are few, But we're wondrous mighty, too,-- For no word can language wear, Save in it we hold a share. One of us in May is met,-- One is caught in every net; One is in the clambering vine, One, in Moon, must ever shine; One's in you,--and all so shy, The last is hiding in your eye. {124} THE SPEECH FAMILY. The name of everything we know, as _slate_, or _book_, or _toy_, Is called a _Noun_. All names are nouns; remember this, my boy. A word that means to be, to act, or to be acted on, Is called a _Verb_; as _is_, or _eat_, or _sing_; or he _is gone_. {125} A word that tells the color, form, or quality of things, Is called an _Adjective_; as, _bright_, or _round_, or _softest_ wings. A word that tells how things are done, as _quickly_, _bravely_, _well_. Is called an _Adverb_; and I'm sure you many more can tell. A word that's used in place of nouns, a _Pronoun_ we may call; As, _I_ for mother; _you_, for James; _this_, _that_, for hoop or ball A _Preposition's_ placed before a noun, and serves to show Relation to some other word; as, Rover's _in_ the snow. And then _Conjunctions_ join two words or sentences together; As, man _and_ boy, or birds will fly _and_ winds blow o'er the heather. Then _Interjections_, _Oh!_ and _Ah! Behold!_ and many another, Express surprise, delight; dismay, far more than every other. {126} And these the _Parts of Speech_ we call; _Eight_ parts as you may tell; And all the language you will know, when these you've studied well. _NUMBER AND GENDER._ A NOUN or name that means but one, Is called in the _singular number_; But when it stands for more than one, 'Tis _plural_, child, remember. * * * * * A NOUN that is the name of males, As ox, or horse, or father, Is _masculine_ in _gender_, dear; While cow, and mare, and mother, And all the names of females, child, Are _feminine_, 'tis true; Now tell me all the names you know, And tell their gender, too. But you will find there's many a noun Not male, nor female either, As chair, and book; and such we call In _neuter gender_--neither. {127} ONE LITTLE CHICKEN. ONE little chicken, two little chickens, three little chickens, dear; Don't you see we add _s_, when more than one is here? And this we do with almost all the nouns that may appear. One little birdy, two little birdies, three little birdies soar; The _y_ is changed to _i-e-s_ for birdies two or more; And this, when a word shall end in _y_ with a _consonant_ before. One little donkey, two little donkeys, three little donkeys bray. But here the _y_ remains unchanged, and _s_ is called in play; And this, when a word shall end in _y_, where a _vowel_ leads the way. {128} _LETTERS._ A, E, I, O, U, The _vowels_ we may call; W, Y, are vowels too, Whene'er they chance to fall To the end of syllable or word. And this we well may know That all the rest are _consonants_; Just nineteen in a row. K, P, and T are called the _mutes_, Because they interrupt All voice or sound; while B and D Can only intercept; Hence these are partial mutes, my child; And H is _aspirate_; And _th_, too, in _th_ink and _th_rone, But vocal in _this, that._ {129} Then lip-letters, or _labials_, And _dentals_, or tooth letters, With _palatals_ and _sibilants_ Seem wondrously like fetters. But, ah! instead of prisoning, They open wide the way That leads to Learning's loftiest heights; Press on, and win the day. * * * * * WORDS. TELL me the name of something, dear; As book, or ball, or kite; Now tell some quality of each, As big, or round, or light. And now some word that means _to be_ Yes, _is_, my child, you're right. The ink is black, The snow is white, The ice is hard--is cold: The sky is blue, The air is light, Sometimes the child is bold. {130} And thus let names of everything Afar or near be told; And Qualities of each and all Let memory infold. * * * * * NOW give one name, and tell me all Its qualities as well; As, coal is black, and coal is hard, And coal's inflammable. And now, you children should be taught That we need not repeat The name, with every word that tells Its qualities complete. Coal's black, hard, and inflammable, We say; but all so fast, A comma follows after each, With _and_ before the last. And now use iron, chalk, and clay, Use water, snow, and ice, Use thread and needle, pin and pen, Use every word that's nice.-- {131} ANOTHER lesson now attend-- We'll find some quality Embraced by several different things, As you will plainly see. Snow is cold, ice is cold, Salt is cold as well; Snow, ice, and salt are cold, my child, As every one can tell. * * * * * A SMILE. "SHE smiled on me, she smiled on me!" In ecstacy exclaimed A little waif in tattered gown, With form so halt and maimed. Remember, even a smile may cheer, A cup of water, bless; A kindly word, sow seeds of joy, Whose fruit is happiness. {132} _TWINKLE, TWINKLE._ "Twinkle, twinkle, little star, Up above the world so far, Whisper now and tell me, pray, What you are, and how you stay." "Some of us away so far, Planets like your own Earth, are; And we shine with borrowed light, Borrowed from the Sun, so bright. "Some of us are silvery moons, Shining all the nightly noons; Some of us are jelly, soft, Shooting, falling, from aloft. {133} Some of us are Nebulae,-- Faint and misty stars we be;-- Some are Suns to other worlds; Here and there a Comet whirls. "Having each our time and place, Swinging in the wondrous space; Held in line by Him who planned, And who holds you in His hand." {134} OLD SOL IN A JINGLE. Hi-diddle-diddle, The Sun's in the middle, And planets around him so grand, Are swinging in space, Held forever in place, In the Zodiac girdle or band. Hi-diddle-diddle, The Sun's in the middle, And Mercury's next to the Sun While Venus, so bright, Seen at morning or night, Comes _Second_, to join in the fun. Hi-diddle-diddle, The Sun's in the middle, And _Third_ in the group is our Earth; While Mars with his fire, So warlike and dire, Swings around to be counted the _Fourth_. {135} {136} Hi-diddle-diddle, The Sun's in the middle, While Jupiter's next after Mars,-- And his four moons at night Show the speed of the light; Next golden-ringed Saturn appears, Hi-diddle-diddle, The Sun's in the middle, After Saturn comes Uranus far;-- And his antics so queer, Led Astronomers near To old Neptune, who drives the last car. [Footnote: Other planets are as yet too little known to claim place.] {137} "_ROBERT OF LINCOLN_." "Bob-o-link, bob-o-link, reed-bird, butter-bird, All through the country his jingle is gaily heard; Reveling in rice-fields he sweeps through the South, While wheat, corn, and barley-fields welcome him North, And Bobby is wild with his singing and chatter, So saucily calling with rattle and clatter, Bob-o-link, bob-o-link, Tom-denny, Tom-denny, Come-now-and-pay-me-that-two-shillings-one-penny, No,-I'll-not-wait-for-a-day-nor-a-minute, So-pay-me-up-quick-or-you'll-get-your-foot-in-it;-- Chink-a-chee, chink-a-chee, chink-a-chee, chin-it, Yes,-pay-me-up-quick,-or-you'll-get-your-foot-in-it." {138} _LIMPY-DIMPY-DINGLE_. Limpy-dimpy-dingle, chicky-bid would stray To the trap that had been set for weasels, many a day, Limpy-dimpy-dingle, chicky-bid walked in, And the trap its teeth shut up, on chicky-biddy's shin. Limpy-dimpy-dingle, chicky-bid is brought, And her leg, so sore and big, we bathe with water hot. Limpy-dimpy-dingle, here's a broken bone, All so rough,--but close enough we bring the ends, right soon. {139} Limpy-dimpy-dingle, strips of paste-board cut, We will place with care and grace, from thigh to trembling foot Limpy-dimpy-dingle, softest cotton, too, Just within the paste-board thin, to fit around so true. Limpy-dimpy-dingle, now with tape or band, Neatly wind, and closely bind, with deft and skillful hand. Limpy-dimpy-dingle, nature'll do the rest, And soon will knit the bone to fit, as good as very best. {140} _CASTLE WONDERFUL_. I know a castle, curious, Of lovely form and make; That we may view the castle through, A hasty peep we'll take. {141} The framework of my castle proud, Is neither wood nor stone, But earthy matter mixed with lime And hardened into bone. This frame, of oddments is composed,-- In mind, the number fix,-- Of long and short and thick and thin, Two hundred just, and six. And these are fastened each to each, By hinges, like, or joints, Which, with an oil so soft and pure, The Builder wise, anoints. For garnishing this goodly frame, Quaint cushions, large and small, Are fitly fashioned, each in place, And pliant, one and all. For cushion covers, deftly wrought, A scarf so beautiful, So pinkish-white, so loose yet tight, So warm and yet so cool; Upon the smoothly rounded roof Is strewn the finest floss, A filmy veil, as soft as silk,-- Or is it fairy moss? {142} Two windows hath this castle fair, That shut and open wide, With cords and pulleys, curtains fringed, And fixtures fine beside. These wondrous windows even smile And speak and fairly dance, And play at anger, hate, and love, And mischief, too, perchance. These windows, too, are marvelous In that they let the light Both in and out for him who dwells Within, the lordly knight. Two telephones of wondrous make,-- A door, with guards and bell,-- A ventilator, double-bored, Aye does its duty well. {143} And ah! within, this castle grand, Is fitted to a T, With everything that's needful there For serving you or me. And strange to tell, this castle builds Itself, if but supplies Be placed within the open door, With watchful care and wise. {144} It clears itself too of the dust And ashes strewed within, If but the alley-ways are free, And outlets all a-kin. And stranger still, this castle comes And goes where'er the will Of him who holds the rule within Shall bid, his hest to fill. And wondrous more than all beside, This house the temple is, Of Him the great designer, God,-- And "all the earth is his." {145} Now list, and of this castle grand A further tale we'll tell, In language plain, so plain that all May read and heed it well. The food we eat makes all our blood, And makes us children grow; And if we eat improper food It harms from top to toe. We all have teeth quite sharp and strong, With which to chew our food, And in the mouth are glands and glands-- Yes, quite a numerous brood. These glands pour out saliva, free, To moisten what we eat And then a trap-door at the throat Performs a wondrous feat In guiding all the food along Into the Esophagus, And thence to stomach through a pass Called Cardiac Orifice. And here 'tis mixed with Gastric Juice, And into chyme is churned Then through the gateway, Pylorus, As wiser ones have learned. {146} 'Tis in the Duodenum now, Where it is mixed with Bile, And with the Pancreatic juice, Which changes it to Chyle. This Chyle flows on, and all that's fit For nourishment and growth, Is taken up by Lacteals, Or "tubes with many a mouth." These lead to the Thoracic Duct, Which holds a spoonful large, And from this Duct a pipe proceeds Through which it may discharge. Into the great Sub-clavian vein, Which to the Heart doth lead, Whence it is sent into the Lungs, And into good blood made. Then back into the Heart it flows, The muscles there contract, And pump it into Arteries, Which wind to every part. We'd like to tell about the Bones, The Ribs and Vertebras, The Clavicle, or Collar-bone, Breast-bone, and Scapulae; {147} Of hinge, and ball-and-socket joints; Of muscles, tendons, skin, Of lungs and veins and arteries, Of nerves and heart and brain. But, Ah! we should your patience tire, Were we the whole to tell, So, waiting till another time, We bid you now, farewell. {148} _THE RATTLE OF THE BONES_. How many bones in the human face? FOURTEEN, when they're all in place. How many bones in the human head? EIGHT, my child, as I've often said. How many bones in the human ear? THREE in each; and they help to hear. [Footnote: Standard authorities give three, though latest works say four.] How many bones in the human spine? TWENTY-SIX; like a climbing vine. How many bones of the human chest? TWENTY-FOUR ribs and TWO of the rest. How many bones the shoulders, bind? Two in _each_; one before, one behind. How many bones in the human arm? In _each_ arm, ONE; TWO in _each_ fore-arm. {149} {150} How many bones in the human wrist? EIGHT in _each_, if none are missed. How many bones in the palm of the hand? FIVE in _each_, with many a band. {151} How many bones in the fingers ten? TWENTY-EIGHT, and by joints they bend. How many bones in the human hip? ONE in _each_; like a dish they dip. How many bones in the human thigh? ONE in _each_, and deep they lie. How many bones in the human knees? ONE in _each_, the knee-pan, please. How many bones in the leg from knee? Two in _each_, we can plainly see. How many bones in the ankle strong? SEVEN in _each_, but none are long. {152} How many bones in the ball of the foot? FIVE in _each_; as in palms were put. How many bones in the toes half-a-score? TWENTY-EIGHT, and there are no more. And now, all together, these many bones, fix, And they count in the body TWO HUNDRED and Six. And then we have, in the human mouth, Of upper and under, THIRTY-TWO TEETH. And we now and then have a bone, I should think That forms on a joint, or to fill up a chink. A Sesamoid bone, or a Wormian, we call, And now we may rest, for we've told them all. {153} _WHOLLY HOLE-Y_. SEVEN million little openings, God has made upon your skin; Mouths of tiny little sewers That run everywhere, within. And along these numerous sewers All impurities must go, That are not by other outlets, Carried off with active flow. {154} When these many little openings. We call PORES, get shut quite close, Through your frame the poison wanders, Making you feel dull and cross. It will make your lungs grow tender, And they'll soon be sore, and cough; It will make your stomach feeble, And your head ache hard enough. Then your heart can not be joyous, And your other organs, too, Will get weak, and be unable For the work they ought to do; Quaking nerves will groan and quiver, Weary bones be racked with pain, And you'll all the time be saying: "How can I be well again?" HEAT and BATHING widely open All the pores, when discords dire, Quick flow out in perspiration, Quenching all the fever-fire. Raveling out the tangled tissues, Setting free the life-blood's flow, Pouring forth the pent-up poisons, Wakening thus a healthful glow. {155} {156} _THE BREATH O' LIFE_. Our lungs are formed of curious cells, And tubes to draw in air,-- And if we breathe quite deep and full And take our needful share, 'Twill keep our blood so red and pure, Our health so firm and true, We scarce shall know what suffering means, But joyous feel, and new. But if we wear our clothing tight, The little cells will close, And then they cannot do their work, And thus our health we lose; Or if we breathe the air impure, 'T will give us tainted blood, While plenty, pure, sun-ripened air Will make us glad and good. {157} _THE GIRLS._ Three little girls with their sun-bonnets on, Wandered out for a walk in the dew; And they tip-toed about, full of frolic and fun, While their aprons around them they drew. But their little wet feet brought fever and cough, And their little red lips grew so thin; And their little round faces were haggard enough, O, I'm sure they'll not do it again! Not do it, I mean, without boots that shall guard Their ankles and feet from the wet; For the care of the health brings a joyous reward, The neglect, brings us pain and regret. {158} _THE TEMPERANCE CHILD._ Mamma, if you'd have me Be a temperance child, You must give me only Food that's pure and mild. Highly-seasoned dishes Make the stomach crave Stronger things; and often Lead to drunkard's grave. {159} _LISTEN, CHILDREN!_ Listen, children! when your head aches, Do not eat, but wait a meal; This will oftentimes relieve you, Making you right joyous feel. Listen, children! when your stomach Rolls and tumbles, wait awhile; Do not eat, but drink warm water, And you'll soon be glad and smile. Listen, children! in hot water Put your feet when you've "a cold;" Into bed now, wrapped in blankets, And you'll soon be well, we're told. Listen, children! perspiration Is a saving from much sin: Wash and rub, and dry well after; Thus we quell disease within. Listen, children! when you're hungry Do not stuff you like a pig, But eat slowly and chew thorough, Lest your teeth your grave shall dig. {160} _TICK-TOOK, TICK-TOCK_. Tick-tock, tick-tock, Sings the pretty cuckoo clock; Tick-tack, tick-tack, Time flies on, but ne'er comes back. Tick-tock, tick-tock, Sings the dainty crystal clock; Tick-tack, Tick-tack, Work and wait, and never lack. Tick-tock, Tick-tock, Sings the old grandfather's clock, Tick-tack, tick-tack, Take and keep, the better track. {161} _CURIOUS TREES._ THE COW-TREE. South America's soil Yields the towering Cow-tree, With sweet milk in its cells For you or for me; Its sap is the Milk,-- Cut the tree and it flows; Like leather its leaves, And its branches like bows. {162} THE SUGAR-PINE. Then, too, my dear children, The sweet Sugar-pine, On Pacific's wild coast, In our own soil we find; Cut or scoop out the trunk, And the juices ooze forth, And harden, for sugar, Like icicles, North. * * * * * THE BUTTER-TREE. And, funny enough, There's a Butter-tree, too; Its seeds, when boiled down, Will make butter for you. In India and Africa The Butter-tree grows, With coffee and spices, As every one knows. {163} THE BREAD-FRUIT TREE, And listen, dear children, In hot countries too, The Bread-fruit tree grows, Most delicious for you; Its great roasted nuts, Like soft, sweet loaves of bread, Form most of the food On which natives are fed. {164} And further, its fibres Of bark, will make cloth; Its wood, boats and houses;-- Its leaves are not loath To be used for a towel, A table-cloth, napkin; Its juice will make bird-lime, And tinder, its catkin. THE CLOVE-TREE. And, children, one more, Here's a spicy Clove-tree, Growing forty feet high, Ornamental, you see; The little round drop, Fixed the four prongs between, Forms the blossom or flower, When it's not picked too green. Now list, while I tell you, Clove-trees will not grow Except in hot climates, Moluccas, or so, {165} Where they bloom the year round, In the sunshine or storm, With their trunks straight and smooth, And their pyramid form. And lastly, dear children, Clove-trees never flower Till a half-dozen years They have grown, maybe more; Then the buds, picked by hand, And dried quickly, are best;-- Trees a hundred years old Often yield with the rest. {166} _THE "TREE VILLAGE."_ {167} In the Solomon Group in the great Southern Sea, And on Isabel Island alone, A tree village is found, up the steep, rocky ground, On the top of a mountain of stone. So gigantic the trees that it is not with ease That the houses of natives are built, For the stems are six score of our feet, maybe more, And you'd think they must live on a stilt. By a ladder facade the ascent must be made, Formed of pliable trees, or a creeper Resembling the vine, which the natives entwine,-- And the ladder's drawn up by the sleeper; For these houses are made but to sleep in, 'tis said, When some enemy threatens;--to guard 'Gainst surprise in the night, they are fortified quite, With great stones, to be thrown at a pard. At the foot, of these trees are the day-huts for ease And for eating and dancing and play, Yet the huts up so high have a goodly supply Of the needful for night or for day. {168} _NO EYES._ Those Creatures that live in the dark, And have no use for eyes, Are made without these organs bright, Which we so highly prize. The fish in the Mammoth cave,-- Some species of the Ant, Have only a trace where eyes should be, Yet never know the want. {169} Who knows but girls and boys, Kept always in the dark, Might come to have but little sight, And finally not a spark. God meant us to live in the light, He has poured it all about; Oh, let us not ourselves destroy, By shutting His sunshine out. {170} _THE MAMMOTH CAVE._ "WHAT is the Mammoth Cave?" I hear the Children say, Where fishes have no eyes nor sight, And where 'tis dark by day? You all have seen a ledge Of big rocks piled, or stone?-- Now just suppose a door-way made, Or entrance to go in. {171} And when you're in, a path Leads on, right under ground, And by-and-by you come to a place Like a room with walls around. 'Tis jagged and rough and rude, 'Tis dark and damp as a grave, But whether 'tis large or small, 'Tis always called a cave. Now, Mammoth means _monstrous big_, And the Mammoth cave, we claim As the largest known in the world, And that's what gives the name. And it has many a room, Quite large and wondrous grand, And it has springs and streams and lakes, All dark, you understand. And here are fishes, too, Yes, fishes with no eyes, That have lived in the dark for ages past, As learned men surmise. {172} _THE CAMELS_. The Camels live in desert lands; Their feet are made to walk on sands; They carry burdens far and near, Where neither grass nor trees appear; Where there's no rain, no rivers, brooks, No water anywhere for folks;-- But God has made in Camels' chest Peculiar sacs, for He knew best What they must do, and that they'd die, If He did not their drink supply. Before they start they drink and drink, Till every sac is full, I think;-- And at the mouth of every sac, A muscle strong, but loose and slack, Will tighten up when it is filled, So that no drink can e'er be spilled. And when on journey, last or first, The camel wants to slake his thirst, A bag-string loosens, and out-pours Enough to satisfy for hours. {173} {174} The laden camels, in a row, Are called a Caravan, you know;-- Sometimes a caravan is lost, Being buried deep in sand and dust. A storm of wind, a Simoon named, Will sweep across the desert sand, When camels, men, and every one Must throw themselves their knees upon, And bury faces in the earth, For thus alone they save their breath; A fearful thing, but 'tis the best That they can do,--now hear the rest. {175} Sometimes they're buried deep, and find When they dig out they're almost blind And cannot tell which way to go, And thus are lost, a serious woe! Sometimes, when lost, the drink for men Gets short; is gone; they thirst, and then They kill a camel just for lack Of what he carries in his sac. {176} In deserts bare and bleak and drear, The sun shines hot through all the year, But many an Oasis is found, Or spot where grass and trees abound. And here is drink, and here they rest, And take their fill of what is best; Then travel on in thankful mood, With song and shout! "Allah is good!" {177} _KEY-NOTES._ L M N R LIGHTLY flowing LIQUIDS, we,-- Tethered with our brothers. Make we music, melody, More than all the others; Lulling, mellowy, nimble, rare, Reveling in rhythm, Running here and everywhere, Make me merry with 'em. {178} _THE BEARS._ Wild bears are found all over, From Northern lands to South, But largest, strongest, where 'tis cold And fiercest farthest North. All bears are fond of honey, Of berries, too, and roots; They hug or squeeze their prey to death, As this their nature suits. They mate in June-y weather; Their little ones are cubs; They sadly mourn when mates are killed, You'd almost hear their sobs. They'll try to feed a cub That's lying cold and dead, And will not flee, but stand and take The fatal knife instead. {179} {180} They sleep through winter-time, But prowl in wildest storms, With hope to find some creature killed, Or struck with death's alarms. The bears are white, or black, Or brown or grizzly gray, The white 'mong polar snows are found, Where half the year is day. Their fur is used for robes, For coats, sometimes a muff,-- Their meat is prized by some as food, While some would call it "stuff." {181} They nimbly climb a tree, But "back down," for their frame Is made so lungs would forward press, If they head-foremost, came. * * * * * _THE BEAR A BLESSING._ To people of Kamtschatka, The bear a blessing proves; His skin forms beds and coverlets, And bonnets, shoes, and gloves. His flesh and fat are dainties, And of his intestine, Is made a mask for warding off The glare of Sun in Spring. {182} 'Tis also used for windows, As substitute for glass; Of shoulder-blade a tool is made, That's used for cutting grass. Norwegians think the Bear is More sensible than men; While Laplands call him "Dog of God," And dare not him offend. {183} _FRUITS_ The fruits of the orchard and garden Are beautiful, luscious and good, Partake of them freely, dear children, But eat them at meals with your food. {184} _THE RACCOON._ Come, child, and see our pet Raccoon,-- The Raccoons live in the woods, you know; But ours was caught, And caged, and brought From old Virginia, long ago. {185} Oh, no, you need not be afraid. See, he is fastened with a chain; For ropes enough He has gnawed off, And he is hard to catch again. He e'en will climb this ten-foot fence, And, careless where his feet may strike, He tumbles, bang! And there will hang, His rope being caught by vine or spike. And once the rascal ran away; Was gone for days, and maybe weeks; When children came, And charging blame, Said, "Your Raccoon has caught our chicks." {186} "He's on our roof a-making mouth, And chatters when we would go near. We wish you'd come and take time home, So that our chick need not fear." {187} So now he's chained; yet up he'll climb The stake to which he's fastened tight, And mutter low, So pleading, Oh! 'T would make you sorry for him, quite. Just see his nose, so pointed, sharp,-- His ears as keen as keen can be,-- His eyes so bright, So full of light, And see him leap right merrily! His fur, you see, is yellowish gray,-- And he is nearly two feet long; He lives on roots, And nuts and fruits, When he's his native woods among. But here we give him bread and milk; He never eats like dogs or lambs, But takes it up From out the cup With his fore-foot, as we use hands. {188} You'd laugh to see him, I am sure; Of strawberries, too, he's very fond; Will poke around Till he has found Each one among the hulls out-thrown. Then, too, he's fond of nice clean clothes, Will spring for sheet hung out to dry; And children dressed In very best, Are sure to please his dainty eye. No matter where his feet have been, He'll spring and plant them, little pest, On something white, And then will fight To hold, and hide it in his nest. * * * * * {189} You've "come again to see our Coon"? Well, he is gone; he plagued us so, We sent the "Rac" To Central Park, Where you can see him when you go. Oh yes, they're glad to get him, there; They have no clothes hung out to dry; And children aye Must stand away, For there a keeper's always nigh. * * * * * A "Yes" and "No" are common, hard, But "yes'm," "no-sir," choice;-- Let none but sweet and gentle words Flow from your gift of voice. {190} _THE BANK-SWALLOWS._ In a village of Bank-Swallows, You will find so many a nest, "That you scarce can tell their number Nor which one of them is best." {191} In the sand-hill, see the openings, Round or oval odd-shaped, some, Size and form depending often, On how loose the sand become. When with their short bills they pecked it, Clinging fast with claws the while, Till they made an open door-way Suiting them in size and style. Once within, they peck and peck it,-- Sometimes quite a yard or more, While the nest is snugly builded, Farthest from the outer door. But, so wise are they, this archway From the entrance to the nest, Is inclining ever upward, That no rain within may rest. So the pink-white eggs are laid there, Safe from harm, till baby-birds Chirrup forth to take their places, 'Mongst the self-sustaining herds. {192} Smallest of the swallow species, Homeliest, too, yet favorites dear, For their graceful, airy movements, And their simple, social cheer. Found are they from North to South-land, Known of every tribe and race;-- Swift in flight, yet swinging, swaying, Skimming low from place to place. Parent-birds care less for young ones, Than do other swallow-kind;-- Push them off half-fledged and timid, Each his food and home to find. Thus they, many a time, fall prey to Hawks and crows, their enemies;-- Even the nest sometimes is entered By the snakes and fleas and flies. Swallows migrate in the Winter, From the cold to warmer climes, Flying back as Spring approaches, To the haunts of former times. {193} "Ne'er one swallow makes a Summer," Is a saying everywhere;-- But when swallows come in myriads, Blessed Summer-time is here. {194} _THE MOCKING-BIRD._ The New World boasts the Mocking-bird And whether caged or free, His wondrous voice pours forth in songs Of rarest melody. His notes swell out and die away, As if a joyous soul Were wrought to highest ecstacy, All music to control. {195} His native notes are bold and full, And then he'll imitate, Till it would seem the feathered tribe Were all arrayed in state. He'll whistle for the dog or cat, Will squeak like chicken, hurt, And cluck and crow and bark and mew, So comical and curt. While blue-birds warble, swallows scream, Or hens will cackle clear. In robin's song, the whip-poor-will Pours forth his plaint so near. {196} Canaries, hang-birds, nightingales, He echoes loud and long; While they stand silent, mortified, He triumphs in his song. _THE BUSY BEES._ Why do the little busy bees So dearly love their queen, And wait upon and pay respect, With watchful care and mien? {197} Because the queen lays all the eggs, And mothers all the young, While every father-bee that's hatched Is nothing but a drone. The working bees might all be queens, If cared for and well-fed When they are in the larvae state, But they're half-starved instead,-- While those intended for young queens Are fattened overmuch, And nursed and petted every hour, That they full growth may reach. For every different kind of egg That makes the different bees, A different kind of cell is made, The queen directing these. For drones or males, six-sided cells, Quite neat, and smooth, and nice; For working-bees a smaller cell, Uncouth, and rough, and coarse; {198} While those for queens are large and free, And fashioned fine with care, And lined with softest, silken shreds So daintily they fare. The queen-bee lays the worker-eggs, A dozen days, I ween, And then the drones as many more, Then workers, then the queen. Eggs, two or three, and sometimes four Are laid in worker-cell; While drones and queens have each but one, As oft is proven well. The bluish eggs so close and warm, Hatch out with three days passed; {199} When larvae, white, as little worms, Are watched and fed and nursed. These larvae, when some six days old, Close in their cells are shut, And there at once begin to weave A silken web about. They turn and twist till all around Themselves 'tis woven quite, And then they rest for twenty days,-- 'Tis such a pretty sight. The small cocoons of working-bees, The larger ones of drones, The large and plump and perfect ones Of all the coming queens. {200} In twenty days they now burst forth, Equipped from tip to toe, The working-bees and drones, I mean, For queens come forth more slow. The queen cocoons ope from behind, And I will tell you why, 'Tis that the reigning queen may sting The others till they die. If mother queen leads off a swarm, A young queen they release, And she may take another swarm, And leave the hive in peace. Another queen is then let out, Perhaps a third and fourth, As many as can raise a swarm, To follow them, not loath; {201} But when no more can swarm and go, Because not bees enough, As I have said, the reigning queen Stings all the rest to death. For in each hive and everywhere, One queen alone will reign, And any interloper meets With sure and sharp disdain. Of workers, some are strong to fly, While some are weak and small, Unfitted quite, for load or flight, Or outside work at all. These last complete the larvae-cells, And nurse and feed the young; They mix the bee-bread, cleanse the hive, And care for every drone. All bees have stings except the drones, And these, when Autumn nears, Are stung to death with furious wrath, As by the book appears. {202} And now I hope you children all, Will use your wondrous power To "gather honey all the day, From every opening flower." {203} BBB R YYY B U YY [Footnote: Bees are wises; Be you wise.] {204} {205} _HONEY-SWEET._ "Ah, but how do bees make honey?" Now the children, eager, ask; And we'll try to give them answer, If we're able for the task. See, the under-lip is lengthened, Like a trunk or proboscis, Ending by a kind of button, Fringed with tiny moving hairs. All along its length, too, fringes, Just the same, are growing forth; And by means of these, the honey Is conveyed from flowers to mouth. Then the bee has two small stomachs, In the first of which is stored All the honey it can gather, But, when home, 'tis quick out-poured. {206} Bees have six legs; and in hindmost, There are baskets found, or bags, Into which the pollen gathered, Is brushed off by the other legs. And this pollen, for the bee-bread And as food for young, they use, Mixed with honey and with water,-- Swallowed and disgorged like juice By the nurses, who digest it Partly, for the larvae-food, Taking care that each shall have it, Just according to the brood. {207} Now we'll watch and see them working; See them brush off pollen-dust; See them, too, disgorge the honey, Into cells the sweetness thrust. Children, with your useful fingers, Hands and arms and feet and head, Do not let the bees surpass you, Making honey, nay, nor bread. {208} _WHAT THEY SAY._ Those creatures that chew the cud, The "RUMINANTS" we call, From "Rumen," or the stomach-pouch, In which their food doth fall. A "SPECIES" is a kind Of animals or plants;-- Each species has a different name, And differing traits and wants,-- And species may unite To form a RACE we know, For _race_ from _root_ is always drawn, And _roots_ must spread and grow. {209} That men and women are The race most choice and fine, We plainly see, and sometimes call, The _Human Race Divine_. {210} The noble Horse neighs out, "I am the race _Equine_, And nearest seem, and dearest to The 'human race, divine.'" The Ox and Cow l-o-o, l-o-o, "We are the race _Bovine_; And we most useful are, unto The 'human race, divine.'" {211} The Ass and Mule bray out, "Our race is_ Assinine_, And very like us seem some of The 'human race, divine.'" The Dog bow-wows as race _Canine, Canine, Canine_; {212} While Tigers, Cats and Catamounts, G-r-o-w-l, growl, as race _Feline_. The Lion, king of beasts (Feline), roars "_Leonine_;"-- The Lamb that's to lie down with him, Ba-a, ba-as for race _Ovine_. {213} Fishes in lakes or seas or rivers Sport _Piscine_; While birds in air or cages close, Sing, "race _Avine, Avine_." All bees in hives or wild, Hum out the race _Apine_; {214} And reptiles all rejoicing crawl In race _Reptilian_. * * * * * I've a name that's made up of three letters alone,-- That reads backwards and forwards the same; I speak without sound,--yes, I talk without tongue. And to beauty I lay the first claim. * * * * * A word of three syllables, children, now find, That holds the whole twenty-six letters combined. [1] The B ing m t, John put some: [2] stand take to taking ----- ---- -- ------ [3] I you throw my [Footnote 1: Alphabet] [Footnote 2: The grate being empty, John put some coal on.] [Footnote 3: I understand you undertake to overthrow my undertaking.] {215} _BRITAIN'S RULERS_. Old Britain was under the Romans From fifty-five years before Christ (55 B. C.) To four hundred fifty-five (455 A. D.) Then her eight States on home-rule insist. {216} For many a year now they wrangle, Ah! yes, for quite three seventy-two, Being ruled now by this king, now that one, As each might the former o'erthrow. But ever since eight-twenty-seven (827), Britain's rulers have reigned by descent, From Egbert, first "Monarch of England," To Victoria, daughter of Kent. A score reigned and fell.--Second Harold In ten-sixty-six (1066), proud; usurps, But soon in fierce battle is conquered By William of Normandy's troops. Then came William the Conqueror, a Norman, Then William the Second, his son; Then Henry and Stephen and Henry, Then Richard (Coeur de Lion), and John. Next Henry the Third, and First Edward, Edward Second and Third, Richard, two (II). Henrys Fourth, Fifth and Sixth, and Fourth Edward Fifth Edward,--Third Richard, they rue. Henry Seventh and Eighth, and Sixth Edward, Then Mary, Bess, James, and Charles First,-- Eleven years then with no monarch; Second Charles, Second James, not the worst. {217} Then William and Mary, then Anne, Four Georges, Fourth William, until Came Victoria, long live her queenship, For she wields her proud scepter with skill. {218} _OUR LAND_. A ship sailed over the blue, salt sea, For a man, Columbus called, Had thought that the world was round, and he Of the old ideas had palled. So, in fourteen hundred and ninety-two, He sailed across from Spain, And found our continent so new-- The "land beyond the main." {219} But jealousies and rivalries And bickerings begun, And Christopher Columbus now With grief was overborne. Americus Vespucius soon Our shores came sailing round, And stole the naming of the land Columbus sought and found; While he, Columbus, lay in chains, And died in sore distress; Yet won for us who tread his land, A lasting blessedness. * * * * * Young I-know is saucy and pert, And thinks himself wondrously wise; But I-know, the second, steps in all so curt, And you'd think that each might lose his eyes. {220} _SIGNS OF THE ZODIAC_. THE annual path of the Sun, The_ Ecliptic_ is called, as we see,-- And a belt, eight degrees, on each side, The _Zodiac_ ever will be. The principal planets all seem To move in the zodiac lines, While the belt, of itself, is cut up Into twelve equal parts, called the _Signs_. And these signs were first named, we are told, From their fancied resemblance to beasts, Which astronomers thought they could see In the stars, from the West to the East. {221} There is Aries, the Ram, then the Bull, Which is Taurus,--then Gemini, Twins; Then Cancer, a Crab and then Leo, A Lion, and Virgo, Virgin. Next Libra, the Balance or Scales, And Scorpio, a Scorpion (with sting),-- Sagittarius, the Archer or Arrow,-- Capricornus, a Goat's horn we bring. {222} Aquarius, the Bearer of Water,-- And Pisces, or Fish from the sea,-- All together make twelve, and a wonder It is, that these fancies should be. {223} _GRAPHO_. Children, you ought to know That _Grapho_ can but mean To picture out, or tell about, Some object or some thing. Now _Geo_ means the _earth_; And so Geography Means picturing out or telling about This earth of ours, you see. As _Phono_ means a _sound_, Phonography so terse, Just pictures out or tells about The sounds of the human voice. {224} As _Photo_ means the _light_, Photography must mean A picturing of the light that falls Upon a thing, I ween. Now _Astro_ means the _stars_; And hence Astrography Means to describe or tell about The stars we all may see. And then Astronomy Tells all the various laws That govern or relate to stars; Of their motions tells the cause. Now _Bios_ means a _life_; And so Biography Means writing out the life of one, Which we may often see. _Zoos_ means _animal_; And your Zoography Describes the animals that live On land or in the sea. {225} Then there's Stenography, A writing narrow, small, Or, as so many call it now, "Short-hand," which tells it all. And then Xylography-- Engraving upon wood; And Crystallography as well, That tells of crystals good. But these are _ographies_ Enough for now, you think; Yet when you're older, wiser grown, You many more will link. {226} _THE STOP FAMILY_. "I'm a dot with a quirk," whispers little Miss Comma, "And you'll please not to pause long for me." "I'm a dot over Comma," says Miss Semicolon, "And you'll pause twice as long where I be." "I am dot over dot," Master Colon speaks out, "You'll pause longer for me than they say:" "I am one dot alone," Period says with a tone That means: "Stop when you see me obey!" {227} "I'm a hook over dot," says Dame Interrogation, "I ask questions; but answer? O, nay!" "I'm a splash over dot," says old Sir Exclamation; "I show wonder, delight, or dismay!" "I'm a line east and west," says Miss Dash, "and I'm best At changing of subjects, you know."-- "I am Dash's small sister," says Hyphen, and kissed her; "I unite words, or syl-la-bles, so." Then said Marks of Parenthesis (carefully curved), "We inclose what you well may omit; But we're often displaced by Miss Dash (in your haste), Whom you sadly mistake for a wit." Now Apostrophe, Caret, Quotation, exclaimed: "We are commas and hyphens combined; We leave out, or put in, or reveal to your kin What you've said, when their backs you're behind." Then Star, Daggers, Parallels, Paragraph too, Started up, staring wildly about, {228} With "We rise to explain on the margin, 'tis plain, Or to point a new paragraph out." Of the whole Punctuation, each knew his own station. Each did his own duty, we see; If we do ours as well, and of their's, too, can tell, We shall soon learn good readers to be. * * * * * "All is not gold that glitters;" Yet think not, children mine, That all that glitters is not gold; The true must ring and shine. {229} _LITTLE MISCHIEF_. Little Master Mischief Lives in Nellie's eye, Sitting in the corner, Peeping out so sly; Now he's crossed the snow-ground And in chamber blue, Thinking he is hidden, Peek-a-boos at you. Now he drops the curtain, Sure that he is hid, But you see him dancing Even on the lid. Now, the curtains lifting, You can see he's crept To the inner chamber, Where the love-light slept. Watching now his moment He pops out, and see, Mamma's spools and thimble Quickly disagree. {230} {231} Shall we punish Mischief? Better teach the child How to hold and lead him, Running now so wild. Would she like her playthings Scattered here and there, When she had arranged them? Would she think it fair? Would she like her puzzle Portions of it, lost? Would she like her dishes Everywhere uptossed? Would she like her apron With a missing string, Mamma hunting, meanwhile, Thread and everything? Nellie, learn the lesson: Be to others true, Always do as you would Have them do to you. {232} This the dear Lord's precept,-- This the Golden Rule,-- This the highest lesson In our Nellie's school. * * * * * Be gentle and loving, Be kind and polite; Be thoughtful for others, Be sure and do right. {233} _GRANDMA'S CANARY._ Grandma loves her birdy, And when he gaily sings, She will laugh and chat with him, At which he hops and springs. Fearing though, that birdy Might not understand, Grandma from the toy-shop, Brought a whistle grand. Tuning now the whistle, To his sweet bird-note, He in singing back to her, Nearly burst his throat, {234} Birdy, free outflying, Often comes to light On Grandma's tip-of-finger Or chair-back, pretty sight! From her hand she feeds him, And he oft will take From her mouth the sugar, With a merry shake. Yester-morn the window Being open wide, Birdy thought it brighter On the outer side. Grandma mourning sadly, Shed of tears a few, Then she prayed the Father, "Show me what to do." Soon she set his cage out On the window-sill, Saying, "Birdy'll come now, Oh, I'm sure he will!" {235} Then she, hopeful, praying, "Bring my birdy home," Took the sweet bird-whistle, Playing "Birdy, come." And the birdy hearing, Quickly came and lit On the cage, and shortly Flitted into it. Thankful now was Grandma, To the dear Lord, who, Listening to her prayer Taught her what to do. {236} _A BABY'S FAITH_. Our Maude was dancing with her doll, In childhood's chattering glee; A brimming bucket standing by, The maiden failed to see, And skipping, tripped; the bucket tipped; The water, cool and clear, {237} Was rudely swayed, but, undismayed, And quickly kneeling near, Both little hands she spread above The water's merry surge. "And what's she doing there," we ask? No answer, till we urge, And then, "Why mamma, don't you know God stilled the waves so wild, With His great hand? And so I thought, Although I'm but a child, That I might still these little waves With my two hands so small; And mamma, see, they're quiet now! But where's my baby-doll?" * * * * * _HEALTH AND HAPPINESS_. Mamma keeps her children In the happiest mood When she feeds them only With the simplest food. Viands clog and pain them, Then they fret and cry, And then when she whips them, Everything's awry. {238} _THE MEADOW QUAILS_. Over in the meadow where the men make hay, In an elm-tree shadow on a bright summer day, Two speckled quails ponder as to what will be best, Should the stout mower blunder on their pretty home-nest. But a cloud in a minute from her great white bed Threw a big silver bonnet o'er the sun's golden head And the quails, though they wondered would their home be beset, Cried aloud, and it thundered: "More wet! more wet!" {239} Then the great sturdy yeoman coming close to the nest, With the heart of a true man beating soft in his breast, Saw the parent-quails watching, with what fear who can tell? Saw the baby-quails hatching, hardly out of the shell. And who knows but he thought of his own precious baby His dear little daughter in her mother's arms, maybe? For he quickly made over that portion of meadow With the sweetest of clover, and the softest of shadow. To the quails who all summer lived alongside the lane, Ever warning the farmer of the forth-coming rain; For long ere it thundered and I hear the cry yet They would call as they wandered, "More wet! More wet!" * * * * * DIDN'T-THINK is a heedless lad And never takes the prize: Remember-well wins every time. For he is quick and wise. {240} _THE LITTLE HOUSEWIFE_. This little girl knows how to make A batch of bread, or loaf of cake; She helps to cook potatoes, beets, To boil or bake the fish and meats. She knows to sweep and make a bed, Can hem a handkerchief for Ned; In short, a little housewife she, As busy as the busy bee. {241} Let every girl learn how to do All things that help to make life true; That serve to keep the home-hearth bright; That o'er life's burdens throw a light. And then if she may never need Herself to labor, she may lead Her household in the better way, That eft shall bring a brighter day. The boys, too, let them learn to know Of household duties, and to sew; For oft a button, oft a rip, By sewing they may save a "fip." Yes, let them know that "woman's work" With many a turn and many a quirk, Is not "a play with straws," as some. Would seem to think. 'Tis making home. {242} _MOTHER-LOVE_. "AR-G-O-O, ar-g-o-o," is the song of songs, To the loving mother's ear; "Ar-g-o-o, ar-g-o-o," these baby notes Fill all the house with cheer. The baby's laugh, the baby's coo. The baby's every move, Is music, joy, and grace to her, Who is rich in mother-love. {243} The precious pearl that is first unlocked By Nature's mystic key, From out the baby's jewel-box, Makes mamma's jubilee. The day of baby's mastership To raise himself upright, An era marks along the way, By mother-love made light. Her mother-voice lures on his step, Her care protects from harm; While deeper into her heart he glides, With every opening charm. And when he "ma-ma" sweetly says, Or "pa-pa," in her breast His throne is fixed forevermore, This prince of babes confessed. When threads of thought begin to spin, And webs of mind to weave, When kindling soul looks out at eyes That know not to deceive,-- The mother's holiest task to keep Her darling pure and true; Her constant care, her watchful prayer, Alone can guide him through {244} The maze his youthful feet must tread, And if perchance he fall, Her baby still in him she sees, Her love can cover it all. O, the wondrous love the baby brings, Is far beyond our ken! We only know that the fount once oped, Can never be dry again. * * * * * _IT SNOWS! IT SNOWS!_ It snows! yes, it snows! and the children are wild, At thought of the fun in the snow-drifts up-piled; The boy with his first new boots is in sight, And the wee baby-girl, with her mittens so bright. They are tramping and tossing the snow as they run, And laughing and shouting, so brimful of fun; While the ten-year-old twins, in a somersault mood, Have measured their length from the barn to the wood. A dozen times, yes, or it may be a score, Till their cheeks are as red as the roses, and more; Then the elfin of twelve and the boy of fifteen, Are pelting each other with snowballs so keen, That we, who are older, forget to be staid, {245} And shout, each with each, as the youngsters, arrayed In feathery garments, press on or retreat, Determined to win, nor acknowledge defeat, And the snow tumbles down with such beauty and grace That the air seems filled up with soft, bridal-veil lace, Through whose meshes the sunbeams shall kiss Mother Earth, Till the buds and the blossoms are bred into birth. But the children, at length, tired out with their play, And stamping the snow from their feet by the way, Come slipping and stumbling and scrambling along, While the big brother catching the baby-girl's song, "Oh, my finders are told!" gives her now a gay toss, The golden hair streaming like distaff of floss; And so cheery the group that is ranged round the board, That for snow, blessed snow! we all thank the good Lord. {246} {247} AN OLD SAW. "If you'll break the first brake And will kill the first snake, You'll be sure to go through With what you undertake." Thus our Grandma, quaint but queenly, Taught us grand-bairns one by one; And the lesson relished keenly Filled each spring-time full of fun. For the watchful eyes were eager, And the flying feet must roam Till they every nook beleaguer Round the old ancestral home. * * * * * But 'twas not the broken brakelet That wrought good for after years; Not the killing of the snakelet, But the conquering of fears, And the patient, wistful watching, Educating thought and eye, Made the brakelet and the snakelet Types of weal for bye and bye. {248} _THE DANDELION BLOSSOM._ In the spring when the grass Had sprung up in the pass, And the meadows with velvet were green, We children would tease, "O, dear mother, please Let us doff shoes and stockings, (Ah! naught gave us shockings), And barefooted run o'er the leas, Aye, barefooted run o'er the leas." And mother, so wise, Looking into our eyes,-- {249} "There's a snowdrift down under the hill! But when you will bring me, Yes, when you will fling me A dandelion blossom To wear on my bosom You may barefooted run as you will, Aye, barefooted run as you will." So for "guineas of gold," O'er the dandelion-wold, We hunted afar and anear; And with shouts of delight We all greeted the sight Of the fully-blown flower Presaging the shower Of bright blossoms that brought us such cheer, Aye, the blossoms that brought us such cheer. * * * * * FEAR naught save that which slimes thee o'er With falsity or fraud:-- Let thine own soul stand clean and white Before its maker, God. {250} _SUNSHINE._ The sun shines on forever Though clouds may hide his face; His brightness and his glory The whole wide world may trace For clouds are naught but vapor Whose fleecy veils unfold, And softest silver lining We then with joy behold. * * * * * _OUR ETHEL._ Our Ethel was not always, As people may have thought, A goody-goody little girl Who never mischief wrought. Oh, no, our darling Ethel, The precious little woman, Although so very dear to us, Was most intensely human. She waded into mischief Like ducklets into water, And kept us ever on the watch With, "Daughter!" "Oh, my Daughter!" {251} She took the ribbon from her hair The kitten to bedeck, Then brought its tail between its legs And tied it tail and neck. She took her dolly to the pump And pinned it on the spout, And then with all her might and main She pumped the water out. "Oh, little Haynth tho' thelfith,' She cried, because her cousin {252} Besought one pillow, while she hugged Them all, a half a dozen. She found a bell that tinkled, And fastened it, for fun, 'Round kitty's neck then clapped her hands, And cried, run! Kitty, run! She fain would pick the eyes out, Of little baby-brother, "To find the pretty balls like those In fishes' eyes, and other." {253} And then she'd fold her little hands So quaintly and demurely, You'd think she must be quite a saint, Or not a sinner, surely. And thus her pranks from day to day And hour to hour repeated, Would bring the thought, "Tis all for naught, Our aims are all defeated." * * * * * Nay, nay, not so, the years roll by, And Ethel's baby-mischief Becomes the power that leads her kind, For by her force she is chief. * * * * * _THE SIX SISTERS._ ONE of us e'er lives in dates, One in every peach awaits; One in pine-apple is found, One in orange, bright and round, One in plum, so luscious sweet, And our last in strawberry--treat. {254} _THE LITTLE GIRLS' LETTER TO GOD._ Now Susy's such a naughty dirl, And I ain't any better, And so we thought we just would wite The dear dood Dod a letter. And tell him all about our bad, Betause he'd have to know, Or else he touldn't mate us dood, And so we told him how, {255} Once when I spit on Susy's dwess Then Susy spit on me; And when I bwote her dolly's arm She smashed my Twistmas-twee. Then when I pushed her off the wall, She spattered me with mud; When I pulled up her tolumbine, She snapped my wed wose-bud {256} I talled her "old dwanmother Dwill" And she tailed me "old maid,"-- And then we stwatched each others' eyes Down in the darden shade. And then my ma and Susy's ma Both said the only way Would be to teep us little dirls Apart in all our play. {257} And so the bid, brown date was shut, And that was such a bother,-- 'Tause Susy's yard was on one side And mine was on the other. But we tould peet thwough all the twats, And tiss us thwough the hole Where the bid, udly knot tame out, As bid as Susy's bowl, For I love Susy awful much, And Susy she loves me, And so we told the dear, dood Dod We'd twy dood dirls to be. So now when we just feel the bad A-tomin' in our heart, We both wun home and shut the date And teep ourselves apart. And in a minute all the dood Tomes bat,--and then our plays Seem nicer yet, and we fordet The naughty,--naughty--ways. {258} {259} _GRANDMA'S LESSONS._ "Tis guilt to wear the garb of sin, Though all be innocent within," These little girls heard grandma say, And wondered if 'twere half in play. But when they're wiser, older grown, And when the world to them is known, They'll learn to shun even seeming ill; They'll learn with grace their lives to fill, And thank dear grandma o'er and o'er, For this, and many lessons more. "'Tis guilt to wear the garb of sin, Though all be innocent within." "If you do well by others' ills, You'll do right well," she said, When we would come and tell about The naughtiness of Ned. "Now children, if you shun the bad You may in others find, And never let yourself be rude, Or naughty, or unkind, You'll learn to do by others' ills Right well," dear grandma said, "And in the way that's good and true, Your youthful feet shall tread." {260} _MY LITTLE FOUR-YEARS-OLD_ Telling Dolly what she will say to her birthday friends I'm four years old to-day, and I Can talk enough for ten birth-days, And I shan't rhyme it, neither;-- For little girls can't do it nice. No matter what they think, and so They needn't try, no, never. I'm glad you all are here, and now, With all our dollies in a row, I'm sure we'll have good times; And when we have our apples, grapes, And nuts and figs and patty-cakes, Who'll care for silly rhymes! {261} _HANDSOME DICK._ ELZIE'S kitty, white as snow, Loves his little mistress so, That he'll come at her command, Lift his paw to shake her hand, Bow his head and kneel to her, Rumpling all his milk-white fur; Many another pretty trick, Too, he's learned, our Elzie's Dick. {262} Well, the Church-Fair coming on, Elzie thought, "What can be done By a little girl like me, In the cause of charity?" Mam'a told her she would show Her some fancy work to do, Which a half-a-dozen dimes Sure would bring;--so, many times Elzie made her fingers fly Neat and nice to form the "tie." Now our Elzie, large and fine, Looks like twelve, though only nine-- And the "tie" when quite complete, Was so small, though choice and neat, That it could not be denied, Elzie was not satisfied. So she shook her curly head, As with curious smile she said: "If I were a _little_ girl, Like Nannette or Cousin Pearl, This wee 'tie' might then appear Just the thing,--but now, I fear, Looking at the 'tie' and me, We shall seem to disagree.-- {263} Now, Mamma, don't answer quick; Stop and think,--my snowy Dick At the Fair might win some pence, By his wise obedience; And his pretty winsome ways Being shown through all the days;-- And, dear Mamma, then I should Feel I'd done the best I could." Quickly Mamma took the thought, And a royal cage was brought; Cushion made of scarlet bright,-- For our Dicky, pure and white, Thus was wont to perch and sit,-- And a collar blue we fit To his neck, when loyal, true, He presents red, white, and blue. So the cage is placed within A sly corner, free from din, And with tickets five cents each, Elzie sought her end to reach. {264} "Handsome Dick! weight fifteen pounds"-- Whispers Elzie on her rounds; "What is 'Handsome Dick'?" they say; "Come and see, please,--step this way;" And once seen they're glad to tell Others of white Dick, as well;-- For the cat, as knowing now He must make his courtliest bow. {265} Did his best to help along Elzie's plan, the friends among. Upon his cushion he would stand, Or sit, as Elzie might command; Then down upon his blanket lie And be wrapped up like baby-bye; Would lap his milk, or dainty, sip, And shake his pretty under-lip, Thus showing teeth as white as pearl,-- Then round and round would quickly whirl, Till each one seeing, cheerful, said: "For that five cents I'm sure we're paid." Thus the three days passing by, Which the Fair must occupy-- Dollars ten--ah, yes! and more, Elzie holds within her store! Dues for cage and tickets met, And the _ten_ is Elzie's yet,-- Which unto the Fair she gave With an air so joyful-grave, That it seemed a spirit bright, Nestled in her heart so light;-- And a happier child than she, We may never hope to see. {266} _BESSIE'S KISSES._ Kisses, kisses, raining, raining, On her lips, her cheeks, her brow, Till she, wearied, "Daughter, darling, Mamma's had enough for now." "Ah! but Bessie has so many!"-- Naught the pretty prattler daunts; Mamma pleading, baby shouting, "Ah! but Bessie's more'n she wants." {267} _THE DINNER-POT._ The homeliest things are highest worth, The dinner-pot's a treasure Compared with diamonds, chains and rings, Which serve alone for pleasure;-- Enwreathe the dinner-pot with flame, And fill it with love's mixings, And it possesses charms beyond All gold or fancy fixings. And then, our bony frame-work, too, So stiff and hard and homely, Will serve when plumpness all is gone, And lost is all that's comely. Fling beauty, grace and sweetness round, Festoon your lives with flowers, But ne'er forget that plainest things Are life's most precious dowers. {268} _NANNY'S PLAY._ Our Nanny helped her mother In many a childish way,-- She picked up chips to feed the fire, And "played that it was play." She loved the hens and chickens And fed them day by day, And dubbed them each with quaintest name, And this was always play. She hunted through the big barn For hens' nests in the hay, And fetched the eggs right carefully, And this again was play. She donned her mother's dust-cap And danced about so gay, And planned how she would house-keep, And this was "truly play." {269} With basin full of water She scrubbed the door one day, And splashed about till mother dear Must work instead of play. {270} With brush and broom a-sweeping She fluttered like a fay; The broken cup soon told her 'Twas anything but play. {271} She romped around the hay-field And shook the new-mown hay, And with her baby-rake she gleaned The meadow for her play. She ran to pick the berries That ripened by the way, And with her basket full to brim This was the best of play. So many things, so many, Far more than I can say, Our Nanny in her childhood Has "played that it was play." {272} _NANNY'S LESSONS._ Our Nanny was but four years old When mother said, "My love, Your needle learn with skill to use, It will a blessing prove." So Nanny learned to "overhand," And "hem" so fine and neat, To "backstitch," "run," and many a join That she could scarce repeat. {273} She learned to "catch-stitch" and to "cross," To "patch" and "darn," as well, To "gather," "plait," "box-plait" and "side," To "feather-stitch" and "fell." She sewed the buttons fast, and "worked The buttonholes" so neat, That many an eld accomplishes With less success, the feat. "Be sure your thread is smooth and strong, A goodly knot or two, A double stitch for first, and then A fastening sure when through; "And thus your seams will never rip, Your sewing never wear,-- Like buttons loose and hooks awry,-- A slip-shod, shiftless air." All this and more her mother taught, And Nanny conned it o'er Till she was versed in all the arts That point the seamster's lore. {274} {275} Her ninth birthday, and mother said "You're old enough to care For all your clothing now, my child, Except the best you wear. "And here, within this little chest, And in this drawer wide, You'll keep them ranged so neat and nice, Whatever may betide. "A place for this, a place for that, Each garment grouped aright, That you may lay your little hand Upon it, day or night. "No garment must be laid within, Except it ready be, To don and wear, for thus you spare Us trouble, you and me." And Nanny, pleased with mother's trust, Accepted it with pride, And, in her heart, the lessons learned Forevermore abide. {276} _NANNY'S RIDE._ Our Nanny oft in fancy Soared up, the earth above, And sailed the great air-ocean With skylark or with dove. And in this fashion musing, One sunny summer's day, Half-watching mother mending And baby-brother play, Without a word of warning The old umbrella came, Opened upside down before her, And whispered soft her name. {277} "Come, Nanny you've been longing For a ride, and now's your time: Jump in,--be quick! And careful, too, For I'm o'erpast my prime." So, springing in, she sat there As happy as you please, And through the open window, Was borne upon the breeze. The sparrows eyed her keenly, The doves left off their cooing, And children, cause they couldn't go, Set up a grand boo-hoo-ing. She bobbed against a clothes-line, And all the wash went flying; {278} The good dame cried, "A witch! a witch! The saints forefend my drying." And next she got entangled In the telegraphic wires; And when she jerked away from them, She bumped against the spires. She hit the tallest chimneys, And set the smoke a-curling, Then knocked a flag-pole all awry, The stars and stripes a-whirling. Now, far beyond the city, With mountains in her face, An eagle pounced to catch her, But she quickly won the race. {279} Within a mountain cavelet, Two baby-bears so young, Smiled on her as she passed them, And greetings to her flung. She heard the thunder rolling. And saw the lightning's glare, From clouds away beneath her, While 'round her all was fair. {280} {281} She met a cherub driving A brace of butterflies, While dancing on a gorgeous one, Away in wonder-skies. She saw an angel lighting The stars up one by one, As he balanced on a cloudlet That was left behind the sun. She heard angelic music, Far up, the blue along, And knew 'twas Mary crooning o'er Her first sweet cradle-song. {282} She saw such wondrous pictures, So beautiful and grand, Such skyscapes and such cloudscapes, Such waterscapes and land. But now the fluttering insects All round her plainly told That she was nearing Mother Earth Far o'er the daisy-wold; And startled at the distance From home, the baby screaming And mother still a-mending there, Told Nanny she'd been dreaming. {283} _THE RACE._ A hop, a skip, and a gambol, A run, a tumble, a scramble, An up-and-a-going, A laughing-and-crowing, A weal-and-a-woe-ing,-- Yes, a race for a ball Or a toy we may call, This race that is human,-- For child, man, or woman, Tis one and the same, A mysterious game That is played by us all, And we each get a fall; And so many it may be That forever a baby We feel in the race For a name and a place. {284} _OUR KENNETH._ Written for our pet, as indicative of what he _should be_ but _is not_. Know ye our little black-eyed boy? His name is Kenney Stone; Now listen, for he always speaks In such a gentle tone. He never says "I will!" "I wi'n't!" He's never rough nor rude, But always bows with, "Thank you; please;" And tries to be so good. Our Kenneth never kicks nor strikes, Nor makes an ugly face; He never slides down banisters, Nor puts things out of place. He never says a naughty word, Nor tells a big, big story! O, no, nor even a little one, To make us all so sorry. {285} {286} Our Kenneth is a gentleman, He will not scratch nor bite; He never speaks to any child, A word that is not right. Our Kenneth never slams the doors Nor stamps along the halls; He goes away when he is told, And comes when mamma calls. Our Kenneth, everybody loves, Because he's so polite, Our darling little black-eyed boy, Our Kenney Stone so bright. {287} _TO MY TEN-YEARS-OLD._ On thy cheek the roses lie; Lilies, on thy forehead fair; Violets blue, in each bright eye, Sunbeams, in thy golden hair. Pearls, within thy coral lips, Ears and nostrils, crystal-clear, Dainty, sea-shell finger tips, Form, a sylph might love to wear. Yet no beauty, thou, my child, Save as filled with inward grace; Save a spirit, undefiled, Warm thy heart and wreathe thy face. {288} _DARE TO SAY NO._ Dear children, you are sometimes led To sorrow, sin, and woe, {289} Because you have not courage quite, And dare not answer, No. When playmates tell you this, or that Is "very nice to do," See first what mamma says, or if You think 'tis wrong, say No. Be always gentle, but be firm. And wheresoe'er you go, If you are asked to do what's wrong, Don't fear to answer, No. False friends may laugh and sneer at you. Temptations round you flow, But prove yourself both brave and true, And firmly tell them, No. Sometimes a thing that's not a sin, You might be asked to do,-- But when you think it is not best, Don't yield, but answer, No. True friends will honor you the more, Ah, yes, and false ones too, When they have learned you're not afraid To stand and answer, No. {290} And when temptations rise within, And plead to "come," or "go," And do a wrong for "_just this once_" Be sure you answer, No. For when you once have done a Wrong, The Right receives a blow,-- And Wrong will triumph easier now, So haste and answer, No. There's many a little boy and girl, And man and woman too, Have gone to ruin and to death For want of saying, No! So, young or old, or great or small, Don't fail, whate'er you do, To stand for Right and nobly dare To speak an honest No. {291} _ASK MOTHER._ Yes, my darling, when you question, I will answer, simple, plain, Just the Truth;--and when playmate Tells you anything again, Come to Mother, she will tell you, Yes, and tell you always true, For she knows what's low and sinful, And what's right and wrong for you. _TELL MOTHER._ 'Tis wrong, my dear, to do a thing That mother must not know; And when your playmates, old or young, Shall tell you thus to do, Leave them at once, and quickly come To your dear Mother's side, And tell her,--for she'll know what's wrong, And she will be your guide. {292} _DON'T TELL A LIE._ Don't tell a lie, dear children, No matter what you do,-- {292} Own up and be a hero, Right honest, brave, and true. You'd better have a whipping Each day than tell a lie,-- No, not a "white one," even, They lead to blackest dye. The rod but hurts your body, While lies deform your soul;-- Don't mind the present smarting, Keep the spirit pure and whole. But I am sure that mamma And papa, too, will try To help you children tell the Truth, Nor drive you to a lie. They will not punish harshly, Nor when they're angry, quite; Nor promise, and then fail to do,-- But always lead you right. {294} _LITTLE MOSES._ In the Talmud you will find it,-- In the quaint and curious lore Of the ancient priests, or Rabbins, Whom the people bowed before; Find the story of an infant Sitting on the kingly knee; "Little Moses," Pharaoh calls him,-- Crowing loud in baby glee. {295} And the banqueters were cheering, When the infant with a spring, Reached and caught the crown that rested Upon Pharaoh's head, as king. Caught the crown, and quickly placed it On his own unwitting head; But the king and all his princes, In the deed a meaning read. Then spake Balaam, the magician, "Not because the child is young, Hath he done this thing unknowing;-- He hath mocked thee, he hath flung "In thy face thy kindly dealings; Such hath ever been the way Of his people; a usurper-- Let his blood be spilled this day." But the winsome baby-fingers Toying with the kingly beard, Won the edict: "Call the judges; Let their counselings be heard." {296} So the judges and the wise men Came with Jethro, Midian's priest, Who, with wish to save young Moses, Thus his majesty addressed: "If it to the king be pleasing, Fetch two plates, and we will hold Them before the babe, a-brimming, One with fire, and one with gold. "If the child shall grasp the golden, He hath done this knowingly; He will trample on thy statutes; For thine honor he must die. "But if he shall grasp the other, Know, O King, he knoweth nought Of a royal crown or scepter,-- And his life with fire is bought." These wise words, the king approving, Plate of fire and plate of gold, Courtiers brought, and screams of anguish, Soon the childish choosing told. {297} For he, baby-like, had thrust it In his mouth; and though he flung Quick the coal, he ever after Spake with slow and stammering tongue. [Footnote: Exodus IV:10] * * * * * Charming 'tis to see Children who agree; Chaste, and choice, and cheery, Chiming in so merry, Childlike, ever; Churlish, never. Championing the good; Challenging the rude; Chary as the dove; Chief in Jesus' love. {298} _THE CHILDREN'S RAILROAD._ Old Time has built a Railroad, On which you children speed To a land of light and plenty, Or a land of darksome need; And soon you'll come to a meadow, Where two tracks mark the way, But they'll run close up alongside For many and many a day. And one is strewn with roses, While one looks bleak and bare, With now and then a berry-bush, And a violet here and there;-- {299} On one you'll find companions Who but for pleasure seek, While friends along the other, Will words of wisdom speak. Be careful in your choosing, For if you take the _Right_, You will travel in the shadow Of the Rock that shields at night; 'T will lead through greenest pastures Where softest brooklets flow, And land you at a Station That is full of cheer and glow. {300} On the other track, the roses Are backed by sharpest thorns; While berries always nourish, And the violet but adorns;-- You will stumble into sluices, And what is worse than all, Your self-respect and conscience Grow weak with every fall. Yes, if you choose the other That looks so bright and gay, You'll find the bridges broken, And the road-bed washed away; And when you near the Station, You'll switch to a fearful leap, That will hurl you into darkness, And bury you in the deep. But those who choose the Right one Grow manly, womanly, true; God's love-light shines upon them, And falls as heavenly dew;-- They grieve at your wild folly, And will gladly help you back, If at any curve or turning You seek the trusty track. {301} But ah! the scars you're wearing, From thorns that pierced you sore,-- {302} And the ditches in which you've fallen, That were strewn with roses o'er;-- And the joys you've lost, unnumbered, That spring from good deeds done; And the fruits you've missed, unmeasured, That by others have been won. Though friends may be indulgent, And loved ones even forget, Yourself can never banish The memories that beset. You will wish you had never traveled The way that leads to death; You will wish you had never reveled In the viper's venomed breath. So beware which track you follow; And again I say, beware! The _False_ is strewn with roses,-- The _True_ looks bleak and bare; But this, 't is plain, is only That youthful, artless eyes Are open to show and glamour, But see not deep nor wise, {303} To Truth then, children, listen, And cultivate the seed That in your hearts God planted, To serve your every need;-- Yes, heed the voice within you, And follow it all the way, For it will help you choose the road That leads to endless day. {304} _THE PHOEBE'S NEST IN THE OLD WELL-WHEEL._ "Phoe-be, phoe-be," why, 'tis a little bird, "Phoe-be, phoe-be," singing the pretty word; "Phoe-be, phoe-be," brown feathers cover him, Gray breast, with blackish stripes scattered all over him. "Phoe-be, phoe-be," here comes his little mate, "Phoe-be, phoe-be," both on the garden gate, "Phoe-be, phoe-be," loving now they trill, Planning to build a nest in the old well-wheel. "Phoe-be, phoe-be," now the nest is begun; "Phoe-be, phoe-be," now it is nearly done; "Phoe-be, phoe-be," how will the birdies feel, When the egg is dropped down, with turn of the wheel. "Phoe-be, phoe-be," children are sorry now, "Phoe-be, phoe-be," birds are all a-worry now, "Phoe-be, phoe-be," laying eggs day by day, While the turn of the wheel ever drops them away. {305} "Phoe-be, phoe-be," never the lesson learned, "Phoe-be, phoe-be," year by year they returned, "Phoe-be, phoe-be," building persistently, Where the turn of the wheel dropped the eggs all away. Phoe-be, phoe-be, yet not in vain you wrought, Phoe-be, phoe-be, for, by your folly taught, Phoe-be, phoe-be, children plan so to build, That no eggs may be lost by the turn of life's wheel. {306} _MABEL'S SNOW-FEATHERS._ Listen, children, while I tell you What our merry Mabel said When she saw the feathery snow-flakes Tumbling down about her head. Clapping hands and dancing gaily, "Mamma, mamma, come and see! Come and see the feathers, mamma, Soft and white as they can be!" {307} Standing then a moment, pondering As it were, whence came the snow, Little face so wise and thoughtful, Mabel cried: "Oh, now I know, "There are lots of eider ducklets Up in Heaven, above the blue, And they're dropping off their feathers,-- And such downy feathers, too! "See them frolic with each other; See them kiss as fast they fly; See them make believe they are going to, Then go gaily flitting by. "See them on the Spruce and Balsam, Pile up little soft, fat hands; See their many plump, white cushions; See them wave their fairy wands. "See the showers of flying feathers Whisking 'round in merry moods; See, the telegraph their perch is,-- Oh, I'm sure they're almost birds!" {308} Now she fancies she can hear them Whisper of their ducklet birth;-- Hear their soft and wean-y quacklings, As they tumble down to earth. Now she listens for the jingle Of the sleigh-bells they will bring; Now she sees the flying horses, Prancing gaily at their ring. Lovely are these fleecy feathers, Dainty in each rare device; All unlike our ducklet feathers,-- White and soft, but cold as ice. {309} Yet they cover, warmly cover Mother Earth so bleak and brown; Cover her with feathery mantles, Comforters of eider-down. {310} _FOREST TREES._ Children, have you seen the budding Of the trees in valleys low? Have you watched it creeping, creeping Up the mountain, soft and slow? Weaving there a plush-like mantle, Brownish, grayish, red-dish green, Changing, changing, daily, hourly, Till it smiles in emerald sheen? Have you watched the shades so varied, From the graceful, little white birch, Faint and tender, to the balsam's Evergreen, so dark and rich? Have you seen the quaint mosaics Gracing all the mountain-sides, Where they, mingling, intertwining, Sway like softest mid-air tides? {311} Have you seen the autumn frostings Spread on all the leafage bright, Frostings of the rarest colors, Red and yellow, dark and light? Have you seen the glory painted On the mountain, valley, hill, When the landscape all illumined, Blazons forth His taste and skill? Have you seen the foliage dropping, Tender cling, as loth to leave Mother-trees that taught them deftly, All their warp and woof to weave? Have you seen the leafless branches Tossing wildly 'gainst the blue? Have you seen the soft gray beauty Of their wintry garments' hue? Have you thought the resurrection Seen in Nature year by year, Is a symbol of our rising In a higher, holier sphere? Children, ye are buds maturing; Make your autumn rich and grand, That your winter be a passage Through the gates to Glory-land. {312} _CHILDHOOD FANCIES._ The twilight gray is falling, Now list and you shall hear The footsteps of the sylphid fays,-- This is their hour of cheer. List to the gentle patter On each wee blade of grass, As it is bent, and back again, Whene'er the fairies pass. {313} Upon the tips of grasses They cross the meadows, lawn, And laugh and dance and play and sing, From twilight hour till dawn. They light their myriad lanterns, And hang them in the arch Of blue that canopies o'erhead, And by their light they march. They sometimes miss a fairy, And take a lantern down To search for her, and mortals say; "A fire-fly flits around." On leaves they hang their diamonds, Their pearls in every flower; Their gauzy veils upon the grass, They spread for fairy bower. Their slender wings are hanging On every shrub, across; Their seats are dainty cushion-beds Of green and springy moss. {314} Their shrubbery of coral Is gray and scarlet-tipped; Their hair upon the maize is hung Each Summer, when 'tis clipped. The mushroom forms their table, Their dishes, acorn cups; The ant-hills are their barracks high; Their cannon, "hemlock pops." Their scarfs of plush are lying On ripening grape and peach; Their sea-shells 'neath the apple trees, Each Spring bestrew their beach. They paint the leaves in Autumn; They make a tiny rink Of every puddle, fen, and dike, And skate from nave to brink. They brown the nuts in forests, The burrs they open wide; They lure the feathers from the clouds. And pile them up, to slide. {315} They build along the way-side Their fairy palisades,-- The "hoar-frost" some have christened it,-- And hold West Point parades. They sketch upon the windows Such pictures as no power Of man can ever execute, And on them pearl-dust shower. {316} All these and myriad fancies That never can be told, My childhood days so new and sweet, In memory infold. But mother softly whispers, "Tis not the Fays, my dears, Tis old Dame Nature's song of songs, The 'Music of the Spheres.' "List ever for it, children, Twill bring you close to God; Each sound but echoes Him who made, Each motion is His nod." * * * * * "Waste not, want not," be your motto,-- Little things bring weal or woe; Save the odds and ends, my children, Some one wants them, if not you. {317} _LIZZIE AND THE ANGELS._ Little Lizzie, thoughtful, earnest, Springing up at break of day, Thinks she heard the angels whisper Softly, as she knelt to pray. {318} "Yes, they whispered to me, mamma, And they told me lots of things,-- And they said, 'O Lizzie, Lizzie, 'Tis your temper trouble brings!' "Then they said: You, child, can never Be a woman good and true, If you let your fiery temper And your own will govern you; And they told me 'even Jesus Said, 'Thy will, not mine, be done,' And that if I grew up wilful, All my life I can but mourn. And they told me, too, dear mamma, That if I were called to die, I could not be glad in heaven, For no heaven in me would lie. Now, what shall I do, dear mamma, That I may be good and true? How shall I my temper govern, And my wicked will subdue?" "Lizzie, darling, if you listen, You will hear a voice within, {319} That will tell you every moment, What is Right, and what is Sin. But you must not disobey it, Or it will grow faint and weak; You must watch to catch its whispers, Hurry when you hear it speak. {320} "For if you should linger waiting, There's another voice will say: Never mind, nobody'll know it, Even though you disobey.' And this other voice, this Tempter, Sure will lead you to the wrong, While the voice of the good angel Fills your life with cheer and song. "In your play and in your working, You the Golden Rule must heed; Do by others as you'd have them Do by you, if in their stead. Better far to_ bear_ and _suffer_ Than to _do_ a wrong, my child; Better give up every pleasure, Than to be by sin beguiled. "In your eating, in your drinking, In your clothing, in your talk, You can glorify the Father, Or in wickedness can walk. For your little body, Lizzie, God has said, 'Keep holy, pure,' {321} Tis His 'temple' He has lent you, Keep its every gate secure, "What you eat and drink makes muscles, Bones and nerves, and brain, and thought; And by food and drink improper, Fearful evils may be wrought. Much of meat and spice and candies, Makes your blood impure, and then All your body's in a jangle, And your temper's wild again. "And your clothes if tight or heavy, Help to make your blood impure; Help to make you weak and wicked, Into evil ways to lure. Foul air, too, your blood will poison Sitting up too late at night; All these things will make it harder For you, child, to do the right. "Bad companions also lead you To the wrong, and tempt you sore To defy the voice within you Till it, grieved, will speak no more,-- {322} Do not hesitate to tell them You cannot their ways approve. Do not yield to their enticements; Tell them 'No!' with firmness, love. "Do not ever let a single Word unkind, nor coarse, impure, Pass your lips; for these will lead you Toward the bad, you may be sure. Do not let a playmate tell you Anything that must be kept As a secret from your mother;-- Something's wrong, so don't accept. "Always tell a thing precisely As it is; don't try to make It more fine and entertaining; Tell the truth for Truth's dear sake. Never lay a finger, darling, On what is not quite your own, Lest temptation overtake you, And your honesty be gone. "In the silence of your chamber, When no human being's nigh, {323} Don't forget that God is with you, Watching with all seeing-eye; Don't forget that He will know it If you do a thing that's wrong; Keep yourself so pure and perfect, That your life shall be His song. "Now, dear child, the blessed Jesus Always, when you wish it, hears, Giving help to those who ask it, Lightening woes, and lessening fears. Follow always His example; Take His precepts for your guide; Learn to trust Him, for He's walking Ever loving at your side." {324} _CHILD-MEMORIES._ Was ever so sweet the clover, Was ever so clear the brook, As my child-days, over and over, Found fresh in the dear home-nook? {325} Was ever such grace of motion, Or ever such trills of song. As the birds in mid-air ocean, Poured childhood's plays among? Were ever so bright the noondays, Were ever the skies so blue, Or so soft the slanting moon-rays, As stole my childhood through? Was ever so dear a mother, Or a child so sweet, I pray, As my blue-eyed baby-brother, In the time so far away? Was ever so true boy-lover,-- O, ever such pictures bright, As my child-days, over and over, Reflect by memory's light! {326} _NELLY AND NED._ "I'M twelve years old to-day," says Ned, "And wish I were twelve more, sir,-- And Nelly Warner's almost twelve, So we'd be twenty-four, sir." "'And what of that!' Why, Nelly 'n' I Have always played together; And then I draw her on my sled, To school in stormy weather. "And all the goodies that we get, We share them half and half, sir; And O, we have such lots of fun, I'm sure 'twould make you laugh, sir! "Now Nelly lives in Cottage Square, While I live 'round the corner, And all the boys would laugh and shout, 'Ned Jarrett loves Nell Warner.' {327} {328} "I didn't care for this, you know, But O, I couldn't bear it When they began to laugh at her, And say, 'Nell loves Ned Jarrett!' "And so I thought I'd have to fight,-- And though I was the smallest Of all the party, I's so mad I'd easy beat the tallest. "But Nelly coaxed and comforted, And said, 'Why would I do it, When they had only told the truth, And everybody knew it!'" {329} _THE CLAMBERERS._ All you babies Perched in air, Careful how you Caper there! Careful lest the Little feet Or the little Hands so sweet, Lose their hold And babies fall,-- Careful, careful, Babies all. {330} _THE NEW WHITE JATTET._ I never seen such naughty dirls As Susy Jones and Ellen; They laughed, O desht as hard's they tould When I twipped up and fell in The old toal-hole. And see, mamma, I tore my new white jattet; And when I twied, they laughed and laughed, And said, "O, what a wattet!" The bid dirls talled them most untind, And said they surely knew it, The teaching of the Dolden Wule, And then how tould they do it! I duess they'd twy if they was me, I duess they'd mate a wattet, If they should fall in a toal-hole, And tear their new white jattet. {331} _REMEMBER THE POOR._ "SWEET, my darling, come and see What mamma has brought for thee; Garments soft and ribbons bright, Hat and coat, a pretty sight; Sweet, my child, what shall we do With the old, now you've the new?" "Why, mamma, this frock and frill, These are good and pretty still. But as they are quite too small, Give them, please, to Lillie Ball In the cottage by the hill, She'll be glad, I know she will; For mamma, they're very poor, And 'tis cold to cross the moor In their tattered garments few; Mamma, may I give the new?" "No, my child, and yet you may Sometimes give new things away. Keep your pennies, and they'll be Dollars, by and by, two, three; Thus you now and then may have Something new and fresh to give." {332} _THE LITTLE STREET-SWEEPER._ Look at that little girl sweeping the crossing; See how the mud her bare legs is embossing! And her feet are so slippered with mud, that it seems As though from the ground she grew up 'mongst the teams; And why she's not run over surely's a wonder, Standing there sweeping, the horses' feet under. See her close curls and her bright, beaming eye; Though fearless, the glance, you perceive, is half shy, {333} As so lightly she swings her wet broom, and so true,-- Let us cross, and we'll give her a penny or two. But wait, now a passer-by hands her a penny; Just see her bright glance twinkle over to Benny, The little hunchback sitting there on the curb-stone, Close up to the lamp-post, that he may disturb none. His crutches beside him a sorry tale tell; But see, he's a basket of knick-nacks to sell; And a lady has bought for her child a toy whip, And now from her port-monaie gives him the scrip, But refuses the change,--and with tears in his eyes, He thanks her and blesses, with grateful surprise;-- And the glance the boy now flashes over to Jenny, Is as bright as she gave him when she got the penny. O, I've seen them so many times! always together, Always happy and cheery, in bright or dull weather; For though he makes the most when it's fair, as they show me, Yet she does the best when it's muddy and stormy. Watch, now, her quick smile of such pleased recognition:-- To win it I oft come this way on my mission. But see, she draws back as I offer the penny, {334} And modestly says, "Madam, please keep the money, For you know 'tis a pleasure to me to be sweeping The path for you, lady;" and, all the time keeping Her broom just before us to brush the least speck, The sweet smiles in her eyes her whole being bedeck. So I keep it, for she has as good claim as I To the right to do favors and none will deny That "It is more blessed to give than receive," And her sweep is far more than my pennies to give. But we'll stop and see Benny, and make it up there, For in all that each gets they will both have a share. A nice little bib for my baby at home,-- A patent tape-measure, a mother-pearl comb; And Benny's pale face lightens up with a glow Such as angels rejoice in;--now, Maud, we must go. But to Benny: "I'm thinking to-night I may come And bring my friend with me, to see your new home." "O, if you will!" says the child with delight Rippling over his face like a sunbeam--and quite As joyously, Jenny: "O, madam, please do, For we've something at home that we want to show you!" So when 'tis near night-fall we take the short car {335} That off through West Fourth Street goes winding afar, And away to the Hudson, almost, we shall find A lone-seeming tenement cuddled behind Huge heaps of fresh lumber so piney and sweet, While everything round there is charmingly neat.-- Yes, the children are home and as gay as a lark, While the good mother greets us with pleasure;--but hark! A baby-cry comes from the bedroom beyond, And Jenny brings forth a sweet, sunny-haired blonde, Saying: "This is the something we wanted to show you, This two-years-old baby-girl--why, does she know you? She holds out her hands to go to you so soon!" "Ah! she feels we are friendly;--hear now her soft croon. But how came she here, child?" "We found her just over The lumber-yard fence, with a board for a cover, Wrapped up in a blanket marked Bertha." "But why Do you not to the charity mission apply?" "O, we want her ourselves! And the good Lord, through you, {336} Has given us this home, so what else should we do, Than to keep what He sends? And we're sure He sent Berty, In place of our baby that died, little Myrtie!" And here these poor people, so poor they were starving When I found them a few months ago, were now halving Their food and their home with this waif and with Benny-- For he was an orphan child left by his granny, Who died in an attic just over their room, In the tumble-down house they before-time called home; Though they've four of their own, and the eldest is Jenny, The little street-sweep who would not take the penny, Yet they say, "Benny seems quite as much to belong here, And be one of our children, as if he were born here." O, how many rich homes where no child is given, Might be made, for poor orphans, an opening to Heaven! {337} And how many, poorer, might seem to be rich, With a benny or Bertha to fill up the niche That is left 'neath the hundreds of home-roofs all over. Which the Lord has designed some poor orphan shall cover; For He makes His home where His children are moored,-- And brings in His wealth where they live by His word; And the meal and the oil there shall never be spent;-- What we give to the poor, to the Lord we have lent. A baby to feed, is a baby to love, A child in the house, "a well-spring" from above,-- And never forsaken, and ne'er begging bread, Shall be those who take care that His lambs are well fed. {338} _THE HERE, THERE AND EVERYWHERE FAMILY._ Z I am always in a buzz, Though I'm never in a fret, But I'm ever with a zealot in his zeal; I am in the zephyr-breath, Yet with zest have often met The zero mark that brings the ice-man weal. Y I've to do with the yoke, but not with the ox; I help every priest in his prayer; I am new every year, and in four months appear, While I yield to the yeoman a share. X I live in a Lexicon, I mark half a score; I ride with a Mexican, In Texas, for lore, {339} W I am in every wing, yet I'm not in a dove; I wait in the swing to be tossed up above. I live in the woods, and I perch on the wall; I am in the wild waves, though I sail in a yawl. V I am mingled with your victuals, yet 'm never in your mouth; I always lead the van and must forever stem the wave; I grow in every gravel bed, East, West, or North, or South, And although I'm with the living, you will find me in the grave. U I live in the urn, but not in the vase, I always can run, but I never can race. I tumble and jump, but I can't hop nor skip; I hide in your mouth, but I ne'er touch your lip. T I'm doubled up in a patty-pan, Yet I never saw a pie; I hide in the boy's first pair of boots, Nor pass his mittens by. {340} S I am always in sadness, yet never know grief; Then, too, I'm in gladness, which gives me relief. I know not the ocean, but swim in the sea, And the stars and the sunshine were not, but for me. R I live at both ends of a river, My home is the center of art; I am found in both arrows and quiver Yet I quietly rest in your heart. Q I lead the queen, yet never walk Without you (u) at my heels; I laugh at every question queer, And joy in piggy's squeals. P I perch on every pepper-pod, I peer in every place; I prance with every palfrey gay, Yet never run nor race. {341} O Listen, children, and you'll hear me in the cooing of the dove; In the lowing of the kine and the crowing of the cocks; I am in your joy and sorrow, and I come to you in love, And you will find me safely hidden in the middle of your box. N I live in the moon, yet I visit the sun, I've twice blest the noon, and I've twice kissed the nun; I was in the beginning, yes, double and treble, And wherever's an end I am always in the middle. M I, too, live in the moon, yet I ne'er saw the sun; I ne'er blessed the noon, and I ne'er kissed a nun. I'm one of the many, and in at each mess, Though I've never a penny, I'm not in distress. L I sing in every lullaby, I'm out in every squall; I ring in every shilling piece, And roll in every ball. {342} K I am baked in a cake, but I never see bread, I can fork hay, and rake, but I can't lie in bed; I can like, but not love; though no doe, I'm with the buck; I'm in kite, but not in dove; and I'm always in luck. J I'm in a baby-jumper, and with joy I laugh and sing, But I quickly find myself shut up in jail, Where I pass my time in jokes, or perhaps in conjuring, Till I lead the Judge, who says I'm "out on bail." I I live in an Inn, yet I never taste beer, I never smoke, chew, or use snuff; I am seen in high life, yet I'm true to my wife, And now I have told you enough. H At the door of a hut I must stand, it is true, Yet of the king's household I'm one; I revel in heather all wet with the dew, And yet I am never in fun. {343} G I grow in grace, yet gayety Would have no place except for me; I greet the gardener with a grin, E'en though I lie the grave within. I'm with the King, yet shun the Queen; I walk in grey, ah! yes in green; I gleam in gold, yet live in gloom, And at a wedding kiss the groom. F I am in the farmer's field, I am fresh in all his fruits; I'm in all his forests wide, But I'm not in his pursuits. E Twice told, I'm in Eternity, And yet I live in time; I eat and sleep in every place, Yet soar in the sublime. D I darken your doors and your windows, And if you are deaf, dumb, or blind, You may know I am always quite ready, Your duds or your dainties to find. {344} C Though I live in the ocean so blue, Yet I never am seen in the sea; I can cast a sheet-anchor, 't is true, And captains depend upon me. B I grow in the bean, And to beauty I lean, And when buttercups bloom I am there; I bend the boy's bow, And the bugle I blow, Till I wake the Kamtchatcadale bear. A I lead out the ape, and I'm seen in the glass; I hide in the grape, and I'm found in the grass. I was there in the garden when Adam was made, Not to help them to sin, though I stood in their shade. You can not have an apple, an orange, a pear, But in each and in all, I must have my full share. You can not eat nor speak, nay, nor hear, without me; That I'm chief among my fellows, you all must agree. {345} _QUIRKS._ A little word of letters five That means bound fast together; Transpose but two, and you will find A scattering yon and hither. UNITE--UNTIE. * * * * * And now a word of letters four Five perfect words will make, If you transpose and rightly place 'Tis true and no mistake. LEVI--LIVE--VILE--EVIL--VEIL. * * * * * Now five are found, With spring and bound A twist or turn to take, And ere we know, All in a row, Five other words they make. The times are bad, The items sad, The mites must meet their fate; To smite the rock Emits a shock That hurls us from the gate. TIMES--ITEMS--MITES--SMITE--EMITS. {346} _SOMEBODY'S BOY._ List to the ring of the midnight song! 'Tis somebody's boy; The winds give to every wild echo a tongue. Yes, somebody's boy; The witch of the revel has waved her wand Over somebody's boy; And the spirit of evil has clasped the hand Of somebody's boy. Comes now a yell on the midnight air From somebody's boy; Reckless, defiant, and devil-may-care, Is somebody's boy. Foul is the bed, madly dark the dank cell, Where somebody's boy Is writhing in torture, the veriest hell, Yet, somebody's boy. Waiting and watching, a mother's eyes weep For somebody's boy; The vigil, dear Father, O help her to keep! For somebody's boy. {347} Throw round him, and over, thy Spirit to save,-- This somebody's boy, Ere fiends for his lost soul shall hollow the grave Of somebody's boy. Fill with thy Spirit, too, our hearts we pray, That somebody's boy We may watch for, and snatch from the death-trodden way, Yes, somebody's boy. {348} _THE LADDIE-AND-LASSIE BIRDS._ Come sit with me in the green-wood bower, While I sing you a song of love;-- 'Tis the song of the birds In the deep, wild woods, 'Tis the song of the sweet ring-dove. The laddie-bird says, "I have come to woo;" And the lassie-bird, "Ah! coo, coo, coo, coo." {349} The laddie-bird says, "With a hope to win,"-- And the lassie-bird, "Coo, coo, that is no sin." The laddie-bird says, "Together we'll dwell," And the lassie-bird says, "In the Linden dell." The laddie-bird says, "And build our nest," And the lassie-bird says, "In the tree to the West." The laddie-bird says, "And raise our brood," And the lassie-bird says, "In the sweet solitude." The laddie-bird says, "Till they're fit to fly," And the lassie-bird, "Yes, to the blue, blue sky." The laddie-bird says, "Let us hie away;"-- And the lassie-bird, "Yes, and begin to-day. The laddie-bird says, "I will take this moss,"-- And the lassie-bird says, "And I, this floss." {350} The laddie-bird says, "And we'll love so true;" And the lassie-bird, "Ah, yes, coo, coo, coo." 'Tis the old-new song that the birds have sung, Aye, the birds of every race, Since the world was planned, And came forth from the hand Of the Maker, aglow with grace. 'Tis the song they will sing till time is o'er,-- 'Tis the stream that from Paradise gushed; {351} And the music that flows When the love-light glows, Will never, no, never be hushed. {352} Time Eternity. US [Footnote: "The great watchful I is over US through TIME and ETERNITY.] 
4027	----	LITTLE SONGS BY MRS. FOLLEN Illustrated with above fifty pictures. PREFACE TO THE FIRST AMERICAN EDITION. It has been my object, in writing the following Little Songs for Little Boys and Girls, to endeavor to catch something of that good-humored pleasantry, that musical nonsense, which makes Mother Goose so attractive to children of all ages. The little folks must decide whether the book is entertaining. To them I present my little volume, with the earnest hope that it will receive their approbation. If children love to lisp my rhymes, while parents find no fault in them, I ask no higher praise. CAMBRIDGE, 1832. PREFACE. In the present edition of the "Nursery Songs," which has been carefully revised, the original name given by its parent and best friends is restored. Two captivating little songs, by some unknown hand, appended to the English edition, are retained; and two or three from the first American edition, omitted in the English, are restored. I will hope that the little folks will welcome the little book in its new dress, and make much of it; for it was at first made, and is now adorned with pictures, on purpose to please them. ELIZA LEE FOLLEN. BROOKLINE, MARCH 22, 1856. CONTENTS. TITLE. TUNE. ANNIE'S GARDEN, . . . . . . . . . . Malbrooke, THE NEW MOON, LULLABY, . . . . . . . . . . . . . Vesper Hymn, STOP! STOP! PRETTY WATER, . . . . . Buy a Broom, MY LITTLE DOLL ROSE, BUTTERFLIES ARE PRETTY, . . . . . . The White Cockade, OLD NURSEY, . . . . . . . . . . . . Kitty Clover, THE SUN IS UP, . . . . . . . . . . Bonny Boat, WALTER AND HIS DOG, IT IS A PLEASANT DAY, . . . . . . . The Schoolmaster, THE GOOD MOOLLY COW, NOTHING BUT BA-A, JAMES AND HIS MOTHER, MASTER JOHNNY RIDING, O, LOOK AT THE MOON, . . . . . . . Buy a Broom, SONG FOR A COMPANY OF CHILDREN, THE DOG AND CAT, THE DUCK AND RAT, TRUSTY LEARNING ABC, DO YOU GUESS IT IS I? FIDDLEDEDEE, THE STARS AND THE BABIES, KITTY IN THE BASKET, THE FARM YARD, FROLIC IN THE SNOW, SWING SWONG, WORK AND PLAY, LITTLE MARY, IT CAN'T BE SO, WHEN EVENING IS COME, RINGELY RINGELY, CHARLIE BOY, THE BABY'S BIRTHDAY, THE POOR MAN, DING DONG! DING DONG! THE LITTLE BOY'S MAY DAY SONG, THE LITTLE BOY'S GOOD NIGHT, THE THREE LITTLE KITTENS. (A Cat's Tale.) COCKS AND HENS, LITTLE SONGS ANNIE'S GARDEN. In little Annie's garden Grew all sorts of posies; There were pinks, and mignonette, And tulips, and roses. Sweet peas, and morning glories, A bed of violets blue, And marigolds, and asters, In Annie's garden grew. There the bees went for honey, And the humming-birds too; And there the pretty butterflies And the lady-birds flew. And there among her flowers, Every bright and pleasant day, In her own pretty garden Little Annie went to play. THE NEW MOON. Dear mother, how pretty The moon looks to-night! She was never so cunning before; Her two little horns Are so sharp and so bright, I hope she'll not grow any more. If I were up there With you and my friends, I'd rock in it nicely you see; I'd sit in the middle And hold by both ends; O, what a bright cradle 'twould be! I would call to the stars To keep out of the way, Lest we should rock over their toes, And there I would rock Till the dawn of the day, And see where the pretty moon goes. And there we would stay In the beautiful skies, And through the bright clouds we would roam; We would see the sun set, And see the sun rise, And on the next rainbow come home. LULLABY. Sleep, my baby, sleep, my boy; Rest your little weary head; 'Tis your mother rocks her baby In his little cradle bed. Lullaby, sweet lullaby! All the little birds are sleeping, Every one has gone to rest, And my precious one is resting In his pretty cradle nest. Lullaby, sweet lullaby! Sleep, O, sleep, my darling boy; Wake to-morrow fresh and strong; 'Tis your mother sits beside you, Singing you a cradle song. Lullaby, sweet lullaby! STOP! STOP! PRETTY WATER I. "Stop! stop! pretty water," Said Mary one day, To a frolicsome brook That was running away. II. "You run on so fast! I wish you would stay; My boat and my flowers You will carry away." III. "But I will run after; Mother says that I may; For I would know where You are running away." IV. So Mary ran on; But I have heard say That she never could find Where the brook ran away. MY LITTLE DOLL ROSE. I have a little doll; I take care of her clothes; She has soft flaxen hair; And her name it is Rose. She has pretty blue eyes, And a very small nose, And a cunning little mouth; My dear little Rose. I have a little sofa Where my doll may repose, Or sit up like a lady; My knowing little Rose. My doll can move her arms, And stand upon her toes; Or make a pretty curtesy, My funny little Rose. "How old is your dolly?" Very young I suppose, For she cannot go alone, My precious little Rose. Indeed I cannot tell, In poetry or prose, How beautiful she is, My darling little Rose. BUTTERFLIES ARE PRETTY THINGS. "Butterflies are pretty things, Prettier than you or I; See the colors on his wings; Who would hurt a butterfly?" "Softly, softly, girls and boys; He'll come near us by and by; Here he is, don't make a noise;-- We'll not hurt you, butterfly." Not to hurt a living thing, Let all little children try; See, again he's on the wing; Good by! pretty butterfly! OLD NURSEY. O, here is papa, With Edward and Jane, Come to see good old Nursey, Who lives in the lane. She's the best of all Nurseys, And Edward and Jane Love dearly good Nursey, Who lives in the lane. "Here's the hen and her chickens," Says Edward to Jane, "And here's Nursey's pussy, That lives in the lane." Nurse gave a good hug To Edward and Jane, And told them a story As long as the lane. They said, "Good by Nursey." She said "Come again To see poor old Nursey, Who lives in the lane" THE SUN IS UP. The sun is up, the sun is up, Sing merrily we, the sun is up. The birds they sing, Upon the wing, Hey nony nony no. The pigeons coo, The moolies moo, Hey troli-loli lo. The sun is up, the sun is up, Sing merrily we, the sun is up. The horses neigh, The young lambs play, Hey nony nony no. The bees they hum, O, quickly come! Hey troli-loli lo. The sun is up, the sun is up, Sing merrily we, the sun is up. The morning hours, The dewy flowers, Hey nony nony no, And all we meet Are fresh and sweet, Hey troli-loli lo. The sun is up, the sun is up, Sing merrily we, the sun is up. Then, sleepy heads, All leave your beds! Hey nony nony no. For every thing Doth sweetly sing Hey troli-loli lo. The sun is up, the sun is up, Sing merrily we, the sun is up. WALTER AND HIS DOG. There was a little boy, And he had a piece of bread, And he put his little cap On his head, head, head. Upon his hobby horse Then he went to take a ride, With his pretty Spaniel Flash By his side, side, side. Little Walter was his name, And he said to little Flash, "Let us gallop round the house, With a dash, dash, dash." So he laid down his bread In a snug little place, And away Walter went For a race, race, race. But Flash had a plan, In his little roguish head, Of taking to himself Walter's bread, bread, bread. So he watched for a moment When Walter did not look, And the nice piece of bread Slyly took, took, took. When Walter saw the rogue, He cried, "O, naughty Flash;" And he showed his little whip With a lash, lash, lash. But Flash looked so good-natured, With his tail curled up behind, That his aunty said to Walter, "Never mind, mind, mind." "Flash is nothing but a puppy; So, Walter, do not worry; If he knew that he'd done wrong, He'd be sorry, sorry, sorry;" "And don't be angry, Walter, That Flash has had a treat; Here's another piece of bread You may eat, eat, eat." So Walter ate his bread, And then to Flash he cried, "Come, you saucy little dog, Let us ride, ride, ride." IT IS A PLEASANT DAY. Come, my children, come away, For the sun shines bright to-day; Little children, come with me, Birds and brooks and posies see; Get your hats and come away, For it is a pleasant day. Every thing is laughing, singing. All the pretty flowers are springing. See the kitten, full of fun, Sporting in the pleasant sun. Children too may sport and play, For it is a pleasant day. Bring the hoop, and bring the ball; Come with happy faces all; Let us make a merry ring, Talk, and laugh, and dance, and sing; Quickly, quickly, come away, For it is a pleasant day. THE GOOD MOOLLY COW. Come! supper is ready; Come! boys and girls, now, For here is fresh milk From the good moolly cow. Have done with your fife, And your row de dow dow, And taste this sweet milk From the good moolly cow. Whoever is fretting Must clear up his brow, Or he'll have no milk From the good moolly cow. And here is Miss Pussy; She means by mee-ow, Give me too some milk From the good moolly cow. When children are hungry, O, who can tell how They love the fresh milk From the good moolly cow! So, when you meet moolly, Just say, with a bow, "Thank you for your milk, Mrs. Good Moolly Cow." NOTHING BUT BA-A. Little Fanny and Lucy, One sunshiny day, Went to walk in the meadow And have some play. They said to a sheep, "Pray how's your mamma?" But the lazy sheep answered Them nothing but "ba-a!" JAMES AND HIS MOTHER. James and his mother They loved one another, And they went to walk one day; And as they were walking, And laughing and talking, They saw some boys at play. "Let me go; let me run; Let me see all the fun!" Said little James then to his mother; "Hear them laugh, hear them shout, See them tumbling about, And jumping one over the other." "Pray let me go too, O dear mother, do!" And Jemmie ran off to the boys; He kicked, and he thumped, He laughed and he jumped, He shouted and made a great noise. But James was so small That he soon got a fall, And tumbled down into a hole; He was not much hurt, But covered with dirt-- There Jemmie lay rubbing his poll. His mother soon ran To her dear little man, Holding out to him both of her hands; And now on the ground, All safe and all sound, By the side of his mother he stands. "Never mind," said his mother; And they kissed one another; "Never mind, though you cut such a figure; For Jemmie shall play With the boys some day, When he has grown older and bigger." MASTER JOHNNY GOING TO RIDE. Why, here's Master Johnny; He's taking a ride On good Mrs. Donkey, With her colt by her side. Go softly, Ma'am Donkey, And be sure not to trip; And Johnny, you monkey, Take care of your whip. O, LOOK AT THE MOON. O, look at the moon! She is shining up there; O mother, she looks Like a lamp in the air. Last week she was smaller, And shaped like a bow; But now she's grown bigger, And round as an O. Pretty moon, pretty moon, How you shine on the door, And make it all bright On my nursery floor! You shine on my playthings, And show me their place, And I love to look up At your pretty bright face. And there is a star Close by you, and may be That small twinkling star Is your little baby. SONG FOR A COMPANY OF CHILDREN. Children go To and fro, In a merry, pretty row, Footsteps light, Faces bright; 'Tis a happy sight. Swiftly turning round and round, Never look upon the ground, Follow me, Full of glee, Singing merrily. Birds are free; So are we; And we live as happily. Work we do. Study too, For we learn "twice two;" Then we laugh, and dance, and sing, Gay as larks upon the wing; Follow me, Full of glee, Singing merrily. Work is done, Play's begun; Now we have our laugh and fun; Happy days, Pretty plays, And no naughty ways. Holding fast each other's hand, We're a little happy band; Follow me, Full of glee, Singing merrily. THE DOG AND THE CAT, THE DUCK AND THE RAT. Once on a time in rainy weather, A dog and a cat, A duck and a rat, All met in a barn together. The dog he barked, The duck she quacked, The cat she humped up her back; The rat he squeaked, And off he sneaked Straight into a nice large crack. The little dog said, (and he looked very wise,) "I think, Mrs. Puss, You make a great fuss, With your back and your great green eyes. And you, Madam Duck, You waddle and cluck, Till it gives one the fidgets to hear you. You had better run off To the old pig's trough, Where none but the pigs, ma'am, are near you." The duck was good-natured, and she ran away; But old pussy cat With her back up sat, And said she intended to stay; And she showed him her paws, With her long, sharp claws. So the dog was afraid to come near; For puss, if she pleases, When a little dog teases, Can give him a box on the ear. TRUSTY LEARNING ABC. "Be quiet, good Trusty; See how still you can be, For I've come to teach you Your ABC." "I will show you the way Mother reads it to me; She looks very sober, And says, ABC." "Tom says you can't learn; But father says, he Saw a little dog once That knew ABC." "So, good Trusty, attend; Let us show them that we Can learn, if we please, Our ABC." To what little Frank said Trusty seemed to agree. Do you think he learned much Of his ABC? DO YOU GUESS IT IS I? I. I am a little thing; I am not very high; I laugh, dance and sing, And sometimes I cry. II. I have a little head All covered o'er with hair, And I hear what is said With my two ears there. III. On my two feet I walk; I run too with ease; With my little tongue I talk Just as much as I please. IV. I have ten fingers too, And just so many toes; Two eyes to see through, And but one little nose. V. I've a mouth full of teeth, Where my bread and milk go in; And close by, underneath, Is my little round chin. VI. What is this little thing, Not very, very high, That can laugh, dance, and sing? Do you guess it is I? FIDDLEDEDEE. Fiddledee diddledee dido, A poor little boy he cried, O; He cried, for what? O, I've forgot; Perhaps you had better ask Fido. Fiddledee diddledee dido, The dog ran off to hide, O; He'll bark and squeak, But never speak-- There's no use in asking Fido. THE STARS AND THE BABIES. When the stars go to sleep, The babies awake, And they prattle and sparkle all day; Then the stars light their lamps, And their playtime they take, While the babies are sleeping away. So good night, little baby, And shut up your eyes; Let the stars now have their turn at play; They soon will begin To shoot through the skies, And dance in the bright milky way. No, no, my dear nurse, I cannot go to sleep; Since you've put the thought into my head, Let us have with the stars One game at bo-peep; Then good night, and a kiss, and to bed. KITTY IN THE BASKET. "Where is my little basket gone?" Said Charlie boy one day; "I guess some little boy or girl Has taken it away." "And Kitty too, I can't find her; O, dear! what shall I do? I wish I could my basket find, And little Kitty too." "I'll go to mother's room and look; Perhaps she may be there, For Kitty loves to take a nap In mother's easy chair." "O mother! mother! come and look! See what a little heap! My Kitty's in the basket here, All cuddled down to sleep." He took the basket carefully, And brought it in a minute, And showed it to his mother dear, With little Kitty in it. THE FARM YARD. The cock is crowing, The cows are lowing, The ducks are quacking, The dogs are barking, The ass is braying, The horse is neighing; Was there ever such a noise! The birds are singing, The bell is ringing, The pigs are squeaking, The barn door creaking, The brook is babbling, The geese are gabbling Mercy on us, what a noise! The sheep are ba-a-ing, The boys ha-ha-ing, The swallows twittering, The girls are tittering, Father is calling, The cook is bawling; I'm nigh crazy with the noise. Nabby is churning, The grindstone's turning, John is sawing, Charles hurrahing, Old Dobson's preaching, The peacock's screeching; Who can live in such a noise! FROLIC IN THE SNOW. "See the snow! see the snow! Hear the winter wind blow; Make the fire burn bright; Shut the doors up tight; Let it storm, let it storm; My Willy shall be warm." "Dear mother, let me go And frolic in the snow; Tis so soft and so light, So beautiful and white, 'Twill not hurt me I know; Let me go, let me go." "I don't mind the cold; I am three years old; Look at little Rover; He is powdered all over: Let me go, let me go, And frolic in the snow." "I can do what Rover can; I am your little man; Let it storm, let it storm; I don't want to be warm; Dear mother, let me go, And frolic in the snow." SWING SWONG. Swing swong, Here we go; Sing a song, Hurrah ho! Swing swong, Here we go; Hold in strong, Hurrah ho! Swing swong, Here we go; Fly along, Hurrah ho! WORK AND PLAY. Come let us take a walk,-- The rain has gone away,-- And have some pleasant talk, And laugh, and sing, and play. The old hen dries her wings, The young lambs frisk away The merry sparrow sings; Come let us go and play. The brook runs gayly on As though it were in play, And says to every one, "Let's have some fun to-day." The little busy bee Doth sing and work all day, And teaches you and me To work as well as play. The world is full of flowers; Put up your work, I say; Let's use these limbs of ours And have some real play. LITTLE MARY. Little Mary was good; The weather was fair; She went with her mother To taste the fresh air. The birds they were singing; Mary chatted away; And she was as happy And merry as they. IT CAN'T BE SO. A boy once went the world around, Till he a golden castle found; Then laughed the boy, Then thought the boy, "O, were that golden castle mine, How brightly then my house would shine!" O, no! O, no! O, no! My little boy, it can't be so. Again he went the world around, Till he a flying pony found; Then laughed the boy, Then thought the boy, "O, were that flying pony mine, Then I should be a horseman fine." O, no! O, no! O, no! My little boy, it can't be so. WHEN EVENING IS COME. When evening is come, And father's at home, Mother says that we may Have a go-to-bed play. A book he will bring us, A song he will sing us, A story he'll tell us, He'll make believe sell us. And we will cut papers, And all sorts of capers, And laugh, dance, and play, And frolic away, When evening is come, And father's at home. RINGELY RINGELY. Ringely ringely dah-re-roon, My baby has slept till almost noon, Ringely ringely dah-re-roon, My baby shall have his breakfast soon. Ringely ringely dah-re-roon, Here is his milk and here is his spoon, Ringely ringely dah-re-roon, He'll be a month older when comes next moon. CHARLIE BOY. O, look at my hat; How nicely it suits! O, look at my feet; I've got on new boots! Hurrah! for Charlie boy. My boots they are stiff, My boots they are tall, And they hold me up straight, So I cannot fall. Hurrah! for Charlie boy. I'll do mother's errands As well as I can; I've got on new boots, And so I'm a man. Hurrah! for Charlie boy. THE BABY'S BIRTHDAY. Come, Charles, blow the trumpet, And George, beat the drum, For this is the baby's birthday! Little Annie shall sing, And Jemmy shall dance, And father the jews-harp will play. Rad-er-er too tan-da-ro te Rad-er-er tad-or-er tan do re. Come toss up the ball, And spin the hum top; We'll have a grand frolic to-day; Let's make some soap bubbles, And blow them up high, And see what the baby will say. Rad-er-er too tan-da-ro te Rad-er-er tad-or-er tan do re. We'll play the grand Mufti; Let's all make a ring; The tallest the Mufti shall play; You must look in his face, And see what he does, And mind what the Mufti shall say. Rad-er-er too tan-da-ro te Rad-er-er tad-or-er tan do re. And now we'll play soldiers; All hold up your heads! Don't you know 'tis the baby's birthday You must turn out your toes, And toss your feet high; There! this, boys and girls, is the way. Rad-er-er too tan-da-ro te Rad-er-er tad-or-er tan do re. THE POOR MAN. The poor man is old, He is hungry and cold, Let us give him some bread to eat; Let him come to the fire, Let us build it up higher, Let us give the poor man a warm seat. The poor man is weak; How pale is his cheek! Perhaps he has met with some sorrow; Let us give him a bed, Where his poor weary head May rest, and feel better to-morrow. DING DONG! DING DONG! Ding dong! ding dong! I'll sing you a song; 'Tis about a little bird; He sat upon a tree, And he sang to me, And I never spoke a word. Ding dong! ding dong! I'll sing you a song; 'Tis about a little mouse; He looked very cunning, As I saw him running About my father's house. Ding dong! ding dong! I'll sing you a song About my little Kitty; She's speckled all over, And I know you'll love her, For she is very pretty. Ding dong! ding dong! I have sung my song; Now give me a little kiss; I'll sing you another, Some time or other, That is prettier than this. THE LITTLE BOY'S MAY DAY SONG. "The flowers are blooming every where, On every hill and dell; And O, how beautiful they are! How fresh and sweet they smell!" "The little brooks, they dance along, And look so free and gay, I love to hear their pleasant song; I feel as glad as they." "The young lambs bleat and frisk about, The bees hum round their hive, The butterflies are coming out; 'Tis good to be alive." "The trees, that looked so stiff and gray, With green wreaths now are hung; O mother, let me laugh and play; I cannot hold my tongue." "See yonder bird spread out his wings, And mount the clear blue skies, And mark how merrily he sings, As far away he flies." "Go forth, my child, and laugh and play, And let your cheerful voice With birds, and brooks, and merry May, Cry loud, Rejoice! rejoice!" "I would not check your bounding mirth, My little, happy boy; For He who made this blooming earth Smiles on an infant's joy." THE LITTLE BOY'S GOOD NIGHT. The sun is hidden from our sight, The birds are sleeping sound; 'Tis time to say to all "Good night," And give a kiss all round. II. Good night, my father, mother dear; Now kiss your little son; Good night, my friends both far and near, Good night to every one. III. Good night, ye merry, merry birds; Sleep well till morning light; I wish I understood your words; Perhaps you sing, Good night. IV. To all my pretty flowers, good night; You blossom while I sleep, And all the stars that shine so bright With you their watches keep. V. Good night, Miss Puss; mind what I say, And tell it to your kittens; When you with little children play, Put on your softest mittens. VI. Come here, my little Fido, too; You always do what's right; I wish I was as good as you; My doggie dear, good night. VII. The moon is lighting up the skies The stars are sparkling there; 'Tis time to shut our weary eyes, And say an evening prayer. THE THREE LITTLE KITTENS. (A Cat's Tale, with Additions.) Three little kittens lost their mittens; And they began to cry, O mother dear, We very much fear That we have lost our mittens. Lost your mittens! You naughty kittens Then you shall have no pie Mee-ow, mee-ow, mee-ow. No, you shall have no pie Mee-ow, mee-ow, mee-ow. The three little kittens found their mittens, And they began to cry, O mother dear, See here, see here; See, we have found our mittens. Put on your mittens, You silly kittens, And you may have some pie Purr-r, purr-r, purr-r, O, let us have the pie, Purr-r, purr-r, purr-r. The three little kittens put on their mittens, And soon ate up the pie; O mother dear, We greatly fear That we have soil'd our mittens. Soiled your mittens! You naughty kittens! Then they began to sigh, Mee-ow, mee-ow, mee-ow. Then they began to sigh, Mee-ow, mee-ow, mee-ow. The three little kittens washed their mittens, And hung them out to dry; O mother dear, Do not you hear, That we have washed our mittens? Washed your mittens! O, you're good kittens. But I smell a rat close by: Hush! hush! mee-ow, mee-ow. We smell a rat close by, Mee-ow, mee-ow, mee-ow, COCKS AND HENS. (To imitate the call of the fowls.) Hen. Cock, cock, cock, cock, I've laid an egg; Am I to gang ba-are-foot? Cock. Hen, hen, hen, hen, I've been up and down, To every shop in town, And cannot find a shoe To fit your foot, If I'd crow my hea-art out. [To be said very quickly, except the last two words in each verse, which are to be "screamed" out.] 
42612	----	Redfern. THE MOTHER'S NURSERY SONGS. BY THOMAS HASTINGS, AUTHOR OF "DISSERTATION ON MUSICAL TASTE"--ONE OF THE COMPILERS OF "MUSICA SACRA"--"SPIRITUAL SONGS"--"INFANT MINSTREL," &c. &c. [Illustration] NEW-YORK: PUBLISHED BY JOHN P. HAVEN, 148, NASSAU STREET. 1835. Entered according to Act of Congress, in the year 1834, by JOHN P. HAVENS, in the Clerk's Office of the District Court of the United States for the Southern District of New York. PREFACE. The author of the following pages was one day conversing with a lady of some distinction, relative to the importance of teaching young children to sing, when a question arose--whether any thing could be done by the mother in this respect, during the period of the early infancy of her offspring? This inquiry, with the discussion that ensued, gave rise to the present publication. Much, no doubt, can be done in early infancy, on the mere principle of imitation. Exercises for this purpose should be exceedingly simple; and, as far as possible, adapted to the infantile capacity. Great originality will hardly be expected in such a work as this: yet the materials here presented are, for the most part, such as have not before been published. A few extracts, have been furnished from the writings of Jane Taylor: And for many of the other little poems, the author is happy to acknowledge his obligations to several literary friends, among whom are the Rev. James Alexander, Professor of Rhetoric in Princeton College, New Jersey, Mrs. Sigourney, of Hartford, Connecticut, well known as the author of occasional pieces of great poetic merit, and Mrs. Brown, of Munson, Massachusetts, the writer of several interesting anonymous hymns now in general circulation. The object of the work, as will be readily inferred from its special characteristics, is to aid mothers in attuning the voices of their infant offspring, and inspiring them with the love of vocal music. When the Savior was on earth young children cried hosanna: and ere he is again revealed in the glories of the latter day--his praise shall be perfected out of the mouth of babes and sucklings. Yet they must first be instructed; and this work should be commenced by the mother. INTRODUCTION. It is a point now universally admitted among practical musicians, that all children, the deaf and dumb excepted, may be taught to sing; and that the difference of natural talent in this respect is, probably, not greater, than in reference to other departments of education. The faculty in question is never truly instinctive, but always in a great measure acquired. Nature furnishes us with organs, and with powers of perception. Cultivation must do the rest. The fact that so large a portion of the present generation are unable to sing, is not to be attributed to physical deficiencies, but to unfortunate circumstances in the history of early education. In countries where music is continually taught in the primary schools, the children, as a matter of course, all learn to sing: and the same experiment, wherever it has been tried in our own country, has led to the same happy result. This circumstance alone shows the importance of early cultivation. If music is neglected till years of maturity, it will, in the majority of instances, continue to be disregarded through life. Infancy is undoubtedly the most favorable period for commencing the work. The foundation must be laid then if distinguished excellence is ever afterwards to be attained. Adults, with voices of a most unpromising character imaginable, have sometimes, it is true, been taught to sing. The thing in its nature is not impracticable, but it is very difficult. It requires time and labor and perseverance, such as few, comparatively, are found to possess. But with young children the task is neither difficult nor laborious. The principle chiefly employed in forming the voice is imitation. The child, under favorable circumstances, acquires the management of its voice in singing just as it acquires in speaking the accurate pronunciation of the mother tongue. In both cases it is the imitative pupil of its mother, or nurse. Mothers should think of this, and not neglect to stir up the musical gift that is within them. Though that gift should be small, it might at least suffice to initiate the listening child in the practice of an important art which would afterwards be more successfully prosecuted. One who wishes to acquire practical skill as a player on a musical instrument, must of necessity begin by drawing forth such tones or executing such passages, as can be mastered with the greatest facility; deferring such as are more difficult to a later period of cultivation. For all the purposes of vocal training, the mother may regard her infant child as such an instrument, not doubting but perseverance will accomplish the desired object. There is a special season in infancy when children are full of mimickry. Then, a great portion of their daily employment, while in perfect health, is like that of the mocking-bird, to be imitating every pleasant sound that falls within their hearing. Their earliest efforts in this respect will necessarily be rude, but, by constant practice, their talent is found to improve; while, at the same time they acquire an increasing fondness for the exercise. Does not nature evidently point out this period as the precise time for making musical impressions upon the child that will be strong and indelible? Let no one suppose that the voice is necessarily injured by early cultivation. If the little one is not induced to sing too much or too loud for its general health, there will be nothing to fear. Its voice will improve much in proportion to its practice; and when, in subsequent years, its intonation becomes for a little period broken and discordant, it will be sure to be restored in due time. Every male child, sooner or later, must pass through such a change, as the unavoidable result of physical changes in the structure or conformation of its organs. Daily, moderate practice will be the obvious and certain remedy. Previous to the period of infantile mimickry above mentioned, the affectionate mother will often have been soothing her child with the voice of song. When that period arrives, let her continue the practice in melodies as simple as those of numbers _one_ and _two_, in part first of this work. And as the child begins in the smallest degree to play the mimic, let her in turn become the imitator, so far as to seize upon every note which has resemblance to music, and thus encourage the child to repeat its efforts. The mother may thus gradually draw out and form its voice for music, just as she teaches it the articulations of the native tongue. The latter process she well understands. She begins with the simplest syllables only, and as she proceeds with those that are more difficult, the exercise is carefully adapted to the gradual progress of the child. Nothing is forced. Every thing is made pleasant and amusing to the little pupil: and the mother at every step is so amply rewarded for her assiduity, as to feel that her labor is but another name for delightful recreation. The same course in reference to singing would be rewarded with the same success. Though the mother should be quite ignorant of the simplest principles of the science; her skill in minstrelsy would suffice for the work immediately before her. Let her also frame some simple phrases of melody, that are very similar to those she notices in the mimickry of her child, gradually heightening their character as the child improves its vocal powers. All these exercises perhaps will be inarticulate; and in some cases the child will make more rapid progress in song than in speech. Of all the articulations that fall from the unpractised lips of infancy, the first and perhaps the sweetest that ever greet the maternal ear, are those of _ba_, _pa_, _na_, _ma_, _ta_, _da_, followed afterwards by their compounds _papa_, _mama_, &c. The mother should not fail to set them to music in some such clauses as these that follow [Illustration: ba, ba, ba, ba, pa, pa, pa, pa, na, na, na, na, ta, ta, da, da.] A considerable portion of time, it is true, may elapse, before such clauses as these will be fully understood; and the child perhaps will incline to substitute other clauses in their place, and thus become its own composer. The only important point here, is to see that its tones are rendered musical. In process of time let the musical passages be augmented somewhat after the following method, observing to sing them in a gutteral and not in a nasal manner: [Illustration: pa mama, pa mama, da na na, da na na, mama, papa, dada.] [Illustration: father dear, mother dear, brother dear.] The process from such passages as these, to such as constitute the first and second lullabys of this collection will be easy: and thenceforward less skill in adaptation will be required. The preceding directions may suffice for the object before us: if followed with perseverance the child will begin to sing long before it is old enough to understand the rules of the art; and this, much to its own amusement and to the gratification of its affectionate parents. Some may doubt the practicability of the course here recommended; but certainly it is an easy one. Let them be persuaded to try it faithfully and perseveringly, and the author will consent to be responsible for its success. PART I. THE CRADLE. As the songs under this head will be employed by the mother, chiefly in soothing her infant to sleep, or in mitigating its sufferings in hours of sickness or distress, it seems not necessary that all the language should be adapted to the infantile capacity. It may suffice that the words contain certain easy syllables or phrases, which, by their perpetual recurrence, make strong impressions upon the ear of the child. The exercise of singing should, however, be so managed as to afford pleasure to the child: for otherwise its taste will be injured. LULLABY. [Illustration] Lullaby, lullaby, Do not wake and weep; Softly in the cradle lie, Sleep O, sleep. Lullaby, lullaby, Hear thy mother's voice; Softly on her bosom lie, Then she'll rejoice. SLEEP, BABY, SLEEP. [Illustration] Sleep, baby, sleep, No longer weep; Near thee sits thy little brother, Close beside thee is thy mother, Sleep, baby, sleep. Sleep, baby, sleep, No longer weep; Israel's Shepherd watches o'er thee; No rude danger lies before thee, Sleep, baby, sleep. Sleep, baby, sleep, No longer weep; Germ of beauty, bud and blossom, Rest upon thy Savior's bosom, Sleep, baby, sleep. Sleep, baby, sleep, No longer weep; Life has many a raging billow-- Rest upon thy downy pillow, Sleep, baby, sleep. HUSHABY. [Illustration] Hushaby, hushaby, Baby, do not weep, On thy downy pillow lie, Softly, softly sleep. Hushaby, hushaby, Now thine eyelids close; While thy mother sitting by, Watches thy repose. Hushaby, hushaby, Think of no alarm, Angel spirits round thee fly, Guarding thee from harm. Hushaby, hushaby, Slumber sweet be given; On thy downy pillow lie, Precious gift from heav'n! SLUMBER SWEET. [Illustration] Slumber sweet Thine eyelids greet My infant daughter dear: No footstep rude Shall here intrude, Nor stranger shall come near. Slumber sweet Thine eyelids greet Within thy mother's arms; She little tells How feeling steals O'er all thy rising charms. Slumber sweet Thine eyelids greet And gentle dreams be thine; To thee be given The bliss of heav'n, Where cherub angels shine. SOFTLY IN THE CRADLE LIE. [Illustration] Softly in the cradle lie, Thy father's hope, thy mother's joy; Sweetly rest in balmy sleep, Do not wake to sigh and weep. Softly in the cradle lie; A mother's heart thy wants supply; She can rest if thou repose, Sweetly then thine eyelids close. Softly in the cradle lie, Frail bud of immortality; Soon thy blossom may unfold Fragrant mid the harps of gold. O, DO NOT WAKE. [Illustration] O, do not wake, sweet little one, The night is dark and drear; All that a mother could have done, Has been perform'd with care. The pillow's soft on which you rest, And sweetly you have fed; Still lean upon your mother's breast Your weary little head. O, do not wake, sweet little one, Nor tremble with alarm; The Hand unseen you live upon Preserves you still from harm. WELCOME, WELCOME. [Illustration] Welcome, welcome, little stranger To this busy world of care: Nothing can thy peace endanger, Nothing now thy steps ensnare. Mother's heart is fill'd with pleasure, All her feelings are awake; Gladly would she, little treasure, All thy pains and suff'rings take. May'st thou, if design'd by heaven, Future days and years to see, Soothe her, make her passage even; Let her heart rejoice in thee. May her anxious cares and labors Be repaid by filial love; And thy soul be crown'd with favors From the boundless source above. JANE TAYLOR. HOW GENTLY SHE SLEEPS. [Illustration] How gently she sleeps, How silent she keeps, Her breath is as soft as the morn; While every new grace In the dear one I trace, To my bosom in transport is borne. No sorrow she knows, This hour of repose, Nor hunger nor thirst nor disease; The world with its cares, And temptations and snares, Has never invaded her peace. I've linger'd awhile, To gaze on that smile, So sweetly that plays on her lips; Some innocent dream Or some heavenly beam, Is visiting her while she sleeps. My lov'd one awake, Thy slumberings break, My daughter, 'tis time to arise; Thou joy of my heart, A lent blessing thou art, To be given again to the skies. O DEAR ONE. [Illustration] FOR A CHILD DANGEROUSLY ILL. O dear one, how sad is that moan, How languid and sickly that eye; My bosom responds to each groan, And echos each deep-breathing sigh. Those fluttering pulsations I trace, The anguish that sits on thy brow, The paleness that covers thy face, Thy voice that is languid and low. O dear one, how deep is the grief, That withers my desolate heart; Kind Heav'n bring thee speedy relief, Or thou from thy mother wilt part. O MY PRECIOUS LITTLE GEM. [Illustration] FOR A FATHERLESS CHILD. O my precious little gem, While I hold thee to my breast, May some heav'n inspiring dream Soothe thy spirit into rest. But thy mother's heart is riv'n, Bitter anguish she must feel; Nothing but the balm of heav'n, Can her wounded spirit heal. Dark the night and dread the hour When thy father lay so low; When he felt the monster's pow'r, Who could tell thy mother's woe! But, thou image of his love, May'st in heav'n thy father see; Ere his spirit soar'd above 'Twas his latest pray'r for thee. SAFE SLEEPING. [Illustration] Safe sleeping on its mother's breast, The smiling babe appears Now sweetly sinking into rest, Now wash'd in sudden tears: Hush, hush, my little baby dear, There's nobody to hurt you here. Without a tender mother's care The little thing must die; Its chubby hands too feeble are One service to supply: And not a tittle does it know What kind of world it's come into. Full many a summer sun must glow, And lighten up the skies, Before its tender limbs can grow To any thing of size: And all the while the mother's eye Must every little want supply. Then surely when each little limb, Shall grow to healthy size; And youth and manhood strengthen him For toil and enterprize, His mother's kindness is a debt He never, never will forget. JANE TAYLOR. HUSH, HUSH. [Illustration] FOR THE SPRING OF THE YEAR. Hush, hush, While flowrets blush, This blossom must repose, Thy mother's joy, My infant boy-- No rival beauty[1] knows. Hush, hush, On every bush, While birds are singing shrill; My little child, So sweet and mild, Must now be soft and still. Hush, hush, While riv'lets gush, Refrain thy rising tears, For every grief, We'll seek relief, And soothe thy infant cares. Hush, hush, What feelings rush Within a mother's breast; Be this her pray'r That thou may'st share In heav'n's eternal rest. [1] The judicious mother, however fond of her infant son, will not desire him to _understand_ this sentiment. WEEP NOT. [Illustration] FOR A SICK CHILD. Weep not, O little one, Though thou art very ill, For thou art not alone Thy woes to feel. Each sigh of thine will heave An anxious mother's breast; Each accent of thy grief Will break her rest. Each tear that thou dost shed Will cause her grief to flow: Her heart, since thine doth bleed, Is bleeding too. One Hand alone can heal; That hand is ever near: O who can doubt His skill-- Or gracious care! MOTHER DEAR, THE BABY CRIES. [Illustration] Mother dear, the baby cries, Where is the nurse? Every thing that sister tries Makes him only worse. Come, mother, come; Dear mother, come! Every thing that sister tries Makes him only worse. Mother dear, the baby cries, Is he not ill? Not a thing that brother tries Ever keeps him still. Come, mother, come, Dear mother, come! Not a thing that brother tries Ever keeps him still. Mother dear, the baby cries, What shall we do? In the cradle here he lies, Waiting for you. Come, mother, come, Dear mother, come! In the cradle here he lies Waiting for you. PART II. THE NURSERY. The songs of this department are introduced chiefly for children who are just beginning to entertain a few simple ideas and principles relative to things around them. The mother should commence with some of the easiest songs, and afterwards, as she proceeds with the more difficult ones, furnish the words with an occasional comment. THE MERRY LARK. [Illustration] Hark, hark, The merry lark, Beginning her morning song; Robin redbreast Is still in her nest And silent is her tongue. No, no, It will not do, Though Robin may lie in bed; "Early and bright "As soon as 'tis light" My mother to me has said-- See, see The busy bee A going from flower to flower, Carries a sting, While under her wing She holds her honied store. So, so-- While busy too, In study or useful work; In many a sweet Which we may meet Some poison'd sting may lurk. UP IN THE MORNING. [Illustration] Up in the morning, up my child, See the sun, how bright and mild; See the dew-drops every one Glist'ning in the sun: Time for the dear one up to spring, While the merry bells do ring. Quick let me put your clean dress on, For the night is past and gone; Now another day is giv'n, By our Lord in heav'n: Now when the morning air you feel To your heav'nly Keeper kneel. Praise to the Lord for morning light, Praise for safety through the night, While the birds are singing all, On the Lord we call: Thus in the morning we will praise Our Redeemer all our days. DAWN OF DAY. [Illustration] Come, arise from thy sleep, Through the green bushes peep, Birds sweetly are straying, Their bright plumes displaying, At dawn of day. Let us breath the fresh air, For the morning is fair, And the forest is ringing With merry birds singing At dawn of day. Come along for a talk Or a sweet morning walk, While the garden discloses Its bright blushing roses, At dawn of day. But first to our King Let us joyfully sing, And praises be paying, 'Tis good to be praying At dawn of day. TIME TO ARISE. [Illustration] Father and mother, 'tis time to arise, Sun has arisen to brighten the skies; Every bird is singing high; Birds are glad, and so am I. Merrily, merrily those in the tree, Bluebird and robin are singing to me; Round the window see them fly; Birds are glad, and so am I. Glad little robin, you never can know Who is the Maker that fashion'd you so; Yet you cannot weep or sigh; Birds are glad, and so am I. He who created the birds of the air, Securely will keep me from trouble and care: He has taught the birds to fly; Birds are glad, and so am I. O, WILD IS THY JOY. [Illustration] O wild is thy joy,[2] My affectionate boy, What visions of fancy come o'er thee? Thy spirit so proud, Thy laughter so loud-- What transports are glit'ring before thee? Dost think of a day Thou mayst ramble and play, O'er the meadows, the forests, and mountains? Or in the sweet vale, 'Mong the lilies so pale, By the side of the rills and the fountains? Some glim'rings of thought Perchance thou hast caught, While thy spirit within thee rejoices, Some simple delight, Some object of sight Or sound in the mingling of voices. O, brief is thy mirth, For the visions of earth, Like the shadows of noon-day, are flying: But joys that are pure, Shall forever endure, Though earth and its transports are dying. [2] The boy alluded to in this instance, is supposed not to be within hearing of the song. LITTLE JACK. [Illustration] There was one Little Jack, Not very long back, And 'tis said to his lasting disgrace, That he never was seen With his hands at all clean, Nor yet ever clean was his face. His kind friends were much hurt To see so much dirt, And often and well did they scour; But all was in vain He was dirty again Before they had done it an hour. When to wash he was sent He reluctantly went With water to splash himself o'er; But he left the black streaks All over his cheeks And made them look worse than before. All the idle and bad May much like this lad, Be dirty and black, to be sure: But good boys are seen To be decent and clean, Although they are ever so poor. JANE TAYLOR. AH, WHY WILL MY DEAR. [Illustration] WASHING AND DRESSING. Ah, why will my dear little girl be so cross, And cry, and look sulky, and pout? To lose her sweet smile is a terrible loss: I can't even kiss her without. You say you don't like to be wash'd and be dress'd: But would you be dirty and foul? Come, drive that long sob from your dear little breast, And clear your sweet face from its scowl. If the water is cold and the comb hurts your head, And the soap has got into your eye,[3] Will the water grow warmer for all that you've said? What good will it do you to cry? It is not to tease you and hurt you, my sweet, But only for kindness and care, That I wash you and dress you and make you look neat, And comb out your tanglesome hair. I don't mind the trouble, if you will not cry, But pay me for all with a kiss, That's right--take the towel and wipe your wet eye: I thought you'd be good after this. JANE TAYLOR. [3] This process, by the way, is often performed so roughly as to occasion no inconsiderable pain. O POOR LITTLE ROBIN. [Illustration] O, poor little robin, so cold and so wet, Say, what are you doing to-day? The winter is coming, then what will you eat? And where are you going to stay? Your nest is so open, so cold and so poor, You never can live there again; O come, pretty robin, come into our door, We'll shelter you from the cold rain. We've clean beds to sleep in, and water to drink, And things very nice for your food; Come, come, pretty robin; O, how can you think To fly off again in the wood! The bird will not listen; but children so young, So hungry, so cold and so wet, May share in my cottage, and join in my song; And they shall have something to eat. O, HEAR THE CHICKENS. [Illustration] O hear the chickens pip, They will no longer keep Under their mother's wing; And shall I run and catch them? O no, I must not touch them, 'T would be a cruel thing. She cannot get away, She wishes them to stay Within the little coop: I wish that they were kinder, And not so slow to mind her, So swift away to hop. Poor hen, she walks about, And struggles to get out, She feels so very sad: I wish that ev'ry chicken Would stop its merry pippin', And run to make her glad. I'll never run away, Or stop to laugh and play, When mother calls me home: I'll quickly run to meet her, With kindest kisses greet her, Soon as she bids me come. CHERRIES ARE RIPE. [Illustration] Cherries are ripe, Cherries are ripe, O, give the baby one; Cherries are ripe, Cherries are ripe, But baby shall have none: Babies are too young to choose; Cherries are too sour to use; But by and by, Made in a pie, No one will them refuse. Up in the tree Robin I see, Picking one by one; Shaking his bill, Getting his fill, Down his throat they run: Robins want no cherry pie, Quick they eat and off they fly. My little child, Patient and mild, Surely will not cry. Cherries are ripe, Cherries are ripe, But we will let them fall. Cherries are ripe, Cherries are ripe, But bad for babies small Gladly follow mother's will, Be obedient, soft and still, Waiting awhile, Delighted you'll smile, And joyful eat your fill. HARK THE BELL. [Illustration] THE SABBATH. Hark, the bell, Hear it swell, Sounding through the woods and fields, Echoing o'er the hills and dales: 'Tis Sabbath day, Do not stray, Do not work or play. Hark, the bell, Hear it swell, Sounding through the woods and fields Echoing o'er the hills and dales. 'Tis Sabbath day, Don't delay, Learn the heavenly way. Hark, the bell, Hear it swell, Sounding through the woods and fields, Echoing o'er the hills and dales, 'Tis Sabbath day, Sing and pray, Listen and obey. BABY IS CRYING. [To be sung by older children.] [Illustration] Baby is crying, While mother is trying To make him be happy and still; How shall we relieve him, Or what shall we give him? A top or a whistle or bell? I wish he were quiet, He makes such a riot That nobody else can be heard; See how he dislikes her, And wickedly strikes her, O baby, how very absurd! Not love your dear mother And sister and brother, Who always are loving and true! O, be not so naughty, So cross and so haughty, While we are so tender of you. Dear mother must whip him,[4] In quiet to keep him, If better he will not behave: Why won't he be kinder, And love her and mind her? Then all that trouble he'll save. [4] This must of course be understood as the language of affectionate solicitude, and not as the expression of peevishness or ill natured censure. BABY IS SICK. [Illustration] Baby is sick to-day, His face is very pale: He will not laugh or play, I wish that he were well. Shall we give him some meat, Some pudding, or some pie? What shall he have to eat? I hate to hear him cry. O, no, 'twould never do, Such things would make him worse; They are unwholesome too, For children well, like us. Babies love simple food, And we are very small; Rich things do us no good, We'll give him none at all. THE APPEAL. [Illustration] Father, father, kiss thy child, Hear my little song; When my mother sweetly smil'd-- Who pass'd along? Father, father, kiss thy child, Thy affection prove; When my mother sweetly smil'd Her look was love. Father, father, kiss thy child, Do not make me cry: When my mother sweetly smil'd, Father pass'd me by. LOVE MY FATHER. [Illustration] Love my father so dear, Love my mother sincere. Dearest father and mother, Dearest sister and brother, They my love Shall prove. And my neighbors so near, My affection must share; Love my neighbors so kindly, Love myself, not too blindly; They my love Shall prove. Both the precious and vile, Those that hate me the while, With concern I would cherish, May their souls never perish, But believe And live. But my Father in heav'n, Who my blessings hath giv'n, And the Son, and the Spirit, Three in One, shall inherit Pure esteem, Supreme. SEE THE NAUGHTY KITTEN. [Illustration] See the naughty kitten, Playing with the knittin'; How she rolls the ball about? How she pulls the stitches out? Naughty, naughty kitten. Will you run and catch her? Will you try to teach her? Bring the pretty little book, See if in it she will look? Do not let her scratch you. What a naughty pussy, All the while so dosy, Pussy only mew'd and purr'd, Would not read a single word, Naughty, naughty pussy. Kittens know but little, Knitting yarn is brittle, Children should not do so ill, They should learn to read and spell-- Not be full of prattle. O WHAT A NAUGHTY DOG. [Illustration] O, what a naughty dog is that, To quarrel with the pussy cat, About a little piece of meat That sister gave for them to eat; Pussy too, looks very shy, And lifts her back up very high. Hark, how he growls and barks at her, See how she raises up her fur; And now he snatches for the piece, And now she's spitting in his face, O for shame! poor dog and cat, To quarrel for a thing like that. Brothers and sisters should be kind, And no such vile examples mind, While dogs and cats may think it right To quarrel for their appetite: Children always should agree, Both when they eat and when they play. TO INFANT SCHOOL. [Illustration] To infant school, to infant school, I hear the little bell; O, come with me to infant school, And learn to read and spell. To infant school, to infant school, I do not like to wait; O, come with me to infant school, Or we shall be too late. To infant school, to infant school, We must not stop to play; O, come with me to infant school, And I will lead the way. To infant school, to infant school, We'll sweetly march and sing: O, come with me to infant school, The bell begins to ring. O DON'T HURT THE DOG. [Illustration] Oh! don't hurt the dog, poor honest old Tray; What good will it do you to drive him away? Kind treatment is justly his right; Remember how faithful he is to his charge, And barks at the rogues when we set him at large, And guards us by night and by day. If you are a boy and Tray but a beast, I think it should teach you one lesson at least, You ought to act better than he; And if without reason, or judgment, or sense, Tray does as we bid him and gives no offence How diligent Richard should be! JANE TAYLOR. TOLL THE BELL. [Illustration] THE FUNERAL. Toll the bell, Toll the bell, Ring the baby's knell; Low with the dead It must be laid. Baby, farewell. Toll the bell, Toll the bell, Ring the baby's knell; Pale is its face, And white its dress, Baby, farewell. Toll the bell, Toll the bell, Ring the baby's knell; Slow from the hall Moves the dark pall, Baby, farewell. Toll the bell, Toll the bell, Ring the baby's knell; Now earth to earth Neath the green turf, Baby, farewell. Toll the bell, Toll the bell, Ring the baby's knell; Beyond the skies Its spirit flies, Baby, farewell. PART III. THE CLASS ROOM. Songs of instruction are not always the most interesting with regard to taste: but there are occasional exceptions against this remark; nor does it apply with the same strictness in regard to young children that it does in reference to adults. Such songs should be associated with pleasant remarks and illustrations; and occasionally with such series of questions as may be suggested by the language which is sung. The songs in this department are adapted to children who have passed the period of prattling infancy. CREATION. [Illustration] He who spread out the sky, That broad blue canopy, Who made the glorious sun, The moon to shine by night, The stars with eye so bright, He made thee, little one. He who with care doth keep The nested birds that sleep: And when their rest is done, Doth guide them through the sky, And feed them when they cry, He loves thee, little one. L. H. S. QUESTIONS. 1. Who made you? 2. Who made the sky, the sun, the moon, and the stars? 3. Who takes care of the birds and feeds them? 4. Does the Lord take care of little children? 5. Does he love them when they are his children? THE ARK AND DOVE. [Illustration] There was a noble ark, Sailing o'er waters dark, And wide around: Not one tall tree was seen, Nor flow'r, nor leaf of green, All, all was drown'd. Then a soft wing was spread, And o'er the billows dread, A meek dove flew; But on that shoreless tide, No living thing she spied To cheer her view-- So to the ark she fled, With weary drooping head To seek for rest; Christ is thy ark, my love, Thou art the tender dove, Fly to his breast. L. H. S. QUESTIONS. 1. Who built the ark? 2. What was put into it? 3. Was the rest of the world destroyed? 4. For what? 5. Why was the dove sent out, and why did she return? 6. Why is Christ called an ark? PLEYEL'S HYMN.[5] [Illustration] Child, you're old enough to know That you need a Savior's love That you are a sinner too, All your wicked actions prove. When you feel your bosom swell, Angry passions rise within And your lips speak what they feel, Something tells you--there is sin. Christ was once a little child, But his heart was pure within; Always gentle, kind and mild; Child, you must be just like him. B. [5] The thoughts contained in this song may suggest a profitable method of teaching the doctrines of native depravity; and salvation through a bleeding Savior. The pure example of Christ also, when frequently presented to the infantile mind, operates as a powerful restraint. THE MOON IS VERY FAIR. [Illustration] The moon is very fair and bright, And rises very high; I think it is a pretty sight, To see it in the sky; It shone upon me where I lay, And seem'd almost as bright as day. The stars are very pretty too, And scatter'd all about; At first there seem a very few, But soon the rest come out: I'm sure I could not count them all They are so very bright and small. The sun is brighter still than they, He blazes in the skies: I dare not turn my face that way, Unless I shut my eyes: Yet when he shines our hearts revive, And all the trees rejoice and thrive. God made and keeps them every one By his great power and might; He is more glorious than the sun, And all the stars of light: But when we end our mortal race, The pure in heart shall see his face. JANE TAYLOR. THE COMMANDMENTS.[6] [Illustration] One God I must worship supreme, And ne'er before images bow, I must not speak light of his name, But pay to him every vow. I'm bound to remember with care, The Sabbath, so hallow'd and pure; To honor my parents so dear, That my life may the longer endure. I never must steal, or consent To what is impure or untrue; I must not indulge discontent, Or covet my neighbor his due. Now help me, O Father in heav'n, To keep these commandments with zeal; In the strength that through Jesus is giv'n To those who are doing thy will. [6] In connexion with this song, the ten commandments may be recited, in such a manner as to show their meaning, and illustrate the thoughts contained in the hymn. GOOD LITTLE GIRLS. [Illustration] Two good little girls, Marianne and Maria, As happily liv'd as good girls could desire; And though they were neither grave, sullen, nor mute, They seldom or never were heard to dispute. If one wants a thing that the other could get, They never are scratching or scrambling for it, But each one is willing to give up her right, They'd rather have nothing than quarrel and fight. If one of them happens to have something nice, Directly she offers her sister a slice; And not like to some greedy children I've known, Who would go in a corner and eat it alone. When papa or mamma had a job to be done, These good little girls would immediately run, And not stand disputing to which it belong'd, And grumble and fret and declare they were wrong'd. Whatever occur'd in their work or their play, They were willing to yield, and give up their own way; Then let us all try their example to mind, And always like them, be obliging and kind. JANE TAYLOR. HOW I LOVE MY TENDER MOTHER. [Illustration] How I love my tender mother, How I love my father dear; How I love my little brother, And my sister so sincere: They are all both kind and true, And they love me dearly too. Be my neighbor proud or lowly, He shall my affection share; Be he sinful, be he holy, He may claim my earnest prayer: Let me not unfeeling prove, Nor myself too dearly love. But of all affection giv'n, God on high demands the most; God the Father in the heav'n, God the Son and Holy Ghost: Three in One and One in Three; Be thou all in all to me. The child may be taught, in connexion with this song, how that "love is the fulfilling of the law"--love that includes all the characteristics mentioned in the gospel. The last stanza introduces also the subject of the blessed Trinity, in such a manner as to invite explanation. THE BEES. [Illustration] THE BEES. O, mother dear, pray tell me where The bees in winter stay? The flow'rs are gone they fed upon, So sweet in summer's day. My child, they live within the hive, And have enough to eat: Amid the storm they're clean and warm, Their food is honey sweet. Say, mother dear, how came it there? Did father feed them so? I see no way in winter's day That honey has to grow. No, no, my child, in summer mild, The bees laid up their store Of honey drops in little cups, 'Til they would want no more. In cups you said--how are they made? Are they as large as ours? O no, they're all made nice and small Of wax, found in the flow'rs. Our summer's day to work and play, Is now in mercy giv'n, And we must strive long as we live To lay up stores in HEAV'N. I SAW AN OLD COTTAGE. [Illustration] I saw an old cottage of clay, And only of mud was the floor; 'Twas all falling into decay, And snow drifted in at the door. Yet there a poor family dwelt, In a cottage so dismal and rude; And though keenest hunger they felt, They'd scarcely a morsel of food. The children were crying for bread, And to their poor mother would run-- "O, give us some breakfast," they said, Alas! their poor mother had none. O then let the wealthy and gay But see such a hovel as this; And in a poor cottage of clay, Learn what real misery is. The little that I have to spare, I never will squander away; While thousands of people there are As poor and as wretched as they. JANE TAYLOR. THE CHATTERBOX.[7] [Illustration] THE CHATTERBOX. From morning till night it was Lucy's delight, To chatter and talk without stopping; There was not a day but she rattled away, Like water forever a dropping. As soon as she rose, while she put on her clothes, 'Twas vain to endeavor to still her; Nor once did she lack to continue her clack, Till again she lay down on her pillow. How very absurd! and have you not heard That much tongue and few brains are connected? That they are suppos'd to think least who talk most? Their wisdom is always suspected. While Lucy was young, if she'd bridled her tongue, With a little good sense and exertion, Who knows but she might now have been our delight, Instead of our jest and aversion! JANE TAYLOR. [7] This is an excellent lesson for children who are prone to be talkative; especially those who have a little advanced beyond the period of early infancy. THE SCALE.[8] [Illustration] Come let us learn to sing, Faw sol law faw sol law mi faw, Loud let our voices ring, Faw sol law faw sol law mi faw; Let us sing with open sound, With our voices full and round, Faw mi law sol faw law sol faw. This is the scale so sweet, Faw sol law faw sol law mi faw, Sing it with accent meet, Faw sol law faw sol law mi faw, First ascend in notes so true, Then descend in order too; Faw mi law sol faw law sol faw. Children should love to sing, Faw sol law faw sol law mi faw, Praise to the heav'nly King, Faw sol law faw sol law mi faw: Let us learn his face to seek, Then aloud his praise we'll speak, Faw, mi, law, sol, faw, law, sol, faw. [8] Great care should here be taken, that the sounds of the SCALE are accurately tuned; and that the suggestions given in the song, in reference to the formation of the voice, be successfully reduced to practice. THE ABC. Swiss Air.[9] [Illustration] The A, B, C, Is pleasant to me, I'm learning it all the day; Whenever I look In a printed book, I See nothing but A, B, C. Sing A, B, C, Sing A, B, C. I See nothing but A, B, C. I'm glad to know, The fine little row, Of letters both great and small, The D, E, F, G, The M, N, O, P, And the X, Y, Z and all: Sing A, B, C, Sing R, S, T, Sing X, Y, Z and all. If I can fix These marks twenty-six, In this little careless head; I'll read every book As soon as I look At the letters all over it spread. Sing A, B, C, Sing X, Y, Z, And the letters all over it spread. I now will learn Them all in turn, The big letters and the small; For how can I spell, Or pronounce them well, Till I shall have learned them all? Sing A, B, C, Sing X, Y, Z, For I'm going to learn them all. The bees and flies Have nice little eyes, But never can read like me; They crawl in the book, And they seem to look, But they never know A, B, C; Sing A, B, C, Sing A, B, C, They never know A, B, C. [9] The slurs are applied chiefly to the second stanza. THE LITTLE LAMB. [Illustration] I saw a little lamb to-day, It was not very old; Close by its mother's side it lay, So soft within the fold: It felt no sorrow, pain, or fear, While such a comforter was near. Sweet little lamb, you cannot know What blessing I have lost: Were you like me, what could you do, Amid the wintry frost? My clothes are thin, my food is poor, And I must beg from door to door. I had a mother once, like you, To keep me by her side: She cherish'd me and lov'd me too; But soon, alas! she died: Now sorrowful and full of care, I'm lone and weary every where. My father was not kind to me, He went away from home; I long'd again his face to see, But he would never come: Before he died he would be found Sleeping upon the naked ground. I must not weep and break my heart, They tell me not to grieve: Sometimes I wish I could depart, And find a peaceful grave: They say such sorrows never come To those who slumber in the tomb. 'Twas thus a little orphan sung, Her lonely heart to cheer; Before she wander'd very long, She found a Savior near: He bade her seek his smiling face And find in heav'n a dwelling place. THE ORPHAN. [Illustration] O, if I were a robin, I'd soon be on the wing, I'd leave my sighs and sobbin' And sweetly I would sing; And early in each morning I'd fly from tree to tree; And going and returning What pretty things I'd see? But now I am so lonely, I know not where to stay, My little brother only Is with me day by day: My mother dear was crying When father lay so low: When she herself was dying-- I know not what to do. Our parents are in heaven, Their spirits went above; Their sins were all forgiven, For they the Lord did love: God call'd them to forsake us, And laid them in the dust; But he himself will take us, If in his name we trust. If Jesus will receive us Within his precious fold; And when he'll please to give us Some pretty wings of gold; Then soon we will be flying Up to that blessed place, Where there is no more crying, So near his smiling face. THE PENITENT CHILD. [Illustration] THE PENITENT CHILD. A long time ago, when Janett was a child, As thoughtless as others, as giddy and wild; She was sent by her mistress one evening so fair, Where a family circle were kneeling in prayer. Her young heart was then touch'd, she would afterwards say-- "O! that my dear master but knew how to pray;" For she had no father to pray for her soul, No mother to counsel, advise, or control. One night as the snows drifted deep through the vale, While the bleak whistling wind was all dreary and chill, She again sought the house where she first heard a pray'r, And close to the door held her listening ear. She heard, as the story of Jesus was read, How he suffer'd below, how for sinners he bled; Tears fell from her eyes like the drops of a show'r, Till sobbings of anguish were heard at the door. That night did the Lord, by his Spirit, impart, To the penitent child a conversion of heart; Then happy was she, though an orphan and poor, And she never forgot how she knelt at the door. B. THE HEATHEN MOTHER. [Illustration] See that heathen mother stand Where the sacred currents flow, With her own maternal hand, Mid the waves her infant throw. Hark! I hear the piteous scream, Frightful monsters seize their prey: Or the dark and bloody stream Bears the struggling child away. Fainter now, and fainter still, Breaks the cry upon the ear; But the mother's heart is steel; She, unmov'd, that cry can hear. Send, O send the Bible there, Let its precepts reach the heart, She may then her children spare-- Act the mother's tender part. B. What is a heathen mother? What is meant by the sacred current? Why does she throw her infant into the river? What monsters of the deep seize infants? Why is the heathen mother so hard hearted? What would make her love her child? Would the Bible do her good without reading it? What would make its truths touch her heart? Why would she then spare her child? THE BLOSSOM. [Illustration] THE BLOSSOM. Just now a fragile blossom grew, Upon a lowly stem; Its opening leaves disclos'd to view A glitt'ring dewy gem. Jane saw, and gently on her breast, The tender flow'ret plac'd, When lo! a rude and angry gust Its beauties all effac'd. Its leaves were scatter'd by the wind, Its fragrance lost in air; Till nothing there was left behind, Of all that was so fair. Young children, like this little flower, Though beautiful and gay, May in some sudden, mournful hour, By death be borne away. But the good child who loves to pray, Whose sins are all forgiv'n, Who loves the Savior's will t' obey, May live and bloom in heav'n. B. BY THE SIDE OF A RIVER. [Illustration] By the side of a river so clear, They carried the beautiful child, Mid the flags and the bushes, In an ark of bulrushes, They left him so lonely and wild; For the ruffians would come If he tarried at home, And murder that infant so dear. By the side of the river so clear, The ladies were winding their path, When Pharaoh's daughter Stepp'd into the water Her delicate person to bathe: Before it was dark, She open'd the ark, And found a sweet infant was there. By the side of the river so clear, That infant was lonely and sad, She took him in pity And thought him so pretty, And made little Moses so glad, She call'd him her own-- Her beautiful son, And sent for some nurse that was near. Away from the river so clear, They carried the beautiful child; To his own tender mother His sister and brother, And then he look'd happy and smil'd. His mother so good, Did all that she could, To nurse him and teach him with care. Once more by that river so clear, When Moses was aged and good; He saw the king tremble, Relent and dissemble, And the waters all turning to blood The king would abuse, And trouble the Jews, And turn to the Lord a deaf ear. And soon by the sea that was red, Stood Moses the servant of God; While in him he confided, The deep was divided, As upward he lifted his rod. The Jews safely cross'd, While Pharaoh's host, Were drown'd in the waters and dead. And soon on a mountain so high, Stood Moses, all trembling with awe; Mid the lightnings and thunders, And great signs and wonders, For God was then giving his law. The Lord wrote it down, On two tables of stone, Before he went back to the sky. Once more on a mountain he stood, The last one he ever might see; The prospect was glorious, Where Israel victorious, Would soon over Jordan be free. Then his labors did cease; He departed in peace, And now rests in the heav'nly abode. Questions and details relating to the history of Moses, are very profitable and instructive to children. Bible histories, well told, have a powerful influence upon their minds. VOICE OF SPRING. [Illustration] Hark, hark, the voice of spring, Woods and fields with echoes ring, While the birds so sweetly sing; Music floats In joyous notes From many a tuneful string. Hark, hark, the voice of spring, Busy bees are on the wing, None but drones are slumbering: Children too Should learn to do Every useful thing. Hark, hark, the voice of spring, From the flowers the breezes bring Many a fragrant offering, Emblem true Of incense due To Zion's glorious king. Hark, hark, the voice of spring, Trees their branches upward fling, Vines unto their tendrils cling; Infant bands Lift up your hands, Devoutly worshipping. PART IV. THE ALTAR. The music found in the preceding pages, may suffice in some measure for training and exercising the voices of young children. Care should be taken that the child pronounces his words with distinctness and precision. The vowels also should be formed in the throat and not in the mouth or nose. The manner of uttering the vowels, is that which gives a pleasant or unpleasant tone of voice to the singer. Properly speaking, we are never to sing the consonants, but to articulate them instantly, much as in speech, though louder and with greater precision. We sing only the vowels, and hence our manner of treating them is almost the only circumstance that gives sweetness and polish to the voice. The music which here follows, is not intended for drilling exercises. The little songs or hymns are strictly devotional; and should as far as practicable, be accompanied with devotional associations of thought and feeling. This is a principle of unspeakable importance; and one that ought every where to pervade the cultivation of devotional song. NOW I LAY ME DOWN. [Illustration] AT NIGHT. Now I lay me down to sleep, I pray the Lord my soul to keep, If I should die before I wake, I pray the Lord my soul to take. WATTS. IN THE MORNING. Through the night with slumber press'd, The Lord hath giv'n me quiet rest; Let mercy guide me through the day, And lead me in the narrow way. THE SUN HATH GONE TO REST. [Illustration] EVENING. The sun hath gone to rest, The bee forsakes the flower, The young bird slumbers in its nest, Within the leafy bower. Where have I been this day Into what folly run? Forgive me, Father, when I pray Through Jesus Christ thy son. When all my days are o'er, And in the grave I lie; Wilt thou permit my soul to soar, To worlds beyond the sky. L. H. S. DARK NIGHT AWAY. [Illustration] MORNING. Dark night away hath roll'd, Glad birds are soaring high, The sun with rays of gold, Looks from the dazzling sky. Teach me to thank the power, Whose hand sustains me so; Who o'er each fragrant flower, Bids dews of mercy flow. O raise my heart above, Where angel hosts adore; I'll praise thee for thy love, And count thy mercies o'er. L. H. S. THE TEMPEST. [Illustration] THE TEMPEST. The night is dark, the wind is high, And rain is pouring from the sky, There is no moon, The stars are gone, The lamps are out, the fire is down. How sad and lonely is this night, I cannot see a gleam of light; Awake I keep, And silent weep, While parents dear are fast in sleep. But there is one who dwells above, Whose looks are bright, whose name is love, His guardian care Is every where, And those who love him need not fear. Such was the night in Galilee, When the disciples on the sea, Far from the coast, By tempest tost, Expected to be sunk and lost. The Lord rebuk'd the angry seas, And hush'd the winds and waves to peace, He spake the word, The tempest heard, And own'd the pow'r of Christ the Lord. Then let the rain in torrents pour, And let the winds in tumult roar; Dark be the night, Yet Christ my light, Around me shines in splendor bright. AWAKE, AWAKE MY LOVE. [Illustration] MORNING. Awake, awake my love, The Savior from above, Would lend his gracious ear To listen to your prayer, Rise and unbosom every care. Awake, awake my love, The Savior from above, In accents kind and mild, Would own you as his child, Though you're by nature all defil'd. Awake, awake my love, The Savior from above, Can pardon all your sin, And bid your soul be clean; His blood can cleanse from every stain. H. S. M. AND NOW THE DAY IS ENDING. [Illustration] EVENING. And now the day is ending, With all its toil and care: My voice to heav'n ascending Shall offer praise and prayer: The Lord is ever mindful Of those who seek his face; And children weak and sinful, May feel his saving grace. For all my sin and folly, This day from morn to e'en, I pray the Lord most holy, That I may be forgiv'n. His bleeding love so precious, I now recall to mind: The Lord is ever gracious, And pitiful and kind. While I, my sins confessing, Implore his pard'ning love; I'll praise him for each blessing Descending from above; Ingratitude, so hateful-- O! keep me from that sin; Lord make me truly grateful, And cleanse my soul within. HAPPY CHILD. [Illustration] Happy, happy child am I, On a mother's arms to lie, Or to rest my weary head On a soft and downy bed, Beneath her gentle eye: While she kneels beside me there, Teaching me a holy pray'r. But the little heathen child, Naked, ignorant and wild, Has no home or downy bed, Where to rest his aching head, Or mother's arms to shield. She no prayer of love can say, Heathen mothers will not pray. Blessed Savior, now I see, Thou art kinder far to me, And I will not lay my head, On my downy peaceful bed, Till I have pray'd to thee; Thank'd thee for a mother's care, Such as heathen never share. B. THE STORM. [Illustration] THE STORM. How fierce the lightning blazes! I hear the thunders roar; Hark! how the wind arises! While clouds their waters pour: But in the Lord confiding Our souls feel no alarm: For he himself is riding Upon the angry storm. The lightnings are his arrows, The thunders are his voice Yet e'en the feeblest sparrows May safe in him rejoice; The clouds and winds and waters, Obey his sovereign word; Let Zion's sons and daughters Adore th' Almighty Lord. When lightnings red are streaking, A Father's arm is bar'd; When thunders loud are speaking, A Father's voice is heard: The foes that flee before him, Can never feel his grace; While children that adore him, Shall see his smiling face. LORD'S PRAYER. [Illustration] THE LORD'S PRAYER. Our Father, our Father in heav'n, Be hallowed thy glorious name, To thee let the kingdom be giv'n, Thy will we acknowledge supreme. We would by thy bounty be fed, By infinite mercy forgiv'n; Nor into temptation be led, Or into sad evils be driv'n. For thine is the kingdom, O Lord, The power and the glory are thine, Be forever and ever ador'd, On earth as in heav'n divine. SELF CONSECRATION. [Illustration] SELF-CONSECRATION. O, Jesus, delight of my soul, My Savior, my Shepherd divine; I yield to thy blessed control, My body and spirit are thine; Thy love I can never deserve, That bids me be happy in thee; My God and my King I will serve, Whose favor is heaven to me. How can I thy goodness repay, By nature so weak and defil'd? Myself I have given away; O call me thine own little child: And art thou my Father above? Will Jesus abide in my heart? O, bind me so fast with thy love, That I never from thee shall depart. CHILDREN, LISTEN. [Illustration] Children, listen to the Lord, And obey his gracious word, Seek his love with heart and mind, Early seek and you shall find. Sorrowful, your sins confess, Plead his perfect righteousness, See the Savior's bleeding side! Come, you will not be denied. For his worship now prepare, Kneel to him in fervent pray'r, Serve him with a perfect heart, Never from his ways depart. HOSANNA. [Illustration] Hosannas were by children sung, When Jesus was on earth; Then surely we are not too young To sound his praises forth: The Lord is great, the Lord is good; He feeds us from his store, With earthly and with heav'nly food, We'll praise him evermore. And when to him young children came, He took them in his arms: He bless'd them in his Father's name, And spoke with heav'nly charms: We thank him for his gracious word, We thank him for his love: We'll sing the praises of our Lord, Who reigns in heav'n above. Before he left this world of woe, On Calvary he died; His blood for us did freely flow Forth from his wounded side; O, then we'll magnify his name Who groan'd and died for us; We'll worship the atoning Lamb, And kneel before his cross. He rose again and walk'd abroad, And many saw his face: They call'd him the incarnate God, Redeemer of our race: He rose and he ascended high, We'll bow to his command: His glories fill the earth and sky, He sits at God's right hand. Transcriber's Note Obvious typographical errors were repaired, as listed below. Other apparent archaic spellings, inconsistencies or errors have been retained. Page 27, "litle" has been changed to "little". (Come, drive that long sob from your dear little breast,...) Page 28, "willl" has been changed to "will". (The winter is coming, then what will you eat?) Page 30, "thy" changed to "they". (... and off they fly.) Page 32, "wont" changed to "won't". (Why won't he be kinder,...) Page 33, "unwholsome" changed to "unwholesome". (They are unwholesome too,...) Page 51 uses syllables that sound similar to those used in solfege. Please note that these have been retained as published in the original. Page 52, "A A, C" changed to "A, B, C" for consistency. (I See nothing but A, B, C.) Page 57, "ope'ning" changed to "opening". (Its opening leaves disclos'd to view) Page 58, "." changed to ",". (By the side of a river so clear,...) 
39784	----	[Illustration] MOTHER GOOSE'S NURSERY RHYMES A collection of _Alphabets, Rhymes, Tales, and Jingles_ With Illustrations BY SIR JOHN GILBERT, R.A., JOHN TENNIEL, HARRISON WEIR, WALTER CRANE, W. McCONNELL, J. B. ZWECKER AND OTHERS [Illustration] London GEORGE ROUTLEDGE AND SONS THE BROADWAY, LUDGATE NEW YORK: 416 BROOME STREET 1877 [Illustration] CONTENTS. _Page_ A Apple Pie 156 A B C, Tumble down D 286 A Carrion Crow sat on an Oak 120 A Diller, a Dollar, a Ten o'Clock Scholar 257 A Farmer went Trotting upon his Grey Mare 292 A little Boy went into a Barn 207 A little Cock Sparrow sat on a Tree 309 A Man of Words and not of Deeds 295 A Man went Hunting at Reigate 47 A-milking, a-milking, my Maid 140 Apple-Pie, Pudding, and Pancake 288 As I was going along, long, long 140 As I was going up Pippin Hill 297 As I was going up Primrose Hill 207 As I was going to St. Ives 318 As I went to Bonner 60 As Tommy Snooks and Bessy Brooks 264 At the Siege of Belleisle I was there all the while 141 Away, Birds, away! 118 Baa, baa, Black Sheep (_Music_) 170 Barber, Barber, shave a Pig 172 Bat, Bat, come under my Hat 241 Bessy Bell and Mary Gray 173 Bless you, bless you, bonny Bee 308 Blow, Wind, blow, and go, Mill, go 183 Bow-wow-wow 304 Boys and Girls, come out to Play 14 Brow, brow, brinkie 61 Bye, Baby Bunting 141 Charley, Charley, stole the Barley 285 Come, let's to bed, says Sleepy-Head 144 Cross-Patch, draw the Latch 223 Cry, Baby, cry 214 Curly-Locks, Curly-Locks, wilt thou be mine? 188 Daffy-Down-dilly has come up to Town 209 Dame Duck's Lessons to her Ducklings 150 Dance a Baby Diddit 141 Dance to your Daddy 180 Death and Burial of poor Cock Robin 79 Deedle, deedle, Dumpling, my Son John 228 Dickery, Dickery, Dock (_Music_) 256 Dickery, Dickery, Dare 58 Ding, Dong, Bell 224 Ding, Dong, Darrow 149 Doctor Foster went to Glo'ster 148 Early to Bed and Early to Rise 297 Eggs, Butter, Cheese, Bread 221 Elizabeth, Elspeth, Betsy, and Bess 286 For every Evil under the Sun 300 Four and Twenty Tailors went to kill a Snail 148 Freddie in the Cherry-Tree 111 Frog he would a-wooing go 124 Frog's (The) Chorus 222 Georgie Porgie (_Music_) 289 Good Dobbin 265 Good King Arthur 51 Goosey, Goosey, Gander (_Music_) 193 Go to Bed first, a Golden Purse 318 Great A, Little A 239 Handy, Spandy, Jack-a-Dandy 194 Hark, hark, the Dogs do bark 190 Here am I, little Jumping Joan 264 Here we go up, up, up 194 He that would Thrive 217 Hey, diddle, diddle 174 Hey, my Kitten, my Kitten 194 Hickety, Pickety, my Black Hen 230 High Diddle Ding 135 High diddle doubt, my Candle's out 169 Hot Cross Buns 52 Humpty Dumpty sat on a Wall (_Music_) 48 Hush-a-bye, Baby 217 Hush-a-bye, Baby, lie still with thy Daddy 294 Hush Baby, my Doll, I pray you don't cry 61 If all the World were Water 194 If Wishes were Horses, Beggars would ride 189 If you are to be a Gentleman 61 I had a little Dog, they called him Buff 119 I had a little Hen, the prettiest ever seen 208 I had a little Hobby-Horse 221 I had a little Husband no bigger than my Thumb 192 I had a little Pony 195 I have a little Sister they call her Peep, Peep 192 I'll tell you a Story 231 I love Sixpence 232 I love little Pussy 290 I saw a Ship a-sailing 129 Is John Smith within? 153 Jack and Jill went up the Hill (_Music_) 212 Jack be Nimble 183 Jack Sprat could eat no Fat 60 Jack Sprat had a Cat 119 Jack Sprat's Pig 308 Jacky, come give me thy Fiddle 257 Jenny shall have a new Bonnet 305 John Cook he had a little Grey Mare 153 John Gilpin 266 Ladybird, Ladybird 261 Leg over Leg 261 "Let us go to the Woods," says this Pig 304 Little Betty Blue 294 Little Blue Betty lived in a Lane 123 Little Bo-Peep (_Music_) 312 Little Boy Blue 136 Little Boy, pretty Boy, where were you born? 173 Little Girl, little Girl, where have you been? 180 Little Jack Horner (_Music_) 80 Little Miss Muffett 263 Little Nancy Etticote 123 Little Polly Flinders 239 Little Robin Redbreast sat upon a Rail 149 Little Tommy Tittlemouse 195 Little Tom Tucker (_Music_) 146 Margery Mutton-Pie and Johnny Bo-Peep 188 Marriage of Cock Robin and Jenny Wren 84 Mary had a pretty Bird 122 Mary, Mary, quite contrary 148 Molly, my Sister, and I fell out 59 Mr. Isbister and Betsy his Sister 311 Multiplication is Vexation 209 My Lady Wind, my Lady Wind 303 My little Old Man and I fell out 288 Needles and Pins, Needles and Pins 300 Nievie, Nievie, Nicknack 306 Nursery Rhyme Alphabet 226 Oh, Mother, I'm to be Married to Mr. Punchinello 306 Oh, the Rusty, Dusty, Rusty Miller 168 Old Father Grey Beard 140 Old King Cole 154 Old Mother Goose 9 Old Mother Hubbard 64 Old Mother Widdle-Waddle 206 Old Woman, Old Woman, shall we go a-Shearing? 298 One misty, moisty Morning 228 One, Two, buckle my Shoe 191 One, Two, Three 219 One, Two, Three, Four, Five 261 Pat-a-cake, pat-a-cake, Baker's Man 299 Pease Pudding Hot 188 Peter White will ne'er go right 217 Pit, pat, well-a-day! 149 Pitty Patty Polt 61 Please to remember the Fifth of November 260 Poor Dog Bright 296 Poor old Robinson Crusoe 240 Pussy Cat ate the Dumplings 299 Pussy Cat, Pussy Cat, where have you been? 195 Pussy sits beside the Fire 168 Queen Anne, Queen Anne, she sits in the Sun 180 Rain, Rain, go away 309 Rain, Rain, go to Spain 307 Ride a Cock-Horse 184 Robin and Richard were two pretty Men 183 See a Pin and pick it up 259 See-saw, Margery Daw 178 See, see, what shall I see? 195 Simple Simon (_Music_) 112 Sing a Song of Sixpence (_Music_) 234 Snail, Snail, come out of your Hole 141 Snail, Snail, come put out your Horn 189 Solomon Grundy 59 Some little Mice sat in a Barn 320 Swan, Swan, over the Sea 228 Taffy was a Welshman 291 The Barber shaved the Mason 63 The Cat sat asleep by the side of the Fire 264 The Cock doth Crow 119 The Cuckoo's a bonny Bird 298 The Fox and the Farmer 186 The great Brown Owl 145 The House that Jack built 196 The King of France went up the Hill 119 The Lion and the Unicorn were fighting for the Crown 172 The Man in the Moon 149 The North Wind doth blow 241 The Old Woman and her Pig 242 The Old Woman must stand at the Tub, Tub, Tub 229 The Queen of Hearts 210 There was a Crooked Man 169 There was a Fat Man of Bombay 233 There was a Jolly Miller 56 There was a little Man and he had a little Gun 209 There was a Monkey climbed up a Tree 82 There was an Old Crow 223 There was an Old Man of Tobago 262 There was an Old Woman, and what do you think? 319 There was an Old Woman as I've heard tell 134 There was an Old Woman called Nothing-at-all 220 There was an Old Woman lived under a Hill 139 There was an Old Woman tossed up in a Basket 181 There was an Old Woman who lived in a Shoe 218 There was an Owl lived in an Oak 50 There was a Rat, for want of Stairs 188 There were Three Crows sat ona Stone 211 The Robin Redbreasts 138 The Rose is Red, the Violet's Blue 310 The Turtle Dove's Nest 215 The Waves on the Sea-shore 83 The Wonderful Derby Ram 302 The Young Linnets 176 This is the way the Ladies go 261 Thomas a Tattamus took two T's 172 Three Children sliding on the Ice 301 Three Straws on a Staff 209 Three Wise Men of Gotham 135 To make your Candles last for aye 144 To Market, to Market, a gallop, a trot 288 To Market, to Market, to buy a Fat Pig 52 Tommy kept a Chandler's Shop 258 Tom Thumb's Alphabet 15 Tom, Tom, the Piper's Son (_Music_) 130 Twinkle, twinkle, little Star 284 Two Legs sat upon Three Legs 206 Up Hill and down Dale 287 Up Hill, spare me 307 Valentine, oh, Valentine 311 Walrus (The) and the Carpenter 42 We are all in the Dumps 139 We'll go a-shooting 310 What's the News of the Day? 223 When I was a Bachelor, I lived by myself 182 When Little Fred went to Bed 308 When the Wind is in the East 214 Where are you going to, my pretty Maid? 62 Who Stole the Bird's Nest? 53 Willy Boy, Willy Boy, where are you going? 118 Young Lambs to sell, Young Lambs to sell 142 You shall have an Apple 294 MOTHER GOOSE'S NURSERY RHYMES. OLD MOTHER GOOSE. OLD Mother Goose, when She wanted to wander, Would ride through the air On a very fine gander. Mother Goose had a house, 'Twas built in a wood, Where an owl at the door For sentinel stood. This is her son Jack, A plain-looking lad, He is not very good, Nor yet very bad. She sent him to market, A live goose he bought, "Here, mother," says he, "It will not go for nought." Jack's goose and her gander Grew very fond, They'd both eat together, Or swim in one pond. [Illustration: "SHE SENT HIM TO MARKET, A LIVE GOOSE HE BOUGHT."] Jack found one fine morning As I have been told, His goose had laid him An egg of pure gold. Jack rode to his mother, The news for to tell, She called him a good boy And said it was well. Jack sold his gold egg To a rogue of a Jew, Who cheated him out of The half of his due. Then Jack went a-courting A lady so gay, As fair as the lily, And sweet as the May. The Jew and the Squire Came behind his back, And began to belabour The sides of poor Jack. And then the gold egg Was thrown into the sea, [Illustration] When Jack he jumped in, And got it back presently. The Jew got the goose, Which he vowed he would kill, Resolving at once His pockets to fill. [Illustration] Jack's mother came in, And caught the goose soon, And mounting its back, Flew up to the moon. [Illustration] BOYS and girls, come out to play, The moon does shine as bright as day, Leave your supper, and leave your sleep, And meet your playfellows in the street; Come with a whoop, and come with a call, And come with a good will, or not at all. Up the ladder and down the wall, A halfpenny loaf will serve us all. You find milk and I'll find flour, And we'll have a pudding in half an hour. [Illustration: TOM THUMB'S ALPHABET] [Illustration: A was an Archer, who shot at a frog.] [Illustration: B was a Butcher, who had a great dog.] [Illustration: C was a Captain, all covered with lace.] [Illustration: D was a Drummer, who played with a grace.] [Illustration: E was an Esquire with pride on his brow.] [Illustration: F was a Farmer, who followed the plough.] [Illustration: G was a Gamester, who had but ill-luck.] [Illustration: H was a Hunter, who hunted a buck.] [Illustration: I was an Italian, who had a white mouse.] [Illustration: J was a Joiner, who built up a house.] [Illustration: K was a King, so mighty and grand.] [Illustration: L was a Lady, who had a white hand.] [Illustration: M was a Miser, who hoarded up gold.] [Illustration: N was a Nobleman, gallant and bold.] [Illustration: O was an Organ-Boy, who played for his bread.] [Illustration: P a Policeman, of bad boys the dread.] [Illustration: Q was a Quaker, who would not bow down.] [Illustration: R was a Robber, who prowled about town.] [Illustration: S was a Sailor, who spent all he got.] [Illustration: T was a Tinker, who mended a pot.] [Illustration: U was an Usher, with dunces severe.] [Illustration: V was a Veteran, who never knew fear.] [Illustration: W was a Waiter, with dinners in store.] [Illustration: X was Expensive, and so became poor.] [Illustration: Y was a Youth, who did not like school.] [Illustration: Z was a Zany, who looked a great fool.] THE WALRUS AND THE CARPENTER.[A] THE sun was shining on the sea, Shining with all his might: He did his very best to make The billows smooth and bright-- And this was odd, because it was The middle of the night. The moon was shining sulkily, Because she thought the sun Had got no business to be there After the day was done-- "It's very rude of him," she said, "To come and spoil the fun!" The sea was wet as wet could be, The sands were dry as dry. You could not see a cloud, because No cloud was in the sky: No birds were flying overhead-- There were no birds to fly. The Walrus and the Carpenter Were walking close at hand; They wept like anything to see Such quantities of sand: "If this were only cleared away," They said, "it _would_ be grand!" "If seven maids with seven mops Swept it for half a year, Do you suppose," the Walrus said, "That they could get it clear?" "I doubt it," said the Carpenter, And shed a bitter tear. [Illustration] "O Oysters, come and walk with us!" The Walrus did beseech. "A pleasant walk, a pleasant talk, Along the briny beach: We cannot do with more than four, To give a hand to each." The eldest Oyster looked at him, But never a word he said: The eldest Oyster winked his eye, And shook his heavy head-- Meaning to say he did not choose To leave the oyster-bed. But four young Oysters hurried up, All eager for the treat: Their coats were brushed, their faces washed, Their shoes were clean and neat-- And this was odd, because, you know, They hadn't any feet. Four other Oysters followed them, And yet another four; And thick and fast they came at last, And more, and more, and more-- All hopping through the frothy waves, And scrambling to the shore. The Walrus and the Carpenter Walked on a mile or so, And then they rested on a rock Conveniently low: And all the little Oysters stood And waited in a row. "The time has come," the Walrus said, "To talk of many things: Of shoes--and ships--and sealing-wax-- Of cabbages--and kings-- And why the sea is boiling hot-- And whether pigs have wings." "But wait a bit," the Oysters cried, "Before we have our chat; For some of us are out of breath, And all of us are fat!" "No hurry!" said the Carpenter. They thanked him much for that. [Illustration] "A loaf of bread," the Walrus said, "Is what we chiefly need: Pepper and vinegar besides Are very good indeed-- Now if you're ready, Oysters dear, We can begin to feed." "But not on us!" the Oysters cried, Turning a little blue. "After such kindness, that would be A dismal thing to do!" "The night is fine," the Walrus said. "Do you admire the view? "It was so kind of you to come! And you are very nice!" The Carpenter said nothing but "Cut us another slice: I wish you were not quite so deaf-- I've had to ask you twice!" "It seems a shame," the Walrus said, "To play them such a trick, After we've brought them out so far, And made them trot so quick!" The Carpenter said nothing but "The butter's spread too thick!" [Illustration] "I weep for you," the Walrus said: "I deeply sympathize." With sobs and tears he sorted out Those of the largest size, Holding his pocket-handkerchief Before his streaming eyes. "O Oysters," said the Carpenter, "You've had a pleasant run! Shall we be trotting home again?" But answer there came none-- And this was scarcely odd, because They'd eaten every one. --LEWIS CARROLL. [A] By permission of the Author. [Illustration: A MAN WENT HUNTING AT REIGATE.] A man went hunting at Reigate, And wished to jump over a high gate; Says the owner, "Go round, With your horse and your hound, For you never shall leap over my gate." [Illustration: HUMPTY-DUMPTY.] [Illustration: HUMPTY-DUMPTY.] [Music: Humpty Dumpty sat on a wall, Humpty Dumpty had a great fall; All the king's horses, and all the king's men, Couldn't set Humpty Dumpty up again.] [Illustration: "THERE WAS AN OWL LIVED IN AN OAK."] There was an Owl lived in an oak, Whiskey, Whaskey, Weedle; And all the words he ever spoke Were Fiddle, Faddle, Feedle. A sportsman chanced to come that way, Whiskey, Whaskey, Weedle; Says he, "I'll shoot you, silly bird, So Fiddle, Faddle, Feedle!" [Illustration] GOOD KING ARTHUR. WHEN good King Arthur ruled this land, He was a goodly King; He bought three pecks of barley-meal, To make a bag-pudding. A bag-pudding the King did make, And stuffed it well with plums, And in it put great lumps of fat, As big as my two thumbs. The King and Queen did eat thereof, And noblemen beside; And what they could not eat that night, The Queen next morning fried. [Illustration] To market, to market, to buy a fat pig, Home again, home again, jiggety jig. To market, to market, to buy a fat hog, Home again, home again, jiggety jog. [Illustration] Hot cross buns, hot cross buns, One a penny, two a penny, Hot cross buns. If your daughters don't like them, Give them to your sons, One a penny, two a penny, Hot cross buns. [Illustration] WHO STOLE THE BIRD'S-NEST? TO-WHIT! to-whit! to-whee! Will you listen to me? Who stole four eggs I laid, And the nice nest I made? [Illustration] Not I, said the cow, moo-oo! Such a thing I'd never do. I gave you a wisp of hay, But did not take your nest away; Not I, said the cow, moo-oo! Such a thing I'd never do. [Illustration] Bob-o-link! Bob-o-link! Now, what do you think? Who stole a nest away From the plum-tree to-day? [Illustration] Not I, said the dog, bow-wow! I wouldn't be so mean, I vow. I gave some hairs the nest to make, But the nest I did not take; Not I, said the dog, bow-wow! I would not be so mean, I vow. [Illustration] Coo-coo! coo-coo! coo-coo! Let me speak a word or two: Who stole that pretty nest From little Robin Redbreast? [Illustration] Not I, said the sheep; oh, no, I would not treat a poor bird so; I gave the wool the nest to line, But the nest was none of mine. Baa! baa! said the sheep; oh, no! I wouldn't treat a poor bird so. [Illustration] Caw! caw! cried the crow, I should like to know What thief took away A bird's-nest to-day. [Illustration] Chuck! chuck! said the hen, Don't ask me again; Why, I haven't a chick Would do such a trick. We all gave her a feather, And she wove them together. I'd scorn to intrude On her and her brood. Chuck! chuck! said the hen, Don't ask me again. [Illustration] Chirr-a-whirr! chirr-a-whirr! We will make a great stir. Let us find out his name, And all cry--For shame! [Illustration] A little boy hung down his head, And went and hid behind the bed; For he stole that pretty nest From little Robin Redbreast; And he felt so full of shame He did not like to tell his name. [Illustration: "THERE WAS A JOLLY MILLER."] There was a jolly miller Lived on the river Dee: He worked and sang from morn till night, No lark so blithe as he. And this the burden of his song For ever used to be-- I care for nobody--no! not I, Since nobody cares for me. [Illustration] [Illustration: "DICKERY, DICKERY, DARE."] Dickery, dickery, dare, The pig flew up in the air; The man in brown soon brought him down, Dickery, dickery, dare. Molly, my sister, and I fell out, And what do you think it was about? She loved coffee, and I loved tea, And that was the reason we couldn't agree. Solomon Grundy, Born on a Monday, Christened on Tuesday, Married on Wednesday, Very ill on Thursday, Worse on Friday, Died on Saturday, Buried on Sunday. This is the end Of Solomon Grundy. [Illustration] Jack Sprat could eat no fat, His wife could eat no lean; And so betwixt them both, you see, They licked the platter clean. [Illustration] As I went to Bonner, I met a pig Without a wig, Upon my word and honour. [Illustration] Hush, baby, my doll, I pray you don't cry, And I'll give you some bread, and some milk by-and-by; Or perhaps you like custard, or, maybe, a tart, Then to either you are welcome, with all my heart. Pitty Patty Polt, Shoe the wild colt; Here a nail, And there a nail, Pitty Patty Polt. Brow, brow, brinkie, Eye, eye, winkie, Mouth, mouth, merry, Cheek, cheek, cherry, Chin chopper, chin chopper, &c. If you are to be a gentleman, as I suppose you'll be, You'll neither laugh nor smile for a tickling of the knee. [Illustration] "Where are you going to, my pretty maid?" "I am going a-milking, sir," she said. "May I go with you, my pretty maid?" "You're kindly welcome, sir," she said. "What is your father, my pretty maid?" "My father's a farmer, sir," she said. "What is your fortune, my pretty maid?" "My face is my fortune, sir," she said. "Then I won't marry you, my pretty maid." "Nobody asked you, sir," she said. [Illustration] The barber shaved the mason, And as I suppose Cut off his nose, And popped it in the basin. [Illustration: "OLD MOTHER HUBBARD WENT TO THE CUPBOARD."] [Illustration] OLD MOTHER HUBBARD AND HER DOG. OLD Mother Hubbard Went to the cupboard, To get her poor Dog a bone; But when she came there The cupboard was bare, And so the poor Dog had none. [Illustration] She went to the baker's To buy him some bread, But when she came back The poor Dog was dead. [Illustration] She went to the joiner's To buy him a coffin, But when she came back The poor Dog was laughing, [Illustration] She took a clean dish To get him some tripe, But when she came back He was smoking a pipe. [Illustration] She went to the alehouse To get him some beer, But when she came back The Dog sat in a chair. [Illustration] She went to the tavern For white wine and red, But when she came back The Dog stood on his head. [Illustration] She went to the hatter's To buy him a hat, But when she came back He was feeding the cat. [Illustration] She went to the barber's To buy him a wig, But when she came back He was dancing a jig. [Illustration] She went to the fruiterer's To buy him some fruit, But when she came back He was playing the flute. [Illustration] She went to the tailor's To buy him a coat, But when she came back He was riding a goat. [Illustration] She went to the cobbler's To buy him some shoes, But when she came back He was reading the news. [Illustration] She went to the sempstress To buy him some linen, But when she came back The Dog was a-spinning. [Illustration] She went to the hosier's To buy him some hose, But when she came back He was dressed in his clothes. [Illustration: "THE DAME MADE A CURTSEY, THE DOG MADE A BOW."] The Dame made a curtsey, The Dog made a bow; The Dame said, "Your servant," The Dog said, "Bow wow." This wonderful Dog Was Dame Hubbard's delight; He could sing, he could dance, He could read, he could write. She gave him rich dainties Whenever he fed, And erected a monument When he was dead. [Illustration] [Illustration: LITTLE JACK HORNER.] [Illustration] LITTLE JACK HORNER. [Illustration: Music: _Allegretto._ Little Jack Horner sat in a corner, Eating a Christmas pie; He put in his thumb, and he took out a plum, And said, "What a good boy am I!"] [Illustration] There was a monkey climbed up a tree; When he fell down, then down fell he. There was a crow sat on a stone; When he was gone, then there was none. There was an old wife did eat an apple; When she ate two, she had ate a couple. There was a horse going to the mill; When he went on, he didn't stand still. There was a butcher cut his thumb. When it did bleed, then blood it did run. There was a jockey ran a race; When he ran fast, he ran apace. There was a cobbler, clouting shoon; When they were mended, then they were done. There was a navy went into Spain; When it returned, it came back again. THE WAVES ON THE SEA-SHORE. ROLL on, roll on, you restless waves, That toss about and roar; Why do you all run back again When you have reached the shore? Roll on, roll on, you noisy waves, Roll higher up the strand; How is it that you cannot pass That line of yellow sand? "We may not dare," the waves reply: "That line of yellow sand Is laid along the shore to bound The waters and the land. "And all should keep to time and place, And all should keep to rule, Both waves upon the sandy shore, And little boys at school." [Illustration: "JENNY BLUSHED BEHIND HER FAN."] [Illustration] THE MARRIAGE OF COCK ROBIN AND JENNY WREN. IT was on a merry time, When Jenny Wren was young, So neatly as she danced, And so sweetly as she sung,-- Robin Redbreast lost his heart: He was a gallant bird; He doffed his hat to Jenny, And thus to her he said: [Illustration] "My dearest Jenny Wren, If you will but be mine, You shall dine on cherry-pie, And drink nice currant-wine. "I'll dress you like a goldfinch, Or like a peacock gay; So if you'll have me, Jenny, Let us appoint the day." [Illustration] Jenny blushed behind her fan, And thus declared her mind: "Then let it be to-morrow, Bob,-- I take your offer kind; "Cherry-pie is very good, So is currant-wine; But I'll wear my russet gown, And never dress too fine." [Illustration] Robin rose up early, At the break of day; He flew to Jenny Wren's house, To sing a roundelay. He met the Cock and Hen, And bade the Cock declare, This was his wedding-day With Jenny Wren the fair. The Cock then blew his horn, To let the neighbours know This was Robin's wedding-day, And they might see the show. [Illustration] At first came Parson Rook, With his spectacles and band; And one of Mother Hubbard's books He held within his hand. Then followed him the Lark, For he could sweetly sing, And he was to be the clerk At Cock Robin's wedding. He sang of Robin's love For Little Jenny Wren; And when he came unto the end, Then he began again. The Goldfinch came on next, To give away the Bride; The Linnet, being bridesmaid, Walked by Jenny's side; And as she was a-walking, Said, "Upon my word, I think that your Cock Robin Is a very pretty bird." The Blackbird and the Thrush, And charming Nightingale, Whose sweet "jug" sweetly echoes Through every grove and dale; The Sparrow and Tomtit, And many more, were there; All came to see the wedding Of Jenny Wren the fair. The Bullfinch walked by Robin, And thus to him did say, "Pray mark, friend Robin Redbreast, That Goldfinch dressed so gay: "What though her gay apparel Becomes her very well, Yet Jenny's modest dress and look Must bear away the bell." [Illustration] Then came the Bride and Bridegroom; Quite plainly was she dressed, And blushed so much, her cheeks were As red as Robin's breast. But Robin cheered her up; "My pretty Jen," said he, "We're going to be married, And happy we shall be." "Oh, then," says Parson Rook, "Who gives this maid away?" "I do," says the Goldfinch, "And her fortune I will pay: "Here's a bag of grain of many sorts, And other things beside: Now happy be the bridegroom, And happy be the bride!" "And will you have her, Robin, To be your wedded wife?" "Yes, I will," says Robin, "And love her all my life!" "And you will have him, Jenny, Your husband now to be?" "Yes, I will," says Jenny, "And love him heartily!" Then on her finger fair Cock Robin put the ring; "You're married now," says Parson Rook, While the Lark aloud did sing: "Happy be the bridegroom, And happy be the bride! And may not man, nor bird, nor beast, This happy pair divide!" [Illustration] The birds were asked to dine, Not Jenny's friends alone, But every pretty songster That had Cock Robin known. They had a cherry-pie, Besides some currant-wine, And every guest brought something, That sumptuous they might dine. Now they all sat or stood, To eat and to drink; And every one said what He happened to think. [Illustration] They each took a bumper, And drank to the pair, Cock Robin the bridegroom, And Jenny the fair. The dinner-things removed, They all began to sing; And soon they made the place Near a mile round to ring. The concert it was fine; And every bird tried Who best should sing for Robin, And Jenny Wren the bride. [Illustration] When in came the Cuckoo, And made a great rout; He caught hold of Jenny, And pulled her about. Cock Robin was angry, And so was the Sparrow, Who fetched in a hurry His bow and his arrow. His aim then he took, But he took it not right; His skill was not good, Or he shot in a fright; For the Cuckoo he missed, But Cock Robin he killed!-- And all the birds mourned That his blood was so spilled. [Illustration: _Alas! Poor Cock Robin!_] [Illustration] THE DEATH AND BURIAL OF POOR COCK ROBIN. WHO killed Cock Robin? I, said the Sparrow, With my bow and arrow, I killed Cock Robin. This is the Sparrow, With his bow and arrow. [Illustration] Who saw him die? I, said the Fly, With my little eye, I saw him die. This is the little Fly Who saw Cock Robin die. [Illustration] Who caught his blood? I, said the Fish, With my little dish, I caught his blood. This is the Fish, That held the dish. [Illustration] Who'll make his shroud? I, said the Beetle, With my thread and needle, I'll make his shroud. This is the Beetle, With his thread and needle. [Illustration] Who'll dig his grave? I, said the Owl, With my spade and show'l, I'll dig his grave. This is the Owl, With his spade and show'l. [Illustration] Who'll be the Parson? I, said the Rook, With my little book, I'll be the Parson. This is the Rook, Reading his book. [Illustration] Who'll be the Clerk? I, said the Lark, If it's not in the dark, I'll be the Clerk. This is the Lark, Saying "Amen" like a clerk. [Illustration] Who'll carry him to the grave? I, said the Kite, If it's not in the night, I'll carry him to the grave. This is the Kite, About to take flight. [Illustration] Who'll carry the link? I, said the Linnet, I'll fetch it in a minute, I'll carry the link. This is the Linnet, And a link with fire in it. [Illustration] Who'll be chief mourner? I, said the Dove, For I mourn for my love, I'll be chief mourner. This is the Dove, Who Cock Robin did love. [Illustration] Who'll sing a psalm? I, said the Thrush, As she sat in a bush, I'll sing a psalm. This is the Thrush, Singing psalms from a bush. [Illustration] Who'll toll the bell? I, said the Bull, Because I can pull; So, Cock Robin, farewell! This is the Bull Who the bell-rope did pull. [Illustration: Poor Cock Robin] All the birds of the air Fell a-sighing and sobbing, When they heard the bell toll For Poor Cock Robin. [Illustration] FREDDIE AND THE CHERRY-TREE. [Illustration] FREDDIE saw some fine ripe cherries Hanging on a cherry-tree, And he said, "You pretty cherries, Will you not come down to me?" "Thank you kindly," said a cherry, "We would rather stay up here; If we ventured down this morning, You would eat us up, I fear." One, the finest of the cherries, Dangled from a slender twig; "You are beautiful," said Freddie, "Red and ripe, and oh, how big!" "Catch me," said the cherry, "catch me, Little master, if you can." "I would catch you soon," said Freddie, "If I were a grown-up man." Freddie jumped, and tried to reach it, Standing high upon his toes; But the cherry bobbed about, And laughed, and tickled Freddie's nose. SIMPLE SIMON. [Illustration: Music: Simple Simon met a pieman, Going to the fair; Says Simple Simon to the pieman, "Let me taste your ware." Says the pieman to Simple Simon, "Show me first your penny." Says Simple Simon to the pieman, "Indeed I have not any."] He went to catch a dickey-bird, And thought he could not fail, Because he'd got a little salt To put upon his tail. [Illustration] He went to take a bird's nest, Was built upon a bough: A branch gave way, and Simon fell Into a dirty slough. [Illustration] He went to shoot a wild duck, But wild duck flew away; Says Simon, "I can't hit him, Because he will not stay." Simple Simon went a-hunting, For to catch a hare, He rode an ass about the streets, But couldn't find one there. Simple Simon went a-fishing For to catch a whale; All the water he had got Was in his mother's pail. He went for to eat honey Out of the mustard-pot, He bit his tongue until he cried, That was all the good he got. He went to ride a spotted cow, That had a little calf, She threw him down upon the ground, Which made the people laugh. Once Simon made a great snowball, And brought it in to roast; He laid it down before the fire, And soon the ball was lost. He went to slide upon the ice, Before the ice would bear; Then he plunged in above his knees, Which made poor Simon stare. [Illustration] He washed himself with blacking-ball, Because he had no soap; Then said unto his mother, "I'm a beauty now, I hope." Simple Simon went to look If plums grew on a thistle; He pricked his fingers very much, Which made poor Simon whistle. [Illustration] He went for water in a sieve, But soon it all ran through; And now poor Simple Simon Bids you all adieu. [Illustration] [Illustration] Willy boy, Willy boy, where are you going? I will go with you, if I may. I am going to the meadows, to see them mowing, I am going to see them make the hay. [Illustration] Away, Birds, away! Take a little, and leave a little, And do not come again; For if you do, I will shoot you through, And then there will be an end of you. [Illustration] I had a little dog, they called him Buff, I sent him to the shop for a hap'orth of snuff; But he lost the bag, and spilt the snuff, So take that cuff, and that's enough. The Cock doth crow To let you know, If you be wise, 'T is time to rise. Jack Sprat Had a cat, It had but one ear, It went to buy butter, When butter was dear. The King of France went up the hill, With twenty thousand men, The King of France came down the hill, And ne'er went up again. [Illustration: "A CARRION CROW."] [Illustration] A carrion crow sat on an oak, Fol de riddle, lol de riddle, hi ding do, Watching a tailor shape his coat; Sing he, sing ho, the old carrion crow, Fol de riddle, lol de riddle, hi ding do! Wife, bring me my old bent bow, Fol de riddle, lol de riddle, hi ding do, That I may shoot yon carrion crow; Sing he, sing ho, the old carrion crow, Fol de riddle, lol de riddle, hi ding do! The tailor shot, and he missed his mark, Fol de riddle, lol de riddle, hi ding do, And shot the miller's sow right through the heart; Sing he, sing ho, the old carrion crow, Fol de riddle, lol de riddle, hi ding do! Wife! oh wife! bring brandy in a spoon, Fol de riddle, lol de riddle, hi ding do, For the old miller's sow is in a swoon; Sing he, sing ho, the old carrion crow, Fol de riddle, lol de riddle, hi ding do! Mary had a pretty bird, Feathers bright and yellow, Slender legs--upon my word, He was a pretty fellow. The sweetest notes he always sung, Which much delighted Mary, And near the cage she'd ever sit, To hear her own canary. [Illustration] Little Blue Betty lived in a lane, She sold good ale to gentlemen: Gentlemen came every day, And Little Blue Betty hopped away; She hopped upstairs to make her bed, And she tumbled down, and broke her head. [Illustration] [A CANDLE.] Little Nancy Etticote, In a white petticoat, With a red nose; The longer she stands, The shorter she grows. [Illustration: "A FROG HE WOULD A-WOOING GO."] A FROG HE WOULD A-WOOING GO. A FROG he would a-wooing go, Heigho, says Rowley, Whether his mother would let him or no. With a rowley powley, gammon and spinach, Heigho, says Anthony Rowley! So off he set with his opera hat, Heigho, says Rowley, And on the road he met with a rat. With a rowley powley, &c. "Pray, Mr. Rat, will you go with me, Heigho, says Rowley, Kind Mrs. Mousey for to see?" With a rowley powley, &c. When they came to the door of Mousey's hall, Heigho, says Rowley, They gave a loud knock, and they gave a loud call. With a rowley powley, &c. "Pray, Mrs. Mouse, are you within?" Heigho, says Rowley, "Oh, yes, kind sirs, I'm sitting to spin." With a rowley powley, &c. [Illustration] "Pray, Mrs. Mouse, will you give us some beer? Heigho, says Rowley, For Froggy and I are fond of good cheer." With a rowley powley, &c. "Pray, Mr. Frog, will you give us a song? Heigho, says Rowley, But let it be something that's not very long." With a rowley powley, &c. "Indeed, Mrs. Mouse," replied the Frog, Heigho, says Rowley, "A cold has made me as hoarse as a hog." With a rowley powley, &c. "Since you have caught cold, Mr. Frog," Mousey said, Heigho, says Rowley, "I'll sing you a song that I have just made." With a rowley powley, &c. But while they were all a merry-making, Heigho, says Rowley, A cat and her kittens came tumbling in. With a rowley powley, &c. The cat she seized the rat by the crown; Heigho, says Rowley, The kittens they pulled the little mouse down. With a rowley powley, &c. This put Mr. Frog in a terrible fright; Heigho, says Rowley. He took up his hat, and he wished them good night. With a rowley powley, &c. But as Froggy was crossing over a brook, Heigho, says Rowley, A lily-white duck came and gobbled him up. With a rowley powley, &c. [Illustration] So there was an end of one, two, and three, Heigho, says Rowley, The Rat, the Mouse, and the little Frog-gee! With a rowley powley, gammon and spinach, Heigho, says Anthony Rowley! I SAW A SHIP A-SAILING. I SAW a ship a-sailing, A-sailing on the sea; And, oh! it was all laden With pretty things for thee! There were comfits in the cabin, And apples in the hold; The sails were made of silk, And the masts were made of gold. The four and twenty sailors That stood between the decks, Were four and twenty white mice, With chains about their necks. The captain was a duck, With a packet on his back; And when the ship began to move, The captain said, "Quack! quack!" [Illustration: "AS SOON AS HE PLAY'D THEY BEGAN FOR TO DANCE."] TOM, TOM, THE PIPER'S SON. [Illustration: Music: Tom, Tom, was a pi per's son, He learn'd to play when he was young; But the only tune that he could play, Was "Over the hills and far away." Tom with his pipe made such a noise, That he pleased both the girls and boys; They'd dance and skip while he did play, "Over the hills and far away."] [Illustration: Music: Tom with his pipe did play with such skill, That those who heard him could never keep still; As soon as he play'd they began for to dance, Even pigs on their hind-legs would after him prance. He met Old Dame Trot with a basket of Eggs-- He used his pipe and she used her legs; She danc'd about till her eggs were all broke, She began for to fret, but he laugh'd at the joke. And as Dolly was milking her cow one day,] [Illustration: Music: Tom took out his pipe and began for to play; So Doll and the cow they danc'd a lilt, Till the pail fell down and the milk was all spilt. Tom saw a cross fellow was beating an ass, Heavy laden with pots, pans, dishes, and glass; He took out his pipe and he play'd them a tune, And the poor donkey's load was lighten'd full soon.] [Illustration] THERE was an old woman, as I've heard tell, She went to market her eggs for to sell; She went to market all on a market day, And she fell asleep on the King's highway. There came by a pedlar, whose name was Stout, He cut her petticoats all round about; He cut her petticoats up to the knees, Which made the old woman to shiver and freeze. When the little old woman first did wake, She began to shiver and she began to shake; She began to wonder, and she began to cry, "Lauk a mercy on me, this can't be I! But if it be I, as I hope it be, I've a little dog at home, and he'll know me; If it be I, he'll wag his little tail, And if it be not I, he'll loudly bark and wail." Home went the little woman all in the dark, Up got the little dog, and he began to bark; He began to bark, so she began to cry, "Lauk a mercy on me, this is none of I!" _High_ diddle ding, Did you hear the bells ring? The Parliament soldiers are gone to the King! Some they did laugh, some they did cry, To see the Parliament soldiers pass by. [Illustration] Three wise men of Gotham Went to sea in a bowl; If the bowl had been stronger My story had been longer. [Illustration: LITTLE BOY BLUE.] Little Boy Blue, come, blow me your horn; The sheep's in the meadow, the cow's in the corn. Where's the little boy that looks after the sheep? He's under the haycock, fast asleep. [Illustration] [Illustration] THE ROBIN REDBREASTS. Two Robin Redbreasts built their nests Within a hollow tree; The hen sat quietly at home, The cock sang merrily; And all the little young ones said, "Wee, wee, wee, wee, wee, wee." One day (the sun was warm and bright, And shining in the sky), Cock Robin said, "My little dears, 'T is time you learn to fly;" And all the little young ones said, "I'll try, I'll try, I'll try." I know a child, and _who she is_ I'll tell you by-and-by, When Mamma says, "Do this," or "that," She says, "What for?" and "Why?" She'd be a better child by far If she would say "I'll try." THERE was an old woman Lived under a hill, And if she's not gone, She lives there still. [Illustration] We are all in the dumps, For diamonds are trumps, The kittens are gone to St. Paul's, The babies are bit, The moon's in a fit, And the houses are built without walls. AS I was going along, long, long, A-singing a comical song, song, song, The lane that I went was so long, long, long, And the song that I sung was so long, long, long, And so I went singing along. [Illustration] A-milking, a-milking, my maid, "Cow, take care of your heels," she said; "And you shall have some nice new hay, If you'll quietly let me milk away." [Illustration] Old father Grey Beard, Without tooth or tongue, If you'll give me your finger, I'll give you my thumb. [Illustration] Dance a baby diddit, What can his mother do with it, But sit in a lap, And give him some pap? Dance a baby diddit. Snail, snail, come out of your hole, Or else I'll beat you as black as a coal. At the siege of Belleisle I was there all the while, All the while, all the while, at the siege of Belleisle. Bye, baby bunting, Father's gone a-hunting, Mother's gone a-milking, Sister's gone a-silking, Brother's gone to buy a skin To wrap the baby bunting in. [Illustration: YOUNG LAMBS TO SELL.] Young lambs to sell, young lambs to sell; If I had as much money as I could tell I never would cry young lambs to sell, Young lambs to sell, young lambs to sell, I never would cry, young lambs to sell. [Illustration] [Illustration] Come, let's to bed, says Sleepy-head; Tarry a while, says Slow; Put on the pan, says Greedy Nan, Let's sup before we go. [Illustration] To make your candles last for aye, You wives and maids give ear-o! To put them out's the only way, Says honest John Boldero. THE GREAT BROWN OWL THE Brown Owl sits in the ivy-bush, And she looketh wondrous wise, With a horny beak beneath her cowl, And a pair of large round eyes. She sat all day on the selfsame spray, From sunrise till sunset; And the dim grey light, it was all too bright For the Owl to see in yet. "Jenny Owlet, Jenny Owlet," said a merry little bird, "They say you're wondrous wise; But I don't think you see, though you're looking at ME With your large, round, shining eyes." But night came soon, and the pale white moon Rolled high up in the skies; And the great Brown Owl flew away in her cowl, With her large, round, shining eyes. [Illustration: LITTLE TOM TUCKER.] LITTLE TOM TUCKER. [Illustration: Music: Little Tom Tucker Sings for his supper: What shall he eat? White bread and butter. How shall he cut it Without e'er a knife? How can he marry Without e'er a wife?] [Illustration] Four and twenty tailors went to kill a snail, The best man amongst them durst not touch her tail. She put out her horns, like a little Kyloe cow, Run, tailors, run, or she'll kill you all just now. [Illustration] Doctor Foster went to Glo'ster, In a shower of rain; He stepped in a puddle, up to the middle, And never went there again. Mary, Mary, quite contrary, How does your garden grow? Silver bells and cockle-shells, And pretty maids all in a row. [Illustration] The man in the moon Came tumbling down, And asked the way to Norwich; He went by the south, And burnt his mouth With eating cold pease porridge. Little Robin Redbreast sat upon a rail, Niddle, naddle, went his head, wiggle, waddle, went his tail; Little Robin Redbreast sat upon a bridle, With a pair of speckle legs, and a green girdle. Pit, pat, well-a-day! Little Robin flew away; Where can little Robin be, But up in yon cherry-tree? Ding, dong, darrow, The cat and the sparrow; The little dog has burnt his tail, And he shall be whipped to-morrow. [Illustration] DAME DUCK'S LESSONS TO HER DUCKLINGS. OLD MOTHER DUCK has hatched a brood Of ducklings, small and callow: Their little wings are short, their down Is mottled grey and yellow. There is a quiet little stream, That runs into the moat, Where tall green sedges spread their leaves, And water-lilies float. Close by the margin of the brook The old Duck made her nest, Of straw, and leaves, and withered grass, And down from her own breast. And there she sat for four long weeks, In rainy days and fine, Until the Ducklings all came out-- Four, five, six, seven, eight, nine. One peeped out from beneath her wing, One scrambled on her back: "That's very rude," said old Dame Duck, "Get off! quack, quack, quack, quack!" "'T is close," said Dame Duck, shoving out The egg-shells with her bill, "Besides, it never suits young ducks To keep them sitting still." So, rising from her nest, she said, "Now, children, look at me: A well-bred duck should waddle so, From side to side--d'ye see?" "Yes," said the little ones, and then She went on to explain: "A well-bred duck turns in its toes As I do--try again." "Yes," said the Ducklings, waddling on. "That's better," said their mother; "But well-bred ducks walk in a row, Straight--one behind another." "Yes," said the little Ducks again, All waddling in a row: "Now to the pond," said old Dame Duck-- Splash, splash! and in they go. "Let me swim first," said old Dame Duck, "To this side, now to that; There, snap at those great brown-winged flies, They make young ducklings fat. "Now when you reach the poultry-yard, The hen-wife, Molly Head, Will feed you, with the other fowls, On bran and mashed-up bread; "The hens will peck and fight, but mind, I hope that all of you Will gobble up the food as fast As well-bred ducks should do. "You'd better get into the dish, Unless it is too small; In that case, I should use my foot, And overturn it all." The Ducklings did as they were bid, And found the plan so good, That, from that day, the other fowls Got hardly any food. [Illustration] Is John Smith within? Yes, that he is. Can he set a shoe? Ay, marry, two. Here a nail, there a nail, Tick, tack, too. John Cook he had a little grey mare, hee, haw, hum; Her legs were long and her back was bare, hee, haw, hum. John Cook was riding up Shooter's Bank, hee, haw, hum; The mare she began to kick and to prank, hee, haw, hum. John Cook was riding up Shooter's Hill, hee, haw, hum; His mare fell down and made her will, hee, haw, hum. The bridle and saddle were laid on the shelf, hee, haw, hum; If you want any more, you may sing it yourself, hee, haw, hum. [Illustration: OLD KING COLE.] Old King Cole Was a merry old soul, And a merry old soul was he; And he called for his pipe And he called for his glass, And he called for his fiddlers three! [Illustration] A Apple Pie. B bit it. C cut it. D dealt it. [Illustration] E eat it. F fought for it. G got it. H hid it. [Illustration] J jumped for it. K kept it. L longed for it. M mourned for it. [Illustration] N nodded at it. O opened it. P peeped at it. Q quartered it. [Illustration] R ran for it. S stole it. T tried for it. V viewed it. [Illustration] X Y Z & Amperse-and, All wished for A piece in hand. [Illustration] [Illustration] Pussy sits beside the fire. How can she be fair? In walks a little doggy,--Pussy, are you there? Oh, the rusty, dusty, rusty miller, I'll not change my wife for gold or siller. [Illustration] There was a crooked man, and he went a crooked mile, And he found a crooked sixpence against a crooked stile; He bought a crooked cat, which caught a crooked mouse, And they all lived together in a little crooked house. [Illustration] High diddle doubt, my candle's out, My little maid is not at home; Saddle my hog and bridle my dog, And fetch my little maid home. [Illustration: BAA, BAA, BLACK SHEEP] BAA, BAA, BLACK SHEEP. [Illustration: Music: Baa, baa, black sheep, have you any wool? Yes, sir, yes, sir, three bags full: One for my master, one for my dame, And one for the little boy that lives in our lane. Baa, baa, black sheep, have you any wool? Yes, sir, yes, sir, three bags full.] [Illustration] [Illustration] Barber, barber, shave a pig. How many hairs will make a wig? Four and twenty; that's enough. Give the poor barber a pinch of snuff. The Lion and the Unicorn were fighting for the crown, The Lion beat the Unicorn all round about the town. Some gave them white bread, some gave them brown, Some gave them plum-cake, and sent them out of town. Thomas a Tattamus took two T's To tie two tups to two tall trees, To frighten the terrible Thomas a Tattamus. Tell me how many T's there are in all THAT. [Illustration] Bessy Bell and Mary Gray, They were two bonny lasses, They built a house upon the lea, And covered it o'er with rashes. Bessy kept the garden gate, And Mary kept the pantry; Bessy always had to wait, While Mary lived in plenty. LITTLE boy, pretty boy, where were you born? In Lincolnshire, master; come, blow the cow's horn. [Illustration: HEY, DIDDLE, DIDDLE.] Hey, diddle, diddle, the cat and the fiddle The cow jumped over the moon; The little dog laughed to see such sport, And the dish ran after the spoon. [Illustration] [Illustration] THE YOUNG LINNETS. DID you ever see the nest Of Chaffinch or of Linnet, When the little downy birds Are lying snugly in it, Gaping wide their yellow mouths For something nice to eat? Caterpillar, worm, and grub, They reckon dainty meat. When the mother-bird returns, And finds them still and good, She will give them each, by turns, A proper share of food. She has hopped from spray to spray, And peeped with knowing eye Into all the folded leaves Where caterpillars lie. She has searched among the grass, And flown from tree to tree, Catching gnats and flies, to feed Her little family. I have seen the Linnets chirp, And shake their downy wings: They are pleased to see her come, And pleased with what she brings. But I never saw them look Impatient for their food: _Somebody_, at dinner-time, Is seldom quite so good. [Illustration: SEE-SAW, MARGERY DAW.] See-saw, Margery Daw, Jenny shall have a new master; She shall have but a penny a day, Because she can't work any faster. [Illustration] DANCE to your daddy, My little babby; Dance to your daddy, My little lamb. You shall have a fishy, In a little dishy; You shall have a fishy, When the boat comes in. Queen Anne, Queen Anne, she sits in the sun, As fair as the lily, as white as the swan: I send you three letters, so pray you read one. I cannot read one unless I read all; So pray, Master Teddy, deliver the ball. Little girl, little girl, where have you been? Gathering roses to give to the Queen. Little girl, little girl, what gave she you? She gave me a diamond as big as my shoe. [Illustration] [Illustration] There was an old woman tossed up in a basket, Ninety times as high as the moon; And where she was going, I couldn't but ask it, For in her hand she carried a broom. Old woman, old woman, old woman, quoth I, O whither, O whither, O whither so high? To sweep the cobwebs off the sky! Shall I go with you? Ay, by-and-by. [Illustration] When I was a bachelor, I lived by myself, And all the meat I got I put upon a shelf; The rats and the mice did lead me such a life, That I went to London, to get myself a wife. The streets were so broad, and the lanes were so narrow, I could not get my wife home without a wheelbarrow, The wheelbarrow broke, my wife got a fall, Down tumbled wheelbarrow, little wife, and all. Robin and Richard were two pretty men, They lay in bed till the clock struck ten; Then up starts Robin and looks in the sky, "Oh, brother Richard, the sun's very high! You go on with bottle and bag, And I'll come after with jolly Jack Nag." Blow, wind, blow, and go, mill, go, That the miller may grind his corn; That the baker may take it, And into rolls make it, And bring us some hot in the morn. [Illustration] Jack be nimble, Jack be quick, And Jack jump over the candlestick. [Illustration: RIDE A COCK-HORSE.] Ride a cock-horse To Banbury Cross, To see a fine lady Upon a white horse. Rings on her fingers, Bells on her toes, She shall have music Wherever she goes. [Illustration] [Illustration] THE FOX AND THE FARMER. A FOX jumped up on a moonlight night, The stars were shining, and all things bright; "Oh, ho!" said the Fox, "it's a very fine night For me to go through the town, heigho!" The Fox when he came to yonder stile, He lifted his ears, and he listened awhile; "Oh, ho!" said the Fox, "it's but a short mile From this unto yonder town, heigho!" The Fox when he came to the farmer's gate, Whom should he see but the farmer's Drake; "I love you well for your master's sake, And long to be picking your bones, heigho!" The grey Goose ran right round the haystack. "Oh, ho!" said the Fox, "you are very fat; You'll do very well to ride on my back, From this into yonder town, heigho!" The farmer's wife she jumped out of bed, And out of the window she popped her head; "Oh, husband! oh, husband! the Geese are all dead, For the Fox has been through the town, heigho!" The farmer he loaded his pistol with lead, And shot the old rogue of a Fox through the head; "Ah, ha!" said the farmer, "I think you're quite dead, And no more you'll trouble the town, heigho!" [Illustration] [Illustration] PEASE pudding hot, Pease pudding cold, Pease pudding in the pot, Nine days old. Some like it hot, Some like it cold, Some like it in the pot, Nine days old. Curly-locks, Curly-locks, wilt thou be mine? Thou shalt not wash the dishes, nor yet feed the swine; But sit on a cushion, and sew a fine seam, And feed upon strawberries, sugar, and cream. Margery Mutton-pie, and Johnny Bo-peep, They met together in Gracechurch Street; In and out, in and out, over the way, Oh! says Johnny, 'tis Chop-nose Day. There was a Rat, for want of stairs, Went down a rope to say his prayers. [Illustration] Snail, snail, come put out your horn, To-morrow is the day to shear the corn. If wishes were horses, beggars would ride, If turnips were watches, I would wear one by my side. [Illustration: HARK, HARK, THE DOGS DO BARK.] Hark, hark, The dogs do bark, The beggars are coming to town; Some in jags, Some in rags, And some in velvet gown. One, two, buckle my shoe; Three, four, shut the door; Five, six, pick up sticks; Seven, eight, lay them straight; Nine, ten, a good fat hen; Eleven, twelve, dig and delve; Thirteen, fourteen, maids a-courting; Fifteen, sixteen, maids in the kitchen; Seventeen, eighteen, maids in waiting; Nineteen, twenty, my plate is empty. [Illustration] I had a little husband, no bigger than my thumb; I put him in a pint pot, and there I bid him drum. I bought a little horse that galloped up and down; I saddled him, and bridled him, and sent him out of town. I gave him some garters, to garter up his hose, And a little pocket-handkerchief to wipe his pretty nose. I have a little sister; they call her Peep, Peep, She wades the water, deep, deep, deep; She climbs the mountains, high, high, high. Poor little thing! she has but one eye. [Illustration: Music: Goosey, goosey, gander, whither shall I wander, Up stairs, and down stairs, and in my lady's chamber. There I met an old man, who would not say his prayers, I took him by his left leg, and threw him down the stairs.] [Illustration] Handy Spandy, Jack-a-dandy, Loves plum-cake and sugarcandy; He brought some at a grocer's shop, And out he came, hop-hop-hop. If all the world were water, And all the water were ink, What should we do for bread and cheese? What should we do for drink? Hey, my kitten, my kitten, Hey, my kitten, my deary; Such a sweet pet as this Was neither far nor neary. Here we go up, up, up, Here we go down, down, down; Here we go backwards and forwards, And here we go round, round, round. [Illustration] I had a little pony; They called him Dapple-grey. I lent him to a lady, To ride a mile away. She whipped him, she slashed him, She rode him through the mire; I would not lend my pony now, For all the lady's hire. See, see. What shall I see? A horse's head where his tail should be. Pussy cat, Pussy cat, where have you been? I've been to London to look at the Queen. Pussy cat, Pussy cat, what did you do there? I frightened a little mouse under the chair. [Illustration] Little Tommy Tittlemouse Lived in a little house; He caught fishes In other men's ditches. [Illustration: "THIS IS THE HOUSE THAT JACK BUILT."] THE HOUSE THAT JACK BUILT. This is the MALT That lay in the house that Jack built. [Illustration] This is the RAT That ate the malt, That lay in the house that Jack built. [Illustration] This is the CAT, That killed the rat, That ate the malt, That lay in the house that Jack built. [Illustration] This is the DOG, That worried the cat, That killed the rat, That ate the malt, That lay in the house that Jack built. [Illustration] This is the COW with the crumpled horn, That tossed the dog, That worried the cat, That killed the rat, That ate the malt, That lay in the house that Jack built. [Illustration] This is the MAIDEN all forlorn, That milked the cow with the crumpled horn, That tossed the dog, That worried the cat, That killed the rat, That ate the malt, That lay in the house that Jack built. [Illustration] This is the MAN all tattered and torn, That kissed the maiden all forlorn, That milked the cow with the crumpled horn, That tossed the dog, that worried the cat, That killed the rat, that ate the malt, That lay in the house that Jack built. [Illustration] This is the PRIEST all shaven and shorn, That married the man all tattered and torn, That kissed the maiden all forlorn, That milked the cow with the crumpled horn, That tossed the dog, that worried the cat, That killed the rat, that ate the malt, That lay in the house that Jack built. [Illustration] This is the COCK that crowed in the morn, That waked the priest all shaven and shorn, That married the man all tattered and torn, That kissed the maiden all forlorn, That milked the cow with the crumpled horn, That tossed the dog, that worried the cat, That killed the rat, that ate the malt, That lay in the house that Jack built. [Illustration] This is the FARMER who sowed the corn, That kept the cock that crowed in the morn, That waked the priest all shaven and shorn, That married the man all tattered and torn, That kissed the maiden all forlorn, That milked the cow with the crumpled horn, That tossed the dog, that worried the cat, That killed the rat, that ate the malt, That lay in the house that Jack built. [Illustration] Old mother Widdle Waddle jumped out of bed, And out of the casement she popped her head, Crying, "The house is on fire, the grey goose is dead, And the fox has come to the town, oh!" [Illustration] Two legs sat upon three legs, With one leg in his lap; In comes four legs, And runs away with one leg; Up jumps two legs, Catches up three legs, Throws it after four legs, And makes him bring one leg back. [Illustration] A little boy went into a barn, And lay down on some hay; An owl came out and flew about, And the little boy ran away. [Illustration] As I was going up Primrose Hill, Primrose Hill was dirty; There I met a pretty Miss, And she dropped me a curtsey. Little Miss, pretty Miss, Blessings light upon you; If I had half-a-crown a day, I'd spend it all upon you. [Illustration] I had a little Hen, the prettiest ever seen, She washed me the dishes and kept the house clean; She went to the mill to fetch me some flour, She brought it home in less than an hour; She baked me my bread, she brewed me my ale, She sat by the fire and told many a fine tale. [Illustration] There was a little man, and he had a little gun, And his bullets were made of lead, lead, lead; He shot Johnny King through the middle of his wig, And knocked it right off his head, head, head. Three straws on a staff, Would make a baby cry and laugh. [Illustration] Multiplication is vexation, Division is as bad; The Rule of Three perplexes me, And Practice drives me mad. Daffy-down-Dilly has come up to town, In a yellow petticoat and a green gown. [Illustration: THE QUEEN OF HEARTS.] The Queen of Hearts She made some tarts All on a summer's day; The Knave of Hearts He stole those tarts, And took them clean away. The King of Hearts Called for the tarts, And beat the Knave full sore; The Knave of Hearts Brought back the tarts, And vowed he'd steal no more. There were three crows sat on a stone, Fal la, la la lal de, Two flew away, and then there was one, Fal la, la la lal de, The other crow finding himself alone, Fal la, la la lal de, He flew away, and then there was none, Fal la, la la lal de. [Illustration: "JACK AND JILL WENT UP THE HILL."] [Illustration: Music: JACK AND JILL. 1. Jack and Jill went up the hill To fetch a pail of water; Jack fell down and broke his crown, And Jill came tumbling after. 2. Up Jack got, and home did trot, As fast as he could caper; Dame Jill had the job to plaister his knob, With vinegar and brown paper. 3. Jill came in and she did grin To see his paper plaister, Mother vex'd did whip her next, For causing Jack's disaster.] [Illustration] When the wind is in the East, 'Tis neither good for man nor beast; When the wind is in the North, The skilful fisher goes not forth; When the wind is in the South, It blows the bait in the fishes' mouth; When the wind is in the West, Then 'tis at the very best. Cry, baby, cry, Put your finger in your eye, And tell your mother it wasn't I. [Illustration: THE TURTLE-DOVE'S NEST.] VERY high in the pine-tree, The little Turtle-dove Made a pretty little nursery, To please her little love. She was gentle, she was soft, And her large dark eye Often turned to her mate, Who was sitting close by. "Coo," said the Turtle-dove, "Coo," said she; "Oh, I love thee," said the Turtle-dove. "And I love THEE." In the long shady branches Of the dark pine-tree, How happy were the Doves In their little nursery! The young Turtle-doves Never quarrelled in the nest; For they dearly loved each other, Though they loved their mother best. "Coo," said the little Doves. "Coo," said she. And they played together kindly In the dark pine-tree. In this nursery of yours, Little sister, little brother, Like the Turtle-dove's nest-- Do you love one another? Are you kind, are you gentle, As children ought to be? Then the happiest of nests Is your own nursery. Peter White Will ne'er go right, Would you know the reason why? He follows his nose Wherever he goes, And that stands all awry. [Illustration] He that would thrive, Must rise at five; He that hath thriven, May lie till seven; And he that by the plough would thrive, Himself must either hold or drive. [Illustration] Hush-a-bye, baby, Daddy is near; Mamma is a lady, And that's very clear. [Illustration: "THERE WAS AN OLD WOMAN WHO LIVED IN A SHOE."] There was an old woman who lived in a shoe, She had so many children she didn't know what to do She gave them some broth, without any bread, She whipped them all round, and sent them to bed. [Illustration] One, two, three, I love coffee, And Billy loves tea, How good you be. One, two, three, I love coffee, And Billy loves tea. [Illustration] There was an old woman called Nothing-at-all, Who lived in a dwelling exceedingly small; A man stretched his mouth to its utmost extent, And down at one gulp house and old woman went. [Illustration] I had a little hobby horse, And it was dapple grey, Its head was made of pea-straw, Its tail was made of hay. I sold it to an old woman For a copper groat; And I'll not sing my song again Without a new coat. Eggs, butter, cheese, bread, Stick, stock, stone, dead, Stick him up, stick him down, Stick him in the old man's crown. THE FROG'S CHORUS. "YAUP, yaup, yaup!" Said the croaking voice of a Frog: "A rainy day In the month of May, And plenty of room in the bog." "Yaup, yaup, yaup!" Said the Frog as it hopped away: "The insects feed On the floating weed, And I'm hungry for dinner to-day." "Yaup, yaup, yaup!" Said the Frog, as it splashed about: "Good neighbours all, When you hear me call, It is odd that you do not come out." "Yaup, yaup, yaup!" Said the Frogs; "it is charming weather; We'll come and sup, When the moon is up, And we'll all of us croak together." What's the news of the day, Good neighbour, I pray? They say the balloon Is gone up to the moon. [Illustration] Cross-Patch, Draw the latch, Sit by the fire and spin; Take a cup, And drink it up, And call your neighbours in. There was an old Crow Sat upon a clod. There's an end of my song, That's very odd. [Illustration] [Illustration: "DING, DONG, BELL."] Ding, dong, bell, Pussy's in the well. Who put her in? Little Tommy Green. Who pulled her out? Little Tommy Trout. What a naughty boy was that, Thus to drown poor Pussy Cat. [Illustration] NURSERY RHYME ALPHABET. A was the Archer who shot at a frog. B was Bo-peep, with her crook and her dog. C was the Cow that jumped over the moon. D was the Dish that ran off with the spoon. E was Elizabeth, Betsey, and Bess. F was the Forest where stood the bird's-nest. G Gaffer Longlegs; downstairs he'd a fall. H Humpty Dumpty that sat on the wall. I was that "_I_" who was going to St. Ives. J Jacky Horner, on plum-pie he thrives. K was King Cole with his fiddlers three. L Little Gold-Hair, peeping, you see. M Mother Hubbard who thought her dog dead. N Little Netticoat, with a red head. O the old Woman "upon market day;" P was the "Pedlar" who passed by that way. Q was the Queen of Hearts, tartlets she makes. R was Red Riding Hood carrying the cakes. S Simple Simon, the pieman beside. T Tommy Tucker, for supper who cried. U was the Unicorn, "beat round the town;" V was Victoria--she fought for her crown. W Whittington, who turned again, Over great London as Lord Mayor to reign. X is a letter that here we can spare. Y "Yankee Doodle," that went to the fair; Z is the Zany who laughed at him there. [Illustration] Swan, swan, over the sea; Swim, swan, swim. Swan, swan, back again; Well, swan, swam. [Illustration] One misty moisty morning, When cloudy was the weather, I met a little old man, Clothed all in leather, Clothed all in leather, With a strap below his chin. How do you do? and how do you do? And how do you do again? [Illustration] Deedle, deedle, dumpling, my son John, He went to bed with his stockings on; One shoe off, and one shoe on, Deedle, deedle, dumpling, my son John. [Illustration] The old woman must stand at the tub, tub, tub, The dirty clothes to rub, rub, rub; But when they are clean, and fit to be seen, I'll dress like a lady, and dance on the green. [Illustration: "HICKETY, PICKETY, MY BLACK HEN."] Hickety, pickety, my black hen, She lays eggs for gentlemen; Gentlemen come every day To see what my black hen doth lay. [Illustration] I'll tell you a story, About John-a-Nory: And now my story's begun. I'll tell you another, About Jack and his brother: And now my story's done. I LOVE SIXPENCE. I LOVE sixpence, pretty little sixpence, I love sixpence better than my life; I spent a penny of it, I spent another, And took fourpence home to my wife. Oh, my little fourpence, pretty little fourpence, I love fourpence better than my life; I spent a penny of it, I spent another, And I took twopence home to my wife. Oh, my little twopence, my pretty little twopence, I love twopence better than my life; I spent a penny of it, I spent another, And I took nothing home to my wife. Oh, my little nothing, my pretty little nothing, What will nothing buy for my wife? I have nothing, I spend nothing, I love nothing better than my wife. [Illustration] There was a fat man of Bombay, Who was smoking one sunshiny day, When a bird called a Snipe flew away with his pipe, Which vexed the fat man of Bombay. [Illustration: "WHEN THE PIE WAS OPENED, THE BIRDS BEGAN TO SING."] [Illustration: Music: SING A SONG OF SIXPENCE. Sing a song of sixpence, A bag full of rye; Four and twenty blackbirds; Baked in a pie; When the pie was open'd, The birds began to sing, Was not that a dainty dish To set before the king?] [Illustration] THE King was in his counting-house, Counting out his money; [Illustration] The Queen was in the parlour, Eating bread and honey; [Illustration] The maid was in the garden, Hanging out the clothes; By came a little bird, And snapt off her nose. [Illustration] Little Polly Flinders Sate among the cinders Warming her pretty little toes! Her mother came and caught her, And whipped her little daughter, For spoiling her nice new clothes. Great A, little A, Bouncing B, The cat's in the cupboard, And she can't see. [Illustration] Poor old Robinson Crusoe! poor old Robinson Crusoe! They made him a coat of an old Nanny goat, I wonder how they could do so! With a ring-a-ting-tang, and a ring-a-ting-tang, Poor old Robinson Crusoe! [Illustration] Bat, bat, come under my hat, And I'll give you a slice of bacon, And when I bake I'll give you a cake, If I am not mistaken. [Illustration] The North Wind doth blow, And we shall have snow, And what will poor Robin do then? Poor thing! He will hop to a barn, And to keep himself warm, Will hide his head under his wing, Poor thing! [Illustration: THE OLD WOMAN BUYING HER PIG AT MARKET.] [Illustration] THE OLD WOMAN AND HER PIG. AN old woman was sweeping her house, and she found a little crooked sixpence. "What," said she, "shall I do with this little sixpence? I will go to market, and buy a little pig." As she was coming home, she came to a stile: the piggy would not go over the stile. She went a little farther, and she met a dog. So she said to the dog-- "Dog, dog, bite pig; Piggy won't get over the stile; And I shan't get home to-night." But the dog would not. She went a little farther, and she met a stick. So she said-- "Stick, stick, beat dog; Dog won't bite pig; Piggy won't get over the stile, And I shan't get home to-night." But the stick would not. She went a little farther, and she met a fire. So she said-- "Fire, fire, burn stick; Stick won't beat dog; Dog won't bite pig; Piggy won't get over the stile; And I shan't get home to-night." But the fire would not. She went a little farther, and she met some water. So she said-- [Illustration: "FIRE, FIRE, BURN STICK."] "Water, water, quench fire; Fire won't burn stick; Stick won't beat dog; Dog won't bite pig; Piggy won't get over the stile; And I shan't get home to-night." But the water would not. She went a little farther, and she met an ox. So she said-- "Ox, ox, drink water; Water won't quench fire; Fire won't burn stick; Stick won't beat dog; Dog won't bite pig; Piggy won't get over the stile; And I shan't get home to-night." But the ox would not. She went a little farther, and she met a butcher. So she said-- "Butcher, butcher, kill ox; Ox won't drink water; Water won't quench fire; Fire won't burn stick; [Illustration: "BUTCHER, BUTCHER, KILL OX."] Stick won't beat dog; Dog won't bite pig; Piggy won't get over the stile; And I shan't get home to-night." But the butcher would not. She went a little farther, and she met a rope. So she said-- "Rope, rope, hang butcher; Butcher won't kill ox; Ox won't drink water; Water won't quench fire; Fire won't burn stick; Stick won't beat dog; Dog won't bite pig; Piggy won't get over the stile; And I shan't get home to-night." But the rope would not. She went a little farther, and she met a rat. So she said-- "Rat, rat, gnaw rope; Rope won't hang butcher; Butcher won't kill ox; Ox won't drink water; [Illustration: "RAT, RAT, GNAW ROPE."] Water won't quench fire; Fire won't burn stick; Stick won't beat dog; Dog won't bite pig; Piggy won't get over the stile; And I shan't get home to-night." But the rat would not. She went a little farther, and she met a cat. So she said-- "Cat, cat, kill rat; Rat won't gnaw rope; Rope won't hang butcher; Butcher won't kill ox; Ox won't drink water; Water won't quench fire; Fire won't burn stick; Stick won't beat dog; Dog won't bite pig; Piggy won't get over the stile; And I shan't get home to-night." But the cat said to her, "If you will go to yonder cow, and fetch me a saucer of milk, I will kill the rat." So away went the old woman to the cow, and said-- [Illustration: "COW, COW, GIVE ME A SAUCER OF MILK."] "Cow, cow, give me a saucer of milk; Cat won't kill rat; Rat won't gnaw rope; Rope won't hang butcher; Butcher won't kill ox; Ox won't drink water; Water won't quench fire; Fire won't burn stick; Stick won't beat dog; Dog won't bite pig; Piggy won't get over the stile; And I shan't get home to-night." But the cow said to her, "If you will go to yonder haymakers, and fetch me a wisp of hay, I'll give you the milk." So away the old woman went to the haymakers, and said-- "Haymakers, give me a wisp of hay; Cow won't give me milk; Cat won't kill rat; Rat won't gnaw rope; Rope won't hang butcher; Butcher won't kill ox; Ox won't drink water; Water won't quench fire; [Illustration: "HAYMAKERS, GIVE ME A WISP OF HAY."] Fire won't burn stick; Stick won't beat dog; Dog won't bite pig; Piggy won't get over the stile; And I shan't get home to-night." But the haymakers said to her,--"If you will go to yonder stream, and fetch us a bucket of water, we'll give you the hay." So away the old woman went; but when she got to the stream, she found the bucket was full of holes. So she covered the bottom with pebbles, and then filled the bucket with water, and away she went back with it to the haymakers; and they gave her a wisp of hay. As soon as the cow had eaten the hay, she gave the old woman the milk; and away she went with it in a saucer to the cat. As soon as the cat had lapped up the milk-- The cat began to kill the rat; The rat began to gnaw the rope; The rope began to hang the butcher; The butcher began to kill the ox; The ox began to drink the water; The water began to quench the fire; The fire began to burn the stick; The stick began to beat the dog; The dog began to bite the pig; [Illustration: "THE CAT BEGAN TO KILL THE RAT."] The little pig in a fright jumped over the stile; And so the old woman got home that night. [Illustration: Music DICKERY, DICKERY, DOCK. Dickery, dickery, dock! The mouse ran up the clock; The clock struck one, and down the mouse ran, Dickery, dickery, dock!] [Illustration] A diller, a dollar, a ten o'clock scholar, What makes you come so soon? You used to come at ten o'clock, But now you come at noon. Jacky, come give me thy fiddle, If ever thou mean to thrive. Nay, I'll not give my fiddle To any man alive. If I should give my fiddle, They'll think that I'm gone mad; For many a joyful day My fiddle and I have had. [Illustration: "TOMMY KEPT A CHANDLER'S SHOP."] Tommy kept a chandler's shop, Richard went to buy a mop, Tommy gave him such a whop, That sent him out of his chandler's shop. [Illustration] See a pin and pick it up, All the day you'll have good luck. See a pin and let it lay, Bad luck you'll have all the day. [Illustration] Please to remember the fifth of November, The Gunpowder treason plot; I see no reason why Gunpowder treason, Should ever be forgot. A stick and a stake for Victoria's sake, Hollo, boys! hollo, boys! God save the Queen. Leg over leg, As the dog went to Dover, When he came to a stile, Jump he went over. [Illustration] Ladybird, Ladybird, Fly away home, Your house is on fire, Your children will burn. 1, 2, 3, 4, 5, I caught a hare alive; 6, 7, 8, 9, 10, I let her go again. This is the way the ladies go-- Nim, nim, nim. This is the way the gentlemen go-- Trot, trot, trot. This is the way the hunters go-- Gallop, gallop, gallop. [Illustration: "THERE WAS AN OLD MAN OF TOBAGO."] There was an old man of Tobago, Who lived on rice, gruel, and sago; Till, much to his bliss, [Illustration] His physician said this-- "To a leg, sir, of mutton you may go." Little Miss Muffett She sat on a tuffett, Eating of curds and whey; There came a little spider, Who sat down beside her, And frightened Miss Muffett away. [Illustration] As Tommy Snooks and Bessy Brooks, Were walking out one Sunday, Says Tommy Snooks to Bessy Brooks, Wilt marry me on Monday? [Illustration] The cat sat asleep by the side of the fire, The mistress snored loud as a pig, Jack took up his fiddle by Jenny's desire, And struck up a bit of a jig. Here am I, Little jumping Joan, When nobody's with me, I'm always alone. [Illustration] GOOD DOBBIN. OH! thank you, good Dobbin, you've been a long track, And have carried papa all the way on your back; You shall have some nice oats, faithful Dobbin, indeed, For you've brought papa home to his darling with speed. The howling wind blew, and the pelting rain beat, And the thick mud has covered his legs and his feet, But yet on he galloped in spite of the rain, And has brought papa home to his darling again. The sun it was setting a long while ago, And papa could not see the road where he should go, But Dobbin kept on through the desolate wild, And has brought papa home again safe to his child. Now go to the stable, the night is so raw, Go, Dobbin, and rest your old bones on the straw; Don't stand any longer out here in the rain, For you've brought papa home to his darling again. [Illustration: "AWAY WENT GILPIN, AND AWAY WENT POSTBOY AT HIS HEELS."] THE DIVERTING HISTORY OF JOHN GILPIN. SHOWING HOW HE WENT FARTHER THAN HE INTENDED, AND CAME SAFE HOME AGAIN. JOHN GILPIN was a citizen Of credit and renown, A train-band captain eke was he, Of famous London town. John Gilpin's spouse said to her dear, "Though wedded we have been These twice ten tedious years, yet we No holiday have seen. "To-morrow is our wedding-day, And we will then repair Unto the "Bell" at Edmonton, All in a chaise and pair. "My sister, and my sister's child, Myself, and children three, Will fill the chaise; so you must ride On horseback after we." He soon replied, "I do admire Of womankind but one, And you are she, my dearest dear, Therefore it shall be done. "I am a linendraper bold, As all the world doth know, And my good friend the calender Will lend his horse to go." Quoth Mrs. Gilpin, "That's well said; And for that wine is dear, We will be furnished with our own, Which is both bright and clear." John Gilpin kissed his loving wife; O'erjoyed was he to find, That though on pleasure she was bent, She had a frugal mind. [Illustration] The morning came, the chaise was brought, But yet was not allowed To drive up to the door, lest all Should say that she was proud. So three doors off the chaise was stayed, Where they did all get in; Six precious souls, and all agog To dash through thick and thin. Smack went the whip, round went the wheels, Were never folks so glad! The stones did rattle underneath, As if Cheapside were mad. John Gilpin at his horse's side Seized fast the flowing mane, And up he got, in haste to ride, But soon came down again. For saddletree scarce reached had he, His journey to begin, When, turning round his head, he saw Three customers come in. So down he came; for loss of time, Although it grieved him sore, Yet loss of pence, full well he knew, Would trouble him much more. 'Twas long before the customers Were suited to their mind, When Betty screaming came downstairs, "The wine is left behind!" "Good lack!" quoth he, "yet bring it me, My leathern belt likewise, In which I bear my trusty sword When I do exercise." Now Mistress Gilpin (careful soul!) Had two stone bottles found, To hold the liquor that she loved, And keep it safe and sound. Each bottle had a curling ear, Through which the belt he drew, And hung a bottle on each side, To make his balance true. Then over all, that he might be Equipped from top to toe, His long red cloak, well brushed and neat, He manfully did throw. Now see him mounted once again Upon his nimble steed, Full slowly pacing o'er the stones, With caution and good heed. But finding soon a smoother road Beneath his well-shod feet, The snorting beast began to trot, Which galled him in his seat. "So, fair and softly!" John he cried, But John he cried in vain; That trot became a gallop soon, In spite of curb and rein. So stooping down, as needs he must Who cannot sit upright, He grasped the mane with both his hands, And eke with all his might. His horse, who never in that sort Had handled been before, What thing upon his back had got, Did wonder more and more. Away went Gilpin, neck or nought; Away went hat and wig; [Illustration] He little dreamt, when he set out, Of running such a rig. The wind did blow, the cloak did fly Like streamer long and gay, Till, loop and button failing both, At last it flew away. Then might all people well discern The bottles he had slung; A bottle swinging at each side, As hath been said or sung. The dogs did bark, the children screamed, Up flew the windows all; And every soul cried out, "Well done!" As loud as he could bawl. Away went Gilpin--who but he? His fame soon spread around: "He carries weight! he rides a race! 'Tis for a thousand pound!" And still as fast as he drew near, 'Twas wonderful to view How in a trice the turnpike-men Their gates wide open threw. And now, as he went bowing down His reeking head full low, The bottles twain behind his back Were shattered at a blow. Down ran the wine into the road, Most piteous to be seen, Which made the horses flanks to smoke As they had basted been. But still he seemed to carry weight, With leathern girdle braced; For all might see the bottle-necks Still dangling at his waist. Thus all through merry Islington These gambols he did play, Until he came unto the Wash Of Edmonton so gay; And there he threw the wash about On both sides of the way, Just like unto a trundling mop, Or a wild goose at play. At Edmonton his loving wife From the balcony spied Her tender husband, wondering much To see how he did ride. "Stop, stop, John Gilpin!--Here's the house!" They all at once did cry; "The dinner waits, and we are tired;" Said Gilpin--"So am I!" But yet his horse was not a whit Inclined to tarry there; For why?--his owner had a house Full ten miles off, at Ware. So like an arrow swift he flew, Shot by an archer strong; So did he fly--which brings me to The middle of my song. Away went Gilpin out of breath And sore against his will, Till at his friend the calender's, His horse at last stood still. The calender, amazed to see His neighbour in such trim, Laid down his pipe, flew to the gate, And thus accosted him: [Illustration] "What news? what news? your tidings tell; Tell me you must and shall-- Say why bareheaded you are come, Or why you come at all?" Now Gilpin had a pleasant wit, And loved a timely joke; And thus unto the calender In merry guise he spoke: "I came because your horse would come: And, if I well forebode, My hat and wig will soon be here, They are upon the road." The calender, right glad to find His friend in merry pin, Returned him not a single word, But to the house went in; Whence straight he came with hat and wig, A wig that flowed behind, A hat not much the worse for wear, Each comely in its kind. He held them up, and in his turn Thus showed his ready wit, "My head is twice as big as yours, They therefore needs must fit. "But let me scrape the dirt away, That hangs upon your face; [Illustration] And stop and eat, for well you may Be in a hungry case." Said John, "It is my wedding-day, And all the world would stare If wife should dine at Edmonton, And I should dine at Ware." So turning to his horse, he said, "I am in haste to dine; 'Twas for your pleasure you came here, You shall go back for mine." Ah! luckless speech, and bootless boast! For which he paid full dear; For while he spake, a braying ass Did sing most loud and clear; Whereat his horse did snort, as he Had heard a lion roar, And galloped off with all his might, As he had done before. Away went Gilpin, and away Went Gilpin's hat and wig: He lost them sooner than at first, For why--they were too big. Now Mistress Gilpin, when she saw Her husband posting down Into the country far away, She pulled out half-a-crown; [Illustration] And thus unto the youth she said That drove them to the "Bell," "This shall be yours when you bring back My husband safe and well." The youth did ride, and soon did meet John coming back amain; Whom in a trice he tried to stop, By catching at his rein; But not performing what he meant, And gladly would have done, The frighted steed he frighted more, And made him faster run. Away went Gilpin, and away Went postboy at his heels, The postboy's horse right glad to miss The lumbering of the wheels. Six gentlemen upon the road, Thus seeing Gilpin fly, With postboy scampering in the rear, They raised the hue and cry. "Stop thief! stop thief! a highwayman!" Not one of them was mute; And all and each that passed that way Did join in the pursuit. And now the turnpike-gates again Flew open in short space; [Illustration] The toll-men thinking, as before, That Gilpin rode a race. And so he did, and won it too, For he got first to town; Nor stopped till where he had got up, He did again get down. Now let us sing, Long live the King, And Gilpin, long live he; And when he next doth ride abroad, May I be there to see. [Illustration] Twinkle, twinkle, little star, How I wonder what you are! Up above the world so high. Like a diamond in the sky. When the blazing sun is gone, When he nothing shines upon, Then you show your little light, Twinkle, twinkle, all the night. Then the traveller in the dark Thanks you for your tiny spark: How could he see where to go, If you did not twinkle so? In the dark blue sky you keep, Often through my curtains peep, For you never shut your eye, Till the sun is in the sky. As your bright and tiny spark Lights the traveller in the dark, Though I know not what you are, Twinkle, twinkle, little star. Charley, Charley, stole the barley Out of the baker's shop; The baker came out, and gave him a clout, And made poor Charley hop. [Illustration] A, B, C, tumble down D, The cat's in the cupboard and can't see me. [Illustration] Elizabeth, Elspeth, Betsy, and Bess, They all went together to seek a bird's nest, They found a bird's nest with five eggs in; They all took one, and left four in. [Illustration] Up hill and down dale, Butter is made in every vale; And if Nancy Cook Is a good girl, She shall have a spouse, And make butter anon, Before her old grandmother Grows a young man. [Illustration] To market, to market, a gallop, a trot, To buy some meat to put in the pot; Threepence a quarter, fourpence a side, If it hadn't been killed it must have died. Apple-pie, pudding, and pancake, All begins with A. My little old man and I fell out; I'll tell you what 'twas all about,-- I had money and he had none, And that's the way the noise begun. [Illustration] [Illustration: Music: GEORGIE PORGIE. Georgie Porgie, pudding and pie, Kiss'd the girls and made them cry. When the girls came out to play, Georgie Porgie ran away.] I love little Pussy, her coat is so warm, And if I don't hurt her, she'll do me no harm. I'll sit by the fire, and give her some food, And Pussy will love me, because I am good. [Illustration] [Illustration] Taffy was a Welshman, Taffy was a thief, Taffy came to my house, And stole a leg of beef. I went to Taffy's house, Taffy was not at home; Taffy came to my house And stole a marrow-bone. I went to Taffy's house, Taffy was in bed; I took the marrow-bone, And broke Taffy's head. [Illustration: "A FARMER WENT TROTTING UPON HIS GREY MARE."] A farmer went trotting upon his grey mare, Bumpety, bumpety, bump! With his daughter behind him so rosy and fair, Lumpety, lumpety, lump! A raven cried croak! and they all tumbled down, Bumpety, bumpety, bump! The mare broke her knees, and the farmer his crown, Lumpety, lumpety, lump! [Illustration] The mischievous raven flew laughing away, Bumpety, bumpety, bump! And vowed he would serve them the same the next day, Lumpety, lumpety, lump! [Illustration] Little Betty Blue Lost her holiday shoe, What can little Betty do? Give her another To match the other, And then she may walk in two. Hush-a-bye, baby, lie still with thy daddy, Thy mammy is gone to the mill, To get some meal to bake a cake, So pray, my dear baby, lie still. You shall have an apple, You shall have a plum, You shall have a rattle-basket, When papa comes home. A MAN OF WORDS AND NOT OF DEEDS. A MAN of words and not of deeds Is like a garden full of weeds; And when the weeds begin to grow, It's like a garden full of snow; And when the snow begins to fall, It's like a bird upon the wall; And when the bird away does fly, It's like an eagle in the sky; And when the sky begins to roar, It's like a lion at the door; And when the door begins to crack, It's like a stick across your back; And when your back begins to smart, It's like a penknife in your heart; And when your heart begins to bleed, You're dead, and dead, and dead indeed. [Illustration] [Illustration] Poor Dog Bright, Ran off with all his might, Because the cat was after him, Poor Dog Bright. Poor Cat Fright, Ran off with all her might, Because the dog was after her, Poor Cat Fright. [Illustration] As I was going up Pippin Hill, Pippin Hill was dirty, There I met a pretty miss, And she dropped me a curtsey. [Illustration] Early to bed, and early to rise, Is the way to be healthy, wealthy, and wise. [Illustration] Old woman, old woman, shall we go a-shearing? Speak a little louder, sir, I am very thick o' hearing. Old woman, old woman, shall I kiss you dearly? Thank you, kind sir, I hear very clearly. The Cuckoo's a bonny bird, She sings as she flies, She brings us good tidings, And tells us no lies. She sucks little birds' eggs, To make her voice clear, And never cries "Cuckoo!" Till spring-time of the year. [Illustration] Pat-a-cake, pat-a-cake, baker's man, Bake me a cake as fast as you can; Prick it and pat it, and mark it with G; And put it in the oven for Teddy and me. Pussy-cat ate the dumplings, the dumplings; Pussy-cat ate the dumplings. Mamma stood by, and cried, "Oh, fie! Why did you eat the dumplings?" [Illustration] Needles and pins, needles and pins, When a man marries his trouble begins. [Illustration] For every evil under the sun, There is a remedy, or there is none. If there be one, try and find it; If there be none, never mind it. [Illustration] Three children sliding on the ice, All on a summer's day, As it fell out they all fell in, The rest they ran away. Now had these children been at home, Or sliding on dry ground, Ten thousand pounds to one penny They had not all been drowned. You parents all that children have, And you, too, that have none, If you would have them safe abroad, Pray keep them safe at home. THE WONDERFUL DERBY RAM. AS I was going to Derby all on a market day, I met the finest ram, sir, that ever was fed upon hay; Upon hay, upon hay, upon hay; I met the finest ram, sir, that ever was fed upon hay. This ram was fat behind, sir, this ram was fat before; This ram was ten yards round, sir; indeed he was no more; No more, no more, no more; This ram was ten yards round, sir; indeed he was no more. The horns that grew on his head, sir, they were so wondrous high, As I've been plainly told, sir, they reached up to the sky; The sky, the sky, the sky; As I've been plainly told, sir, they reached up to the sky. The tail that grew from his back, sir, was six yards and an ell; And it was sent to Derby to toll the market bell; The bell, the bell, the bell; And it was sent to Derby to toll the market bell. [Illustration] My Lady Wind, my Lady Wind, Went round about the house, to find A chink to get her foot in; She tried the keyhole in the door, She tried the crevice in the floor, And drove the chimney soot in. And then one night when it was dark, She blew up such a tiny spark, That all the house was pothered; From it she raised up such a flame As flamed away to Belting Lane, And White Cross folks were smothered. And thus when once, my little dears, A whisper reaches itching ears, The same will come, you'll find; Take my advice, restrain your tongue, Remember what old Nurse has sung Of busy Lady Wind. [Illustration] Bow-wow-wow! Whose dog art thou? Little Tom Tucker's dog. Bow-wow-wow! [Illustration] Let us go to the woods, says this pig. What to do there? says this pig. To seek mamma, says this pig. What to do with her? says this pig. To kiss her, to kiss her, says this pig. JENNY SHALL HAVE A NEW BONNET. JENNY shall have a new bonnet, And Jenny shall go to the fair, And Jenny shall have a blue ribbon To tie up her bonny brown hair. And why may not I love Jenny? And why may not Jenny love me? And why may not I love Jenny, As well as another body? And here's a leg for a stocking, And here is a leg for a shoe, And she has a kiss for her daddy, And two for her mammy, I trow. And why may not I love Jenny? And why may not Jenny love me? And why may not I love Jenny, As well as another body? [Illustration] Nievie, nievie, nicknack, Which hand will ye tak'? Tak' the right, or tak' the wrang, I'll beguile ye, if I can. [Illustration] Oh, mother, I'm to be married to Mr. Punchinello; To Mr. Pun, to Mr. Chin, to Mr. Nel, to Mr. Lo, Mr. Pun, Mr. Chin, Mr. Nel, Mr. Lo, to Mr. Punchinello. [Illustration] Rain, rain, go to Spain, And never come back again. [Illustration] Up hill spare me, Down hill 'ware me, On level ground spare me not, And in the stable forget me not. [Illustration] When little Fred went to bed, He always said his prayers; He kissed mamma, and then papa, And straightway went upstairs. Bless you, bless you, bonny bee: Say, when will your wedding be? If it be to-morrow day, Take your wings and fly away. [Illustration] Jack Sprat's pig, He was not very little, Nor yet very big; He was not very lean, He was not very fat, He'll do well for a grunt, Says little Jack Sprat. [Illustration] Rain, rain, Go away, Come again April day; Little Johnny Wants to play. A little cock sparrow sat on a tree, Looking as happy as happy could be, Till a boy came by with his bow and arrow, Says he, I will shoot the little cock sparrow. His body will make me a nice little stew, And his giblets will make me a little pie, too. Says the little cock sparrow, I'll be shot if I stay, So he clapped his wings, and flew away. [Illustration] [Illustration] The rose is red, the violet's blue; The pink is sweet, and so are you. [Illustration] "We'll go a-shooting," says Robin to Bobbin, "We'll go a-shooting," says Richard to John; "We'll go a-shooting," says John, all alone; "We'll go a-shooting," says every one. [Illustration] Valentine, oh, Valentine, Curl your locks as I do mine; Two before and two behind; Good morrow to you, Valentine. Mr. Isbister, and Betsy his sister, Resolve upon giving a treat; So letters they write, Their friends to invite To their house in Great Camomile Street. [Illustration: "LITTLE BO-PEEP HAS LOST HER SHEEP, AND CAN'T TELL WHERE TO FIND THEM."] [Illustration: Music: LITTLE BO-PEEP. Little Bo-peep has lost her sheep, And cannot tell where to find them; Leave them alone, and they'll come home, And bring their tails behind them.] [Illustration] Little Bo-peep fell fast asleep, And dreamt she heard them bleating; But when she awoke she found it a joke, For still they all were fleeting. [Illustration] Then up she took her little crook, Determined for to find them; She found 'em indeed, but it made her heart bleed, For they'd left their tails behind 'em. [Illustration] It happened one day, as Bo-peep did stray Unto a meadow hard by, There she espied their tails, side by side, All hung on a tree to dry. [Illustration] Then she heaved a sigh, and wiped her eye, And ran o'er hill and dale-o, And tried what she could, as a shepherdess should, To tack to each sheep its tail-o. [Illustration] As I was going to St. Ives, I met a man with seven wives, Every wife had seven sacks, Every sack had seven cats, Every cat had seven kits. Kits, cats, sacks, and wives, How many were there going to St. Ives? Go to bed first, a golden purse; Go to bed second, a golden pheasant; Go to bed third, a golden bird. [Illustration] There was an old woman, and what do you think? She lived upon nothing but victuals and drink; Victuals and drink were the chief of her diet, Yet the plaguey old woman would never be quiet. She went to the baker's to buy some bread; And when she came home her husband was dead. She went to the clerk, to toll the great bell; And when she came back, her husband was well. [Illustration] Some little mice sat in a barn to spin, Pussy came by, and she popped her head in. "Shall I come in and cut your threads off?" "Oh, no, kind sir, you will snap our heads off." [Illustration] * * * * * Transcriber's Notes: There seemed to be no rhyme nor reason to which poems began with smallcaps, (represented in this text version as ALLCAPS), and which did not. Without a clear pattern to follow, this was retained as printed. Page 82, word "a" added to text. Original read (There was jockey) now reads (There was a jockey) Page 227, "he" changed to "she" (she fought for her) 
61009	----	Our Old Nursery Rhymes The original tunes harmonized by Alfred Moffat Illustrated by H. Willebeek Le Mair Augener Ltd. London For the Book Trade A. & C. Black London G. Schirmer New York [Illustration] Copyright, 1911, by Augener Limited Contents Page Pussy cat, pussy cat 5 Mary had a little lamb 7 Sing a song of sixpence 9 Little Jack Horner 11 Ding dong bell 13 Three blind mice 15 Here we go round the mulberry bush 17 Three little kittens 19 Pat-a-cake 21 Mary, Mary, quite contrary 23 Lucy Locket 25 I love little pussy 27 Baa, baa, black sheep 29 Humpty dumpty 31 O where is my little dog gone? 33 Georgy-Porgy 35 Little Miss Muffet 37 Dickory, dickory dock 39 Girls and boys come out to play 41 Jack and Jill 43 Yankee Doodle 45 Twinkle, twinkle, little star 47 Little Bo-Peep 49 Oranges and lemons 51 Ride a cock horse 53 What are little boys made of? 55 There was a little man 57 Little Boy Blue 59 Polly put the kettle on 61 Hush-a-by Baby 63 [Illustration] PUSSY CAT, PUSSY CAT, WHERE HAVE YOU BEEN? [Music] "Pussy cat, pussy cat, where have you been?" "I've been to London to see the new Queen." "Pussy cat, pussy cat, what did you there?" "I caught a little mouse under her chair." [Illustration] MARY HAD A LITTLE LAMB. [Music] Mary had a little lamb, Its fleece was white as snow, And ev'rywhere that Mary went The lamb was sure to go. He followed her to school one day, That was against the rule. It made the children laugh and play To see a lamb at school. 2. So the Teacher turned him out But still he lingered near, And waited patiently about Till Mary did appear; And then he ran to her and laid His head upon her arm As if he said "I'm not afraid, You'll keep me from all harm." 3. "What makes the lamb love Mary so?" The eager children cry, "O, Mary loves the lamb you know," The Teacher did reply; "And you each gentle animal In confidence may bind, And make them follow at your call If you are always kind." [Illustration] SING A SONG OF SIXPENCE. [Music] Sing a song of Sixpence A pocket full of rye; Four and twenty Blackbirds Baked in a pie; When the pie was open'd The birds began to sing, Oh, was not that a dainty dish To set before the King. 2. The King was in his counting-house Counting out his money, The Queen was in the parlour Eating bread and honey; The Maid was in the garden Hanging out the clothes, There came a little blackbird And pecked off her nose. [Illustration] LITTLE JACK HORNER. [Music] Little Jack Horner Sat in a corner Eating his Christmas pie; He put in his Thumb And pulled out a plum And said "What a good boy am I!" [Illustration] DING DONG BELL. [Music] Ding dong bell! Pussy's in the well! Who put her in? Little Tommy Green. Who pulled her out? Little Tommy Stout. What a naughty boy was that To drown poor pussycat, Who ne'er did any harm, But killed all the mice in father's barn. [Illustration] THREE BLIND MICE. [Music] Three blind mice, see how they run! They all ran after the farmer's wife, Who cut off their tails with a carving knife, Did you ever hear such a tale in your life, As three blind mice! [Illustration] THE MULBERRY BUSH. [Music] Here we go round the Mulberry bush, The Mulberry bush, The Mulberry bush; Here we go round the Mulberry bush On a cold and frosty morning. Verse 2. This is the way we wash our hands We wash our hands We wash our hands This is the way we wash our hands On a cold and frosty morning. Verse 3.4.5 sing: "dry our hands" "clap our hands" "warm our hands" [Illustration] THE THREE LITTLE KITTENS. [Music] 1. Three little kittens they lost their mittens, And they began to cry, "Oh, mammy dear! We sadly fear, Our mittens we have lost." "What! lost your mittens, you naughty kittens, Then you shall have no pie." Miew, miew, miew, miew. 2. Three little kittens they found their mittens, And they began to cry, "Oh, mammy dear! See here, see here! Our mittens we have found." "What! Found your mittens, you little kittens, Then you shall have some pie." Purr, purr, purr, rr-rr. 3. The three little kittens put on their mittens And soon ate up the pie, "Oh, mammy dear! We greatly fear, Our mittens we have soiled." "What! soiled your mittens, you naughty kittens," Then they began to sigh, Miew, miew, miew, miew, Miew, miew, miew. 4. The three little kittens they washed their mittens, And hung them up to dry. "Oh, mammy dear! Look here, look here! Our mittens we have washed." "What! washed your mittens, you darling kittens, But I smell a rat close by. Hush, hush! miew, miew, Miew, miew, miew." [Illustration] PAT-A-CAKE. [Music] Pat-a-cake pat-a-cake, baker's man! That I will master as quick as I can Prick it and nick it and mark it with T And there will be plenty for baby and me For baby and me For baby and me And there will be plenty for baby and me. [Illustration] MARY, MARY, QUITE CONTRARY. [Music] "Mary, Mary, quite contrary, How does your garden grow?" "With silver bells and cockle-shells, And pretty maids all in a row." [Illustration] LUCY LOCKET. [Music] Lucy Locket lost her pocket Kitty Fisher found it But ne'er a penny was there in't Except the binding round it. [Illustration] I LOVE LITTLE PUSSY. [Music] 1. I love little pussy, Her coat is so warm And if I don't hurt her, She'll do me no harm. 2. So I'll not pull her tail, Or drive her away; But Pussy and I Together will play. 3. She will sit by my side And I'll give her some food; And she'll like me because I'm gentle and good. [Illustration] BAA! BAA! BLACK SHEEP. [Music] "Baa! Baa! Black sheep, Have you any wool?" "Yes, marry have I, Three bags full; One for my master, And one for my dame, But none for the little boy That cries in the lane!" [Illustration] HUMPTY DUMPTY. [Music] Humpty Dumpty sat on a wall, Humpty Dumpty had a great fall. All the King's horses and all the King's men Couldn't put Humpty Dumpty together again. [Illustration] OH WHERE, OH WHERE IS MY LITTLE DOG GONE. [Music] Oh where, oh where is my little dog gone Oh where, oh where can he be? With his ears cut short and his tail cut long Oh where, oh where is he? [Illustration: Copyright 1912, by Augener Ltd.] GEORGY-PORGY. [Music] Georgy-Porgy puddinggy pie; Kissed the girls and made them cry; When the boys came out to play Georgy-Porgy ran away. [Illustration: Copyright 1912, by Augener Ltd.] LITTLE MISS MUFFET. [Music] Little Miss Muffet, She sat on a tuffet, Eating her curds and whey; Down came a spider, Which sat down beside her And frightened Miss Muffet away. [Illustration: Copyright 1912, by Augener Ltd.] DICKORY, DICKORY, DOCK. [Music] 1. Dickory, Dickory, Dock! The mouse ran up the clock The clock struck one, The mouse ran down Dickory, Dickory, Dock! 2. Dickory, dickory, dare! The pig flew up in the air The man in brown Soon brought him down, Dickory, dickory, dare. [Illustration: Copyright 1912, by Augener Ltd.] GIRLS AND BOYS COME OUT TO PLAY. [Music] Girls and boys come out to play, The moon doth shine as bright as day Leave your supper and leave your sleep And join your play-fellows down the street. Come with a whoop and come with a call And come with a good-will or not at all Up the ladder and down the wall A half penny loaf will serve us all. [Illustration] JACK AND JILL. [Music] Jack and Jill went up the hill To fetch a pail of water; Jack fell down and broke his crown, And Jill came tumbling after. [Illustration] YANKEE-DOODLE. [Music] 1. Yankee doodle came to town, Upon a little pony, He stuck a feather in his cap And called it macaroni. Yankee doodle, doodle do, Yankee doodle dandy; All the lassies are so smart, And sweet as sugar candy. 2. Marching in and marching out, And marching round the town, O! Here there comes a regiment With Captain Thomas Brown, O! Yankee doodle, &c. 3. Yankee doodle is a tune That comes in mighty handy; The enemy all runs away At Yankee doodle dandy. Yankee doodle &c. [Illustration] TWINKLE, TWINKLE, LITTLE STAR. [Music] 1. Twinkle, twinkle, little star How I wonder what you are: Up above the world so high Like a diamond in the sky When the blazing sun is gone When he nothing shines upon, Then you show your little light, Twinkle, twinkle, all the night. 2. Then the traveller in the dark Thanks you for your little spark, He could not see which way to go If you did not twinkle so. In the dark blue sky you keep, And often through my curtains peep, For you never shut your eye Till the sun is in the sky. [Illustration] LITTLE BO-PEEP. [Music] Little Bo-Peep has lost her sheep, And can't tell where to find them: Leave them alone, and they'll come home And bring their tails behind them. 2. Little Bo-Peep fell fast asleep And dreamt she heard them bleating. But when she awoke, she found it a joke. For they were still a-fleeting. 3. She took up her crook, intending to look, Determined for to find them; She found them indeed, but it made her heart bleed For they'd left their tails behind them. 4. She heaved a sigh, and wiped her eye And ran over hill and dale, O! And tried what she could, as a shepherdess should, To tack to each sheep its tail, O! [Illustration] ORANGES AND LEMONS. [Music] "Oranges and lemons," say the bells of St. Clements; "You owe me five farthings," say the bells of St. Martins; "When will you pay me?" say the bells of Old Bailey; "When I grow rich," say the bells of Shoreditch; "When will that be?" say the bells of Stepney; "I do not know," says the great bell of Bow; Here comes a candle to light you to bed, And here comes a chopper to chop off your head! [Illustration] RIDE A COCK-HORSE. [Music] Ride a Cock-horse To Banbury Cross, To see a fine lady ride on a white horse; With rings on her fingers And bells on her toes So she shall have music Wherever she goes. [Illustration] WHAT ARE LITTLE BOYS MADE OF? [Music] 1. What are little boys made of, made of? What are little boys made of? Frogs and snails and puppy dog's tails, And such are little boys made of. Chorus. Frogs and snails and puppy dog's tails, And such are little boys made of. 2. What are little girls made of, made of? What are little girls made of? Sugar and spice and all things nice, And such are little girls made of; Sugar and spice and all things nice, And such are little girls made of. 3. What are our young men made of, made of? What are our young men made of? Sighs and leers, and crocodile tears, And such are our young men made of; Sighs and leers, and crocodile tears, And such are our young men made of. 4. What are young women made of, made of? What are young women made of? Ribbons and laces, and sweet pretty faces, And such are young women made of; Ribbons and laces, and sweet pretty faces, And such are young women made of. [Illustration] THERE WAS A LITTLE MAN. [Music] 1. There was a little man, And he wooed a little maid, And he said "Little maid! will you wed, wed, wed? I have little more to say, Then will you? yea, or nay! For least said is soonest mended, ded, ded, ded!" 2. The little maid replied, (Some say a little sighed) But what shall we have to eat, eat, eat? Will the love that you're so rich in, Put a fire into the kitchen? Or the little God of Love turn the spit, spit, spit. 3. The little man replied, (Some say a little cried,) For his little heart was filled with sorrow, row; With the little that I have, I will be your little slave, And the rest my little dear we will borrow, row. 4. Thus did the little gent, Make the little maid relent, For her little heart began to beat, beat, beat; Through his offers were but small, She accepted of them all, Now she thanks her little stars for her fate, fate, fate. [Illustration] LITTLE BOY BLUE. [Music] Little Boy Blue, come blow your horn, The sheep's in the meadow, the cow's in the corn. Where's the boy that looks after the sheep? He's under the haycock fast asleep. Will you wake him? No, not I! For if I do, he'll be sure to cry. [Illustration] POLLY PUT THE KETTLE ON. [Music] Polly put the kettle on, Polly put the kettle on, Polly put the kettle on, We'll all have tea. Sukey take it off again, Sukey take it off again, Sukey take it off again, They've all gone away. [Illustration] HUSH-A-BY BABY. [Music] Hush-a-by Baby on the tree-top, When the wind blows The cradle will rock; When the bough breaks The cradle will fall; Down comes baby, cradle and all! [Illustration] PRINTED BY EDMUND EVANS, LTD., ROSE PLACE, GLOBE ROAD, LONDON, E. [Transcriber's Note: Obvious printer errors, as well as spelling and punctuation inconsistencies, have been corrected without note. If you would like to see and hear the music, go to the HTML version of this e-book.] 
46702	----	[Transcriber's Note: Bold text is surrounded by =equal signs= and italic text is surrounded by _underscores_.] RHYMES FOR THE YOUNG FOLK. [Illustration] RHYMES FOR THE YOUNG FOLK BY WILLIAM ALLINGHAM WITH PICTURES BY HELEN ALLINGHAM, KATE GREENAWAY, CAROLINE PATERSON, AND HARRY FURNISS ENGRAVED AND PRINTED BY EDMUND EVANS CASSELL AND COMPANY, LIMITED, LONDON, PARIS, NEW YORK AND MELBOURNE =To= GERALD, EVA, AND LITTLE HENRY, AND OTHERS LIKE THEM, THIS BOOKLET IS LOVINGLY INSCRIBED. [Illustration] _Green Hills, Blue Mountains, Rocks and Streams, Birds, Woodland, Starry-Night, Sea-Foam, Flowers, Fairies, Children, Music, Dreams, A Book, a Garden-Chair--Sweet Home!_ Introduction. [Illustration] CONTENTS. PAGE THE FAIRIES 15 THE ELF SINGING 18 THE FAIRY KING 20 CHORUS OF FAIRIES 23 ROBIN REDBREAST 24 AMY MARGARET 26 JINGLE JANGLE 29 DREAMING 30 I LOVE YOU, DEAR 32 SEASONS 34 THE CAT AND THE DOG 36 HERE AND THERE 37 THE BIRD 41 WISHING 42 I SAW A LITTLE BIRDIE FLY 44 A MOUNTAIN ROUND 47 THE LEPRACAUN 48 YES OR NO? 53 SLEEPING 54 A SWING SONG 56 BIRDS' NAMES 58 DOWN ON THE SHORE 60 THE BUBBLE 62 NICK SPENCE 65 AMBITION 66 THE BALL 69 RIDING 70 TOM CRICKET 72 THE YEAR OF HARDSHIPS 74 A RIDDLE 75 [Illustration] LIST OF ILLUSTRATIONS. FRONTISPIECE: _The Bird_ HELEN ALLINGHAM. THE NEW BOOK DO. INTRODUCTION: _The Child and the Fairy_ DO. THE ELF SINGING (_Two Designs_) CAROLINE PATERSON. THE FAIRY KING HARRY FURNISS. AMY MARGARET HELEN ALLINGHAM. JINGLE JANGLE CAROLINE PATERSON. DREAMING HELEN ALLINGHAM. I LOVE YOU, DEAR DO. HERE AND THERE (_Ten Designs_) CAROLINE PATERSON. WISHING HELEN ALLINGHAM. I SAW A LITTLE BIRDIE FLY DO. THE LEPRACAUN HARRY FURNISS. YES OR NO? CAROLINE PATERSON. SLEEPING HELEN ALLINGHAM. A SWING SONG DO. THE BUBBLE KATE GREENAWAY. NICK SPENCE HELEN ALLINGHAM. AMBITION KATE GREENAWAY. THE BALL W. A. THE YEAR OF HARDSHIPS DO. A RIDDLE HELEN ALLINGHAM. [Illustration] [Illustration] THE FAIRIES. UP the airy mountain, Down the rushy glen, We daren't go a-hunting For fear of little men; Wee folk, good folk, Trooping all together; Green jacket, red cap, And white owl's feather! Down along the rocky shore Some make their home, They live on crispy pancakes Of yellow tide-foam; Some in the reeds Of the black mountain-lake, With frogs for their watch-dogs, All night awake. High on the hill-top The old King sits; He is now so old and gray He's nigh lost his wits. With a bridge of white mist Columbkill he crosses, On his stately journeys From Slieveleague to Rosses; Or going up with music On cold starry nights, To sup with the Queen Of the gay Northern Lights. They stole little Bridget For seven years long; When she came down again Her friends were all gone. They took her lightly back, Between the night and morrow, They thought that she was fast asleep, But she was dead with sorrow. They have kept her ever since Deep within the lake, On a bed of flag-leaves, Watching till she wake. By the craggy hill-side, Through the mosses bare, They have planted thorn-trees For pleasure here and there. Is any man so daring As dig them up in spite, He shall find their sharpest thorns In his bed at night. Up the airy mountain, Down the rushy glen, We daren't go a-hunting For fear of little men; Wee folk, good folk, Trooping all together; Green jacket, red cap, And white owl's feather! [Illustration] THE ELF SINGING. [Illustration] AN Elf sat on a twig, He was not very big, He sang a little song, He did not think it wrong; But he was on a Wizard's ground, Who hated all sweet sound. Elf, Elf, Take care of yourself! He's coming behind you, To seize you and bind you, And stifle your song. The Wizard! the Wizard! He changes his shape In crawling along, An ugly old ape, A poisonous lizard, A spotted spider, A wormy glider, The Wizard! the Wizard! He's up on the bough, He'll bite through your gizzard He's close to you now! [Illustration] The Elf went on with his song, It grew more clear and strong, It lifted him into air, He floated singing away, With rainbows in his hair; While the Wizard-worm from his creep Made a sudden leap, Fell down into a hole, And, ere his magic word he could say, Was eaten up by a Mole. THE FAIRY KING. _"High on the hill-top The old King sits; He is now so old and gray He's nigh lost his wits."_ THE Fairy King was old. He met the Witch of the Wold. "Ah ha, King!" quoth she, "Now thou art old like me." "Nay, Witch!" quoth he, "I am not old like thee." The King took off his crown, It almost bent him down; His age was too great To carry such a weight. "Give it here!" she said, And clapt it on her head. Crown sank to ground; The Witch no more was found. Then sweet spring-songs were sung, The Fairy King grew young, His crown was made of flowers, He lived in woods and bowers. [Illustration] CHORUS OF FAIRIES. GOLDEN, golden, Light unfolding, Busily, merrily, work and play, In flowery meadows, And forest shadows, All the length of a Summer day! All the length of a Summer day! Sprightly, lightly, Sing we rightly, Moments brightly hurry away; Fruit-tree blossoms, And roses' bosoms,-- Clear blue sky of a Summer day! Dear blue sky of a Summer day! Springlets, brooklets, Greeny nooklets, Hill and Valley, and salt sea-spray, Comrade rovers, Fairy lovers,-- All the length of a Summer day All the livelong Summer day! [Illustration] [Illustration] ROBIN REDBREAST. GOOD-BYE, good-bye to Summer! For Summer's nearly done; The garden smiling faintly, Cool breezes in the sun; Our Thrushes now are silent, Our Swallows flown away,-- But Robin's here, in coat of brown, With ruddy breast-knot gay. Robin, Robin Redbreast, O Robin dear! Robin singing sweetly In the falling of the year. Bright yellow, red, and orange, The leaves come down in hosts; The trees are Indian Princes, But soon they'll turn to Ghosts; The scanty pears and apples Hang russet on the bough, It's Autumn, Autumn, Autumn late, 'Twill soon be Winter now. Robin, Robin Redbreast, O Robin dear! And welaway! my Robin, For pinching times are near. The fireside for the Cricket, The wheatstack for the Mouse, When trembling night-winds whistle And moan all round the house; The frosty ways like iron, The branches plumed with snow,-- Alas! in Winter, dead and dark, Where can poor Robin go? Robin, Robin Redbreast, O Robin dear, And a crumb of bread for Robin, His little heart to cheer. [Illustration] AMY MARGARET. AMY MARGARET'S five years old, Amy Margaret's hair is gold, Dearer twenty-thousand-fold Than gold, is Amy Margaret. "Amy" is friend, is "Margaret" The pearl for crown or carkanet? Or peeping daisy, Summer's pet? Which are you, Amy Margaret? A friend, a daisy, and a pearl; A kindly, simple, precious girl,-- Such, howsoe'er the world may twirl, Be ever,--Amy Margaret! [Illustration] [Illustration] [Illustration] JINGLE, JANGLE! JINGLE, jangle! Riot and wrangle! What shall we do With people like you? Here's Jingle! There's Jangle! Here's Riot! There's Wrangle! Never was seen such a turbulent crew! _You_, north must go To a hut of snow; _You_, south, in a trice, To an island of spice; _You_, off to Persia And sit on a hill, _You_, to that chair And be five minutes' still! [Illustration] DREAMING. A STRANGE little Dream On a long star-beam Ran down from the midnight skies, To curly-hair'd Fred Asleep in his bed, With the lids on his merry blue eyes. Under each lid The thin Dream slid, And spread to a picture inside, A new World there, Most strange and rare, Tho' just by our garden-side. Rivers and Rocks, And a Treasure-Box, And Floating in Air without wings, And the Speaking Beast, And a Royal Feast, My chair beside the King's; A Land of Flowers, And of lofty Towers Carved over in marble white With living Shapes Of Panthers and Apes That gambol in ceaseless flight; And a Cellar small With its Cave in the Wall Stretching many a mile underground! And the Rope from the Moon!-- Fred woke too soon, For its end could never be found. [Illustration] I LOVE YOU, DEAR. [Illustration] [Illustration] I LOVE you, Dear, I love you, Dear, You can't think how I love you, Dear! Supposing I Were a Butterfly, I'd waver around and above you, Dear. A long way off I spied you, Dear, No bonnet or hat could hide you, Dear, If I were a Bird, Believe my word, I'd sing every day beside you, Dear. When you're away I miss you, Dear, And now you're here I'll kiss you, Dear, And beg you will take This flow'r for my sake, And my love along with this, you Dear! [Illustration] [Illustration] [Illustration: Music] [Illustration] SEASONS. IN Spring-time, the Forest, In Summer, the Sea, In Autumn, the Mountains, In Winter,--ah me! How gay, the old branches A-swarm with new buds, The primrose and bluebell Fresh-blown in the woods, All green things unfolding, Where merry birds sing! I love in the Woodlands To wander in Spring. What joy, when the Sea-waves, In mirth and in might, Spread purple in shadow, Flash white into light! The gale fills the sail, And the gull flies away; In crimson and gold Sets the long Summer Day. O pride! on the Mountains To leave earth below; The great slopes of heather, One broad purple glow; The loud-roaring torrent Leaps, bound after bound, To plains of gold Autumn, With mist creeping round Ah, Wind, is it Winter? Yes, Winter is here; With snow on the meadow, And ice on the mere. The daylight is short, But the firelight is long; Our skating's good sport; Then story and song. In Spring-time, the Forest, In Summer, the Sea, In Autumn, the Mountains,-- And Winter has glee. [Illustration] THE CAT AND THE DOG. THERE once lived a Man, a Cat, and a Dog, And the Man built a house with stone and log. "If you'll help to take care of this house with me, One indoors, one out, your places must be." Said both together, "Indoors I'll stay!" And they argued the matter for half-a-day. "Come, let us sing for it!" purrs the Cat; "No!" barks the Dog, "I won't do that." "Come, let us fight for it!" growls Bow-wow; "Nay!" says Pussy, "mee-ow, mee-ow!" "Well, let us race for it!"--said and done. The course is mark'd out, and away they run. Puss bounded off; the Dog ran fast; Quickly was Puss overtaken and pass'd; But a Beggar who under the hedge did lie Struck the poor Dog as he gallop'd by A blow with his staff, and lessen'd his pace To a limp: so Pussy won the race. The Beggar went on his way to beg; Dog was cured of his limping leg; And Cat keeps the inside of the house, Watching it well from rat and mouse, Dog keeps the outside, ever since then, And always barks at beggar-men. [Illustration] HERE AND THERE. (A JUVENILE CHORUS.) [Illustration] [Illustration: Music] Where's Lucy? where's Lucy? Far, far in the wood, With wild birds for playmates, And beechnuts for food? CHORUS. _No, here she is! here she is! Happy and gay, With singing and ringing To join in our lay._ [Illustration] Where's Gerald? where's Gerald? He's out in the snow; The stars shining keenly, The cold wind doth blow. _No, here he is! here he is! Happy and gay; With singing and ringing To join in our lay!_ [Illustration] Where's Evey? where's Evey? She's lost in the fog; Go seek her, go find her, With man and with dog. _No, here she is! here she is! Happy and gay; With singing and ringing, To join in our lay!_ [Illustration] Where's Henry? where's Henry? Poor Henry's afloat; The sea-waves all round him, High tossing his boat. _No, here he is! here he is! Happy and gay; With singing and ringing To join in our lay!_ [Illustration] Where's Charley? where's Charley? In China dwells he; He wears a long pig-tail, Perpetually drinks tea. _No, here he is! here he is! Happy and gay; With singing and ringing, To join in our lay!_ [Illustration] Where's Johnny? where's Johnny? In Nubia, I know; He has climb'd a tall palm-tree,-- A lion's below. _No, here he is! here he is! Happy and gay; With singing and ringing, To join in our lay!_ [Illustration] Where's Mary? where's Mary? Young Mary's asleep; And round her white pillow The little dreams creep. _No, here she is! here she is! Happy and gay; With singing and ringing, To join in our lay!_ [Illustration] Where's Bertha? where's Bertha? She has wings--she can fly! She has flown to the bright moon-- Look up there and spy! _No, here she is! here she is! Happy and gay; With sinking and ringing, To join in our lay!_ [AD INFINITUM.] [Illustration] THE BIRD. "BIRDIE, Birdie, will you pet? Summer-time is far away yet, You'll have silken quilts and a velvet bed, And a pillow of satin for your head!" "I'd rather sleep in the ivy wall; No rain comes through, tho' I hear it fall; The sun peeps gay at dawn of day, And I sing, and wing away, away!" "O Birdie, Birdie, will you pet? Diamond-stones and amber and jet We'll string for a necklace fair and fine To please this pretty bird of mine!" "O thanks for diamonds, and thanks for jet, But here is something daintier yet,-- A feather-necklace round and round, That I wouldn't sell for a thousand pound!" "O Birdie, Birdie, won't you pet? We'll buy you a dish of silver fret, A golden cup and an ivory seat, And carpets soft beneath your feet!" "Can running water be drunk from gold? Can a silver dish the forest hold? A rocking twig is the finest chair, And the softest paths lie through the air,-- Good-bye, good-bye to my lady fair!" WISHING. RING-TING! I wish I were a Primrose, A bright yellow Primrose blowing in the Spring! The stooping boughs above me, The wandering bee to love me, The fern and moss to creep across, And the Elm-tree for our king! [Illustration] Nay--stay! I wish I were an Elm-tree, A great lofty Elm-tree, with green leaves gay! The winds would set them dancing, The sun and moonshine glancing, The Birds would house among the boughs, And sweetly sing! [Illustration] O--no! I wish I were a Robin, A Robin or a little Wren, everywhere to go; Through forest, field, or garden, And ask no leave or pardon, Till Winter comes with icy thumbs To ruffle up our wing. Well--tell! Where should I fly to, Where go to sleep in the dark wood or dell? Before a day was over, Home comes the rover, For Mother's kiss,--sweeter this Than any other thing! [Illustration] I SAW A LITTLE BIRDIE FLY. I SAW a little Birdie fly, Merrily piping came he; "Whom d'ye sing to, Bird?" said I; "Sing?--I sing to Amy!" "Very sweet you sing," I said; "Then," quoth he, "to pay me, Give one little crumb of bread, A little smile from Amy." "Just," he sings, "one little smile; O, a frown would slay me! Thanks, and now I'm gone awhile,-- Fare-you-well, dear Amy!" [Illustration] [Illustration] A MOUNTAIN ROUND. (_Tyrol._) [Illustration: Music] TAKE hands, merry neighbours, for dancing the round! Moonlight is fair and delicious the air; From valley to valley our music shall sound, And startle the wolf in his lair. From summits of snow to the forest below, Let vulture and crow hear the echoes, O-ho! (O-ho!) While shadow on meadow in dancing the round Goes whirligig, pair after pair! THE LEPRACAUN; OR, FAIRY SHOEMAKER. I. LITTLE Cowboy, what have you heard, Up on the lonely rath's green mound? Only the plaintive yellow bird Sighing in sultry fields around, Chary, chary, chary, chee-ee!-- Only the grasshopper and the bee?-- "Tip-tap, rip-rap, Tick-a-tack-too! Scarlet leather sewn together, This will make a shoe. Left, right, pull it tight; Summer days are warm; Underground in winter, Laughing at the storm!" Lay your ear close to the hill. Do you not catch the tiny clamour, Busy click of an Elfin hammer, Voice of the Lepracaun singing shrill As he merrily plies his trade? He's a span And a quarter in height. Get him in sight, hold him tight, And you're a made Man! II. You watch your cattle the summer day, Sup on potatoes, sleep in the hay: How would you like to roll in your carriage, Look for a Duchess's daughter in marriage? Seize the Shoemaker--then you may! "Big boots a-hunting, Sandals in the hall, White for a wedding-feast, Pink for a ball. This way, that way, So we make a shoe; Getting rich every stitch, Tick-tack-too!" Nine-and-ninety treasure-crocks This keen miser-fairy hath, Hid in mountains, woods, and rocks, And where the cormorants build; From times of old Guarded by him; Each of them fill'd Full to the brim With gold! III. I caught him at work one day, myself, In the castle-ditch where foxglove grows,-- A wrinkled, wizen'd, and bearded Elf, Spectacles stuck on his pointed nose, Silver buckles to his hose, Leather apron-shoe in his lap-- "Rip-rap, tip-tap, Tack-tack-too! (A green cricket on my cap! Away the moth flew!) Buskins for a fairy prince, Brogues for his son,-- Pay me well, pay me well, When the job is done!" The rogue was mine, beyond a doubt. I stared at him, he stared at me; "Servant, Sir!" "Humph!" says he, And pull'd a snuff-box out. He took a long pinch, look'd better pleased, The queer little Lepracaun; Offer'd the box with a whimsical grace, Pouf! he flung the dust in my face, And, while I sneezed, Was gone! [Illustration] _Raths_, very ancient forts or entrenched dwelling-places, usually on hills; the remains of these are common in Ireland, and resemble what are called "Rings" in England. _Yellow bird_, the yellow bunting, or "yorlin." [Illustration] [Illustration] YES OR NO? YES or No? Stay or Go? He never can tell, he never will know! We must not wait, We'll all be late, While Barnaby puzzles his queer little pate! What do you say? Off and away! Make up your mind to go or to stay. Fix on your plan, Step out like a man, And follow your nose as fast as you can! [Illustration] [Illustration] SLEEPING. DO all your sleeping at night, For then niddy-noddy is right; But awake you must keep, And it won't do to sleep, In the middle of broad daylight. The sun at the end of the day Takes his mighty great candle away; A curtain on high Is drawn over the sky, And the stars peep thro' if they may. There's the curtain of night over all, There's our own window-curtain so small, And least in their size, Over Emily's eyes Her fringed little eyelids will fall. She kneels at the side of her bed, And softly her prayers are said; Now, a kiss, my Dear; Come, Angels, near, And keep watch round the little one's bed. [Illustration] A SWING SONG. SWING, swing, Sing, sing, Here's my throne, and I am a King! Swing, sing, Swing, sing, Farewell earth, for I'm on the wing! Low, high, Here I fly, Like a bird through sunny sky; Free, free, Over the lea, Over the mountain, over the sea! Up, down, Up and down, Which is the way to London Town? Where, where? Up in the air, Close your eyes, and now you are there! Soon, soon, Afternoon, Over the sunset, over the moon; Far, far, Over all bar, Sweeping on from star to star! No, no, Low, low, Sweeping daisies with my toe. Slow, slow, To and fro, Slow---- slow------ slow-------- slow. [Illustration: Music] Swing, swing, sing, sing, Here's my throne and I am a King! Swing, sing, swing, sing, Farewell, earth, for I'm on the wing! [Illustration] [Illustration] BIRDS' NAMES. OF Creatures with Feathers, come let us see Which have names like you and me. Hook-nosed Poll, that thinks herself pretty, Everyone knows, of all birds most witty. Friendly Daw, in suit of gray, Ask him his name, and 'Jack!' he'll say. Pert Philip Sparrow hopping you meet, "Philip! Philip!"--in garden and street. Bold Robin Redbreast perches near, And sings his best in the fall of the year. Grave Madge Owlet shuns the light, And shouts "hoo! hoo!" in the woods at night. Nightingale sweet, that May loves well, Old Poets have call'd her Philomel, But Philomelus, _he_ sings best, While _she_ sits listening in her nest. Darting Martin!--tell me why They call you Martin, I know not, I; Martin the black, under cottage eaves, Martin the small, in sandy caves. Merry Willy Wagtail, what runs he takes! Wherever he stops, his tail he shakes. Head and tail little Jenny Wren perks, As in and out of the hedge she jerks. Brisk Tom Tit, the lover of trees, Picks-off every fly and grub he sees. Mag, the cunning chattering Pie, Builds her home in a tree-top high,-- Mag, you're a terrible thief, O fie! Tom and Philip and Jenny and Polly, Madge and Martin and Robin and Willy, Philomelus and friendly Jack,-- Mag the rogue, half-white, half-black, Stole an egg from every Bird; Such an uproar was never heard; All of them flew upon Mag together, And pluck'd her naked of every feather. "You're not a Bird!" they told her then, "You may go away and live among men!" [Illustration] [Illustration] DOWN ON THE SHORE. I. DOWN on the shore, on the sunny shore! Where the salt smell cheers the land; Where the tide moves bright under boundless light, And the surge on the glittering strand; Where the children wade in the shallow pools, Or run from the froth in play; While the swift little boats with milk-white wings Are crossing the sapphire bay, And the ship in full sail, with a fortunate gale Holds proudly on her way; Where the nets are spread on the grass to dry, And asleep, hard by, the fishermen lie, Under the tent of the warm blue sky, With the hushing wave on its golden floor To sing their lullaby. II. Down on the shore, on the stormy shore! Beset by a growling sea, Whose mad waves leap on the rocky steep Like wolves up a traveller's tree: Where the foam flies wide, and an angry blast Blows the curlew off, with a screech; Where the brown sea-wrack, torn up by the roots, Is flung out of fishes' reach; And the tall ship rolls on the hidden shoals, And scatters her planks on the beach; Where slate and straw through the village spin, And a cottage fronts the fiercest din With a sailor's wife sitting sad within, Hearkening the wind and the water's roar, Till at last her tears begin. [Illustration] THE BUBBLE. SEE, the pretty Planet! Floating sphere! Faintest breeze will fan it Far or near; World as light as feather; Moonshine rays, Rainbow tints, together, As it plays; Drooping, sinking, failing, Nigh to earth, Mounting, whirling, sailing, Full of mirth; Life there, welling, flowing, Waving round; Pictures coming, going, Without sound. Quick now! be this airy Globe repell'd! Never can the fairy Star be held. Touch'd--it in a twinkle Disappears! Leaving but a sprinkle, As of tears. [Illustration] [Illustration] NICK SPENCE. NICK SPENCE, Nick Spence, Sold the Cow for sixpence! When his Master scolded him, Nicky didn't care. Put him in the farmyard, The stableyard, the stackyard, Send him to the pigsty, And Johnny to the fair! [Illustration] AMBITION. THE Sea! as smooth as silk, And the froth of it like new milk, And the sky a wonderful blue, The cliff harebells have it too, And scatter'd all over the shore A thousand Children or more! Suppose we join, one-will'd, A City of Sand to build, With a rampart broad and strong From rock to rock along, Solid and firm enough To last till the sea grows rough And the days turn chilly and short, The end of our seaside sport, When all must bundle and pack And swift in the train go back, Big folk and little folk, To London lamps and smoke? Let's draw out our plan to-night, Begin it with morning light. We'll bring all the Children together And build in the sweet sunny weather. What use in a House of Sand? But a City--that _would_ be grand! O yes, I am sure it will stand! And I, who first thought of the thing, Perhaps they will make me King? [Illustration] THE BALL. ALL men, black, brown, red, yellow, white Are brethren in their Father's sight. To do each other good is right, But not to wrangle, steal, or fight. A thousand millions, young and old, Some in the heat, some in the cold, Upon this Ball of Earth are roll'd Around the Sun's great flame of gold. [Illustration] And this great Sun is like indeed One daisy in a daisied mead; For GOD'S power doth all thought exceed. And of us also He takes heed. RIDING. HIS Lordship's Steed Of a noble breed Is trotting it fleetly, fleetly, Her Ladyship's pony, Sleek and bonny, Cantering neatly, neatly. How shall they pass The Turf-Cadger's Ass, Creels and all, creels and all? Man on him bumping, Shouting and thumping, Heels and all, heels and all! Lane is not wide, A hedge on each side, The Ass is beginning to bray; "Now," says my Lord, With an angry word, "Fellow, get out of the way!" "Ha!" says the Cadger, As bold as a badger, "This way is _my_ way too!" Says the Lady mild, And sweetly smiled, "My Friend, that's perfectly true." The Cadger look'd round, Then jump'd to the ground, And into the hedge pull'd Neddy. "O thank you!" says she, "Ax pardon!" says he, And touch'd his old hat to the Lady. His Lordship's Steed Of a noble breed Went trotting it fleetly, fleetly, Her Ladyship's pony, Sleek and bonny Cantering neatly, neatly. The Cadger he rode As well as he could, Heels and all, heels and all, Jolting and bumping, Shouting and thumping, Creels and all, creels and all. [Illustration] [Illustration] TOM CRICKET. TOM CRICKET he sat in his hole in the wall, Close to the kitchen fire, Up and down ran the Cockroaches all, Red coats and black coats, great and small; "Ho, Tom! our hearts are set on a ball, And your music we desire!" Tom sat in his hole, his horns hung out, He play'd away on his fiddle; The Cockroaches danced in a rabble rout, Scrambling and scurrying all about, Tho' they had their own steps and figures no doubt, Hands across, and down the middle. Till, "Stay!" says a Fat One,--"We're no Elves, To dance all night without stopping! Now for supper!" They help'd themselves, For the servants were gone to bed; on shelves And tables they quested by tens and twelves, And quick to the floor kept dropping. As a Cockroach ran by, says Tom Cricket to him, "Fetch me up a piece of potato, Good Sir!--to mix in the crowd I'm too slim." Says Jack Cockroach, "I see you are proud and prim; To eat alone is merely your whim,-- Which I never will give way to!" "Come down," says he, "and look out for your share!" "I won't do that," says Tom Cricket. And when for another dance they care, And call upon Tom for a lively air, They find he has drawn himself back in his lair. "How shameful," they cry, "How wicked!" "Let's fill up the mouth of his cave with soot, Because he's behaved so badly!" They ran up and down the wall to do't; But ere half-done--a dreadful salute! In came the Cook, and the Scullion to boot, And off they all scampered madly. [Illustration] [Illustration] THE YEAR OF HARDSHIPS. JANUARY, Bitter, very! February damp, Sir; March blows On April's nose, May has caught the cramp, Sir; June, Without a sun or moon! July, August, Many a raw gust; September, October, November, December, Ten times worse than I ever remember. No apples, or hay, or honey, or corn; I'm sure it wasn't a fat year. Whenever you and I were born, Good-luck it wasn't in _that_ year! [Illustration] A RIDDLE. WHAT I say you'll scarce believe, Yet my words shall not deceive. I saw what seem'd a little Boy, With a face of life and joy; He danced, he ran, he nodded, he smiled, Just like any other Child; But could not speak, (how strange was this!) Or cry, or breathe, nor could I kiss, To save my life, the cherry red Of lips, not living and not dead! He was no picture, statue, doll; He was not a Child at all; He was Nothing, as near as could be, He was as real as you or me. --There he is: turn and see! [Illustration] [Illustration] Illustrated, Fine Art, and other Volumes. =Art, The Magazine of.= Yearly Volume. With about 500 choice Engravings from famous Paintings, and from Original Drawings by the First Artists of the day. An Original Etching forms the Frontispiece. 16s. =Art Directory and Year-Book of the United States.= With Engravings. 7s. 6d. =Along Alaska's Great River.= By FREDERICK SCHWATKA. 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59307	----	[Transcriber's Note: Full-page illustrations were moved so as not to interrupt the flow of the text.] The April Baby's Book of Tunes [Illustration: The MM Co.] [Illustration: _'Watched them go off with their Skates'_] The April Baby's Book of Tunes WITH THE STORY OF HOW THEY CAME TO BE WRITTEN BY THE AUTHOR OF "ELIZABETH AND HER GERMAN GARDEN" _ILLUSTRATED BY KATE GREENAWAY_ New York THE MACMILLAN COMPANY LONDON: MACMILLAN & CO., LTD. 1900 _All rights reserved_ COPYRIGHT, 1900, BY THE MACMILLAN COMPANY. _Norwood Press J.S. Cushing & Co.--Berwick & Smith Norwood, Mass., U.S.A._ LIST OF ILLUSTRATIONS 'Watched them go off with their skates' _Frontispiece_ 'Don't push so, you awful June' _To face page_ 7 Little Polly Flinders 15 'But Flinders' _foots_ was cold' 17 The Strains of 'Polly Flinders' 25 Mary, Mary, quite contrary 30 Little Miss Muffet 34 Hush-a-bye, Baby 44 The Tea Party 50 Jack and Jill 54 Pussy Cat, Pussy Cat 56 Curly Locks 60 Sing a Song of Sixpence 63 Where are you going to, my Pretty Maid? 66 'Nobody asked you, Sir,' she said 71 Gentle Jesus, meek and mild 74 The April Baby's Book of Tunes with The Story of how they came to be Written Once upon a time there were three little girls called April, May, and June. Their mother thought it simpler to call them after the months they were born in, instead of having to worry over a choice between Jane, or Susan, or Mary, or any of the ordinary girl-names. She had meant to call the eldest one Jane, because it was such a short, tidy little name; but an aunt who was staying with her nearly cried, the bare idea made her so unhappy. You see, the aunt was very fond of Shakespeare, and wanted the baby to be called Ophelia, and there is a great difference between the sound of Ophelia and the sound of Jane; but the mother didn't want to have a baby called Ophelia, and didn't want to argue either, so she settled it by having it christened after the month it was born in, and everybody said how queer. Once she had begun doing that, of course she had to go on; but luckily the stork didn't bring any more babies after the June one, or I don't know what would have happened. How could you call a baby February, for instance? These babies lived in Germany, and that is why the stork brought them. In England you are dug up out of a parsley-bed, but in Germany you are brought by a stork, who flies through the air holding you in his beak, and you wriggle all the time like a little pink worm, and then he taps at the window of the house you are bound for, and puts you solemnly into the nice warm cushion that is sure to be ready for you, and you are rolled round and round in flannel things, and tied comfortably on to the cushion, and left to get your breath and collect your wits after the quick journey across the sky. That is exactly what happened to April, and May, and June. They often told their mother about it, and said they could remember it quite well. They were about five, and six, and seven years old in the winter week I am going to tell you about. It was the week before Easter, when it oughtn't to have been winter at all; but strange things happen in the way of weather in those far-away forests where they live, and after having been quite like spring for a long while, it turned suddenly very cold. At first when it began to snow they were delighted, and got out their sleigh and their snow-boots, and harnessed their mother's big dog to the sleigh, and drove him up and down the paths, only laughing all the louder when he ran them against a tree and pitched them off into the snow. But the next day the snow was so deep that it covered the sleigh right up, and came over their knees, and got inside their stockings at the top, and made them very uncomfortable; so they stayed indoors, and finished the presents they were making for their mother's Easter surprise. German Easters are very nice things, something like Christmas, only instead of tables covered with presents round the Christmas tree, the presents are hidden out in the garden, in the grass or among the bushes that are generally just turning a faint green. Everybody gives everybody else presents; and then there are eggs of all sorts and sizes, some in sugar with chocolate things inside, and some in chocolate with sugar things inside, and some in china with presents inside, and a great many real eggs, hard-boiled, and dyed in colours that would astonish the hens who laid them, and you eat more of them than is good for you and afterwards are sorry. April, May, and June knitted mittens for their mother. At Christmas they knitted mittens, and at Easter they knitted mittens, and for her birthday they knitted mittens; so that there was never any need for her to bother about buying mittens. They could all knit very nicely, and their mother used to say a little while before any of these festivals that she hoped Father Christmas, or the Easter hare, or the birthday sprite meant to bring her some mittens that time, for she loved them better than anything else. Then the babies were delighted, because knitting was easy, and it was so convenient that their mother should happen to like just what they liked best to make. But in two days they had finished the mittens, and still it went on snowing. Then they had to fall back upon their dolls, for it was snowing as though it never meant to stop. Never had been seen such an Easter. People went about saying, 'Did you ever?' to the people they met, and couldn't get over it at all. The window panes were sheets of ice, for there were I don't know how many degrees of frost, and each night it froze harder than it had done the night before. In the daytime the rooms were full of a wonderful white light from the snow outside, and the fires blazed extra cheerfully, and it was very cosy indoors in their mother's pretty rooms, where flowers blossomed all the year round, no matter what was going on outside, and where it always smelt of violets. For two days, then, the babies played contentedly enough with their dolls. But dolls are but mortal, and how can you expect a doll you have had given you at Christmas to be anything but mangled by Easter? What they were playing with could hardly be called dolls at all, for although there was a great abundance of arms, and legs, and heads, and dresses, and wigs, and eyes, there was not one single complete doll in all the heap. June went about rattling half a dozen eyes in her pocket as grown-up people rattle their money; and when her mother asked her what made that noise, she pulled out a handful of them in different sizes, and they looked so like real eyes that it quite gave her mother what is known as a turn,--which is a sort of feeling as though you were being suddenly pulled inside out and back again very quickly. In two more days they had got to the stage in doll-playing in which you begin to chop up parts of the bodies and boil them, and warm bits of the wax and mould it into puddings, and make reckless porridge out of the bran stuffing and the water your face was washed in before dinner,--the stage, that is, which comes last of all, and just before you are put in the corner. And still it went on snowing. Their mother, who had been placidly reading all this time, began to be uneasy when she saw with what ardour the cooking in the next room was being carried on. The playroom opened into the library, where she sat this cold weather like Polly Flinders, warming her toes; and she got up every now and then and peeped in, stealing away again softly, half inclined to laugh, and yet disturbed by visions of corners in the near future as she saw the three chopping, and pounding, and stirring, with scarlet cheeks and dishevelled hair and mouths shut tight, and an oddly vindictive look on their faces, as though there was more than mere cooking in what they were doing,--the look almost of those who are paying off old scores at last, and can't do it too thoroughly. And if you want to know what vindictive means, you look at your nurse's face next time she takes you behind a tree in the Park to shake you in comfort, without the least provocation, and when you know you have been an angel. In another hour all their stock of remains had been used up, and they had had a banquet, which they cut rather short, however, on realising the dulness of only pretending to eat; and then, instead of tidying everything up, and washing the saucepans and plates like good children, they leant disconsolately against the window-sills, staring out into the white world outside through little holes they had scratched in the frost on the panes, and flattened their noses, and felt cross. 'Don't push so, you awful June,' said April, giving June an impatient shove. They often talked English together, though they were German babies, and if it was not quite like the English that little girls in England talk, neither was it, I am sure, any worse than the German would be that English children of the same age might try to talk. [Illustration: '_Don't push so, you awful June_'] 'I doesn't push,' said June blandly: and pushed with all her might. June was a short, thick baby, and couldn't reach up to the windows as comfortably as the other two; and besides, April had scratched lovely big eye-holes with her nails in the ice on the pane, and June coveted them. Do you know what covet means? It is a dreadful feeling that seizes people when they see somebody else with the things they would like and haven't got, and makes them feel as though they were going to burst. June was sure she would burst if she didn't soon get April's holes, so she pushed and wriggled with all her strength, and when April protested, merely repeated reassuringly 'I doesn't push.' But April was not to be put off like that, and finding that her legs were being violently dragged away from beneath her, swooped down on June, who would not let her go, and they both rolled over on the floor together, while May sat on her window-sill kicking her heels in great delight, and egged them on with cheers. Then Séraphine, their French nurse, came in, and threw up her hands aghast at what she saw,--the room all littered with bran and doll's hair, the table covered with the remains of the feast, the sofa strewn with saucepans, and the two babies rolling over and over each other on the floor. Séraphine had been meek, and soft, and delicate when first she came to be the babies' nurse, but that had all worn off long ago, and she had grown robust in the healthy forest air, and round and rosy on the wholesome country food, and with her roundness and rosiness had come a determination to have her own way and circumvent the babies; and they, after lording it over her during those first few blissful months, had found to their sorrowful surprise that she had unaccountably grown to be a match for them. On this occasion also she was a match for them. First she threw up her hands and shrilly cried _Mon Dieu!_ Then she ordered them to clear up all the mess they had made; and then, exasperated by the unwilling slowness of their movements, and still more so by the conviction that it was she who would ultimately have to do the clearing up, swept them off, after a moment's impatient watching, into the three corners of the room, kept carefully clear for such emergencies. It was a good thing there was not a fourth baby, for there would have been no corner to put it in, because, though there was a fourth corner in this, as in most rooms, it was occupied by the stove. April pointed this out one day to her mother, who agreed that it was all very conveniently arranged. Their mother in the next room heard Séraphine's entrance and exclamation of dismay, and then the sudden stillness which she knew from experience meant corners. She got up and looked out the window. It had left off snowing, and the garden was covered up with the loveliest smooth, thick, white coat, and all the trees looked like Christmas trees. It made one long, somehow, to run out and make footmarks everywhere on the spotlessness. She waited a little while, so as not to interfere with Séraphine's ideas of justice, and then went into the playroom with an appropriately grave face, and called them out of their corners, and gave them a short lecture as mothers have to do when children are not good. She told them, when she had done, that of all things in the world she disliked having to lecture, and she would be so grateful if only they would keep out of corners and save her the trouble of it; upon which there was a sudden outburst of enthusiasm, and a confusion of arms and legs, and a great amount of kissing, and then they made a determined attack on the saucepans and scoured with such goodwill that in ten minutes everything was tidy again, and they could pull on their boots and gaiters and go out and help their mother spoil the beautiful, fascinating snow. But they sank right in, June up to her ears, May up to her neck, and April up to her shoulders, and it was quite impossible to move. So the mother ordered the sleigh, and had them wrapped up to the eyes in furs, and fur hoods pulled over their foreheads, and took them sleighing along the wintry roads. Where these babies lived, when you drive in winter you sit in fur bags up to your waist, and the rest of you is so covered up that nothing but your eyes can be seen. If you don't do that you are frost-bitten, which is a very disagreeable thing to be, and may end in your nose crumbling away, and your beauty crumbling away with it. It is no use my telling you how cold the thermometer showed it to be, for children who live in London and go for walks every day in the Park or Kensington Gardens needn't bother much about thermometers, so you wouldn't understand. But where April and her sisters lived, you look anxiously at the thermometer hanging outside your window before you go out, so as to know how many furs to put on, or whether you can venture out at all. Sometimes it is so cold that for days you are shut up in the house, especially if you happen to be a baby. The babies' mother very nearly decided to oil them all over, as the people do who live more or less at the North Pole, so that they should not feel the cold so much; but then she remembered that babies are sent into the world chiefly that mothers may have something to kiss all the time, and how can you kiss oiled babies? She soon found out in the sleigh that this was one of the days when people who are not oiled are better at home, and she turned back and sent April and May in again. June begged so hard to be allowed to stay that she took her a little further, giving in because June was the fattest, and fat babies are never so cold as lean ones. That is why, I suppose, everybody who lives up in those forests where the babies did, are so fat. They eat and drink a great deal all the summer, so that when the long, bitter winter comes they may be nicely protected against the cold, and needn't buy so many furs; and though that sort of figure may not be pretty at a party, it is very convenient in a frost. But the mother and June soon had to turn back too, for their eyelashes froze tight on to the long fur round their faces and they couldn't open their eyes any more, which made it dreadfully dull. So they went home again, and had to grope their way in, and thaw their eyelashes at the fire; and then the mother sat down and wondered what she could do to help the babies over the long days that had to be got through before it was time to hide the Easter eggs. The schoolmaster who came every day to teach them was snowed up too in his house, so they had no lessons to keep them busy. Séraphine couldn't teach them, because she didn't know anything herself, which was the best of reasons; all she could do was to sing French songs without any tune in them over and over again till the babies had learnt them, by which time the mother in the next room was almost distracted. They had cooked their dolls, they had no lessons, they couldn't get out and run in the garden,--I don't believe any baby in the world could keep long out of a corner under such conditions, or any mother, knowing its difficulties, be happy. This particular mother didn't believe it either, and sat and wondered what she could do. She sat and wondered in front of the big fireplace, with her feet nearly in the fire. It had begun to snow again harder than ever, and she knew there was no chance of the babies getting out for two or three days. It grew dark, and when the tea was brought in, and fresh peat had been thrown on the fire, and the room was all full of firelight, she called the babies and invited them to come and have tea with her, and sit comfortably on a row of footstools in front of the fire, instead of solemnly round the schoolroom table with Séraphine's stern eye petrifying them from behind the teapot. They loved having tea with their mother, although there was no jam on the bread and butter as there was in the schoolroom. They liked their mother without jam better a thousand times than Séraphine with jam,--even if it had been the best jam in the world, which, of course, as every baby knows, is apricot if it isn't strawberry. They flew to fetch footstools, and sat on them munching their bread and butter in the pleasant firelight, warming their toes at the blaze like their mother, and getting hotter, and happier, and more buttery every minute. Then their mother poured them each out a cup of her own tea in her own pretty cups, with saucers and spoons all proper, instead of the mortifying mugs they had in the schoolroom; and the tea was so hot and sweet and delicious that it made them feel as though their insides were being wrapped round in hot flannel petticoats with sugar on them, which is the loveliest feeling in the world. 'Now we're sitting like Polly Flinders,' said the mother. 'What's Flinders?' asked April. 'Is Flinders one girl?' asked June, scooping up the sugar at the bottom of her cup. May said nothing, but put out her tongue as far as it would go, and then whisked it right round her mouth several times running with considerable skill. There was some butter on her nose, and some on her chin, and though she had a handkerchief, and a pocket to keep it in, and every convenience for cleaning herself, she preferred taking her tongue, and so not wasting either time or butter. 'Didn't I ever tell you about Polly Flinders?' asked the mother, who had watched May's tongue, fascinated, till the last bit of butter had been safely captured. 'Didn't you ever hear how she Sat in the cinders Warming her little toes? Her mummy came and caught her And whipped her little daughter For spoiling her nice new clothes.' [Illustration: LITTLE POLLY FLINDERS. Little Polly Flinders Sat on the cinders, Warming her little toes; Her mother came and caught her, And whipp'd her little daughter, For spoiling her nice new clothes.] The babies looked at each other in astonishment. '_Oh_, what a mummy!' cried April. '_Poor_ Flinders!' cried May. 'Did the mummy whip that Flinders with the hand, or with one stick?' asked June, deeply interested. 'I should think with her hand,' said the mother. 'You see, she had spoilt all the nice clothes her mummy had made her for Christmas, and it was very annoying.' 'Yes, but to whip _gleich_!' exclaimed May indignantly. 'I never did see one mummy like that before,' said April, shaking her head with grave disapproval. Their mother was silent. She had known the story of Polly Flinders all her life, but had not noticed anything particularly blameworthy in the conduct of Mrs. Flinders. Indeed, as a child she had thought Mrs. Flinders had only done what was quite natural, and no more than the aggravating Polly deserved. It took her, therefore, some moments to readjust her views; but the babies were so frankly horrified that she was sure her views needed readjusting. 'It was a pretty pale blue dress,' she murmured, trying to justify Mrs. Flinders. 'But her foots was cold!' cried May. 'With ever so many tucks in it, all put in by the mummy.' 'But Flinders' _foots_ was cold!' shouted the three babies, fixing their mother with six round reproachful eyes. [Illustration: '_But Flinders'_ Foots _was cold_'] 'And a beautiful new sash, with fringes on its ends--oh, babies, _such_ a sash!' 'But Flinders' FOOTS was cold!' literally roared the babies, astounded and perplexed beyond measure at their mother's support of the wrong side. They knew very well the agonies of cold toes, and it was beyond their comprehension how their mother could for a moment think more of the dress, spoilt by an accident, than of the toes. Then the mother left off defending Mrs. Flinders, and laughed, and getting up went behind the row of agitated babies and kissed each head one after the other, which was a sign that she gave in and agreed with them. 'She needn't have whipped her,' she said soothingly, 'a corner would have done quite as well, and she did deserve that, for she was evidently a careless Polly.' 'And if there didn't was no corner?' suggested June with a boldness of fancy that took everybody's breath away and produced a sudden silence. Nobody spoke after that for several seconds. April and May sat thinking it out. June felt she must have said something clever, and swelled with pride. 'There is _always_ corners,' said April at last, turning on her, '_und Du bist das grösste Schaf das es giebt_,' she added in nervous German, not having a sufficiently withering bit of English ready. And if you, my dear little boys and girls who read this, don't know what that means, I can only pity your exceeding ignorance. Then April, having settled June, who sat looking like an air-ball just after it has been pricked, turned to her mother, 'Is that a song, mummy, about Flinders?' she asked, clasping her hands round her knees and propping her chin on them. 'Yes, it's a song--a nursery rhyme I learnt when I was little.' 'But has it got music?' 'Music?' the mother racked her brains to try and remember the music belonging to Polly Flinders, and found none. She had a vague idea her nurse used to hum the words to her, but no definite tune would come into her mind. 'I never heard any music to it,' she said at last. 'Herr Schenk's songs all have music,' said April--Herr Schenk was the schoolmaster--'and so have Séraphine's.' 'Oh yes,' said May, 'Séraphine's have lovely music, and if Séraphine's have lovely music, mummy's songs must have much lovelier.' The mother thought Séraphine's tunes were not so very lovely, and she knew them all only too well, for how often had she been obliged to go into another room out of earshot while they were being drummed into the babies' heads? As for Herr Schenk's songs, he taught the babies hymns--very slow German hymns called _chorales_; and as there was no piano in the schoolroom, and he sang right down in his boots, and they sang right up in the air, and they all sang out of tune, the effect was so doleful and weird that the mother in the next room often wondered how it was she didn't lift up her voice too, and weep. Her dog simply couldn't bear it at all, and howled so miserably when the _chorales_ began that he had to be turned out every day at lesson-time. '_Make_ music for Flinders, mummy,' said April. 'Make music?' echoed the mother, taken aback. 'Yes, make one tune, and then the babies can sing it.' 'But I can't.' 'But if Herr Schenk and Séraphine can?' 'But those aren't their own tunes.' 'Oh, but mummies can make everything,' said April, looking up at her mother with the sweetest smile of absolute confidence. April's smile was so pretty that it made you think her much prettier than she was really. The mother used to feel sure that if angels ever smiled they must do it just like that. 'But I can't make tunes,' repeated the mother, beginning to feel uncomfortable, and wishing she had left the Flinders family alone. '_Oh!_' cried all the babies together, and laughed aloud. _They_ were not to be taken in like that, so their mummy needn't think so. Was there ever anything that mummies could _not_ do? And _their_ mummy? They looked at each other and shrieked with laughter, the idea was so very ridiculous. 'Do you know how I feel, babies?' said the mother quickly. 'Just like a game of Oranges and Lemons. I am sure it would do me a great deal of good. Shall we play?' But this had no effect. 'No, no,' they cried, jumping up and crowding round her, 'we only wants Flinders! Make music, mummy!' And then they began to call her their sweet, _pwecious_ mummy, their little dear mummykins, and all the nice names they could think of; and as they all tried to kiss her at once, she had to say she would try, if only to save herself from suffocation. Here was a thing--Polly Flinders, apparently so harmless, turning on her and rending her! 'You will have to go away, then, while I try,' she said, feeling very wretched, though with a faint hope that they would prefer to stay and play games, and let her off making a tune rather than be banished. But they made for the schoolroom door with the greatest alacrity. 'And then you calls us when it is ready,' they cried cheerfully, as they disappeared. I don't suppose any of you children who read this story have ever written a tune, for if you have you are what is known as prodigies, which are an unpleasant variety of children, happily, for the peace of parents, exceedingly rare. But you leave off being a prodigy after a certain age, and this mother was much too old to be one, and had never shown the least symptoms of being one at any time; and when she was left alone to write the tune, and knew it had somehow got to be done, she felt as uncomfortable as you would if you were shut up in a room alone with a piano and told to compose music. But what will not mothers do for their children? You ask _your_ mother to write tunes for you, and see if she will not do it at once! This mother went over to the piano and sat down, and first of all wished she had never heard of Polly Flinders and her toes. Then she wished that, having heard of them, she had kept the knowledge of them from her children. And then she began to agonise over a tune. You know there are some people who can loftily write down tunes ten miles away from the nearest piano; but this mother wasn't one of that sort, and she sat and agonised, with the soft pedal on so that the babies should not hear the bones of Polly's musical skeleton rattling before the skin had been produced. Then, as she had no music-paper, she got a pencil and a sheet of note-paper and wrote the tune down, the agonies at this stage becoming acute. And then she stared at it gloomily, trying to persuade herself that there was at least a sort of rude honesty about it, and hoped the babies would be pleased. 'Come in, babies!' she called faintly. This is the tune:-- [Music: LITTLE POLLY FLINDERS. Little Polly Flinders sat on the cinders, warming her little toes. Her Mother came and caught her, and whipp'd her little daughter, for spoiling her nice new clothes.] and she needn't have been in any doubt as to the babies liking it, for they loved it. They rushed in when she called them, tumbling over each other in their hurry, and crowded round the mother who was still sitting very much depressed at the piano, holding the notes to which the reluctant Flinders had been reduced in her hand, and scrutinizing them with profound disfavour. But when she had played and sung the tune to the babies, and it had been received with acclamations of delight, oh, what a load it was off her mind! I don't know who was most pleased, the mother or the babies. They insisted on being taught it at once, and in a very few minutes were dancing about the room singing it so vigorously that what with the dancing and the singing the whole house seemed to shake to the strains of _Polly Flinders_. Indeed, when they reached the part where Polly's mother catches her on that high note, their voices rose to the occasion with such a shriek of goodwill that a row of stout china pots, which had always up to then stood with great dignity and composure on the mantelpiece, got such a fright and trembled so that they nearly tumbled off. [Illustration: _The Strains of 'Polly Flinders'_] Well, the mother had found out how to amuse her babies. Till Easter, with its fresh supply of presents, should come, she would teach them the English nursery rhymes, and make up tunes so that they might sing them. At least it would be something new to them, for they had been brought up on German chorales, varied latterly by Séraphine's tra-la-la's. Their mother had sung little German songs to them as babies, dear little songs about _Sternleins_, and _Engeleins_, and _Kindleins_, and they knew all those by heart; but they had not yet heard of the deeds of _Jack and Jill_, and the fate that overtook _Miss Muffet_ (clearly a warning to all who make a practice of sitting on tuffets), and the base behaviour of the gentleman in _Where are you going to, my pretty maid_; or of the _Contrary Mary's_ extraordinary garden, or the glorious bribe of cushions and cream offered _Curly Locks_, or of that wonderful pie that burst into song the moment the astonished king cut it. The mother, encouraged by the reception given to _Polly Flinders_, determined to try and turn these into music too, so that the babies might have something to sing that should neither be as filling as the chorales nor as frothy as the tra-la-la's; and she set to work on _Mary, Mary_, the very next morning, while the babies were clearing out their cupboards ready for the Easter toys. It was not any easier to do than the first had been; indeed, the agonies seemed worse than ever, for a strange antipathy to a person who could fill her garden with things like shells and bells and people laid hold of the mother's soul, and grew and grew the more she thought of it. But it did get finished and written out at last, and here it is:-- [Music: MARY, MARY, QUITE CONTRARY. Mary, Mary, quite contrary, how does your garden grow? With silver bells and cockle shells and pretty maids all of a row, and pretty maids all of a row.] Then, after lunch, she gave the babies some pictures to cut out of the books they were already in, and some paste to paste them into other books with; and though it would seem simpler to leave them in the books they were in at first, the babies didn't think so, and cut out and pasted with such energy that they were very soon covered with paste all over, and might have been used as scrap-books themselves; and when she had seen them fairly started she went away and shut herself up alone with Miss Muffet, and wrestled with her till she too had been forced into notes. This is _Miss Muffet_: [Music: LITTLE MISS MUFFET. Little Miss Muffet sat on a tuffet eating her curds and whey, When down came a spider and sat down beside her, and frighten'd Miss Muffet away.] Then, just as the babies were getting rather tired of pasting, the servant came into the playroom with three letters on a salver, and presented them solemnly to each baby in turn. They were astonished, for they didn't get many letters, and wondered so long who they could be from that they nearly forgot to open them and see; and when they did, there was a lovely little pink letter inside, written in a large round hand that they could easily read, inviting them to tea in the library at four o'clock. The letters were written in German, and it is no good my telling you all the nice things that were in them, for I daresay you don't know a word of German. * * * * * At four o'clock, then, the three babies, with the paste all nicely scraped off them, appeared in the library, and there were the three footstools in front of the fire, and the mother's low chair at one end, and the tea table drawn up close beside it; and to-day, as it was a party, there was a jug of chocolate for the babies instead of tea, and a plate piled up with dough nuts freshly baked, with a decently big spoonful of jam in their middles instead of the little speck that lurks, looking so silly, in the stale dough nuts you buy in shops, and that tastes so much sillier than it looks; and everything was so pleasant and cosy that the babies beamed all over their faces as they settled themselves down before the fire and smoothed their pinafores over their knees. 'Well, mummy?' said April, when they had drunk as much chocolate as they could conveniently hold, and the dough nut sugar had been rubbed off their cheeks,--for she knew there must be something else going to happen, or they wouldn't have been invited like that. 'Well, babies?' said the mother, smiling at the three expectant faces. 'What does we do next, mummy?' 'Next? Why, I've got two more tunes for you.' And she pulled _Mary_ and _Miss Muffet_ out of her pocket. 'Oh that is nice!' cried May, jumping up and down on her stool. 'You's one pwecious mummy,' said June, with strong approval. April gave her mother a look, as much as to say 'Didn't I know mummies could do everything?' But she had no idea of what it had been like, making those tunes in cold blood and broad daylight. [Illustration: MARY, MARY, QUITE CONTRARY. Mary, Mary, quite contrary, How does your garden grow? With silver bells and cockle shells, And pretty maids all of a row.] 'Well, my blessed babies,' began the mother, 'there was once a girl called Mary, who had a garden full of roses, and lilies, and buttercups, and daisies, and all the other flowers we have here in the summer; but she was so queer that instead of taking care of them and loving them, she dug them all up and threw them away.' 'What an awful Mawy,' observed June, who never could say r's. 'Then, where all the pretty things had been she put silver bells, and cockle shells, and in the borders along the sides of the paths where other people have hollyhocks, she put rows of pretty maids.' 'Pretty _Mädchens_?' 'And bells what you rings?' 'And shells how there is at the _bain-de-mer_?' The babies always spoke of the seaside as the _bain-de-mer_, and pronounced it as though it had only two syllables, with a very big accent on the first one, so: BAINdmer. 'And then people used to come and look at her over the hedge, and laugh, and ask her how her garden grew, for of course the bells and shells wouldn't grow, and the pretty maids grew so slowly that you couldn't see any difference in one summer at all. And the neighbours called her Mary quite contrary, because she would do things differently to everybody else, but she didn't mind a bit; and when they came and jeered, and called out "Mary, Mary, quite contrary, how does your garden grow?" she would answer back quite good-naturedly "With silver bells and cockle shells and pretty maids all of a row." And here's the tune she sang it to, and when I've told you about Miss Muffet we'll go and sing them both.' 'But mummy,' interrupted May, 'was that pretty, in Mary's garden?' 'I think our sort of garden is much prettier,' said the mother. 'And I! And I! And I!' cried the three babies with conviction. 'Except for the pretty maids.' 'Yes, except for the pretty _Mädchens_.' 'They must have looked little dears, all in a row.' 'Oh they must have looked little very dears,' said April; 'they must have looked like May,' she added, turning to May, who gave a sort of pleased purr. April was always ready to fall upon May and fight things out if needs be, but that did not prevent her thinking her, in times of peace, an exceedingly beautiful person. The mother sometimes saw her go up to May the day after her head had been washed, when her face was almost lost in a shower of curls, and stroke her hair very gently, and say softly '_Too_ pretty, _too_ pretty is your hair!' Or she would take up her hand, and look at it and pat it, and say '_Such_ dear tiny hands you got!' And as these flattering interludes would as often as not take place in the breathing spaces of a boxing match they didn't matter much, and certainly had no effect on May, who never cared whether she were thought pretty or not. Then the mother began to tell them about Miss Muffet, and of course the first question the babies asked was 'What is a tuffet?' To which, equally of course, the mother replied 'A thing you sit on.' 'But you sits on such a many things,' objected the astute June, 'and they still isn't tuffets.' 'I think it must have been a three-legged stool,' said the mother, who had gone the length of examining the pages of _Nuttall's Pronouncing and Defining Dictionary_ in search of enlightenment, and had found that tuffets were left severely alone. 'I thinks it must have been one sofa,' said June. 'A sofa?' 'Yes, else two people can't sit together on anything other than one sofa.' 'But there weren't two people,' 'Yes, the spider did sit beside her.' 'But a spider isn't a people,' said April, looking puzzled. 'Yes she is,' said June. 'No she isn't,' said April, and then added, as though this truth had just dawned on her, 'she's an animal, and animals aren't people, they've got too many legs.' 'Oh that doesn't matter,' said June, airily. 'Oh yes it does,' said April; 'and there never isn't _one_ people only, but always _two_--' and then she stopped, and looked worried. 'But if one of those peoples did go away? Then?' asked June; at which April looked more worried than ever. Now this mother wasn't much good at explaining grammar, and was sure that even if she tried, the babies would only be more puzzled than before, so she proposed that instead of arguing they should come to the piano and learn the tunes she had written. [Illustration: LITTLE MISS MUFFET. Little Miss Muffet Sat on a tuffet, Eating her curds and whey; When down came a spider, And sat down beside her, And frighten'd Miss Muffet away.] They set to work with even more ardour than the day before, for had they not been feasting on unaccustomed chocolate and dough nuts? And the dough nuts, judging from the reckless enthusiasm with which the two tunes were attacked and learnt, had got into their heads, which is not the usual place for dough nuts, and shows how beautifully light they must have been. Then they tried to act _Miss Muffet_, and quarrelled over the preliminaries just as grown up people do, each one wanting the best part for herself. 'I'se Miss Muffet!' shouted June, defiance in her eye. 'No, I!' cried May. 'No, _I_ shall be Muffet,' said April, very quietly and firmly. 'Oh then I'se the spider,' said June. 'Yes, and I is Muffet,' said April quickly. 'But I? What is I, then?' asked May, aggrieved. 'Oh, you can be the--the curds and whey,' said June, always ready with brilliant suggestions. 'No, the tuffet,' said April. May absolutely refused to be the curds and whey, and didn't at all like the idea of being a tuffet, a thing for others to sit on, a mute and inglorious three-legged stool, with nothing to say and nothing to do; but she generally did as she was told, and after some grumbling was persuaded to go on all fours, whereupon April took her seat with great dignity on her back, and holding a cup with chocolate dregs to represent the curds and whey, lifted up her voice and gave tongue to the opening lines of the immortal ditty. Then there was a wild yell such as never yet had been heard to issue from any spider, and June flung herself on to the only vacant bit of tuffet she could see, and as it was May's head and as she was a very fat and heavy spider, the tuffet collapsed under the shock, flattening itself out straight, and they all fell, shrieking loudly, into a heap. There was such a tangle of arms and legs that the mother found it difficult to sort them out, and set each baby on the feet that belonged to it again; and besides, she was laughing, and you know what your thumbs feel like when you laugh, and how weak they get, and how they won't pull. 'Miss Muffet's too hard to act,' she said, comforting them, 'because of that tiresome tuffet. Try _Mary, Mary_. One can be Mary, and the other two the row of pretty maids. Two are just enough for a row.' 'And if one went away from that row--then?' inquired June. But her mother sat down to the piano, and refused to argue. This succeeded better. The pretty maids sang the first half, and April, dancing up and down her garden path in front of them, answered their questions with cheerful shrillness. They sang it over and over again. The mother had to play it so often that she got to dislike it with all her heart, and still they went on, the pretty maids beating time with their feet, and the busy Mary flying up and down faster and faster and more and more breathlessly, her hair streaming out behind, and her face aflame. At last the mother felt as though she were being mesmerized, and hardly noticed what they were doing, till a strange spluttering noise made her look up, and there stood the pretty maids gasping, with their eyes and noses and mouths full of chocolate which April was diligently pouring out of the jug on to their heads, muttering as she did so '_Doch, doch, Du musst begossen werden_,'--'Yes, yes, thou must be watered.' Now this was a dreadful thing to do, and could only be excused by the state of wild excitement into which she had worked herself over the part of Mary. The mother was so astonished that for a moment she sat looking on without saying a word. The pretty maids, though they choked, quite entered into the spirit of the thing, and felt that as they were growing in a garden it was only right they should be watered. And besides, the chocolate was very nice still, in spite of its being cold, and trickled agreeably down into the mouths they were careful to hold as wide open as they would go. But they wouldn't go wide enough, and most of it trickled down over their pinafores to the edge of their dresses, and then dropped off in thick drops on to their mother's favourite carpet, making dark and horrid pools at their feet. Oh, it was a dreadful ending to a party! And the worst of it was they were so excited that they never gave a thought to the dreadfulness of it, which made it very difficult for their mother to rebuke them. 'Oh,' she said, pointing to the two pools on the carpet, 'Oh,' and when she had said that she stopped, and didn't seem able to go on. I don't know whether she was trying not to cry at the spoilt carpet, or trying not to laugh at the spoilt babies, who looked pitiable objects now with their heads all over chocolate, while April stood staring at them in consternation, the empty jug in her hand. After you have been very excited and happy there is always a horrible time that comes when you feel so flat, and dull, and stale, that you are more like ginger-beer without the ginger and the froth than anything else. That is how the babies felt when they were having the chocolate washed off their faces and heads, and were being put, with all the fizz gone out of them, into premature beds. It was very difficult to get the chocolate out of their hair, and Séraphine expressed her disapproval by scrubbing with such pitiless vigour that they felt quite dazed. And then it was bewildering besides having their heads washed on any night but Saturday. It seemed to upset things so, and they were used to regular ways,--head-washing on Saturday nights, clean clothes on Sunday morning, a smell of soap-suds pervading the passages on Monday--that is what had always happened ever since the world, with people in it wanting washing, began. Eve, explained April to June in subdued murmurs while they were undressing, used to wash her long yellow hair on Saturdays too, dipping it up and down in the waters of Paradise; and as soap wasn't among the things that grew on the trees there, she used bananas instead, which were after all much more like soap than like bananas; and June asked whether she ate what was left over of the soap, when she had finished her washing, and April said people didn't eat soap, and June said people did eat bananas, and they talked it over in whispers, trying vainly to settle it, as they went shivering to bed. * * * * * The next morning, when the mother got up, she went to her bedroom window and tried to look out; but the snow was heaped up outside on the sills half way to the top. She was very sorry for the babies, who had been shut up now for more than a week. They seemed depressed, too, at breakfast time, and May had a cold, and kept on sneezing into her bread and milk. The first time she did it, and the second time too, the others said, _Gesundheit_, which is what people say in Germany when you sneeze; but when she went on doing it and didn't seem inclined to stop, they were irritated, and left off saying _Gesundheit_ and said _pfui_ instead, which is what people say in Germany when they are disgusted. May didn't like having _pfui_ said to her, and sniffed in a very injured manner; and Séraphine had got out of bed the wrong side, and was shrouded in impenetrable gloom and mystery; and there was a strong north wind blowing which got in at all the cracks and made it harder than ever to keep warm; so that things were looking rather bad all round. Long before it had been time to get up, April and June had talked over in their beds whether their mother would invite them to tea and tunes again after the chocolate incident or not. June thought she would, because June's experience of mothers was that they were a long-suffering race, and slow to anger; but April had been the chief sinner, and was full of doubts. They would not have mentioned it for the world at breakfast, but looked out of the corners of their eyes very often at their mother while they were eating their bread and milk--so often, indeed, that once or twice the spoonfuls went astray, and emptied themselves on to their bibs instead of into their mouths, giving May an opportunity of calling out _Schmutzfinck_, which she did at once in a very loud voice, greatly to her relief and satisfaction, revenging herself in this way for the _pfuis_ that had been hurled at her. _Schmutzfinck_ is not a polite thing to call any one, and means that the person who says it thinks you exceedingly dirty and generally objectionable; but it is wonderful what relief it gave May to say it,--she quite brightened up, and left off sniffing. The mother was reading letters, and didn't seem to notice what anybody was doing, and Séraphine, whose duty it was to see that the bibs didn't get more than their fair share of breakfast, never bothered about either bibs or babies, but sat staring into space with a wild misgiving eye. There are some days, you know, when the best of people get out of bed the wrong side, and can't get right again the whole day, and set other people wrong too, and it was perfectly clear from Séraphine's face that that was what she had done that morning. Corners would await the babies that day at every turn if they were much with Séraphine, however carefully they might climb the narrow path of being good; so the mother carried April and June off with her into the store room after breakfast, and while she was ordering the dinner they gambolled innocently among the sausages, and played at hide and seek between the barrels of pickled cabbage, and visited their old kitten, now grown into a big and churlish cat, but beloved still for old sake's sake and for its unforgettable sweetness on the first day they ever saw it, when it arrived at lesson-time in Herr Schenk's pocket, its front paws resting on the edge of the pocket, and its face resting on its paws, and its blue eyes, grown so green and fierce, gazing dreamily round. It was a Tom-cat, but the babies called it Rose. 'Now what shall I do with these babies of mine to-day?' the mother was asking herself all the time she was saying _Ja_ to every suggestion of the cook's. Somebody from the village came and wanted to speak to her, and as it turned into a long conversation she had to send the babies back to Séraphine; and then something else happened that kept her, and it was nearly an hour before she could get away and see what was going on in the schoolroom. But the babies had made up a game for themselves that had put Séraphine to flight and was keeping them quite happy. They had got May on to the sofa, covered her well up, told her she was very ill and must sleep, and when the mother came in, April and June were striding up and down the room shouting German lullabies at the top of their voices. 'She shall sleep,' explained June in a stentorian whisper to her mother. 'But how can she with such a noise going on?' 'It isn't one noise, it's _Wiegenlieder_,' said June offended; and turning away began again to roar out something about _Schlaf, Kindlein, schlaf_, in a voice that shook the walls. 'Oh, she did sneeze so badly!' whispered April, with uplifted hands; 'Oh such a lot of times! Oh such a very lot of times!' And seeing that May had got her arms outside the cushion she had put on her chest, she pounced on them, dragged them underneath again, smoothed the cushion with resounding pats, and, bending down, shouted _schlaf, Kindlein, schlaf_, into her ear. Séraphine was nowhere to be seen, and indeed the lullabies were very maddening. May, however, seemed to like them, and lay on the sofa quite comfortable, and pleased at doing nothing; and though she sneezed a good deal, was otherwise enjoying herself. 'That child's ears can't be very sensitive,' thought the mother, getting away as quickly as possible; and she shut all the doors between the schoolroom and the drawing-room, and, as lullabies were the fashion, wrote a tune for _Hush-a-bye Baby_. [Illustration: HUSH-A-BYE, BABY. Hush-a-bye, baby, on the tree top, When the wind blows the cradle will rock; When the bough breaks the cradle will fall, And down comes baby and cradle and all.] By lunch time things were looking brighter. Séraphine had been so deafened by the singing that she had kept out of the way and left the babies alone; the mother was exhausted but pleased, for she had managed to write three tunes; the thermometer had gone up several degrees, the sun was shining gaily, and the babies would be able to go and skate on the stream at the end of the garden. It was the Thursday in Holy Week, and if a thaw set in soon there would still be a chance of a green Easter, and the eggs would be hidden after all in the garden. Of course if the garden is frozen up at Easter, or if it rains, the eggs have to be hidden in the house, under the tables and chairs, which is never half such fun; but where the babies lived it was nearly always fine and blue on Easter Sunday, and they had never yet been prevented from having their egg-hunt out of doors. The mother watched them go off with their skates after lunch, jumping and running down the path that had been shovelled in the snow, and even Séraphine, the moment she got out of the house into the blessed sunshine, began to look happy, and as though life, after all, were a very pleasant thing. 'And so it is,' thought the mother, as she stood for a moment in the sun, breathing in the pure cold air, and sheltered by the house from the north wind, 'and so it always will be, as long as there is sun to shine and people with the grace to say thank you.' And she went into the house and wrote three more tunes. When they were finished she leant back in her chair and felt rather less sure about the pleasantness of life. 'May I never make another!' she said to herself. 'To-morrow is Good Friday, and the babies go to church. On Easter eve the egg-basket comes, and each one will be busy hiding her eggs. On Easter Sunday they will go to church again, and in the afternoon look for the eggs. And then perhaps the snow will be gone, and lessons will begin again, and the garden grow greener and greener every day, and never, never, never need I make any more tunes!' And she gave a deep sigh of relief, for you see she had only made the tunes to please the babies when they had nothing else to please them, and wouldn't have done so for any other person or reason in the world. When, at dusk, the babies came tramping up the snow-path, jingling their skates, and very warm and cheerful, the library windows were ablaze with light. Their mother met them at the door, and told them to take off their coats quickly and come to her, for the Easter hare had been to see her and had left something for them. I don't think the sort of hare that is called Easter ever goes to England, but in Germany they are supposed to bring all the eggs and presents at Easter in a basket, just as Father Christmas brings the presents at Christmas. The babies had often seen hares in the garden, but they never had baskets, and it was only the mother who was lucky enough to meet the real Easter hare, basket and all. As Easter time drew near she would come in from the garden and say, 'Who do you think I met, babies, in the copse where the anemones grow?' And they would listen with round eyes while she described the costume and conversation and conduct of the Easter hare. They used to prowl round the copse sometimes for hours, but they never saw him. 'He's rather shy,' said the mother. It was wonderful what things that Easter hare did. The library was brilliant with lamps and candles, and the fire was blazing up the great chimney, and on a low table round which stood three little chairs, the Easter hare had put a cloth, and a new dolls' tea set that the babies had never seen, with spoons, and knives, and tiny napkins, and in the middle of the table a little flower-pot with a whole snowdrop plant growing in it. There were a great many plates of cake, and bread and butter, and pieces of scone, and jam, for the plates were so small that one of each would never have filled the babies, and there was a little dish of white radishes on one side of the snowdrop, and a little dish of red radishes on the other side of the snowdrop, and it looked as festive a banquet as any one could wish to see. '_Oh!_' cried the babies when they came in. 'The Easter hare did it all,' said the mother, 'and has lent you his best tea things. He is coming in again to-night to fetch them, because he's giving rather a lot of parties himself just now, and can't spare them long.' 'Oh how dear he is!' cried April, dancing round the little table, while May hung fondly over the radishes. But June took her mother aside. 'I wants to say you something,' she said, in a voice that sounded hollow, pulling her by her dress into a remote corner. 'Well?' said the mother bending down. June put her arms round her mother's neck and drew her head close. 'I doesn't believe there _is_ one Easter hare,' she whispered in a loud and awful whisper. 'Oh you tickle me!' cried the mother, pulling herself up straight again with a jerk, and rubbing her ear. 'I doesn't believe there _ever_ is Easter hares,' continued June, in a tone of gloomy conviction, while her mother rubbed her tickled ear without answering, 'nor any baskets too not. I doesn't believe there ever did _was_ any, either.' The mother stood looking down at her, mechanically rubbing her ear. 'What a dreadful baby you are,' she murmured at last; 'why don't you believe in him? When I was a little girl I believed everything.' 'But I not,' said June, shaking her head with a sort of solemn triumph, as though she thought it was very clever of her not to believe everything, and a great advance on the easy faith of her mother's youthful years; 'there isn't any hares with baskets, but only mummies.' Then the mother stooped down and whispered that it was to be a secret between them, and June was so pleased at sharing a secret with her mother that she has faithfully kept it ever since, and has never breathed a doubt to April and May, who firmly believe in him to this day. I saw the mother a little while ago, and she told me so. [Illustration: _The Tea Party_] The tea party began, very properly, with a German grace, and then April sat where the teapot was and poured out the tea; but the little cups came back to be filled again so quickly that she had no peace, and couldn't get on with her bread and butter, and as May and June wouldn't wait they began to help themselves, June drinking three cups to the other babies' one, so that by the time the party was over she was extremely full and unpopular. But she liked the feeling of being full, and as for being unpopular what did she care? She laughed till the tears rolled down her cheeks at the discomfiture of the others, when they found that even turning the teapot and milk jug upside down failed to produce another drop. They had had five cups each, and June had had fifteen. Saints would have been provoked at such gross unfairness and revolting greediness. April glared at her across the table: 'Guttersnipe!' she cried, in a voice of thunder. 'Look here, babies,' interrupted the mother from the other end of the room, feeling that the next thing to happen would be April's flinging herself upon June and sitting on her and jumping up and down, this being a favourite form of punishment, and knowing that people with fifteen cups of tea inside them mustn't be jumped on; 'look here, babies, at all the tunes I've made for you to-day. Did you ever hear of such a good mummy? Don't you want me to tell you the stories belonging to them?' She knew this suggestion would bring them crowding round. It always did. There was nothing they loved so much as being told stories. Séraphine told them blood-curdling ones in French, all about bears and wolves coming to gobble up children who didn't prize and cherish their nurses as much as they deserved; you know the sort of story, I am sure,--the sort that makes your hair try to stand on end in the night if you wake up and begin to think of them. The babies' hair couldn't stand on end because it was too long, and besides, it was safely wrapped up in curl papers; but even if it could have it wouldn't have, for happily they were tough babies, and refused to be anything but amused by Séraphine's bears. I suppose nearly every baby has to pass through the stage of having to listen to the results in bears and black men of their nurse's fruitful imaginings, and it is a mercy if the victim is tough enough not to mind. When this mother I am telling you about was small, which she was in the days that for you children are merely pre-historic, during the greater part of three years she woke up every night and shivered for two or three hours, sick with fright, and very cold; and what do you think she was afraid of? A thing called the Crack of Doom, which her nurse had told her would usher in the Last Day; and the Last Day, said the nurse, might be expected to begin any night. The baby lay awake trembling, waiting to hear the crack, sure it would be a most horrible bang, her ears stuffed with as much of her stockings as would go in, besides her fingers, in abject misery every night for all that long time, when she might have been comfortably asleep. So when she grew up, and turned into a mother, she was thankful that her babies were so tough; and I hope all children who read this will try and be tough too, and refuse to be made wretched by such silly tales. There was quite a little packet of tunes in the mother's hand, for, as I said, she had actually managed to write six that day. The babies sat at her feet, and she began to tell them the nursery rhymes, beginning with _Hush-a-bye, Baby_, and its perilous position, left in its cradle on the top of a tree. They thought the poor hush-a-bye baby couldn't have had a very nice mummy, and asked if it was smashed, and if so whether it ever got mended again, and what became of the cradle, and if _Lieber Gott_ wasn't very angry with the mummy for letting her baby get broken, and a great many other questions that were not always easy to answer. This is its tune: [Music: HUSH-A-BYE, BABY. Hush-a-bye, baby, on the tree top, When the wind blows the cradle will rock, When the bough breaks the cradle will fall, and down comes baby and cradle and all.] Then the mother told them about Jack and Jill going off so cheerfully in the morning, all clean and tidy, to the pump on the top of the hill to fetch water for their mother's cooking; and how they began to quarrel on the way down again, as boys and girls will, instead of walking carefully over the loose stones; and how Jack, while he was reaching across to pinch his sister, stumbled, and fell, and broke his head, and the pail of water fell on the top of him, and Jill fell on the top of the pail of water, and there was a horrid mess; so that instead of two nice clean good children bringing the water to cook with, their mother, after waiting ever so long and getting crosser each minute, saw a broken pail, and a broken head, and a pair of dripping children with torn clothes and foolish faces coming into her kitchen. 'Oh! it is a sad thing when children quarrel!' observed the mother, pointing the moral when she had reached the end of this tragic story; and she wagged her head several times, turning up her eyes so far that the babies at her feet couldn't see what they called the yolks of them at all, but only the whites, and were greatly impressed. They began to wag their heads too, shaking them slowly from side to side, all their sympathies being with Jack and Jill's mother. But June remarked that nothing would have happened if the pump hadn't been on a hill. 'I never did see pumps on hills,' she added; which was very true, for where she lived there were no hills, and there was only one pump. [Illustration: JACK AND JILL. Jack and Jill went up the hill To fetch a pail of water; Jack fell down and broke his crown, And Jill came tumbling after.] This is the _Jack and Jill_ tune: [Music: JACK AND JILL. Jack and Jill went up the hill to fetch a pail of water, Jack fell down and broke his crown, and Jill came tumbling after.] Then the mother told them about the Pussy Cat who went to London expressly to look at the Queen, but did nothing so grand as that after all, only chasing a poor little mouse under a chair and frightening it out of its wits, which of course it could have done just as well at home, and saved all the expense of the journey. 'Was she one German puss?' asked June. 'Oh, the poor German pussies are much too busy getting out of the way of all the stones that are thrown at them to have time for going anywhere and enjoying themselves. This puss must have been English, and sleek, and well cared for, with a kind master and mistress to stroke it every day and give it milk.' [Illustration: PUSSY CAT, PUSSY CAT. Pussy Cat, Pussy Cat, where have you been? I've been to London to look at the Queen. Pussy Cat, Pussy Cat, what did you there? I frighten'd a little mouse under the chair.] The babies sat looking into the fire. A contented, amiable, affectionate cat was an animal they had never yet met. Where they lived, the poor cats were forced to be wild and spend their lives hunting in the fields and forests, because if they ever appeared within reach of a stone and a person to throw it, they were certain to have a bit of themselves broken or bruised. If a man with a gun met a cat he naturally shot it. If an old maid kept a cat, as old maids sometimes will, it was sure sooner or later to come home from an evening stroll with its ears cut off by the nearest farmer, who hoped by this means to make hunting in his fields, with the rain and dew getting into the exposed parts, a thing so disagreeable that the cat would never again indulge in it, and as for the next time it came home from an evening stroll, it would probably come in the character of a corpse. The babies had themselves possessed kittens that they had loved and lost. Directly they were big enough they took to tree-climbing and bird-nesting, and finally stayed away altogether. It was in their blood,--the blood of ancient German cats, passed on through rows and rows of fathers and mothers who also had had stones thrown at them, and had climbed trees and eaten birds; and what is a poor cat to do? Rose, the black cat in the kitchen, had developed such strange and unpleasant habits of spitting and biting, and clawing, that it had been banished from the playroom. The servants only tolerated it because it killed the mice, and even they (I mean the servants, not the mice) never passed it without tweaking its tail. Think how dreadful it must be to go through life with a thing following you about behind that anyone can tweak who wants to! No wonder poor Rose's temper was so uncertain. But what, thought the babies, must these cats of England be like,--these glorious cats of liberty and luxury of whom their mother so often talked? Fascinating pussies with cheerful faces, unclipped ears, and ribbons round their necks, creatures who were often more spoilt than anybody else in the house, who rubbed themselves, confident and purring, against the legs of strangers, who spent their days deliciously snoozing before the fire, who walked about with their untweaked tails straight up in the air in the excess of their contentment? The babies could hardly imagine such a happy state of things; but the mother showed them the cat pictures in English weekly papers from time to time, and there sure enough were just such cats as she had described, ribbons and all. They took a ribbon once to Rose, going up to him timidly, and offering, with polite and flattering speeches, to tie it round his neck; but he jumped off his chair and ran under a table, and, crouching down, glared at them out of the shadow with fiery eyeballs; so that they went away sorrowfully, for in his days of innocence they had loved him much. This is the tune for _Pussy Cat_: [Music: PUSSY CAT, PUSSY CAT. Pussy Cat, Pussy Cat, where have you been? I've been to London to look at the Queen. Pussy Cat, Pussy Cat, what did you there? I frighten'd a little mouse under the chair.] The next rhyme the mother took up was the one about Curly Locks. You English children all know it, of course,--how somebody, who evidently wanted to marry her, offered her a cushion as a perpetual seat if only she would be his, and instead of washing dishes and feeding pigs, as she was doing when he made her his offer, she was to spend her time sitting on this cushion sewing, and being fed at intervals with strawberries and sugar and cream. 'Strawberries and cream, babies, are very nice things.' '_Ach ja!_' sighed the babies. 'But I shouldn't have liked the cushion and the needlework all day long.' 'No, no,' agreed the babies. 'And I know what I would have done in Curly Locks' place--I'd have let the young man go, and kept to the pigs.' 'But the strawberries?' insinuated May. '_Ach ja!_' sighed April. 'I'd have let the strawberries go too,' said the mother; anything rather than the hot cushion and the sewing.' '_Ach nein!_' sighed April softly, shaking her head, 'better take the strawberries.' And the other two silently nodded their approval. 'But we don't know what Curly Locks decided to do,' said the mother, 'for the rhyme doesn't go any farther. Perhaps she did marry him, and is sitting to this day on her cushion, and has grown dreadfully fat through never moving and eating so much sugar and cream, and hasn't even the energy to curl her hair any more. But perhaps she was wise, and kept to the pigs.' [Illustration: CURLY LOCKS. Curly Locks, Curly Locks, wilt thou be mine? Thou shalt not wash dishes nor yet feed the swine, But sit on a cushion and sew a fine seam, And feed upon strawberries, sugar, and cream.] '_Ach nein!_' gently disagreed the babies, 'the strawberries is better.' The mother laughed. Strawberries did seem rather pleasant things just then, with the snow on the ground, and no prospect of them for months. 'Curly Locks was a little dear, anyhow,' she said, putting down her tune, 'and I am sure she chose whatever was best.' '_Ach ja!_' murmured the babies, 'she chose the strawberries.' 'Well, well,' said the mother. This is the tune for _Curly Locks_:-- [Music: CURLY LOCKS. Curly locks, Curly locks, wilt thou be mine? Thou shalt not wash dishes nor yet feed the swine, But sit on a cushion and sew a fine seam, And feed upon strawberries, sugar, and cream.] There were only two rhymes left, and the mother took up the top one. It was _Sing a Song of Sixpence_. But the pie in it was a difficulty, because pies and pie-dishes don't exist in Germany, and the babies had never seen one, and seemed, moreover, incapable of imagining one. [Illustration: SING A SONG OF SIXPENCE. Sing a song of sixpence, a pocket full of rye, Four-and-twenty blackbirds baked in a pie; When the pie was open'd the birds began to sing, Was not that a dainty dish to set before a King.] 'What's a pie?' asked June at once; and the mother began to explain pies,--as she thought, with beautiful clearness. She explained pies in theory and pies in practice, their nature and uses; pies generalised and pies particularised, and of particularised pies particularly this pie, with its wonderful blackbirds who went on singing, undaunted by having been baked; and when she had finished, and was looking round for a gleam of interest, they sat stolidly gazing into the fire, and June merely said, 'But what's a pie?' Then she went into details, expatiating eloquently on the joys of those pies so dear to English children,--gooseberry pie in the early summer, cherry pie later on, plum and apple pie still later, and at Christmas those peculiar pies that bear the name of mince. But the babies sat unmoved. Then she took down _The Fairchild Family_ from her bookshelves, an old children's book that your grandmothers used to read and whose pages bristle with pies, and she read out the descriptions of all the pies the Fairchild Family ate, still hoping to bring fire into the babies' eyes and water into their mouths. The Fairchild Family ate a great many pies. As a rule they were made of raspberries and currants, and sometimes they were hot, and sometimes they were cold, and sometimes they were only apple; but the family was so fond of them that if one appeared on the table in front of him, Mr. Fairchild would cry out, on catching sight of it, 'What blessings we have about us, even in this world!' or something equally surprised and delighted. 'They all sat down,' read out the mother, with great expression and one eye on the babies,--'they all sat down, full of joy, to eat roast fowl and some boiled bacon, with a nice cold currant and raspberry pie.' But the babies remained blank. 'I shall send to England for a pie-dish, babies,' she rashly promised, in her effort to get a spark of enthusiasm out of them, 'and we'll make all the pies I have told you about.' But the babies didn't turn a hair. 'Or, what would be still nicer,' she went on, even more rashly, 'I'll take you all to England on purpose to eat pies!' But the babies sat like stones. The mother gave it up. This is the tune:-- [Music: SING A SONG OF SIXPENCE. Sing a Song of Sixpence, a pocket full of rye. Four and twenty blackbirds baked in a pie. When the pie was open'd the birds began to sing. Was not that a dainty dish to set before a King.] 'The last one of all,' said the mother, 'is to be sung by two babies only, for it is a duet. May can't learn it to-night because of her cold, so April and June shall do it.' It was _Where are you going to, my pretty maid?_ First the mother told them the story, and described how very pretty the pretty maid was, but how, directly the young man found she had no money, he wouldn't marry her. [Illustration: WHERE ARE YOU GOING TO, MY PRETTY MAID? Where are you going to, my pretty maid? I'm going a-milking, Sir, she said. May I go with you, my pretty maid? You're kindly welcome, Sir, she said. Who is your father, my pretty maid? My father's a farmer, Sir, she said. Say will you marry me, my pretty maid? Yes, if you please, kind Sir, she said. What is your fortune, my pretty maid? My face is my fortune, kind Sir, she said. Then I won't marry you, my pretty maid! Nobody ask'd you, Sir, she said.] 'But why must she have some money?' asked April. '_I_ has got seven _pfennings_,' said June, trying not to look proud. 'First he says will she marry him, and then he says he doesn't want to?' asked April, wonderingly. 'But mummy, was she one really milkmaid?' asked May. 'Yes, she was going milking when he met her.' 'And so pretty?' 'Oh, she was so pretty that the moment he saw her he wanted to marry her.' 'I never did yet see one pretty milkmaid,' remarked May. 'Neither did I,' confessed the mother; neither has any one else where the babies lived. Sometimes they used to go into the cow-sheds, and though there were long rows of cows stretching away as far as they could see, and a great many milkmaids all busy milking, no one could ever have called them pretty, however hard they tried. They were very strong, and very big, and wore short skirts reaching to their knees, and had bare legs and feet, and they milked very well, and were altogether estimable, but they weren't pretty. Most of them were married, with large families, and were quite old; so that the gay little milkmaid tripping across the buttercups, with shoes and stockings on, and a face like a flower, was almost as difficult to impress on the babies' imaginations as the pie had been. 'She wasn't like the milkmaids here,' explained the mother; 'she lived in England, where the happy cats are, and the pies.' 'And first he says will she marry him, and then he says he doesn't want to?' repeated April, to whom this conduct appeared extraordinary. 'Oh, she didn't care much, and only laughed at him when he went away.' 'Does you _like_ that man, mummy?' asked June. 'Not much,' said the mother. 'I too not much,' said June with decision, 'I too not much at all.' But June and the other two babies thought all male beings inferior creatures, because they had only met one boy in their lives, and they had been able to knock him down. Of course they saw distant boys from time to time, when they passed the end of the village street or were at the seaside, but there was only one boy for them to play with, the families within reach happening to be made up of girls. This boy had come to tea with his mother on his first introduction into their midst, and after tea, and while the two mothers sat on a sofa watching their children, and each one thinking how much nicer _hers_ were, the babies said, 'Now we shall play.' 'Come, boy,' said June, seizing his arm as he showed no signs of moving, 'come--does you hear? We shall play.' 'I never play with little girls,' said the boy. The babies stared. 'Why not?' they asked. 'They're much too stupid. They can't be soldiers when they grow up, and can't fight. I'm going to be a soldier, and fight everybody, and kill them too.' And he marched up and down the room with his head up and his shoulders back, making bloodthirsty lunges at the babies as he passed. 'Quite a little man you see,' whispered the delighted mamma on the sofa. 'I shall be one soldier too!' exclaimed June, fired with enthusiasm: and she began to march by his side. 'You can't, you silly, you're only a girl.' 'Oh, that doesn't matter!' she cried, with her usual airiness. 'Well you _are_ a silly,' said the boy, with immense contempt. '_You_ is one silly!' cried June, giving him a mighty push. He rolled over at once, for though he was bigger than she was, and older, he wasn't half as compact and determined; and she lost no time in sitting on him and jumping up and down violently,--this being, as I have said, a favourite form of vengeance. And as no one can respect a person they have knocked down and jumped on, and as the conclusion was that all boys must be alike, the babies, especially June, thought them a decidedly inferior set. 'Tuck up your dress, April,' said the mother. 'You shall be the young man, and June the pretty maid. Come, we'll go to the piano and I'll teach you to act it. May can look on and clap.' The babies wore blue dresses with blue knickerbockers underneath to match, and April had only to tuck up her skirt to look just like a boy whose curls haven't been cut off. They all went to the piano, and the mother taught them the tune. Here it is:-- [Music: WHERE ARE YOU GOING TO, MY PRETTY MAID? Where are you going to, my pretty maid? I'm going a-milking, Sir, she said. May I go with you, my pretty maid? You're kindly welcome, Sir, she said. Who is your father, my pretty maid? My father's a farmer, Sir, she said. Say will you marry me, my pretty maid? Yes, if you please, kind Sir, she said. What is your fortune, my pretty maid? My face is my fortune, kind Sir, she said. Then I won't marry you, my pretty maid! Nobody ask'd you, Sir, she said.] [Illustration: _'Nobody asked you, Sir,' she said_] It was the only tune of the six new ones that they were to learn that night, for it was already long past their bedtime. May sat on a sofa near, and applauded frantically. June made a very spirited milkmaid, and when the young man declared he wouldn't marry her, began to box with him, and as he turned tail and fled, pursued him round and round the room, defiantly shrieking '"Nobody asked you, Sir," she said,' till she couldn't go on for want of breath. The audience on the sofa was delighted, and clapped and cheered with all its might. The performance had to be given several times over, and the mother was as pleased as she could be that they liked to learn her tunes. You see they were babies who wanted very little to make them happy. Then Séraphine appeared in the doorway, and though she said nothing, looked such unutterable tubs and bedtime, that the mother, gathering all three together into her arms and giving them a final hug, told them they must go quickly, and promised to come and say good-night when they were in bed. 'It's English prayers to-night,' said April, as they went away. 'Won't you come when we says them, mummy?' 'Yes, I'll come. Be off now, my blessed darlings.' The mother put the tunes together when they had gone, and began to shut the piano. The babies had been taught so many prayers by Herr Schenk and Séraphine that they had had to be divided into three sets, and the German ones were said one night, and the French ones the next night, and the English ones the night after that. In Herr Schenk's set there was a German hymn as well as the prayers, and in Séraphine's set there was a plaintive little tune to a short prayer: only in the English set there was no tune, although amongst the prayers was _Gentle Jesus, meek and mild_. The mother, slowly shutting the piano, and putting things a little straight, thought of this, and came to the conclusion that to write one more tune wouldn't make much difference to her, and, as it would be a hymn, it would finish off her week of tune-writing in a sweet and holy manner. And I don't know how it was, but though she had spent so much time struggling with all the other tunes, and had had such difficulties with them, and had suffered such horrid pangs, the hymn tune was finished in five minutes, and by the time she went up to say good-night to the babies it was written out and ready for them to learn the next day. And so they did learn it the next day, and have sung it ever since on English prayer nights; and they look so good and angelic while they do it, kneeling in a row in their long nightgowns, with bowed heads and folded hands, that the mother sitting in the midst is sure they must be the dearest babies in the world. But as that is exactly what other mothers think of _their_ babies, and as everybody can't be right, I don't suppose they can really be the dearest, although I know that they are very dear. This is the hymn tune:-- [Music: GENTLE JESUS, MEEK AND MILD. Gentle Jesus, meek and mild, Look upon a little child; Pity my simplicity, Suffer me to come to Thee, Gentle Jesus, meek and mild. Fain I would to Thee be brought, Dearest Lord, forbid it not; In the kingdom of Thy grace Grant a little child a place. Gentle Jesus, meek and mild.] And when the mother went up half an hour later, as she had promised, and tucked them up in their beds, they were so tired that they couldn't keep their eyes open. 'Good-night, you sweet babies,' she said, stooping over each cot in turn, and kissing the sleepy baby in it. [Illustration: GENTLE JESUS, MEEK AND MILD. Gentle Jesus, meek and mild, Look upon a little child; Pity my simplicity, Suffer me to come to Thee, Gentle Jesus, meek and mild. Fain I would to Thee be brought, Dearest Lord, forbid it not; In the kingdom of Thy grace Grant a little child a place, Gentle Jesus, meek and mild.] 'Good-night, you sweet mummy,' said the babies faintly. 'We had fun, didn't we?' 'Oh but such fun!' murmured the babies, with their eyes shut. 'God bless you, precious babies.' 'God bless you, pwecious mummy,'--and then a voice out of the darkness added very slowly and drowsily 'Sleep--well--mummykins--and dweam--about--one--pwetty--angel--' THE END * * * * * Elizabeth and her German Garden BY The Author of "The Solitary Summer" 12mo. Cloth. $1.75 KATE SANBORN says: "The moment such a volume is taken up the pleasant spell acts upon eyes and finger-tips, and one likes the book before it is read." THE ACADEMY (London): "Reading on, we find ourselves in the presence of a whimsical, humorous, cultured, and very womanly woman, with a pleasant, old-fashioned liking for homeliness and simplicity; with a wise husband, three merry babies, a few friends, a gardener, an old German house to repose in, an agreeable literary gift, and a slight touch of cynicism. Such is Elizabeth. It is a charming book." The Macmillan Company 66 Fifth Avenue, New York * * * * * The Solitary Summer BY THE AUTHOR OF "Elizabeth and her German Garden" 12mo. Cloth. $1.50 EVENING POST: "A continuation of that delightful chronicle of days spent in and about one of the most delightful gardens known to modern literature. The author's exquisite humor is ever present, and her descriptions ... have a wonderful freshness and charm." GLASGOW HERALD: "Perhaps even more charming than the fascinating original, which is saying a great deal." SAN FRANCISCO CHRONICLE: "One of the most charming books that has been published for many a month." THE TIMES (London): "It is inspired by a garden and very happily inspired. The best praise we can give it--and it is really very high praise--is to call it a sequel to 'Elizabeth,' which has all the charm of its predecessor and none of the common faults of a sequel." The Macmillan Company 66 Fifth Avenue, New York 
38726	----	[Transcriber's note: Underscores have been used to indicate _italic_ fonts. Original spelling varieties have not been standardized. ] INDEX To Kindergarten Songs Including Singing Games and Folk Songs BY MARGERY CLOSEY QUIGLEY, A.B., Librarian Divoll Branch, St. Louis Public Library ASSISTED BY OTHER MEMBERS OF THE STAFF AMERICAN LIBRARY ASSOCIATION PUBLISHING BOARD 78 East Washington Street, Chicago 1914 Copyright, 1914 by American Library Association Publishing Board TABLE OF CONTENTS Preface v Plan of the Index vi List of Collections Indexed vii Key to Abbreviations xi Index to Kindergarten Songs 1 Lists of Songs for Special Days 279 PREFACE This index, the plan of which is similar to that of the well known Granger index to recitations, was suggested by demands from St. Louis kindergartners for the location of songs for which they were searching. The idea is due to Mrs. Harriet P. Sawyer, Chief of the Instruction Department in the St. Louis Public Library, and valuable preliminary work was done also by Miss Effie L. Power, Supervisor of Children's Work, and by Miss Margaret Curran, Children's Librarian at the Divoll Branch. The Librarian has had nothing to do with it except to give advice occasionally in matters of policy. It was expected at first that the St. Louis Public Library would publish the index, but it has proved to be larger than was anticipated, and the Publishing Board of the American Library Association has kindly relieved us of this part of the enterprise. ARTHUR E. BOSTWICK, Librarian St. Louis Public Library. PLAN OF THE INDEX Three types of books are indexed:--those containing only kindergarten songs, those containing both kindergarten and folk songs, and those including folk songs only. The collection indexed includes the following classes of books: (1) Books recommended by the Kindergarten Normal Department of the St. Louis Board of Education; (2) Books of songs and games given in the A.L.A. Catalog, its Supplement and the A.L.A. Booklist; (3) All other kindergarten-song books in the collection of the St. Louis Public Library. Sixty-three books are indexed. The list aims to be comprehensive but is not recommended as a discriminative check-list for purchase. No kindergarten magazines have been indexed. The index is patterned on Granger so far as the form of entry is concerned. The entries, all in one alphabet, are by composer, first line, title and author of the words when he is at all important. There are no subject headings in the main index, although a separate list of songs for special days will be found at the end. Whenever there is a variation, whether in composer, first line or title, this is brought out in parenthesis below the entry. The variations appear in every entry of any given set. In groups where it was not possible to determine which was the parent song and which the versions, each song has been called a variant in accordance with the practice of the American Folk-lore Society. An asterisk indicates that the first line and the title begin with the same words. MARGERY QUIGLEY. LIST OF COLLECTIONS INDEXED WITH PUBLISHERS AND PRICES Bancroft, J. H. Games for playground, home, school and gymnasium. Macmillan, 1909. $1.50 net. Bell, F. E. E. (O.) _Lady, comp._ Singing circle. Longmans, 1911. $1.25 net. Bingham, C. Balloon man. Ill. Music Co., Chic., c1910. 50c. Brewster, F. S., _and_ Thomas, E. A. Song stories. Amer. Bk. Co., 1898. 60c. net. Burchenal, E. Folk dance music. Schirmer, c1908. $2. Burchenal, E., ed. Folk dances and singing games. Schirmer, 1909. cloth $1.50 n. Cole, S. W. Child's first studies in music. Silver Burdett, c1897. 60c. net. Coonley, _Mrs._ L. (A.) Singing verses for children. Macmillan, c1897. $2 n. Crane, W. Baby's bouquet. Warne, 1900. $1.50. Crane, W. Baby's opera. Warne, 1900. $1.50. Crane, W. Pan-pipes. Warne, n. d. $1.50. Elliott, J. W. Mother Goose's nursery rhymes. McLoughlin, n. d. 75c. Elson, L. C., _ed._ Folk songs of many nations. Church, c1905. $1. Field, E. Songs of childhood. Scribner, 1896. $1.00. Fisher, W. A. Posies from a Child's garden of verses. Ditson, c1897. paper $1. Forsythe, C. Old songs for young America. Doubleday, Page, 1901. $2 net. Froebel, F. Mother play and nursery songs. Lothrop, $3.00, 1886. Froebel, F. Songs and music. Appleton, 1908. $1.25. Funkhouser, M. F. Simple songs for the kindergarten. Perry and Sons, c1912. $.50. Gaynor, J. L. Songs of the child world. v. 1 & 2. Church, c1897. $1.00. George, M. M. Songs in season. Flanagan, c1899. 75c. Hailmann, E. L. Songs, games, and rhymes. Flanagan, c1887. $1.75. Hill, M. J. Song stories for the kindergarten. Summy, c1896. Bds. $1.00 net. cloth $1.50 net. Hitte, H. M. Kindergarten songs and descriptive melodies. Perry, c1909. 50c. Hofer, M. R. Children's singing games: old and new. Flanagan, c1901. pa. 50c. Hofer, M. R. Music for the child world. Summy, 1900. v. 1. $1.25 net, v. 2. $1.50 net. Hornby, J. Joyous book of singing games. Macmillan, 1914. $1.00. Hubbard, C. B., _comp._ Merry songs and games. Flanagan, c1887. $2. Hurd, E. H. Play time songs. Bradley, c1906. 50c. Jenks, H. S. _and_ Rust, M., _comps._ and _eds._ Song echoes from child land. Ditson. $2.00. Kastman, V. _and_ Koehler, G. Swedish song games. Ginn, c1913. 70c net. Knowlton, F. S. Nature songs for children. Bradley, 1910. $1.00. Martin, G. E. Sunday songs for little children. Presbyterian Bd., 1899. 50c. net. Meissner, W. O. Art song cycles. Silver, c1910. Pt. 1. $.60. Montz, C. Instrumental musical sketches. Bradley, 1912. $1.00. Neal, M. _ed._ Esperance Morris book, pt. 1 and 2. Curwen, c1912. 5/ea. n. Neidlinger, W. H. Earth, sky and air in song. Am. Bk. c1900. 2 bks. Bk. 1. 70c net, Bk. 2. 80c net. Neidlinger, W. H. Small songs for small singers. Schirmer, c1896. $.50. Newell, W. W. Games and songs of American children. Harper, 1903. $1.50. Osgood, M. C. Rounds, carols and songs. Ditson, c1894. $1.50; paper $1.00. Plays and songs for kindergarten and family. Presser, c1874. 50c. Poulsson, E. Finger plays; with music. Lothrop, [c1893] $1.25. Poulsson, E. Holiday songs and every day songs and games. Bradley, 1910. $2.00. Poulsson, E. _and_ Smith, E. Songs of a little child's day. Bradley, 1912. $1.00. Pratt, W. S. _ed._ St. Nicholas songs. Century Co., 1885. $2.00 bds. $1.25. Reed, C. S. Timely games and songs. Hammett, 1900. 60c. Reinecke, C. Fifty children's songs. Schirmer, n. d. $1.00. c1901. Riley, A. C. D.; _and_ Gaynor, J. L. Lilts and lyrics. Summy Co., 1907. $1. Rogers, M. Kindergarten marches. Scranton, c1907. 60c. net price 53c. Sheehan. On a spring morning in the kindergarten. Anderson, c1910. 75c. Smeltzer, J. R. Sense games; with Peter Piper and his friends. Talbot, c1909. $1.00. Smith, E. Songs for little children. Bradley, c1887. 2 pts. ea. $1.25. pa. $1.00. Stevenson, R. L. Stevenson song book. Scribner, 1911. Bds. $1.00. Stevenson, R. L. Song flowers, from "A child's garden of verses," set to music by K. M. Ramsay. Stokes, c1897. 50c. Terhune, A. Colonial carols for children. Scribner, c1910. $1.25 net. Tomlins, W. L., _comp._ Children's souvenir song book. Novello, Ewer., c1893. $1.00. Tomlins, W. L., _ed._ Laurel song book. Birchard, 1910. $1.00. Tufts, J. W., _comp._ Child life in song. Silver, c1890. 60c net. U.S. Indian affairs office. Social plays, games, marches, old folk dances and rhythmic movements. Supt. of Docs., 1911. pa. 10c. Valentine, I. and Claxton, L. Baker's dozen for city children. Kindergarten magazine Co., 1907. 50c. Walker, G. A. _and_ Jenks, H. S. Songs and games for little ones. Ditson, c1887. $2.00. Whitehead, J. B. R. Folk songs and other songs for children. Ditson, 1903. bds. $2.00. Wiggin, K. D. Kindergarten chimes. Ditson. $1.50, bds. $1.25, pa. $1.00. KEY TO ABBREVIATIONS (Full titles of books indexed will be found on p. vii.) ASC Meissner. Art song cycles. Bk. 1. BB Crane. Baby's bouquet. BFD Burchenal. Folk dances and singing games. BG Bancroft. Games for school and playground. BM Bingham. Balloon man. BSS Brewster. Song stories. CBO Crane. Baby's opera. CC Terhune. Colonial carols. CGV Fisher. Posies from A child's garden of verses. CL Tufts. Child life in song. CM Cole. Child's first studies in music. CPP Crane. Pan Pipes. DM Hitte. Kindergarten songs and descriptive melodies. EFS Elson. Folk songs of many nations. EL Jenks and Rust. Song echoes from child land. ES1 Neidlinger. Earth, sea and sky. Bk. 1. ES2 ---- Bk. 2. FC Reinecke. Fifty children's songs. FDM Burchenal. Folk dance music. FS Whitehead. Folk songs and other songs for children. FSC Field. Songs of childhood. FSK Funkhouser. Simple songs for kindergarten. GS George. Songs in season. HC Hofer. Children's singing games. HMC1 Hofer. Music for the child world. Bk. 1. HMC2 ---- Bk. 2. HR Hailmann. Songs, games and rhymes. HS Poulsson. Holiday songs. IMS Montz. Instrumental musical sketches. JB Hornby. Joyous book of singing games. KC Wiggin. Kindergarten chimes. KK Kastman and Koehler. Swedish song games. KM Rogers. Kindergarten marches. LCD Poulsson and Smith. Songs for little child's day. LBS Bell. Singing circle. LL Riley and Gaynor. Lilts and lyrics. MG Elliott. Mother Goose's nursery rhymes and nursery songs; set to music. MP Froebel. Mother play. MSG Hubbard. Merry songs and games. MSL Martin. Sunday songs for little children. NEB1 Neal. Espérance Morris book. Bk. 1. NEB2 ---- Bk. 2. NG Newell. Songs and games of American children. NS Knowlton. Nature songs for children. OSM Sheehan. On a spring morning. OYA Forsythe. Old songs for young Americans. PFP Poulsson. Finger plays. PS Plays and songs for kindergarten and family. PTS Hurd. Playtime songs. RCS Osgood. Rounds, carols and songs. SC1 Gaynor. Songs of the child world. Bk. 1. SC2 ---- Bk. 2. SF Stevenson. Song flowers, from "A child's garden of verses" set to music, by K. M. Ramsay. SHS Hill. Song stories. SL1 Smith. Songs for little children. Bk. 1. SL2 ---- Bk. 2. SM Froebel. Songs and music. SS Stevenson song book. SSS Neidlinger. Small songs for small singers. StN Pratt. St. Nicholas book of songs. SV Coonley. Singing verses for children. SZ Smeltzer. Sense games. TC Tomlins. Children's souvenir song book. TGS Reed. Timely games and songs. TLB Tomlins. Laurel song book. USI U.S. Indian Bureau. Social plays and games. VBD Valentine. Baker's dozen for city children. WS Walker. Songs and games for little ones. INDEX TO KINDERGARTEN SONGS *A, B, C. OYA *A, B, C. RCS A, B, C, D. LBS *A, B, C, die Katze lief im Schnee. BB (A, E, O. RCS) *A, B, C, tumble down D. Elliott. MG *A, E, O, the cat jumped in the snow. RCS (A, B, C, die Katze lief im Schnee. BB) *A-hunting we will go. JB (Hunting. BG--USI) A-nutting we will go. NEB1 Music only. A-rub-a-dub-dub. _See_ Gaynor. Rub-a-dub-dub. SC1 A-tis-ket, a-tas-ket a pretty May basket. _See_ Smith. May basket. LCD *Abide with me, fast falls the eventide. Monk. TLB Abt. Bee game. HR ---- Birdies' cradle. HR About boats. Neidlinger. ES2 Ace of diamonds. BFD Ace of diamonds. FDM Music only. Ach, wie ist's moeglich dann. _See_ Kuecken. How can I leave thee? FS Acrobats and athletic sports. HMC2 Music only. Across the wild heather my laddie comes down. _See_ Meissner. In Scotland. ASC Adam. Christmas song. GS Adams. Christmas carol. HS ---- Nearer my God to Thee. TLB Adieu, dear land, with beauty teeming. _See_ Switzer's farewell. EFS After resting all the night. _See_ Mozart. Morning greeting. SHS After "Secret Love." Resch. KM After the rain. Smith. SV Afternoon song. KC Afternoon tea. Knowlton. NS Again you're here. _See_ Gebauer. New Year. H S Ah! now we've caught you. _See_ Bureau. Captive wild bird. HS Ah, the drops are pouring down. _See_ Knowlton. Summer shower. NS Ah, violet, dearest violet. _See_ Schults. Violet. FC--KC--MSL--RCS--SLI--WS _For composers see_ Schults. Violet. Ah! who comes here. _See_ Punchinello. HC Aiken drum. BB Air du roi Louis XIII. Page. HMC2 Music only. *Air is filled with the echoes. Morton. WS Air is full of mystery. _See_ Gaynor. Christmas secrets. SC2 Airy, fairy snowflakes. _See_ Gaynor. SC1 Alabieff. Nightingale. FS Alas! my love you do me wrong. _See_ My Lady Greensleeves. NEBI (Marzials. My Lady Greensleeves. CPP) Albert. God's blessing on work. SHS Album leaf. Grieg. HMC2 Music only Album leaf. Sartorio. HMC2 Music only Alcott. O sing with cheery voices. SL2 Alden. Lost, the summer. GS *Alder by the river. Sawyer. EL (Strauchauer. Alder by the river. WS) Aldrich. Bronze, brown eyes. StN ---- Christ church bells. RCS ---- Cradle song. TC ---- Marjorie's almanac. StN Alexander. All things bright and beautiful. HR--SHS Alice's supper. Smith. SLI *All aboard. Funkhouser. FSK All about, all about, baby's feet are flying. _See_ Froebel. Play with the limbs. SM All alone I wander here. _See_ Alone I wander. KK All around the chicken coop. _See_ Pop goes the weasel. OYA All around the house. _See_ Stevenson. Shadow march. SF (Ramsay. Shadow march. SF) All around the Maypole. _See_ Maypole style. JB All around the mulb'ry bush. Cole. CM All day long I hear a song. _See_ Cole. My song. TC All for baby. Roeske. PFP All frosty stands Christmas. _See_ Hill. Yes, come! dear dear Christmas. HS All gone! Hubbard. MSG (Froebel. All's gone. MP) All gone baby. Smith. SL1 *All gone! the supper's gone! Hurd. PTS (Bullard. All gone. SM) All good night, all good night. _See_ Good night, no. 1. HR All hail the pow'r of Jesus' name. _See_ Holden. Coronation. TLB All hail to thee, fair morning. _See_ Walker. Birthday song. WS All in the downs the fleet was moored. _See_ Marzials. Black eyed Susan. CPP All night long, all night long, little stars do blink. _See_ Rossini. Stars and posies. GS All night long and every night. _See_ Stevenson. Young night thought. SS (Foote. Young night thought. SS) All our work is over. _See_ Mozart. Good-bye song. SHS All people that on earth do dwell. _See_ Old hundred. EFS All's gone. Froebel. MP (Hubbard. All gone. MSG) All the birds and bees are singing. _See_ Hubbard. Lovely May. MSG All the birds are back again. _See_ Spring song. PS All the birds are back again. _See_ Wiggin. Spring birds. KC All the birds are here again. _See_ Smith. Summer song. SL1 *All the birds have come again. Smith. SL1 *All the birds have come again. WS All the busy work is done. _See_ Hill. Farewell. SHS All the children's clothes are worn. _See_ Story of the clothes. SHS All the little Marguerites. _See_ Gaynor. Marguerites. LL *All the little sparrows. Walker. WS All the trees are lifeless. _See_ Hubbard. Rose bush. MSG *All things bright and beautiful. Heerwart. HR (Hill. God's work. SHS) All through the night. EFS (Owen. All through the night. TLB) All up and down, my honey. _See_ Sugar lump. NG All you little blackey tops. _See_ Scarecrow. BB All who sing and wish to please. _See_ Goodban. Round on the diatonic scale. RCS *Alle galoo galoo. JB Alle Vögel sind schon da. _See_ Pretty birdlings. RCS Allegretto. Beethoven. HMC Music only. Allegro. Mendelssohn. HMC Music only. Alleluia. Barnby. TLB Allen. Canoe song. EL ---- Christmas carol. EL ---- Clouds and sunshine. StN ---- In the pleasant sunny meadows. WS ---- Jessie. StN ---- Lullaby. StN (Fairlamb. Lullaby. StN) ---- Memorial hymn. TLB ---- Song of the rain. WS (Smith. Rain song. SL1) ---- There's a ship on the sea. StN (Damrosch. There's a ship on the sea. StN) (Fisher. There's a ship on the sea. StN) ---- Whenever a little child is born. StN ---- Winter and Summer. StN Alone I wander. KK Alte Barbarossa. _See_ Gersbach. Barbarossa. RCS Amaryllis. EFS America. Smith. FS--GS--MSG (My country 'tis of thee. TLB) America, America, thou country of the free. _See_ Chadwick. Child's American hymn. TC Among the green leaves of the tall forest trees. _See_ Czerny. Number game. HR Among these happy children. _See_ Hill. Skipping song. SHS And so we say, good day, good day. _See_ We say good day. KK *And we're a noddin'. FS (Variant: We are all nodding. LBS) And what are you trilling, O Katy-did-did? _See_ Meissner. Katy-did. ASC Andre. Christmas waltz song. KC ---- Good morning. KC Andreae. Flower basket. HR ---- How we love our kindergarten. HR ---- Watermill. HR Angelus. Conrade. GS Annie goes to the cabbage field. _See_ Character dance. HC (Variant: Strasak. BFD) Annie Laurie. EFS--FS--TLB Annie went to the cabbage patch. _See_ Strasak. BFD (Variant: Character dance. HC) Another birthday song. Reinecke. FC Another day has now begun. _See_ Hailmann. Opening stanza. HR Anschuetz. Mill by the rivulet. HR (Mill. WS) Antioch. Handel. TLB Anvil is busy, the iron is hot. _See_ Coonley. Anvil song. GS Anvil song. Coonley. GS Apple orchard. Lindbald. EFS Apple trees grow in the orchard fair. _See_ Lindbald. Apple orchard. EFS *Apples ripe. Hubbard. MSG April. SL2 April. Knowlton. NS *April! April! Are you here? Conrade. GS April drops came down. _See_ Strong. May song. HS April girl. Fairlamb. StN (Stanley. April girl. StN) April rain. Knowlton. NS April's just a little child. _See_ Fairlamb. Song of April. TLB April shower. Sawyer. EL April showers. Hailmann. HR April showers. Sheehan. OSM April snow. Warren. StN Arbor day. Gaynor. GS Arch. Koehler. HR (Marching, no. 23. PS) Arch of glory curving there on high. _See_ Gaynor. Rainbow. SC1 Are you here, my little birdies? _See_ Hubbard. Roll call. MSG Are you sleeping, are you sleeping. _See_ Brother James. RCS (Friar John. FS) Arise, you little slumb'rers. _See_ Finger plays, no. 20. PS Armenian lullaby. Chadwick. FSC Armies in the fire. Stevenson. SF (Ramsay. Armies in the fire. SF) Arne. Lucy Locket. FS (Lucy Locket. BB--OYA) Arnold. Canadian boat song. TLB ---- Haste thee, nymph. TLB ---- Star spangled banner. EFS--FS--GS--MSG *Around the Christmas tree. Gaynor. LL Around the Maypole. Sherwood. HS Art thou poor. _See_ Smith. Sweet content. TLB Art thou weary. _See_ Baker. Stephanos. TLB Arthur of Bradley. FS As I came down the Canon-gate. _See_ Merry may the keel row. FS As I walked over the hills one day. _See_ Hill. Each mother loves best. SHS *As I was coming along along. Smeltzer. SZ As I was walking on the strand. _See_ Old man. KK *As Joseph was a-walking. Coonley. GS As soon as the nights grow cold. _See_ Neidlinger. Jack Frost. SSS As the vane upon the tower. _See_ Hailmann. Weather vane. HR (Froebel. Weather vane. MP) As wandering up and down one day. _See_ Hubbard. Shoemaker. MSG *As we go round the mulberry bush. NG (Going round the mulberry bush. HR) (Here we go round the mulberry bush. HC) (Little washerwoman. KK) (Mulberry bush. CBO--BG--FS--JB--LBS) Ashmall. Waken, little children. SL1 Asleep. HR (Ball song, no. 10. PS) (Hubbard. Little ball lies in my hand. MSG) (Mozart. Going to sleep. HR) At close of day the sunset past. _See_ Hill. Butterfly and moth. SHS At Easter tide. Sheehan. OSM At Easter time. WS (Smith. Easter song. SL1) At evening the maiden dear. _See_ Froebel. Little maiden and the stars. MP At evening when I go to bed. _See_ Conrade. Daisies and stars. GS At evening when the lamp is lit. _See_ Stevenson. Land of story books. SS (Bartlett. Land of story books. SS) At last we've caught you. _See_ Little bird. RCS At night. Randegger. TC *At summer morn. FS At the beginning and at the close of play, no. 1-5. PS At the beginning and at the close of play, no. 6. PS (Variant: Day's far spent. JB) At the beginning and at the close of play, no. 7. PS (Forward, homeward. HR) At break of Christmas day. _See_ Sawyer. The waits. EL At the dawn the light is sent. _See_ Hill. Certainty of law. SHS At the window. Pratt. StN At thy door I'm knocking. _See_ Lully. By the moon's pale light. FS Atkinson. Brownies. GS ---- Clock. GS ---- Clouds. SV ---- Cradle song. SV ---- Doll day. GS ---- Doll's cradle song. GS ---- First flag. GS ---- Good-morning. GS ---- Good-night. GS ---- Lincoln. GS ---- Little stars. SV ---- Longfellow. GS ---- Rainbow. GS ---- Red, white and blue. GS ---- Song of the nut. GS ---- Wake up. GS ---- Washington song. GS ---- Windmill. GS Au clair de la lune. _See_ Lully. By the moon's pale light. FS August. Knowlton. NS Auld lang syne. Burns. EFS--FS Austrian hymn. Haydn. TLB Austrian national hymn. Haydn. FS Autumn. Gaynor. SC2 Autumn. Hiller. HMC1 Music only. Autumn. Hitte. DM Autumn. Martin. MSL Autumn fires. Stevenson. EL--SF _For composers see_ Stevenson. Autumn fires. Autumn flowers. Conrade. GS Autumn leaves. Gaynor. GS Autumn leaves. HR (Hill. Fall leaves. SHS) (Osgood. Come little leaves. MSG--RCS--WS) (Smith. Come little leaves. SL2) Autumn leaves. Macey. EL Autumn leaves falling yellow and brown. _See_ Macey. Autumn leaves. EL Autumn leaves are whirling. _See_ Smith. Finding the place. SL2 Autumn song. Beethoven. HR Autumn song. Russell. HS Autumn wind. Smith. LCD *Autumn winds are crying. Smith. SL1 Awake. Gaynor. LL Awake! awake! Houseman. HS *Awake my soul, stretch every nerve. Handel. TLB Awake, said the sunshine. _See_ Mendelssohn. Spring song. SL1 *Awake ye little sleepers. Froebel. HR Awakening. Gaynor. SC2 Awakening song. Hill. SHS Away among the blossoms. EL (Hubbard. Away among the blossoms. MSG) Away, away, away, away among the blossoms. _See_ Hubbard. Away among the blossoms. MSG (Away among the blossoms. EL) Away fly the pigeons. _See_ Saville. Pigeon's flight. HS Away in the manger no crib for His bed. _See_ Christmas manger hymn. GS Away the merry children run. _See_ Chapek. Bowing game. HS Away to the forest and search for a tree. _See_ Sherwood. Our fir tree. HS Away up in Alaska. _See_ Neidlinger. Glacier. ES1 *Away with melancholy. LBS *"Baa! Baa! Black sheep, have you any wool?" CBO--FS (Elliott. Baa, baa black sheep. MG) (Gaynor. Baa, baa black sheep. LL) (Hailmann. Baa, baa black sheep. HR) "Baa!" said a black sheep. _See_ Smith. Sheep. LCB Babe Jesus. Dugan. EL Baby and the moon. SM (Smith. Baby and the moon. SL1) Baby bo. Marzo. StN Baby Bunting. LBS--OYA *Baby bye, here's a fly. Hailmann. HR *Baby dear. Gaynor. LL Baby dear, baby dear, I know a place. _See_ Cole. Ripe Apples. CM Baby has a little tune. _See_ Baby's tune. LBS Baby is a sailor boy. _See_ Pollock. Sailor boy. HR (Hubbard. Swing, cradle, swing. MSG) Baby moon. Gaynor. SV Baby seed song. Conrade. GS Baby sleeps, so we must tread. _See_ Smith. Bed. SL1 Baby swallow chirps "Chee-chee." _See_ Smith. Chirpings. LCD Baby, what do the blossoms say? _See_ Smith. Flower bed. SL1 Baby's birthday. Smith. LCD Baby's bread. Strong. HS Baby's calendar. Sherwood. HS Baby's cotton gown. Strong. HS Baby's face. Neidlinger. ES1 Baby's horses. Valentine. VBD Baby's lullaby. Walker. WS (Elliott. Lullaby. HR--MG--SM) Baby's skies. Marzo. StN Baby's toys. Gaynor. SC1 Baby's tune. LBS Baby's waking song. Tennyson. SHS (Tennyson. Cradle song. EL) (Tennyson. What does little birdie say? SM) (Tufts. Little birdie. CL) Bach. Loure. HMC1 Music only. Bach. Venetian boatmen's song. TLB Bachmann. Gigue bretonne. HMC2 Music only. Back and front, back and front. _See_ Reed. First gift exercises. TGS Bacon. Before the mowing. EL ---- Chilly little chickadees. EL (Batchellor. Chilly little chickadees. WS) ---- Daffy-down-dilly. EL ---- Mother's hymn. EL (Hailmann. Teacher's hymn. HR) (Osgood. Mother's hymn. EL) (Teacher's hymn, II. KC) ---- Robin Redbreast. EL ---- Signs of the seasons. EL ---- Summer is coming. EL ---- Two little birds. EL ---- Two little roses. EL ---- Winter hymn. EL Bad pussy. Neidlinger. SSS Bailiff's daughter of Islington. Marzials. CPP Baker. Stephanos. TLB Baker. Walker. WS Ball. Gaynor. SC2 Ball. Hubbard. MSG *Ball comes round to meet us. PS (Walker. Ball comes round to meet us. WS) Ball game. Hurd. PTS Ball game. (Color.) Hurd. EL Ball games. Gaynor. SC1 Ball is in my hand you see. _See_ Hubbard. Ball. MSG *Ball is sinking. Hubbard. MSG Ball lullaby. Wiggin. KC Ball play. Hailmann. KC (Hailmann. Selling fruit. HR) Ball play. Stedman. KC Ball play. Wiggin. KC (Wiggin. Ball song. KC) Ball so high. Smith. SL1 Ball song. Smith. SL2 (Hubbard. Roll over, come back. MSG.) Ball song. (Motion.) EL Ball song, No. 1 and 2. Wiggin. KC Ball song. No. 10. PS (Asleep. HR) (Hubbard. Little ball lies in my hand. MSG) (Mozart. Going to sleep. HR) Ball song, No. 11. PS (Bell high in the steeple. WS) (Hubbard. Bell high in the steeple. MSG) (Smith. Bell so high. SL1) Ball song. (Spinning.) Hurd. EL Ball songs. PS Ball that daily sharest. _See_ Ball songs, No. 14. PS Ball will wander. Kohl. HR Balloon man. Bingham. BM Banbury Cross. OYA (Elliott. Ride a cock-horse to Banbury Cross. MG) Baptist game. NG Barbara Allen. Marzials. CPP Barbarossa. Gersbach. RCS Barcarole. Reinecke. FC (Duck dance. BG) (Fairy ship. BB) (Reinecke. I saw a ship a-sailing. HR) (Ship a-sailing. EL) Bare and cold the garret chamber. _See_ Damrosch. Handel. StN (Stanley. Handel. StN) Bareback riding. HMC2 Music only. Barefoot boy. Johns. TLB Barkshire tragedy. Maitland. NEB1 Barley-Brownie. Reinecke. FC Barnard. Valentine day, No. 1. GS Barnby. Alleluia. TLB ---- Cradle song. TC ---- Cradle song of the Virgin. RCS (Kies. Virgin's cradle song. MSL) ---- Dawn. TLB ---- Morning song. TLB ---- Now the day is over. SL1--TLB (Knowlton. Now the day is over. NS) ---- O Paradise, O Paradise. TLB ---- St. Gregory. TLB ---- Still, still with Thee. TLB ---- Sweet and low. FS--RCS ---- West wind. TC Barnyard. Hubbard. MSG (Froebel. Barnyard gate. MP) Barnyard. Page. HMC1 Music only. Barnyard gate. Froebel. MP (Hubbard. Barnyard. MSG) Barnyard people. Page. HMC2 Music only. Barnyard song. Jacons. HS Barrels I bind as a cooper should do. _See_ Cooper. PS Bartlett. Boy and the toot. StN ---- Good boy. SS ---- Hey diddle diddle. StN ---- Merry rain. StN ---- I had a little pony. StN ---- Land of story books. SS ---- North wind doth blow. StN (Conrade. North wind doth blow. GS) (Elliott. North wind doth blow. MG--SL1) (North wind doth blow. HR) (North wind and the robin. BB) (Tufts. North wind doth blow. CL) ---- Punkydoodle and Jollapin. StN (Burdett. Punkydoodle and Jollapin. StN) (Mosenthal. Punkydoodle and Jollapin. StN) (Stanley. Punkydoodle and Jollapin. StN) ---- Riding on the rail. StN (Ingraham. Riding on the rail. StN) ---- Song of the roller-skates. StN ---- Sweet, red rose. StN (Ingraham. Sweet red rose. StN) (Mosenthal. Sweet red rose. StN) ---- Three wise women. StN ---- Wren and the hen. StN (Molloy. Wren and the hen. StN) Basket. Froebel. MP (Smith. Flower basket. SM) Basket. Smith. SL1 Basket of flowers. Hubbard. MSG Baskets we will make with pleasure. _See_ Flower baskets. PS Bassford. Can a little child like me? EL (Story. Can a little child like me? WS) Batchellor. Blessed day. WS ---- Chilly little chickadees. WS (Bacon. Chilly little chickadees. EL) ---- Daisy. WS ---- Easter hymn. WS (Story. Easter hymn. WS) ---- God, make my life a little light. WS ---- Merry Christmas bells. GS ---- Morning hymn. WS ---- Shower and flower. WS ---- Song of the bee. WS ---- Tiny little snowflakes. WS Battle hymn of the republic. EFS--FS Baumfelder. Dance on the green. HMC2 Music only. ---- Jack in the box. HMC2 Music only. *Be active. HR Be Ba Babity. JB Be kind, little children. _See_ Elliott. Song of kindness. SL1 Be quiet, dear cube, it is my will. _See_ Hubbard. Cube. MSG Be thorough. HR Beach. Singing joyfully. TC Beacon of long ago. Neidlinger. ES2 Beaming, shining bright and clear. _See_ Smith. Lighthouse. LCD Bean-setting. NEB2 Beating the clover. _See_ St. John. Rain. BSS Beaumont. Better music ne'er was known. TLB Beaumont. Gavotte. HMC2 Music only. Beautiful faces are they that wear. _See_ Mackenzie. Things of beauty. TC Beautiful rainclouds, sailing on high. _See_ Hill. Rain clouds. SHS Beautiful snowclouds. _See_ Hill. Snow clouds. SHS Beautiful world. Cole. CM (Adapted from Stevenson. Happy thought. CGV) Becker. Let's play soldiers. HMC2 Music only. *Beckon to the chickens. Froebel. MP Beckon to the pigeons. Froebel. MP Beckoning the chickens. Gilchrist. SM Beckoning the pigeons. Reinecke. SM Bed. Smith. SL1 Bed in summer. Stevenson. CGV--CM--FSK--LBS--SF--SS _For composers see_ Stevenson. Bed in summer. Bed time. Browne. EL Bed time. Grove. HS Bed time. Smith. LCD Bed time. Smith. SV Bee. EL Bee. Neidlinger. SSS Bee and robin. PS Bee game. Abt. HR *Bee is a rover. Tufts. CL Bee was sporting in the sun. _See_ Bee and robin. PS Bees. MSG (Busy workers. HR) Bees. PS Bees. Fischer. HR Bees have flown away yonder. _See_ Bees. PS Bees in the cherry-tree. _See_ Tufts. Cherry-tree. CL Bees' market. Hill. SHS Bees' return. PS Beethoven. Allegretto. HMC1 Music only. ---- Autumn song. HR ---- Child's prayer. HR ---- Hymn. HMC1 ---- Little window. HR Beginnings. Neidlinger. ES2 Begone, dull care! FS Behold above the clear horizon mounting. _See_ Denza. Sailing o'er a summer sea. EFS (Denza. Funiculi, funicula. FS) (Denza. Merry life. TLB) Behr. Night's song. HMC1 Music only. Behr. Will o' the wisp. HMC2 Music only. Bell. Bed in summer. LBS _For other composers see_ Stevenson. Bed in summer. ---- Cow. LBS (Cole. Cow. CM) ---- Hayloft. LBS (Ramsay. Hayloft. SF) ---- Keepsake mill. LBS ---- Lamplighter. LBS ---- Land of counterpane. LBS (Chadwick. Land of counterpane. SS) ---- Marching. LBS _For other composers see_ Stevenson. Marching song. ---- Moon. LBS ---- My bed is a boat. LBS _For other composers see_ Stevenson. My bed is a boat. ---- Pictures in winter. LBS (Ramsay. Picture books in winter. SF) ---- Swing. LBS _For other composers see_ Stevenson. Swing. ---- Where go the boats. LBS _For other composers see_ Stevenson. Where go the boats. ---- Wind. LBS _For other composers see_ Stevenson. Wind. Bell. HR Bell does toll. _See_ Bell. HR *Bell high in the steeple. WS (Ball song, no. 11. PS) (Hubbard. Bell high in the steeple. MSG) (Smith. Bell so high. SL1) Bell-man. Douty. TLB *Bell ringer comes with his ting-a-ling-a-ling. Reed. TGS Bell so high. _See_ Bell high in the steeple. Bells. Foote. TLB Bells are ringing in the air. _See_ Smith. Christmas song. SL2 Bells are ringing loud and sweet. _See_ Herron. Oh, ring glad bells. WS Bells swing far and near. _See_ Thompson. Glad Christmastide. EL Beneath the grass and flowers. _See_ Neidlinger. Buried stone. ES Beneath the shade on the sunny bright lea. _See_ Reinecke. When mother was ill. FC Berat. My Normandy. FS Bergere. BB (Shepherd maiden. FS) (Shepherdess. RCS) Berghs. Music box. HMC1 Music only. Berry. Children, we're beginning. KC ---- Rider. KC ---- Sparrow's nest. KC. Bertini. I am the wind. HR (Cornwell. Wind. EL) (Hubbard. I am the wind. MSG) (Sawyer. Wind. EL) ---- Little rivulet. HR (Boott. Run, little rivulet, run. RCS--WS) Beside the brook grow flow'rets blue. _See_ Schubert. Miller's flowers. FS Beside the clear streamlet. _See_ Reinecke. Mill. FC *Better music ne'er was known. Douty. TLB Beyond the shadows lies Twilight Town. _See_ Jenks. Twilight Town. EL Bibabutzemann. RCS Bicycle. Loomis. HMC2 Music only. Biehl. Game of tag. HMC2 Music only. Big and bright electric light. _See_ Gaynor. Electric light. SC2 Big bright sun shines down on me. _See_ Smith. Sunshine far and near. LCD Big copper kettle. _See_ Neidlinger. Kettle. SSS *Big John Stout. Smeltzer. SZ Big old mumbly, bumbly bee. _See_ Meissner. Mr. Bumble Bee. ASC Big policeman stands all day. Valentine. VBD Big round world. _See_ Gaynor. Oh, wide, wide world. SC1 *Big ship sails. JB Big tall clock in the hall. _See_ Neidlinger. Tick-tock. SSS Big thumbs up. _See_ Hey, thumbs up. KK Billy boy. OYA Billy Buttercup. Stoeckel. StN Billy Pringle had a little pig. BB Bingham. Balloon man. BM ---- Butterfly. BM ---- Dandelion. BM ---- How I learned to sew. BM ---- Little Robin Redbreast. BM ---- Nodding daisies. BM ---- Pretty Poll Parrot. BM ---- Pretty swallow. BM ---- Rock-a-bye-baby. BM ---- Sleep time. BM ---- Sleepy old duck. BM ---- Swing. BM _For composers see_ Stevenson. Swing. ---- Thanksgiving song. BM ---- Violet. BM ---- Wake up! Wake up! BM ---- We are happy. BM ---- Why do bells for Christmas ring. BM (Root. Christmas song. SV) Bingo. JB Bird-band. Grove. HS Bird day. Gaynor. GS Bird-game. Schumann. KC Bird on the tree. Hubbard. MSG Bird song. Hubbard. MSG Bird song. (Color) Hurd. EL Bird thoughts. Gilchrist. SM Birdie. PS (Walker. Birdies in the greenwood. WS) (Weber. Birdies in the greenwood. HR) Birdie dear! O birdie dear! _See_ Froebel. Light bird on the wall. MP (Hubbard. Oh, birdie dear. MSG) (Variant: Smith. Light bird. SL1) Birdie gleaming on the wall. _See_ Smith. Light bird. SM Birdie in the beech grove. _See_ Birdie. PS (Walker. Birdies in the greenwood. WS) (Weber. Birdies in the greenwood. HR) Birdie, O birdie, sweet birdie. _See_ Smith. Light bird. SL1 (Adapted from Froebel. Light bird on the wall. MP) (Variant: Hubbard. Oh, birdie dear. MSG) Birdie up in your cage so gay. _See_ Knowlton. Captive bird. NS Birdie with a yellow bill. _See_ Stevenson. Time to rise. CGV (Fisher. Time to rise. CGV) Birdies' ball. Cornwell. WS (Hubbard. It is lovely May. MSG) Birdies' burial. Reinecke. FC Birdies' cradle. Abt. HR *Birdies in the greenwood. Walker. WS (Birdie. PS) (Weber. Birdies in the greenwood. HR) Birdie's song. Frost. WS (Cornwell. There was once a little birdie. EL) (Rust. There was once a little birdie. EL) Birdlings are singing to welcome the dawn. _See_ Song of love. RCS Birdling's good-night to the flowers. Smith. SL2 Birds. PS (Hubbard. Hopping and flying together. MSG) Birds all the summer day flutter and quarrel. _See_ Stevenson. Nest eggs. SF (Ramsay. Nest eggs. SF) Birds and angels. Reinecke. FC Birds and bees and flowers. _See_ Randegger. Prayer. KC (Randegger. Song of thanks. EL) Birdies are flitting here and there. _See_ Chapek. Birds' joy. HS Birds are singing, the bells are ringing. _See_ Gilchrist. Going to the fair. StN Birds' duet. FS Birds flying. Montz. IMS Birds have their nest. _See_ Sheehan. My garden flowers. OSM Birds in autumn. Chapek. HS Birds in summer. Tufts. CL Birds in the nest. Taubert. RCS Birds in the woods. Hollaender. HMC1 Music only. Birds in winter. Cole. CM Birds' joy. Chapek. HS Birds must fly. Hubbard. MSG *Birds' nest. HS Bird's nest. Gaynor. SC1 Bird's nest. Gilchrist. SM Bird's nest. Hailmann. HR (Adapted from Hubbard. See my little birdie's nest. MSG) Bird's nest. Hurd. PTS Bird's nest. Kohl. SM Birds of passage. Reinecke. FC Birds of spring with gladness sing. _See_ Chapek. Easter morning. HS Birge. Morning sunshine. HS Birth of the butterfly. Gaynor. SC1 Birthday greeting. Gaynor. SC1 Birthday greeting. Jenks. EL Birthday march. Schumann. HMC2 Music only. Birthday song. Reinecke. SL1 (Reinecke. Mother's birthday. FC) Birthday song. Reinecke. SL2 Birthday song. Walker. WS Bishop. Home, sweet home. EFS--FS--LBS ---- My pretty Jane. EFS Björnson. Twilight musing. FS Black eyed Susan. Marzials. CPP Blackbird song. BSS Blacksmith. KC Blacksmith. Gaynor. SC1 Blacksmith. Handel. SL1 Blacksmith. Montz. IMS Music only. Blacksmith. Neidlinger. ES1 Blacksmith. Parker. WS (Hubbard. Song of the blacksmith. MSG) Blacksmith hammers the whole day long. _See_ Hubbard. Song of the blacksmith. MSG (Parker. Blacksmith. WS) Blacksmith strong, a man is he. _See_ Neidlinger. Blacksmith. ES1 Blacksmith's song. Hill. SHS *Blackthorn, blackthorn. JB Blake. Dodo. RCS Bleking. FDM Music only. *Bless you, burnie bee. Cole. CM Blessed day. Batchellor. WS Blessings on effort. Hill. SHS Blessings on thee, little man. _See_ Johns. Barefoot. TLB Blithe and merrily sang the shark. _See_ Chadwick. Song of the shark. StN Blooming clover blossoms. _See_ Clover blossoms. EL *Blossom, pretty flower. Schulz. RCS Blow away the morning dew. LBS Blow, blow, blow your shining bubbles. _See_ Gaynor. Blowing bubbles. SC1 Blow, blow busy, busy wind. _See_ Neidlinger. Busy wind. ES1 *Blow, blow thou winter wind. Whiting. TLB Blow, bugle, blow! Neidlinger. TLB Blowing, blowing everywhere. _See_ Hill. Wind song. SHS Blowing bubbles. Gaynor. SC1 Blue and the gray together. Conrade. GS Blue-bell and the flowers. Reinecke. FC Blue-bell rings adown the vale. _See_ Reinecke. Blue bell and the flowers. FC Blue-bells of Scotland. FS Blue-eyed stranger. NEB2 Bluebird. Conrade. GS Bluebird. Hubbard. MSG (Bluebird. WS) Bluebird. Neidlinger. SSS Bluebird, canary, the robin redbreast. _See_ Wiggin. Flight of the birds. KC Bluebird sat on a tree and sang. _See_ Bacon. Summer is coming. EL Bluehe, liebes Veilchen. _See_ Schulz. Blossom pretty flower. REC Bluff King Hal. _See_ May pole dance. BFD Bo-Peep. CBO (Conrade. Little Bo-Peep. GS) (Elliott. Little Bo-Peep. MG) (Little Bo-Peep. KM) Boat. Rust. EL Boat ride. Smith. SL2 Boat song. HR--WS (Lightly row, lightly row. RCS) Boat song. Reinhold. HMC1 Music only. Boat song. Weidig. TC (Fanning. Boat song. TC) Boating. Gaynor. SC2 Boating song. Ring. SC1 Bob White. Conrade. GS *Bobbie Shafto, it is he. Smeltzer. SZ Bobby Shafto. Gaynor. LL (Bobby Shafto's gone to sea. OYA) *Bobby Shafto's gone to sea. OYA (Gaynor. Bobby Shafto. LL) Bobolink. Cole. CM Bobolink. Gaynor. SC2 "Bobolink, bobolink" this is my tune. _See_ Cole. Bobolink. CM Bobolink is a jolly bird. _See_ Gaynor. Bobolink. SC2 Bold snow-man. Smith. LCD Bolero. Page. HMC2 Music only. Bonnie banks of Loch Lomond. _See_ Loch Lomond. FS Bonnie Dundee. EFS Bonnie laddie, Highland laddie. FS Bonny breast knot. NEB2 *Bootblacks. KC Boott. Bye, baby birds are sleeping. StN ---- Run, little rivulet, run. RCS--WS (Bertini. Little rivulet. HR) ---- Snow filled nest. StN Bossy cow. LCD Bowing game. Chapek. HS Bowl of bread and milk. Neidlinger. SSS Boy and the brook. Sawyer. EL Boy and the moon. Froebel. MP Boy and the toot. Bartlett. StN Boy and the wren. RCS (Reinecke. George's song. FC) Boy blue. Smeltzer. SZ Boy is walking in the ring. _See_ With even step. KK Boy once caught a tomtit gay. _See_ Reinecke. George's song. FC (Reinecke. Boy and the wren. RCS) Boy once trapped a birdling bright. _See_ Reinecke. Boy and the wren. RCS (Reinecke. George's song. FC) Brahms. Cradle song. FS ---- Fish in the brook. SM ---- Little dustman. EFS (Brahms. Lullaby. SHS) ---- Lost chicken. FS ---- Lullaby. SHS (Brahms. Little dustman. EFS) Brave. Smith. LCD Brave little crocus, what's in your cup? _See_ Knowlton. Crocus. NS Brave little soldier. _See_ Neidlinger. Cut finger. SSS *Brave of heart. FS Breaks the joyful Easter dawn. _See_ Story. Easter hymn. WS (Batchellor. Easter hymn. WS) Br'er rabbit. OYA Brewer. Little things. CL Brewster. Christmas song. BSS ---- Cobbler. BSS ---- Cradle song. BSS ---- Dotty and the clock. BSS ---- Hush my baby. BSS ---- Little bird in the cradle. BSS ---- Lost doll. BSS ---- Morning. BSS ---- O moon! in the night. BSS ---- Pat-a-cake. BSS ---- Robins and pussy willow. BSS ---- Sleep, my baby, sleep. BSS (Cornwell. Sleep, baby sleep. EL) (Sleep, baby, sleep. FS--RCS) (Smith. Sleep, baby, sleep. SL1) ---- Slumber song. BSS ---- Spring must come. BSS ---- Spring song. BSS ---- Thanksgiving song. BSS ---- Valentine song. BSS ---- Violet song. BSS *Briar Rosebud is a pretty child. KK Bridge. Her lovers. TC Bridge. Froebel. MP (Hubbard. Brook is flowing. MSG) (Variant: Smith. Bridge. SL2) Bridge. Smith. SL2 (Adapted from Froebel. Bridge. MP) (Variant: Hubbard. Brook is flowing. MSG) Bridge. Smith. SM Brien the brave. TLB Bright little dandelions. _See_ Cole. Dandelion. CM Bring blossoms sweet. Rossini. GS Bring the comb and play upon it. _See_ Stevenson. Marching song. CGV--LBS--SS _For composers see_ Stevenson. Marching song. Bring the fife and bring the drum. _See_ Gaynor. Salute to the flag. SC2 Bringing home the sheep. RCS Bringing the cattle home. Gaynor. LL Bristow. Little John Bottlejohn. StN (Gilchrist. Little John Bottlejohn. StN) (Stanley. Little John Bottlejohn. StN) Broken ring. Glueck. EFS Bronson. Sweet pea. GS Bronze-brown eyes. Schlesinger. StN Brook. Chadwick. TC Brook. Foote. FSC Brook. Karganoff. HMC1 Music only. Brook. Smith. SL2 Brook goes flowing swiftly by. _See_ Smith. Bridge. SL2 Brook is brimmed with melting snow. _See_ Knowlton. Pussy willow. NS *Brook is flowing along the vale. Hubbard. MSG (Froebel. Bridge. MP) (Variant: Smith. Bridge. SL2) Brook is flowing merrily. _See_ Smith. Bridge. SM Brooklet's song. Hill. HS Brooks. Christmas song. KC ---- Christmas tree march. KC ---- "O little town of Bethlehem." MSL Broom and the rod. Reinecke. FC Brother James. RCS (Friar John. FS) Brother, thou and I. _See_ Lullaby. RCS Brothers and sisters. Froebel. MP (Hubbard. Brothers and sisters. MSG) Brown. Bed time. EL ---- Child and the apple. EL ---- Daisy nurses. GS ---- Hide and seek. EL ---- Lady bird. EL ---- May. WS ---- Over the bare hills far away. WS ---- Peter White. RCS ---- Pretty game. EL ---- Raindrops. GS ---- Reason why. WS ---- Santa Claus. EL ---- Seasons. EL ---- Spring song. EL ---- Summer day. EL ---- This is little Tommy Thumb. EL ---- Washing day. EL ---- Welcome to the pussy willows. EL ---- When Christ was born. FS Brown birds are flying. _See_ Smith. Good-bye to summer. SL1 Brownie. Gaynor. LL *Brownie firefly. Meissner. ASC Brownie Polska. KK Brownies. Atkinson. GS Brownies. Gaynor. SC1 Brownies. Reinhold. HMC2 Music only. Brownies are hidden away. _See_ Atkinson. Brownies. GS Brownies' dance. Funkhouser. FSK. Browning. Rabbi Ben Ezra. TLB Bruder, ich und du. _See_ Lullaby. RCS Bryant. Planting of the apple tree. HS ---- Robert of Lincoln. GS ---- To the fringed gentian. TLB Bubbles. Gaynor. SC2 Bubbles, bubbles. _See_ Neidlinger. Soapbubbles. SSS *Bubbles, bubbles I love to blow. Cole. CM Bucket song. Hubbard. MSG (Walker. Bucket song. WS) Bucket song. Rust. EL Bubbling and splashing and foaming and dashing. _See_ Purcell. Knowledge and wisdom. RCS *Build thee more stately mansions, O my soul. Farwell. TLB Builders we would like to be. _See_ Wiggin. Building song. KC Building song. Wiggin. KC Building the house. Gaynor. LL Bullard. All gone. SM (Hurd. All gone. PTS) ---- Charcoal-burner. SM ---- Cuckoo. SM ---- Falling! Falling! SM (Adapted from Froebel. Falling, falling. MP) ---- Pigtail. TLB ---- Target. SM ---- Taste. Guessing game. SM ---- Wandering song. SM Bumble bee. Gaynor. SC1 Bumble bee, yellow as gold. _See_ Fisher. Meadow talk. StN Bumps o' stretton. NEB2 Bunner. One, two, three. CM Bunny. Neidlinger. SSS Bunny's accident. JB Burchenal. Highland fling. BFD ---- Kamarinskaia. BFD ---- Tarentella. BFD Burdett. Million little diamonds. StN (Damrosch. Million little diamonds. StN) (Tufts. Winter jewels. CL) (Walker. Winter jewels. WS) ---- Punkydoodle and Jollapin. StN (Bartlett. Punkydoodle and Jollapin. StN) (Mosenthal. Punkydoodle and Jollapin. StN) (Stanley. Punkydoodle and Jollapin. StN) ---- Summer song. StN Bureau. Captive wild bird. HS Buried stone. Neidlinger. ES1 Burly dozing, humble bee, dozing bee. _See_ Neidlinger. Humble bee. TLB Burnett. Firtree. HS ---- Song of the wind. HS Burnham. Sailing o'er a summer sea. EFS (Translation of Funiculi, funicula.) Burns. Auld lang syne. EFS--FS ---- Highland lad my love was born. FS ---- John Anderson, my jo. EFS ---- My luve's like a red, red rose. TLB ---- O, wert thou in the cauld blast. TLB ---- Scots, wha hae wi' Wallace bled! EFS Busy bee. Tufts. CL (Cole. Lesson from the bee. CM) Busy bee at work all day. _See_ Neidlinger. Bee. SSS Busy bees. HR Busy blacksmith, what are you doing? _See_ Handel. Blacksmith. SL1 Busy body, busy body. _See_ Cole. To a honey-bee. CM Busy brook. Taubert. RCS Busy carpenters. Hill. SHS Busy children. Hubbard. MSG Busy, curious, thirsty fly. _See_ Cocchi. Fly. RCS Busy hands and fingers. Fischer. HR Busy hands are never still. _See_ Fischer. Busy hands and fingers. HR Busy housewife. Pollen. HMC1 Music only. Busy is the carpenter. _See_ Gilchrist. Carpenter. SM Busy is the carpenter. _See_ Parker. Carpenter, No. 2. SM *Busy lark, messenger of day. TLB Busy maids, we bid you good morning. _See_ Taubert. Sparrow's greeting. RCS Busy mill, the busy mill. _See_ Reed. Mill. TGS (Reinecke. Mill-wheel. SM) Busy squirrel with shining eyes. _See_ Gaynor. Harvest of the squirrel and honey-bee. SC1 Busy steam. Neidlinger. ES1 Busy were our fingers. _See_ Hill. Presentation song. SHS Busy wind. Neidlinger. ES1 Busy wind. Smith. LCD Busy workers. HR (Bees. MSG) Buttercups. Gaynor. SC2 *Buttercups and daisies. Conrade. GS (Hubbard. Buttercups and daisies. MSG) (Tufts. Buttercups and daisies. CL) Butterflies. Emerson. SM Butterflies. Montz. IMS *Butterflies are pretty things. Tufts. CL Butterflies, butterflies seek the lily bell. _See_ Emerson. Butterflies. SM Butterflies' hide and seek. Gaynor. LL Butterfly. PS Butterfly. Bingham. BM Butterfly. Gaynor. SC1 Butterfly. Hubbard. MSG. Butterfly. St. John. BSS Butterfly and moth. Hill. SHS Butterfly and rosebud. Sheehan. OSM Butterfly, butterfly, blithsome and gay. _See_ Gaynor. Butterfly. SC1 Butterfly dance. Smith. LCD Butterfly, stay, please don't fly away. _See_ Butterfly. PS Buy a broom. BB--RCS (Music also given in Cube song, No. 1. EL) Buzz! This is the song of the bee. _See_ Batchellor. Song of the bee. WS "Buzzard." _See_ Chorus jig. FDM Music only. By-low-by. Taubert. RCS By streamlet and leafy dale. KK By the moon's pale light. Lully. FS By the North Pole dwells, we know. _See_ Gaynor. Eskimo. GS By yon bonnie banks, and by yon bonnie braes. _See_ Loch Lomond. EFS--FS--TLB *Bye, baby, birds are sleeping. Boott. StN Bye, Baby Bunting. _See_ Baby Bunting. LBS--OYA Bye baby bye. Hill. SHS (Smith. Bye, baby, night has come. SL2--StN) Bye, baby, bye. Main. EL Bye, baby, day is over. _See_ Main. Bye, baby, bye. EL *Bye, baby, night has come. Smith. SL2--StN (Hill. Bye baby bye. SHS) Bye-low-bye, bye-low-bye. _See_ Terhune. Cradle carol. CC Bye O, Baby Bunting. _See_ Baby Bunting. LBS--OYA Cable. Neidlinger. ES1 Cachucha. FS Cackling hen. Smith. LCD Calendar song. RCS (Conrade. Calendar song. GS) Call. Like the ball we move around. WS Call of the crow. Knowlton. NS Call the pigeons, baby dear. _See_ Reinecke. Beckoning the pigeons. SM Call to the circle. Gaynor. SC1 Callcott. Love wakes and weeps. TLB Caller herrin'. FS Calling the flowers. Hahn. BSS Calling the tides. Tufts. CL Calling the violet. Knowlton. NS *Campbells are comin'. EFS--FS *Can a little child like me? Bassford. EL (Story. Can a little child like me? WS) Can ye sew cushions. FS *Can you count the stars? Smith. SL1 (Canst thou count the stars? WS) *Can you plant the seeds? RCS *Can you show me how the farmer? JB (Farmer. LBS) (Farmer. PS) (Farmer and the housewife. KK) (Froebel. Farmer. SM) (Koehler. Farmer. HR) (Shall I show you the farmer? RCS) Can you tell us how the farmer? _See_ Farmer and the housewife. KK _For variants see above._ Canadian boat song. Arnold. TLB Canary. Smith. LCD Canoe song. Allen. EL *Canst thou count the stars? WS (Can you count the stars? Smith. SL1) *Captain had a spying glass. JB Captain! my captain! Kelley. TLB Captains call. Martin. MSL Captive bird. Knowlton. NS Captive wild bird. Bureau. HS Car driver. Wiggin. KC Card sewing. Moore. SC1 Careful. Smith. LCD *Careful gardener. WS Carey. America. FS--GS--MSG (Carey. My country 'tis of thee. TLB) Carey. Harvest hymn. BSS Carey. My country 'tis of thee. TLB (Carey. America. FS--GS--MSG) Carlyle. Safe stronghold. FS Carnival. Neidlinger. ES *Carol, carol, children. Graeff. HS *Carol, children, carol. Walker. WS Carol, children, carol. _See_ Conrade. Old carol. GS Carol for Christmas eve. RCS Carol of the birds. Quercy. TLB Carol of the flowers. Gascon. TLB *Carol, Oh, carol! Dugan. WS Carpenter. KC Carpenter. Froebel. MP (Hubbard. Oh! see the carpenter. MSG) Carpenter. Gilchrist. SM Carpenter. Parker. SM Carpenter. Smith. SL1 Carpenter theme. Haydn. HMC1 Music only. *Carriage to ride in. Reinecke. FC Carrier dove. HR *Carrion crow sat on an oak. BB Carrousel. BFD Cars are standing on the track. _See_ Neidlinger. Engineer. ES2 Cart-loads of pumpkins as yellow as gold. _See_ Conrade. Thanksgiving joys. GS Cart-wheel. Elliott. SL2 (Walker. Cartwheel song. WS) Cartwheel song. Walker. WS (Elliott. Cart-wheel. SL2) Cary. April. NS Cary. November, no. 1. GS ---- To a honey-bee. CM Castilian Bolero. EFS Castle. Chorister. GS Cat. Valentine. VBD Cat and mouse. PS *Cat and the dog. Stanley. StN Cat and the mouse. Hubbard. MSG Cat in the snow. LBS Cat on the tree. Fischer. HR Catch the squirrel. USI Caterpillar. Neidlinger. SSS Caterpillar. Roeske. PFP Caterpillar. Smith. LCD Caterpillar. Smith. SL2 Caterpillar. Smith. SM Caterpillar and moth. Hill. SHS Caterpillar, come from thy tiny egg. _See_ Gaynor. Birth of the butterfly. SC1 Cat's cradle. Gaynor. SC1 Cattails. Gaynor. SC2 Cauffman. Love song. TLB ---- Wind and sea. TLB Cave of the winds. Gurlitt. HMC1 Music only. Caw, caw, caw. _See_ Knowlton. Call of the crow. NS Cerdetschni. FDM Music only. Certainty of law. Hill. SHS Ch-ch-ch-ch. Now we're ready to go. _See_ Valentine. Train. VBD Chadwick. Armenian lullaby. FSC ---- Brook. TC ---- Busy lark. TLB ---- Child's American hymn. TC ---- Farewell to the farm. SS ---- Kissing game. FSC ---- Lamb. TLB ---- Land of counterpane. SS (Bell. Land of counterpane. LBS) ---- Soft-shell crab. TC ---- Song of the shark. StN ---- Stormy evening. TLB ---- There was a little girl. StN *Chairs to mend! FS Chanticleer. Clarke. StN Chapek. Birds in autumn. HS ---- Birds' joy. HS ---- Bowing game. HS ---- Easter morning. HS ---- Garden. HS ---- Ironing song. HS ---- Little child's gift carol. HS ---- Sprinkling the clothes. HS Character dance. HC (Variant: Strasak. BFD) Charcoal burner. Bullard. SM Charcoal burner. Hubbard. MSG (Froebel. Charcoal burner's hut. MP) *Charcoal burner's hut. Froebel. MP (Hubbard. Charcoal burner. MSG) Charley over the water. BB Charlie is my darling. FS *Charlie over the water. NG--USI Charmante Gabrielle. _See_ Fair Gabrielle. FS Charming Marguerite. EFS Chasing the squirrel. WS Chavagnat. Jumping Jack. HMC2 Music only. ---- On tiptoe. HMC2 Music only. *Cheerful gift, a cheerful gift. Kies. MSL Cheerful singing. Cole. CM *Cherries are ripe. OYA Cherries in summer, nuts in the fall. _See_ Smith. Plums in winter. LCD *Cherries ripe. HR--WS Cherries ripe, lemons ripe. _See_ Wiggin. Fruit market. KC Cherry-tree. Tufts. CL Cherubini. Like as a father. TLB Chickadee. Sawyer. EL Chicken. Neidlinger. SSS Chickens round the gate. Conrade. GS (Hubbard. See the chickens round the gate. MSG) (Seidell. See the chickens round the gate. HR) *Chickery, crany-crow. Gaynor. LL Chickie, chickie, chickie chick. _See_ Hailmann. Little chickens. HR Child. Thanksgiving day. GS--MSG--WS (Sleighride. HR) ---- Who stole the bird's nest? CM Child and mother. Gilchrist. FSC Child and the apple. Brown. EL Child and the cuckoo. _See_ Reinecke. FC Child and the moon. Froebel. MP Child and the star. Elliott. MG--SL2--SM Child and the tree. Root. SV *Child Jesus came from heav'nly height. Gade. RCS (Kies. Child Jesus. MSL) *Child-land echoes with music. Phippen. EL Child, now open thy mouth. _See_ Froebel. Song of taste. MP Child of my heart, oh say! _See_ Hubbard. Hiding of the child. MSG (Froebel. Hide. MP) Child of my heart so fair and so dear. _See_ Froebel. Mother in unity with her child. MP Child who went to gather some treasures on the beach. _See_ Smith. Treasures. LCD Childhood's gold. Palmer. StN Children and the sheep. Marie Antoinette. HR (Cole. Sheep. CM) (Hill. Children and the sheep. SHS) Children at the tower. Froebel. MP Children came to Froebel's knee. _See_ Gaynor. Froebel. GS *Children, can you truly tell? Walker. WS Choral. Germer. HMC1 Chorister. Conrade. GS Chorus jig. ("Buzzard") FDM Music only. Chris-cradle sings. Hubbard. MSG Christ church bells. Aldrich. RCS Christ is risen. Martin. MSL Christ the Lord is ris'n today. _See_ Hubbard. Easter. MSG Christine's Christmas carol. Wilcox. EL Christmas. Reed. HS--TGS Christmas at the door. Reinecke. HR--SLI--FC Christmas bells. Funkhouser. FSK Christmas bells. McLellan. EL Christmas bells are ringing. _See_ Riley. Christmas carol. LL Christmas carol. KC Christmas carol. Stegall. RCS (Stegall. Manger throne. FS) Christmas carol. Adams. HS Christmas carol. Allen. EL Christmas carol. Elliott. SL1 Christmas carol. Gaynor. SC1 Christmas carol. Gaynor. SC2 Christmas carol. Ogden. KC Christmas carol. Riley. LL Christmas carol. Smith. SL2 Christmas carol. Terhune. CC Christmas day! and the joy-bells ring. _See_ McLellan. Christmas bells. EL Christmas day in the morning. CBO *Christmas, glad Christmas. Kendall. HS Christmas greeting. Hubbard. MSG Christmas has come. KC Christmas hymn. Gottschalk. KC (Reinecke. Christmas hymn. FC) (Smith. Christmas hymn. SL1) *Christmas is coming. Hubbard. MSG *Christmas is here. HR Christmas joys. Gaynor. SC2 Christmas joys are over. _See_ Gaynor. New Year. SC2 Christmas lullaby. Hill. SHS Christmas manger hymn. GS *Christmas! Merry Christmas! We greet it. Sherwood. HS Christmas night. Hill. SHS Christmas picture. Morton. HS Christmas secrets. Gaynor. SC2 Christmas song. (Holy night.) Adam. GS Christmas song. Brewster. BSS Christmas song. Cole. BSS Christmas song. Haydn. HR Christmas song. Reinecke. FC Christmas song. Rieff. KC Christmas song. Root. SV (Bingham. Why do bells for Christmas ring. BM) Christmas song. Schwartz. BSS Christmas song. Smith. SL2 Christmas star. Hill. SHS *Christmas time is coming. Smith. LCD Christmas tree march. Rieff. KC Christmas waltz-song. Andre. KC Christmas welcome. GS Christmas wreath. HC Church. Gaynor. SC1 Church. Smith. SL2 (Adapted from Froebel. Church window and church door. MP) (Variant: Hubbard. Church bell. MSG) Church. Smith. SM Church bell. Hubbard. MSG (Froebel. Church window and church door. MP) (Variant: Smith. Church. SL2) Church bells. Hill. SHS *Church bells. Martin. MSL Church bells. Montz. IMS Church window and church door. Froebel. MP (Hubbard. Church bell. SL2) (Adaptation : Smith. Church. SL2) Circle march. Montz. IMS Circles. Smith. SL2 City lad and country lass. Koschat. EFS City rat and the country rat. FS Clacker. Conrade. GS Clang! Clang! Clang! That's the fire bell I hear. _See_ Funkhouser. Fireman. FSK Clang! Clang! goes the blacksmith's hammer. _See_ Gaynor. Blacksmith. SC1 Clap, clap the hands. _See_ Roeske. Santa Claus. PFP Clappers. PS Clappers in the corn mill. _See_ Clappers. PS Clapping song. Gaynor. SC1 Clarke. Chanticleer. StN ---- In the tree-top. StN (Knowlton. In the tree-top. NS) ---- Love virtue. TLB ---- Two kittens. StN Clean kitchen table. _See_ Gaynor. Cook. LL Clear cool pond. FS Clench, clench, clench. _See_ Joiner. PS (Froebel. Joiner. MP) (Hubbard. Zisch, zisch, zisch. MSG) (Seidel. Joiner. HR) Click-a-tick-a-tick. _See_ Gaynor. Telegraph. SC2 *Click, clack, click, clack, merrily flows the rill. Osgood. RCS Clickety, clackety, now the wheels run. _See_ Ingraham. Riding on the rail. StN (Bartlett. Riding on the rail. StN) *Cling, cling, clinkerty clink. Hubbard. MSG Clip, clap. RCS (Millwheel. PS) Cloak of purple velvet. _See_ Gaynor. King Pansy. LL Clock. HR Clock. Atkinson. GS Clock game. Wiggin. KC Clock now points the hour. _See_ Sheehan. Good-bye song. OSM Clocks and watches. Koehler. HR Clocks forever repeating. _See_ Gaynor. Tick-tock. LL Clod. Koschat. EFS *Close hidden in my hand it lies. WS Close, little eyelets and go to dreamland. _See_ Hurd. Lullabye. Closing song. KC Clouds. Atkinson. SV Clouds and sunshine. Allen. StN Clouds are passing o'er the sky. _See_ Lach. Spring rain. SL2 Clouds of gray are in the sky. _See_ Hill. Nature's good-night. SHS Cloudy day. Reed. TGS Clover blossoms. EL Clover, clover in the field. _See_ Cole. Generous clover. CM Clovers. Knowlton. NS Clovers have no time to play. _See_ Knowlton. Clovers. NS Clown elephant. Kroeger. HMC2 Music only. Coach is at the door at last. _See_ Stevenson. Farewell to the farm. SS (Chadwick. Farewell to the farm. SS) Coaching carol. Terhune. CC Coasting. Gaynor. SC2 Coasting. Tufts. CL Coasting song. Sawyer. WS Cobbler. HR--LBS Cobbler. Brewster. BSS Cobbler, cobbler, mend my shoe. _See_ Hunt the slipper. HC Cobblers work! Cobblers work! _See_ Brewster. Cobbler. BSS Cocchi. Fly. RCS Cock-a-doodle-do! Tufts. CL Cock Robin and Jenny Wren. CBO--RCS Cockles and mussels. FS (Molly Malone. LBS) Cold and dark the earth is lying. _See_ Reinecke. Longing for Spring. RCS *Cold winter is round us. RCS Cole. All around the mulb'ry bush. CM ---- Beautiful world. CM (Adapted from Stevenson. Happy thought. CGV) ---- Bed in summer. CM _For other composers see_ Stevenson. Bed in summer. ---- Birds in winter. CM ---- Bless you, burnie bee. CM ---- Bobolink. CM ---- Bubbles. CM ---- Cheerful singing. CM ---- Christmas song. BSS ---- Come little children and sing. CM ---- Cow. CM (Bell. Cow. LBS) ---- Dandelion. CM ---- Dewdrops. CM ---- Dolly. CM ---- Far out at sea. TC ---- Generous clover. CM ---- Going to school. CM ---- Good morning, grandpa. CM ---- Good night and good morning. CM (Good night, no. 2. HR) ---- How the baby was named. CM ---- Humming bird. CM ---- "If." TC ---- In September. GS ---- Jolly Joe. CM ---- Lesson from the bee. CM (Tufts. Busy bee. CL) ---- Like baby. CM ---- Little birdies. CM ---- Little doggie. CM ---- Longing. TLB ---- Month of May. CM ---- My dog, Carl. CM ---- My kitty. CM ---- My song. TC ---- Neddy's pets. CM ---- One two three. CM ---- Pretty cow. CM (Seidell. Thank you, pretty cow. HR) (Smith. Thank you, pretty cow. SL1) (Tufts. Thank you, pretty cow. CL) ---- Ripe apples. CM ---- Rock-a-bye baby. CM ---- Scale songs. CM ---- Sheep. CM (Hill. Children and the sheep. SHS) (Marie Antoinette. Children and the sheep. HR) ---- Singing. CM _For other composers see_ Stevenson. Singing. ---- Singing and playing. CM ---- Skylark. CM ---- Snow. EL ---- Song about winter. CM ---- Star. TC ---- Stop, stop pretty water. CM (Tufts. Stop, stop pretty water. CL) ---- Sunbeam voices. CM ---- Swing. CM _For other composers see_ Stevenson. Swing. ---- Thistle's story. CM ---- To a honey-bee. CM ---- What can you do? TC ---- What the bells say. CM ---- When the night comes on. CM ---- Where the birdies grow. CM ---- Where they grow. CM (Where they grow. BSS) ---- Who stole the bird's nest? CM Coleridge. Song of Illyrian peasants. TLB *Columbia, the gem of the ocean. Shaw. GS Columbus. Gaynor. GS Columbus dreamed of distant lands. _See_ Gaynor. Columbus. GS *Columbus saw across the main. Johns. TC Comarinskaia. FDM Music only. Come, all ye young men, in your evil ways. _See_ Baptist game. NG *Come and join our carol. Story. WS *Come and join our circle. Smith. SL2 *Come and join our roundelay. JB Come and see, come and see. _See_ Pendulum. WS *Come, Aurora. FS Come, awaken, awaken, my little Boy Blue. _See_ Morning. FS Come ball to the children. _See_ Smith. So bright and so round. SL1 Come chick, chick, chick, chickie. _See_ Grieg. Farmyard song. FS Come child, and see the moon. _See_ Froebel. Child and the moon. MP Come children all. _See_ Wiggin. Village dance. KC Come children, clasp your neighbor's hand. _See_ Gaynor. Set of games. SC2 Come children, stand a moment still. _See_ Water mill. USI Come children with me to the garden. _See_ Little gardener. SM Come, come and form a ring. _See_ Wiggin. Ring song, No. 2. KC Come, come come! _See_ Weber. Ring song, No. 1. KC Come, come, come! Oh, come and form a merry ring. _See_ Wiggin. Ring song, No. 3. KC Come, come, come! Oh, come and form a ring. _See_ Smith. Ring song, No. 7. KC *Come, come, come, one and all. RCS Come, come, let's reap the flax plant to-day. _See_ Reaping the flax. KK Come, come, my little Spitz. _See_ Fritz and Spitz. RCS Come, come, my pretty Fido. _See_ Fido and his master. HR Come, come, one and all. _See_ Wiggin. Ring song, No. 5. KC Come, come, people come! _See_ Hill. Church bells. SHS Come, come, my pretty man. JB Come dance and be gay. _See_ Richter. May dancing song. HR *Come dance, little Thumbkin. Hailmann. HR Come, dear little children. Himmel. Thanksgiving song. SHS Come forth, little flowers. _See_ Wiggin. Spring's call to the flowers. KC *Come here, little Robin. Tufts. CL Come here, my dearest dear. _See_ Shoot the buffalo. USI Come in the ranks, keep step in merry march. _See_ Regimental march. FS Come, Jack, and tie right speedily. _See_ Taubert. Hildebrandshagen. RCS Come, Ladybird, and seat yourself. _See_ Schumann. Ladybird. FS *Come lasses and lads. FS--LBS (Marzials. Come lasses and lads. CPP) Come, let our lives like Jesus' shine. Kies. MSL Come, let's play a new game. _See_ Hurd. Introduction song. PTS Come, let us be joyous. _See_ Andre. Christmas waltz song. KC Come, let us live with our children. Sawyer. EL Come, let us make a garden. _See_ Gaynor. Let us make a garden. LL Come, let us play. _See_ Hailmann. Now, come let us play. HR Come let us play we're from Japan. Funkhouser. FSK Come let us play we're Indians red. Funkhouser. FSK Come, let us worship. Hayden. TLB Come little boy, here are grapes for you. _See_ Meissner. Tasting. ASC *Come little children and sing. Cole. CM *Come little leaves. Osgood. MSG--RCS--WS (Autumn leaves. HR) (Hill. Fall leaves. SHS) (Smith. Come little leaves. SL2) Come, little children, your praise sing. _See_ Martin. Jesus in king. MSL Come, little pigeons, come into the ring. _See_ Hubbard. Pigeons. MSG *Come little robin, and sing me a song. RCS. Come little robin, spread your wings. Funkhouser. FSK *Come live with me and be my love. Lawson. CPP Come lovely light and shine on us. _See_ Smith. Window. SM *Come lovely May. Mozart. RCS Come merry little sunbeam. _See_ Sherwood. Song for the prism. HS Come millers, near this babbling rill. _See_ Andreae. Water mill. HR *Come, Mirth, thou foe to the sighing. Paxton. RCS Come, my baby you shall make. _See_ Froebel. Pat-a-cake. SM *Come, my children, come away. Tufts. CL Come, my dear, dance we here. _See_ Gaynor. Dancing song. GS *Come my dolly. Smith. SV Come my dolly, let us play. _See_ Atkinson. Doll day. GS Come neighbor, the moon is up. _See_ Frog-pond. NG Come no time for idle slumber. _See_ Seven game. JB Come now, little birds. _See_ Cole. Birds in winter. CM Come now, our vessel is ready. _See_ Weber. On the sea. HR Come out into the garden. _See_ Dugan. Watering the flowers. EL Come out of your hiding place, violet blue. _See_ Brewster. Violet song. BSS Come see my small garden. _See_ Reed. Garden bed. TGS *Come, skip with me. KK *Come take a little partner. Hubbard. MSG Come take your barrow, neighbor John. _See_ Hubbard. Wheelbarrow. MSG Come tell me. _See_ Reinecke. Broom and the rod. FC *Come Thou almighty King. Giardini. TLB. Come to the garden feast. _See_ Smith. Taste song. SL2 Come to the top of the path in the garden. _See_ Nelham. Windmill. RCS Come to the woods and let us play. _See_ Hubbard. Froebel's birthday. MSG Come up, April. _See_ Knowlton. April. NS Come will you dance? O yes, I will. _See_ Kull-dansen. BFD Come with us sweet flow'rs. _See_ Gascon. Carol of the flowers. TLB Come, ye happy hearted children. _See_ Decoration day. BSS Comin' thro' the rye. EFS (Gin a body meet a body. FS) Commencement song. TLB Comparisons. Neidlinger. ES2 Conclusion. Froebel. MP Concone. Marche militaire. HMC2 Music only. ---- Run, run, run. HMC2 Music only. Conductor. Valentine. VBD Conrade. Angelus. GS ---- April, April! Are you here? GS ---- Autumn flowers. GS ---- Baby seed song. GS ---- Blue and the gray together. GS ---- Bluebird. GS ---- Bob White. GS ---- Buttercups and daisies. GS (Hubbard. Buttercups and daisies. GS) (Tufts. Buttercups and daisies. CL) ---- Calendar song. GS (Calendar song. RCS) ---- Chickens round the gate. GS (Hubbard. See the chickens round the gate. MSG) (Seidel. See the chickens round the gate. HR) ---- Chorister. GS ---- Clacker. GS ---- Crow calculations. GS ---- Daisies and stars. GS ---- Daisies in the meadows. GS (Walker. Out in the meadows. WS) ---- Daisy nurses. GS (Knowlton. Daisy nurses. NS) ---- Drummer boy. GS ---- Fairies. GS ---- Fairy artist. GS ---- Firefly song. GS ---- Forget-me-not. GS ---- Frog's good-bye. GS ---- I'm a little soldier boy. GS ---- In September. GS ---- In the springtime. GS ---- Indian cradle song. GS (Hitte. Indian lullaby. DM) ---- Little bird with eager wing. GS ---- Little Blue Jay. GS ---- Little Bo-Peep. (Bo-Peep. CBO) (Elliott. Little Bo-Peep. MG) (Little Bo-Peep. KM) ---- Little boy Bubble. GS ---- Little doves. GS ---- Little white feathers. GS (Smith. Little white feathers. SL1) ---- Little wind. GS ---- Lost, the summer. GS ---- Millwheel. GS (Hubbard. Round and round it goes. MSG) (Millwheel. EL) ---- Moon. GS ---- North wind. GS (Bartlett. North wind doth blow. StN) (Elliott. North wind doth blow. MG--SL1) (North wind and the robins. BB) (North wind doth blow. HR) (Tufts. North wind doth blow. CL) ---- November, no. 2. GS ---- October. GS ---- Old carol. GS ---- Pansies. GS ---- Pretty Polly Pansy. GS ---- Robert of Lincoln. GS ---- September. GS (Knowlton. September. NS) (McLellan. September. EL) ---- Sing, children, sing. GS ---- Snail. GS ---- Sparrow. GS ---- Sweet Pea. GS ---- Sweet summer's gone away. GS ---- Swinging. GS ---- Thanksgiving day. GS (Hubbard. Thanksgiving day. MSG) (Morton. Thanksgiving song. WS) (Sleigh-ride. HR) ---- Thanksgiving joys. GS ---- To Santa Claus. GS ---- Tradespeople. GS (Hubbard. Swallow. MSG) ----Where they go. GS (Walker. Where do all the daisies go? WS) Constant Billy. NEB1 Continued story. Gaynor. LL Coo, coo, coo, coo. _See_ Froebel. Cuckoo. MP Coo-oo, coo-oo, coo-oo, coo. Let me speak a word too. _See_ Cole. Who stole the bird's nest. CM "Coo-oo-oo." So in love to its mate calls the dove. _See_ Smith. Dove talk. LCD Cook. Gaynor. LL Cool the grass to the brown, bare feet. _See_ Gaynor. Bringing the cattle home. LL Coolun. EFS. Coonley. Anvil song. GS ---- Arbor day. GS. ---- As Joseph was walking. GS ---- Autumn flowers. GS ---- Autumn leaves. GS ---- Bird day. GS ---- Brownies. GS ---- Child's birthday. GS. ---- Clock. GS ---- Columbus. GS ---- Dancing song. GS ---- Doll day. GS ---- Doll's cradle song. GS ---- Easter. GS ---- Eskimo. GS ---- First flag. GS ---- Flower day. GS ---- Froebel. GS ---- Good-morning. GS ---- Good-night. GS ---- Growing. GS ---- Indian. GS ---- Japanese. GS ---- Labor day. GS ---- Lincoln. GS ---- Longfellow. GS ---- May-day. GS ---- May Queen. GS ---- Mother day. GS ---- My bicycle. GS ---- Rainbow. GS ---- Red, white and blue. GS ---- Salute. GS ---- Sing, children, sing. GS ---- Song of the nut. GS ---- Valentine day, no. 2. GS ---- Wake up. GS ---- Washington song. GS ---- Whittier. GS ---- Windmill. GS ---- Work of the week. GS Cooper. Bob White. GS ---- My brigantine. TLB ---- What robin told. NS Cooper. HR Cooper. Walker. WS (Hubbard. Cooper. MSG) Corelli. Giga. HMC2 Music only. Cornell. March. StN ---- Song of the robin. StN Cornish maypole dance. FDM Music only. Cornwell. Birdies' ball. WS (Hubbard. It is lovely May. MSG) ---- Ferns. EL ---- Fly, little birds, fly east and west. HS--WS ---- Fly, little birds, fly round the ring. WS (Hubbard. Flying birds. MSG) (Smith. Fly, little birds. SL2) ---- Kind deeds. EL ---- Little boy blue. EL ---- Little Jack Frost. WS (Little Jack Frost. HR) (Walker. Little Jack Frost. WS) ---- Little moon. EL ---- Sleep, baby, sleep. EL (Brewster. Sleep, my baby, sleep. BSS) (Sleep, baby, sleep. FS--RCS) (Smith. Sleep, baby, sleep. SL1) ---- There was once a little birdie. EL (Frost. Birdie's song. WS) (Rust. There was once a little birdie. EL) ---- Wind. EL (Bertini. I am the wind. HR) (Hubbard. I am the wind. MSG) (Sawyer. Wind. EL) Coronation. Holden. TLB Cosaque. Lange. HMC2 Music only. Cossack. FDM Music only. Cossack's song. TLB Cottrau. Santa Lucia. FS (Now 'neath the silver moon. EFS--TLB) Cough and crow to roost are gone. Parker. Robbers. TLB Counting game. KK Counting lesson. Roeske. PFP Country dance. FDM Music only. Country dance, I. ("Lust'ger Schweizerbu'") FDM Music only. Country dance, II. ("O Strassburg") FDM Music only. Country gardens. NEB1 Cousin Peter. LBS Cover the eyes all close and tight. _See_ Froebel. Flower song. SM Cow. Stevenson. CM--LBS _For composers see_ Stevenson. COW Cradle carol. Terhune. CC Cradle nest. Winslow. HS Cradle song. Atkinson. SV Cradle song. Barnby. TC Cradle song. Brahms. FS Cradle song. Brewster. BSS Cradle song. Fairlamb. StN (Fisher. Cradle song. StN) (Ilsley. Cradle song. StN) (Stanley. Cradle song. StN) (Suck. Cradle song. StN) Cradle song. Schumann. HMC1 Music only. Cradle song. Spazier. SHS Cradle song. Tennyson. EL (Baby's waking song. SHS) (What does little birdie say. SM) (Tufts. Little birdie. CL) Cradle song. Tufts. CL Cradle song of the Virgin. Barnby. RCS (Kies. Virgin's cradle song. MSL) Crawling, spinning, shelter winning. _See_ Hill. Caterpillar and moth. SHS Creeping, slowly creeping. _See_ Smith. Caterpillar. SM Creeping thing upon the ground. _See_ Smith. Caterpillar. SL2 Crested hen. FDM Music only. Cricket. Oldberg. HMC1 Music only. Crickets carol in the grass. _See_ Menard. Slumber song. BSS. Cris-cradle sings. Hubbard. MSG Crocus. Knowlton. NS Crocus and anemone are calling from the wood. _See_ Gaynor. Flower day. GS Crosby. Hurrah for the sleigh-bells. EL *Cross and crown. Martin. MSL Crossing the bar. Huss. TLB Crow. Gaynor. SC2 Crow calculations. Conrade. GS Crown her, oh crown her Queen of the May. _See_ Gaynor. May Queen. GS Crusaders. Pinsuti. TLB Cry is heard like thunder sound. _See_ Wilhelm. Watch by the Rhine. EFS--FS Csardas. BFD Csardas. FDM Music only. Csardas. Geza. HMC2 Music only. Cube. Hubbard. MSG Cube now is resting. _See_ Wiggin. Second gift song. KC Cube songs, 1 and 2. EL Cubes and ball. SL2 Cuckoo. PS Cuckoo. Bullard. SM Cuckoo. Froebel. MP Cuckoo. Hubbard. MSG Cuckoo, cuckoo, cuckoo, hark to the call. _See_ Hubbard. Spring. MSG *Cuckoo, cuckoo, cuckoo! My child, the cuckoo is singing. PS Cuckoo, cuckoo, cuckoo, cuckoo, cuckoo, the cuckoo now is calling. _See_ Hubbard. MSG Cuck-oo, cuck-oo, green wood-lands call. _See_ Messenger of spring. RCS *Cuckoo cuckoo! sound from the wood. PS *Cuckoo, cuckoo, the cuckoo calls you, dear. Bullard. SM Cunning cat is watching. _See_ Cat and mouse. PS *Curley locks. Elliott. MG Cushman. Wheel song. EL Cut finger. Neidlinger. SSS Cycle of the year. Neidlinger. ES1 Cylinder. Hubbard. MSG Cylinder song. EL Czerny. Number game. HR Da draussen auf der Aue. _See_ Taubert. Down in a grassy meadow. RCS Daddy, daddy, long legged daddy. _See_ Meissner. Granddaddy longlegs. ASC *Daffodil lady. Gaynor. LL Daffodils, daffodils, daisies and buttercups. _See_ Palmer. Little maid Margery. StN Daffy-down-dilly. Bacon. EL Daffy-down-dilly. Gaynor. SC1 Daffy-down-dilly. Smith. SL2 Dainty little stockings. _See_ Cole. Christmas song. BSS Dainty milkweed babies. _See_ Smith. Milkweed babies. SL2 Dairy. FS Daisies. Gaynor. SC2 Daisies and stars. Conrade. GS *Daisies are dancing. Smith. SL2 Daisies in the meadows. Conrade. GS (Walker. Out in the meadows. WS) Daisies white are nursery maids. _See_ Conrade. Daisy nurses. GS (Knowlton. Daisy nurses. NS) Daisy. Batchellor. WS Daisy. Haydn. HR (Reinecke. Daisy. SL1) (Reinecke. Field daisy. FC) Daisy and the wind. Neidlinger. SSS Daisy buds. Tufts. CL *Daisy dear. Hubbard. MSG Daisy nurses. Conrade. GS (Knowlton. Daisy nurses. NS) Daldans. FDM Music only. Dalecarlian maiden's song. Lindbald. EFS Dame, get up and bake your pies. _See_ Xmas day in ye morning. CBO Damrosch. Easter carol. StN (Fairlamb. Easter carol. StN) (Hubbard. Sweetly the birds are singing. MSG) ---- Handel. StN (Stanley. Handel. StN) ---- In the wood. StN ---- Jessie. StN ---- Joy, hope and love. StN ---- Lord's day. StN ---- Million little diamonds. StN (Burdett. Million little diamonds. StN) (Tufts. Winter jewels. CL) (Walker. Winter jewels. WS) ---- Minuet. StN (Fairlamb. Minuet. StN) (Fisher. Minuet. StN) (Mosenthal. Minuet. StN) ---- There's a ship on the sea. StN (Allen. There's a ship on the sea. StN) (Fisher. There's a ship on the sea. StN) ---- Valentine. StN (Fairlamb. Valentine. StN) Dance. Neidlinger. SSS *Dance a baby diddy. CBO (Elliott. Nurse's song. MG) *Dance, little baby. Weber. HR Dance. Looby, Looby, Looby dance. _See_ Looby, Looby. LBS (Here we come, Looby Loo. JB) (Looby Loo. BG--HC--NEB1) (Looby light. BB) Dance of greeting. BFD Dance of greeting. FDM Music only. Dance of the bears. Heins. HMC2 Music only. Dance of the frost elves. Grieg. HMC1 Music only. Dance of the rainbow fairies. Gaynor. SC1 Dance on the green. Baumfelder. HMC2 Music only. *Dance, Thumbkin, dance. LBS Dance we had at our village home. _See_ Koschat. City lad and country lass. EFS Dancing game. Gaynor. SC1 Dancing song. Froelich. HR (Reinecke. Dancing song. FC) Dancing song. Gaynor. GS Dancing song. Gaynor. LL Dancing song. Root. SV Dancing song. Smith. SL2 Dandelion. Bingham. BM Dandelion. Cole. CM Dandelion. Foote. StN Dandelion. Gaynor. SC1 Dandelion. Knowlton. NS Dandelion. Methfessel. SHS Dandelion cycle. Knowlton. NS Dandelion, dandelion, where's your cup of gold. _See_ Knowlton. Dandelion. NS Dandelion fashions. Smith. SL2 Dandelions. Suck. StN Dandelions, dandelions, like golden stars are you. _See_ Gaynor. Dandelion. SC1 Danse de Strasbourg (Ecossaise). FDM Music only Dapple gray horse. _See_ Taubert. Soldier song. FS--SL2 Dark brown is the river. _See_ Stevenson. Where go the boats. CGV--LBS--SF--SS _For composers see_ Stevenson. Where go the boats. *Darling little fingers. Weber. HR Dawn. Barnby. TLB Day. Knowlton. NS Day and night. Neidlinger. ES Day I left my home for the rolling sea. _See_ Yradier. Dove. FS *Day is dying. Roeckel. TLB Day is now spent. _See_ At the beginning and at the close of day, no. 6. PS (Variant: Day's far spent. JB) Day's far spent. JB (Variant: At the beginning and at the close of day, no. 6. PS) Dayre. Jolly Joe. CM ---- Summer shower. NS Dear child, we welcome you to-day. _See_ Gaynor. Welcome song. SC1 Dear grandmama is knitting. _See_ Gaynor. Grandma's knitting song. SC1 Dear, here I sit and sit. _See_ Terhune. Tithing-man. CC *Dear little ball. SL1 Dear little buttercups shine in the grass. _See_ Sheehan. To the wildflowers. OSM Dear little Daffy-down-dilly. _See_ Gaynor. Daffy-down-dilly. SC1 Dear little dollie is Emmie so fair. _See_ Cole. Dolly. CM Dear little friends across the way. _See_ Reinecke. Visit. SM Dear little lamb says: "Ba, ba." _See_ Neidlinger. Little lamb. SSS *Dear little lambs in happy fold. Kies. MSL Dear little light bird, happy and free. _See_ Jenks. Light bird. EL Dear little pansies are lifting their heads. _See_ Conrade. Pansies. GS Dear little plant fast asleep in its bed. _See_ Vose. Plants awakening. EL Dear little violet, don't be afraid. _See_ Knowlton. Calling the violet. NS Dear Lord in Heaven. _See_ Reinecke. Morning prayer. FC--SL1 Dear May, come on and render. _See_ In spring. PS Dear oh! the cat is in the snow. _See_ Cat in the snow. LBS Dear Santa Claus, come down the chimney to-night. _See_ Gaynor. Letter to Santa Claus. SC1 Dear Santa, now appear. Hubbard. MSG Dear Santa, now we meet you. _See_ Hubbard. Dear Santa now appear. MSG Dear sixpence, I've got sixpence. _See_ Jolly tester. BB (Elliott. Jolly tester. MG) Dear, what can the matter be? _See_ Oh, dear, what can the matter be? FS--OYA Death and burial of Cock-Robin. Elliott. MG December. Knowlton. NS Decker. Sweet content. TLB Decoration day. BSS DeKoven. Dutch lullaby. FSC ---- Fiddle-dee-dee. FSC ---- Japanese lullaby. FSC ---- Little Boy Blue. FSC ---- Little-oh-dear. FSC ---- Nightfall in Dordrecht. FSC ---- Norse lullaby. FSC ---- Orkney lullaby. FSC ---- Swing. SS _For other composers see_ Stevenson. Swing. Deland. To a daisy. TC ---- Waits. EL ---- While shepherds watched their flocks by night. EL De L'Isle. Marseillaise. EFS--FS Denza. Funiculi, funicula. FS (Denza. Merry life. TLB) (Denza. Sailing o'er a summer sea. EFS) Deo gratias. EFS Dessauer march. HMC2 Music only Dewey. Fir tree. HS Dickinson. Day. NS *Dickory, dickory, dock. Elliott. MG (Dickory dock. CBO) (Funkhouser. Hickory dickory dock. FSK) Dickory dock. CBO (Elliott. Dickory dickory dock. MG) (Funkhouser. Hickory dickory dock. FSK) Dictation exercises with the blocks. Gaynor. SC1 Did you ever blow a bubble. _See_ Gaynor. Bubbles. SC2 Did you ever hear of pussies. _See_ Gebauer. Queer pussies. HS *Did you ever see a lassie? BG--USI (Smith. Did you ever see a lassie? SL2) *Diddle-dy diddle. LBS Dietrich. To a daisy. TC ---- Woodland lullaby. TC Ding, ding, ding, from the high tower. _See_ Smith. Chimes. LCD Ding, dong! Hoffman. StN (Molloy. Ding, dong. StN) Ding, dong! Tufts. CL Ding, dong, bell! Nimble little Nell. _See_ Smith. Prompt. LCD *Ding dong bell! Pussy's in the well. CBO (Elliott. Ding, dong, bell. MG) Ding, dong, come along. _See_ Froelich. Dancing song. HR (Reinecke. Dancing song. FC) Ding, dong, dell. Hubbard. MSG Ding dong, ding dong! _See_ Gaynor. Hickory dickory dock. SC2 Ding dong, ding dong, ding dong bell. _See_ Cole. What the bells say. CM Ding dong, ding dong, hear the fire bells loudly ring. _See_ Valentine. Fireman. VBD Ding dong, ding dong! I'll sing you a song. _See_ Tufts. Ding dong. CL Ding, dong, ding! In solemn chime. _See_ Hill. Old year and New Year. HS Dinkey bird. Kelley. FSC *Dip your bread, Marie. RCS (Variant: Dip your bread, Polly. LBS) *Dip your bread, Polly. LBS (Variant: Dip your bread, Marie. RCS) Direction game. HR Dixie's land. Emmett. EFS--FS *Do, do, pity my case. NG *Do the little brown twigs complain? Smith. SL1 Do you ever think when you see a flow'r. _See_ Neidlinger. Small and great. ES2 Do you hear the song of rain? _See_ Hill. Rain on the roof. SHS *Do you know how many stars? Hubbard. MSG (God knows. RCS) Do you know of the Land of Nod? _See_ Gaynor. Land of Nod. SC1 Do you know the muffin man? _See_ Muffin man. BG--HC--JB--USI *Do you know the way to plant the choux? JB Do you know why the snow. _See_ Brown. Bedtime. EL *Do you lack for silk or satin? JB Do you see these tiny tracks in the snow? _See_ Gaynor. Tracks in the snow. SC1 *Dr. Faustus was a good man. CBO *Doctor is a very fine man. JB Dodge. April girl. StN ---- At the window. StN ---- Billy Buttercup. StN ---- Blessed day. WS ---- Bye, baby, birds are sleeping. StN ---- Bye, baby, bye. EL ---- Bye, baby, night has come. StN ---- Can a little child like me. EL--WS ---- Clouds and sunshine. StN ---- Ding dong! StN ---- Going to London. StN ---- Good news on Christmas morning. StN ---- If blue birds bloomed. StN ---- In the wood. StN ---- Little squirrels. StN ---- March. StN ---- Midsummer frolics. StN ---- Minuet. StN ---- Night and day. StN ---- Queen of May. StN ---- Snowflakes. StN ---- Sweet red rose. StN ---- There's a ship on the sea. StN Dodo. Blake. RCS *Dodo, baby, do. FS Dodo, l'enfant, do. _See_ Dodo, baby, do. FS Dog. Tufts. CL Dog and cat. RCS *Dogs to mill across and across. LBS Doh lives here in a wee little house. _See_ Gaynor. Mistress Doh and her neighbors. SC1 Doll day. Atkinson. GS Doll song. Grove. HS Doll's cradle song. Atkinson. GS Doll's cradle song. Reinecke. FC Doll's cradle song. Taubert. RCS Doll's wooing. Johns. FSC Dolly. Cole. CM Dolly and her mamma. Elliott. MG Dolly song. Hitte. DM Dolly, you're a naughty girl. Elliott. MG Dolphin lullaby. Gilchrist. TLB Don your cap and apron. _See_ Gaynor. Sweeping and dusting. SC2 Don't you think so? _See_ Cornell. Song of the robin. StN *Doors of morning. JB *Dormi. FS Dors, dors, mon enfant. _See_ Sleep, sleep, my darling. RCS Dost remember, dear, when last autumn. _See_ Heise. Little Karen. EFS Dost thou no longer love me? _See_ Siciliana. EFS Dotty and the clock. Brewster. BSS Double-set back. NEB2 Douglas. Annie Laurie. FS ---- Family drum corps. NS Douty. Bell-man. TLB ---- Better music ne'er was known. TLB Dove. Yradier. FS Dove cote. Smith. SL1 Dove talk. Smith. LCD Dow. Snowflakes. EL Down amid the wheat and hay. _See_ Gaynor. Poppy lady. LL Down below our one we go. _See_ Cole. Scale song, no. 7. CM Down by a shining water well. _See_ Stevenson. My kingdom. SF (Ramsay. My kingdom. SF) Down by the brook's green turning. _See_ Dairy. FS Down by the old farmhouse. _See_ Clear cool pond. FS Down by the water stands the mill. _See_ Gaynor. Mill. SC2 Down goes baby, mother's pet. _See_ Bullard. Falling, falling. SM (Adapted from Froebel. Falling, falling. MP) Down he goes, now falling, falling. _See_ Froebel. Falling, falling. MP (Adaptation: Bullard. Falling, falling. SM) Down in the buttercup meadow. Hubbard. MSG Down in the dear old orchard. Jenks. EL--HS Down in the deep grass. _See_ Gilchrist. Midsummer frolics. StN Down in the fields where the wild flow'rs grow. _See_ Methfessel. Dandelion. SHS. Down in the grass under my feet. _See_ Gaynor. To a dandelion. LL *Down in the grassy meadow. Taubert. RCS Down in the pleasant meadow. _See_ Tabram. Haymakers KC Down in the valley, deep, deep, deep. _See_ Cole. Where they grow. CM (Where they grow. BSS) Down the little raindrops patter. _See_ Batchellor. Shower and flower. WS Down thro' the waves of soft spring air. _See_ Root. Sunshine song. SV Dragonfly in the sunshine. Reinecke. HMC1 Music only. Draper. There's a song in the air. EL Draw a bucket of water. BG--USI (Draw buckets of water. JB) Draw back. NEB2 *Draw buckets of water. JB (Draw a bucket of water. BG--USI) Draw thou my soul, O Christ. _See_ Sullivan. St. Edmund. TLB Dream. Reinecke. HMC1 Music only Dream baby. FS *Drink to me only with thine eyes. CPP--EFS--FS *Drip, drop, drip, drop, sprinkle ev'rywhere. Valentine. VBD Drop the handkerchief. Gaynor. SC1 Drops are falling, falling. _See_ Knowlton. April rain. NS Drops are pouring down. _See_ Knowlton. Summer shower. NS Drops of rain! Drops of rain! _See_ Sawyer. Child's inquiry. EL Drummer. Taubert. SL2 *Drummer boy. Conrade. GS Drummer boys. Funkhouser. FSK Du willst mich kratzen. _See_ Dog and cat. RCS Duck. HMC2 Music only Duck dance. BG (Reinecke. Barcarole. FS) (Reinecke. I saw a ship a-sailing. HR) (Ship a-sailing. EL) (Fairy ship. BB) Duck game. Sawyer. EL Duckling. Gaynor. LL Dugan. Babe Jesus. EL ---- Carol, oh, carol! WS ---- Glad Easter is here. HS ---- Good-morning song. WS ---- Little Boy Blue. WS ---- Parting song. WS ---- Shine out, oh blessed star! WS ---- Watering the flowers. EL ---- Wind and the leaves. EL ---- Winter song. EL Duke and the castle. HC Duke Marlborough. FS Duke of Marlborough. FDM Music only Dulce domum. Reading. TLB Dunning. Five little white mice. HR Dusky maid with ebon hair. _See_ Hatton. Indian maid. TLB Dutch lullaby. DeKoven. FSC D'ye ken John Peel with his coat so gay. _See_ John Peel. FS Dykes. Holy, holy, holy! Lord God Almighty! TLB ---- I heard the voice of Jesus say. TLB ---- Lead, kindly light. TLB Each child has found a pleasant place. _See_ Running a race. PS Each mother loves best. Hill. SHS Early bird. Gaynor. LL *Early one morning. Marzials. CPP Earth and the clouds. Kuhlan. HR Earth's winter dress. Hill. SHS East wind brings the merry snow. _See_ Smith. Snowball song. SL2 Easter. Gaynor. GS Easter. Hadley. TLB Easter. Hubbard. MSG Easter carol. Fairlamb. StN (Damrosch. Easter carol. StN) (Hubbard. Sweetly the birds are singing. MSG) Easter carol. Sawyer. EL Easter day was a holiday. _See_ Maitland. Little Sir William. NEB1 Easter hymn. Batchellor. WS (Story. Easter hymn. WS) Easter morning. Chapek. HS Easter morning. Martin. MSL Easter song. Gaynor. SL1 Easter song. Johns. TLB Easter song. Rich. HS Easter song. Smith. SL1 Echo, echo, are you near? _See_ Smith. Echo play. LCD Echo play. Smith. LCD Ecossaise. _See_ Danse de Strasbourg. FDM Music only Ei, ei, Herr Reiter. _See_ Sir rider, ho, ho! RCS Ei Veilchen. _See_ Reinecke. Violet. RCS *Eia popeia. Taubert. RCS Eiapopeia! Was raschelt im Stroh? _See_ Taubert. Doll's cradle song. RCS Eiapopeia! What rustles the hay. _See_ Taubert. Doll's cradle song. RCS Eight white sheep. Walker. WS Ein' feste Burg. Luther. TLB (Luther. Mighty fortress. EFS) (Luther. Safe stronghold. FS) Electric light. Gaynor. SC2 Elgar. My love dwelt in a northern land. TLB Ellacombe. TLB Elliott. A. B. C, tumble down D. MG ---- Baa, baa, black sheep. MG (Baa, baa, black sheep. CBO--FS) (Gaynor. Baa, baa, black sheep. LL) (Hailmann. Baa, baa, black sheep. HR) ---- Cartwheel. SL2 (Walker. Cartwheel song. WS) ---- Child and the star. MG--SL2--SM ---- Chipmunks. SL2 ---- Christmas carol. SL1 ---- Curly locks. MG ---- Death and burial of Cock Robin. MG ---- Dickory, dickory, dock. MG (Dickory Dock. CBO) (Funkhouser. Hickory, dickory, dock. FSK) ---- Ding, dong bell. MG (Ding, dong bell. CBO) ---- Dolly and her mamma. MG ---- Feast of lanterns. MG ---- Georgie Porgie. MG ---- Goosey, goosey gander. MG (Goosey, goosey, gander. LBS) ---- Hey diddle diddle. MG ---- Hiding the ball. SL2 ---- High in the clear air. SL1 ---- Humpty Dumpty. MG ---- I had a little doggy. MG ---- I love little pussy. MG--SL1 ---- Is John Smith within? MG ---- Jack and Jill. MG (Jack and Jill went up the hill. CBO--OYA) ---- Jolly tester. MG (Jolly tester. BB) ---- King of France. MG ---- Lazy cat. MG (Lazy cat. HR) ---- Little Bo-peep. MG (Bo-peep. CBO) (Conrade. Little Bo-peep. GS) (Little Bo-peep. KM) ---- Little Boy Blue. SL1 ---- Little cock-sparrow. MG (Little cock-sparrow. BB--FS) ---- Little Jack Horner. MG (Gaynor. Little Jack Horner. LL) (Little Jack Horner. CBO) ---- Little jumping Joan. MG ---- Little maid, pretty maid. MG (Gaynor. Little maid, pretty maid. LL) ---- Little sunbeam. SL1 ---- Little Tommy Tucker. MG ---- Lullaby. MG--SM (Lullaby. HR) (Walker. Baby's lullaby. WS) ---- Maggie's pet. MG ---- Man in the moon. MG ---- Mistress Mary. MG ---- Mother Tabbyskins. MG ---- My lady wind. MG ---- Nineteen birds. MG ---- North wind doth blow. MG--SL1 (Bartlett. North wind doth blow. StN) (Conrade. North wind doth blow. GS) (North wind and the robin. BB) (North wind doth blow. HR) (Tufts. North wind doth blow. CL) ---- Nurse's song. MG (Dance a baby diddy. CBO) ---- Old man clothed in leather. MG (Old man in leather. BB) ---- Poor dog Bright. MG ---- Pussy-cat, pussy-cat. MG ---- Rain shower. SL2 ---- Ride a cock-horse to Banbury Cross. MG (Banbury Cross. OYA) ---- Ring. SL2 ---- Rocking-horse. SL2 ---- See-saw, Margery Daw. MG (See-saw, Margery Daw. LBS) ---- Simple Simon. MG ---- Sing a song of sixpence. MG (Song of sixpence. CBO) ---- Six little snails. MG ---- Song of kindness. SL1 ---- Spider and the fly. MG ---- Street car. SL2 ---- Taffy was a Welshman. MG ---- There was a crooked man. MG ---- Thievish mouse. MG ---- Three children sliding. MG (Three children sliding on the ice. CBO) (Tufts. Three children sliding. CL) ---- Three crows. MG ---- Three little mice. MG ---- Tom, the piper's son. MG (Tom, Tom, the piper's son. CBO) ---- Twinkle, twinkle little star. MG--SL1--SM (Gaynor. Twinkle, twinkle, little star. LL) (Hill. Twinkle, twinkle, little star. SHS) (Tufts. Twinkle, twinkle, little star. CL) (Twinkle, twinkle, little star. HR) (Walker. Twinkle, twinkle, little star. WS) ---- When the snow is on the ground. MG--SL1 ---- Whittington forever. MG ---- Worsted ball. SL2 Ellmenreich. Spinning song. HMC1 Music only. Elm and the maple, the ash and the oak. _See_ Knowlton. October. NS Elm trees are yellow. Hurd. EL Elson. Windmill. SL1--SM Emerson. Butterflies. SM ---- Humble bee. TLB ---- We thank Thee. GS Emmett. Dixie's land. EFS--FS *Emperor Napoleon had fifty thousand men. JB En passant dans un p'tit bois. _See_ Et moi de m'en courir. BB *End to end. Hailman. HR Endless song. Neidlinger. TLB Engine song. Tufts. CL Engineer. Neidlinger. ES2 English country dance ("Sir Roger de Coverley"). FDM Music only. Epitaph on a parish clerk. Webbe. TLB Equal measure gives us pleasure. _See_ Marching, no. 25. PS (Variant: Equal measure. HR) Ere the moon begins to rise. _See_ Barnby. Cradle song. TC Ernst. Five little pigs. HR Es fing ein Knab' ein Voegelein. _See_ Reinecke. Boy and the wren. RCS (Reinecke. George's song. FC) Es ging 'ne Zieg. _See_ Goat and the cow. RCS Es klappert die Muehle am rauschenden Bach. _See_ Clip, clap. RCS (Millwheel. PS) Es regnet auf der Bruecke. _See_ Ringel Tanz. BB Es regnet, es regnet. _See_ Taubert. It's raining. RCS Es tanzt ein Bibabutzemann. _See_ Bibabutzemann. RCS Escape at bedtime. Stevenson. CGV (Fisher. Escape at bedtime. CGV) Eskimo. Gaynor. GS Eskimo has a house of snow. _See_ Meissner. In Greenland. ASC Et moi de m'en courir. BB Etait une bergere. _See_ Shepherd maiden. FS (Bergere. BB) (Shepherdess. RCS) Even song. Parker. TC Evening. Gaynor. SC2 Evening bell. Kullak. HMC1 Music only. Evening concert. Gilchrist. HMC1 Music only. Evening hymn of the crusaders. TLB Evening prayer. Reinecke. FC--HR--SL1 Evening prayer. Smith. LCD Evening song. SL2 Evening star. Neidlinger. SSS Evening star. Reinecke. RCS Evening star. _See_ Reinecke. To the evening star. FC Ever so high, up in the sky. _See_ Tufts. Calling the tides. CL Every-day politeness. Wiggin. KC Every day the shining sun. _See_ Knowlton. Points of the compass. NS Every little flow'ret. _See_ God's tender care. HR Every night a star. Foster. TC (Cole. Star. TC) Ev'ry night, ev'ry night. _See_ Hill. Christmas star. SHS Every night my prayers I say. _See_ Stevenson. System. CGV (Fisher. System. CGV) Ewing. Jerusalem the golden. TLB Eyelids close in sweet repose. _See_ Hill. Lullaby and good morning. SHS Face the centre of the ring. _See_ Wiggin. Ring song, no. 6. KC Faintly as tolls the evening chime. _See_ Arnold. Canadian boat song. TLB *Fair Gabrielle. Henry. FS Fair is the castle upon the hill. _See_ Hawley. Hushaby sweet my own. FSC Fair little girl sat under a tree. _See_ Cole. Good night and good morning. CM (Good night, no. 2. HR) *Fair Rosie was a lovely girl. JB Fair Snow-white down in the glen. _See_ Reinecke. Snow-white. FC Fairest maiden, when I behold thee. _See_ Love's parting. EFS Fairies. Conrade. GS Fairies. Neidlinger. ES2 Fairlamb. April girl. StN (Stanley. April girl. StN) Fairlamb. Cradle song. StN (Fisher. Cradle song. StN) (Ilsley. Cradle song. StN) (Stanley. Cradle song. StN) (Suck. Cradle song. StN) ---- Easter carol. StN (Damrosch. Easter carol. StN) (Hubbard. Sweetly the birds are singing. MSG) ---- Little mermaid. StN ---- Lullaby. StN (Allen. Lullaby. StN) ---- Minuet. StN (Damrosch. Minuet. StN) (Fisher. Minuet. StN) (Mosenthal. Minuet. StN) ---- Song of April. TLB ---- Valentine. StN (Damrosch. Valentine. StN) Fairy. Reinecke. FC Fairy artist. Conrade. GS Fairy dance. Smith. LCD *Fairy maiden dance lightly round in the ring. KK Fairy play. KK Fairy sat on a roseleaf edge. _See_ Gilchrist. So wise. StN Fairy ship. BB (Duck dance. BG) (Reinecke. Barcarole. FC) (Reinecke. I saw a ship a-sailing. HR) (Ship a-sailing. EL) Fairy steps. Reinhold. HMC2 Music only. Fall leaves. Hill. SHS (Autumn leaves. HR) (Osgood. Come, little leaves. MSG--RCS--WS) (Smith. Come, little leaves. SL2) Falling! falling. Bullard. SM (Adapted from Froebel. Falling, falling. MP) Falling, falling. Froebel. MP (Adaptation: Bullard. Falling! Falling. SM) Falling leaves. Neidlinger. SSS Falling snow. Hill. HS Falling so lightly, drifting so whitely. _See_ Hill. Falling snow HS Family. Froebel. HR Family. Gilchrist. SM (Parker. Family. SM) Family Hurd. PTS Family. Parker. SM (Gilchrist. Family. SM) Family. Walker. WS Family drum corps. Knowlton. NS Music only. HMC2 Family finger play. Wiggin. KC Faning. Boat song. TC (Weidig. Boat song. TC) Far down in the valley. _See_ Smith. Alice's supper. SL1 Far, far away in Bethlehem town. _See_ Terhune. Christmas carol. CC Far, far to the southward. _See_ Good morning, canary. HS *Far out at sea. Cole. TC Far over western hills. _See_ Gaynor. Evening. SC2 Farewell. Hill. SHS Farewell to the birds. Gaynor. SC1 Farewell to the farm. Stevenson. SS (Chadwick. Farewell to the farm. SS) *Farewell, work. Koehler. HR Farmer. LBS (Can you show me how the farmer? JB) (Farmer. PS) (Farmer and the housewife. KK) (Froebel. Farmer. SM) (Koehler. Farmer. HR) (Shall I show you how the farmer? RCS) Farmer. Gaynor. LL Farmer. Hubbard. MSG Farmer. Reinecke. SL2 Farmer. Smeltzer. SZ Farmer and the doves. Taubert. RCS Farmer and the housewife. KK (Can you show me how the farmer? JB) (Farmer. LBS) (Farmer. PS) (Froebel. Farmer. SM) (Koehler. Farmer. HR) (Shall I show you how the farmer? RCS) Farmer and the miller. _See_ Roeske. Making bread. PFP Farmer has a dove-cot. _See_ Taubert. Farmer and the doves. RCS Farmer he lived in the West Countree. _See_ Barkshire tragedy. NEB1 *Farmer in the dell. BG--HC--LL--NG--USI (Farmer's in his den. JB) *Farmer's in his den. JB (Farmer in the dell. BG--HC--LL--NG--USI) Farmyard. Froebel. SM Farmyard song. Grieg. FS Farwell. Build thee more stately mansions. TLB ---- Song of greeting. TLB *Fast fly the hours. Naegeli. RCS Father and mother's care. Naegeli. SHS Father, father dear, I pray, Take your hat and cane to-day. _See_ Froebel. Toyman and boy. MP Father, from a distant land thy host hath come. _See_ Evening hymn of the crusaders. TLB Father Guillori. RCS (Petit chasseur. BB) Father, help each little child. _See_ Mozart. Morning hymn. HR Father, I cry to Thee. _See_ Himmel. Prayer. TLB Father in Heaven. _See_ Wiggin. Morning prayer, no. 2. KC Father in Heaven above, We Thank Thee. _See_ Sheehan. Spring morning prayer. OSM Father in Heaven, Thy children hear. _See_ Largo. TLB Father of all in Heav'n above. _See_ Hill. Thanks for daily blessings. SHS Father O'Flynn. FS Father, thou who carest. _See_ Hill. God's care of all things. SHS Father, we thank Thee for the light. _See_ Hill. Thanks for constant care. SHS Father, we thank Thee for the night. _See_ Batchellor. Morning hymn. WS (Hamburg. Morning hymn. HR) (Wiggin. Morning prayer. KC) Fear us not, whate'er we're doing. _See_ Reinecke. To the humble bee. FC Feast of lanterns. Elliott. MG Feather game. Gaynor. SC2 February. Knowlton. NS February. Marston. EL Feder Mikkel. FDM Music only. Feeding chickens. Knowlton. NS Feeding chickens. Montz. IMS Feeding the pigeons. PS Feel you the raindrops. _See_ Taubert. Birds in the nest. RCS Ferns. Cornwell. EL Ferns. Sloane. HS Ferret. Gaynor. LL (Ferret of the woods. RCS) Ferret of the woods. RCS (Gaynor. Ferret. LL) Ferrett runs to the woods. _See_ Ferret of the woods. RCS (Gaynor. Ferret. LL) *Ferret's here, he is there. LBS Fesca. When the earth wakes up in gladness. SL1 Feste Burg ist unser Gott. _See_ Luther. Ein' feste Burg. TLB (Luther. Mighty fortress. EFS) (Luther. Safe stronghold. FS) Festive march. HR Fiddle-de-dee. DeKoven. FSC Fiddle-de-dee, fiddle-de-dee, the fly has married the humble-bee. _See_ Fly and the humble-bee. BB *Fiddler he had but one onliest cow. KK Fido and his master. HR Field. Armenian lullaby. FSC ---- Brook. FSC ---- Child and mother. FSC ---- Dinkey-bird. FSC ---- Doll's wooing. FSC ---- Dutch lullaby. FSC ---- Easter carol. EL ---- Fiddle-dee-dee. FSC ---- Hushaby, sweet my own. FSC ---- Japanese lullaby. FSC ---- Kissing time. FSC ---- Little Boy Blue. FSC ---- Little Mistress Sans-Merci. FSC ---- Little-oh-dear. FSC ---- Little peach. FSC ---- Nightfall in Dordrecht. FSC ---- Norse lullaby. FSC ---- Oh, little child. FSC ---- Orkney lullaby. FSC ---- Rock-a-by lady. FSC ---- Swing high and swing low. FSC ---- Why do bells for Christmas ring? BM--SV (Bingham. Why do bells for Christmas ring? BM) (Root. Christmas song. SV) Field daisy. Reinecke. FC Field is brown and bare. _See_ Neidlinger. Plowman. ES Field mouse. Mokrejs. HMC Music only. Fields are white to harvest. _See_ Kies. Reaper. MSL Figure of eight. NEB2 Final triumph. Martin. MSL Finch. Sandman. HS Finding the place. Smith. SL2 Fine frosted cake. _See_ Smith. Three years old. LCD Finger family. Gaynor. SC1 Finger piano. Reinecke. SM Finger piano. Smith. SL1 Finger play. Froebel. KC (Froebel. This little thumb. MP) (Hubbard. What's this. MSG) Finger plays. PS (No. 19 a variant of Froebel. Numbering the fingers. SM) Finger song. Froebel. MP (Hubbard. Thumbs and fingers say "Good morning." MSG) Finger song. Smith. SL2 Fingers' lullaby. Gaynor. SC1 Fingers tripping up and down. _See_ Hailmann. Stanzas for finger piano. HR *Fir and the pine. RCS (Fir tree. FS) Fir tree. FS (Fir and the pine. RCS) *Fir tree grew in the forest old. Burnett. HS *Fire is burning, it burns so bright. KK Firebells. Montz. IMS Firefly, firefly, bright little thing. _See_ Conrade. Firefly song. GS Firefly song. Conrade. GS Fireman. Funkhouser. FSK Fireman. Valentine. VBD First Christmas. Morton. HS--WS (Reinecke. First Christmas. GS) First Christmas. Sawyer. EL First Christmas song. Hill. HS First dance. Gurlitt. HMC2 Music only. First flag. Atkinson. GS First flying lesson. Neidlinger. SSS First gift exercises. Reed. TGS First morning in March in the year thirty-three. _See_ Foxhunt. FS *First Nowell. FS First of May. BFD (Today is the first of May. KK) First primrose. Grieg. FS First ring song. Hill. SHS First snowflakes. Foerster. HMC1 Music only. First Thanksgiving day. Gaynor. SC2 First to one friend. See Froebel. Wandering song. SM First with shovel and a drill. _See_ Neidlinger. Miner. ES1 First your iron hot must be. _See_ Smith. Ironing day. SL2. (Warren. Ironing song. StN) Fischer. Bees. HR ---- Busy hands and fingers. HR ---- Cat on the tree. HR ---- Right, left, together. HR ---- Trades. HR ---- What I have. HR Fish, fresh fish. _See_ Wiggin. Fish-seller. KC Fish in the brook. Brahms. SM Fish in the brook. Kohl. SM Fish-seller. Wiggin. KC Fisher. Bed in summer. CGV _For other composers see_ Stevenson. Bed in summer. ---- Cradle song. StN (Fairlamb. Cradle song. StN) (Ilsley. Cradle song. StN) (Stanley. Cradle song. StN) (Suck. Cradle song. StN) ---- Escape at bedtime. CGV ---- Foreign children. CGV (Stanford. Foreign children. SS) ---- Land of Nod. CGV (Gilchrist. Land of Nod. SS) ---- Marching song. CGV _For other composers see_ Stevenson. Marching song. ---- Meadow talk. StN ---- My bed is a boat. CGV _For other composers see_ Stevenson. My bed is a boat. ---- Minuet. StN (Damrosch. Minuet. StN) (Fairlamb. Minuet. StN) (Mosenthal. Minuet. StN) ---- Rain. CGV ---- Singing. CGV _For other composers see_ Stevenson. Singing. ---- Snowflakes. StN ---- Swing. CGV _For other composers see_ Stevenson. Swing. ---- There's a ship on the sea. StN (Allen. There's a ship on the sea. StN) (Damrosch. There's a ship on the sea. StN) ---- Time to rain. CGV ---- Two little birds. StN ---- Where go the boats? CGV _For other composers see Stevenson._ Where go the boats? ---- Wild wind. StN ---- Wind. CGV _For other composers see_ Stevenson. Wind. ---- Windy nights? CGV _For other composers see_ Stevenson. Windy nights. Fisherman. Tabram. KC Fishes. KC Fishes. PS (Kohl. Little fish. HR) Fishes. Gaynor. SC1 Fishes. Hubbard. MSG Fishes. Reed. TGS Fishes at play. Hill. HS Fishes in the brook. Froebel. MP Five in a row. Reinecke. SL2--SM Five knights. Gaynor. SC1 Five knights and bad child. Hubbard. MSG (Froebel. Knights and the ill-humored child. MP) Five knights and good child. Hubbard. MSG (Froebel. Knights and the good child. MP) Five knights I see riding. _See_ Froebel. Knights and the good child. MP (Hubbard. Five knights and good child. MSG) Five knights I see riding. _See_ Froebel. Knights and the ill-humored child. MP (Hubbard. Five knights and bad child. MSG) Five knights in full trot are coming. _See_ Hubbard. Five knights and good child. MSG (Froebel. Knights and the good child. MP) Five knights in haste I see coming hither. _See_ Froebel. Hide thee, child. MP *Five little chickadees. Jenks. WS Five little children, busy all the day. _See_ Froebel. Happy brothers and sisters. SM Five little children climb a tree. _See_ Seidel. Venturesome children. HR Five little chipmunks. _See_ Elliott. Chipmunks. SL2 Five little maidens all in a row. _See_ Reinecke. Five in a row. SL2--SM *Five little mice. Roeske. PFP Five little pigs. Ernst. HR *Five little white mice. Dunning. HR Five riders and good child. Smith. SL1 Five robins in their airy nests. _See_ Tufts. Peep of day. CL Fjallnaspolska. BFD Fjallnaspolska. FDM Music only. Flagman. Gaynor. SC2 Flemming. Integer vitae. TLB *Flicker, flicker, fire-sprite. Titoff. FS Flitting butterflies. Foerster. HMC1 Music only Flotow. Memorial day. GS Flower basket. PS Flower basket. Andreae. HR Flower basket. Kohl. SM Flower basket. Smith. SM (Froebel. Basket. MP) Flower bed. Smith. SL1 Flower day. Gaynor. GS Flower fairies. Foerster. HMC1 Music only. Flower game. Wiggin. KC Flower garden. Smith. LCD Flower song. Froebel. SM Flower song. Hitte. DM Flower song. Reinecke. SM Flower wagon. Valentine. VBD Flowerets all sleep soundly. _See_ Brahms. Little dust man. EFS (Brahms. Lullaby. SHS) Flowers. Frazer. BSS Flowers' ball. Gaynor. LL Flow'rs for sleep are sighing. _See_ Hadley. While you sleep. TLB Flow'rs for the men who lost. _See_ Conrade. Blue and the gray together. GS Flowers' lullaby. SHS Flowers of the forest. FS Flowers unfolding. _See_ Montz. Seeds. IMS Flowers, wild-wood flowers, in a sheltered dell they grew. _See_ Sweet wildwood flowers. HR Fluttering and waving. _See_ Chapek. Sprinkling the clothes. HS Fly. Cocchi. RCS Fly. Gaynor. SC1 Fly, and the humble-bee. BB Fly away, fly away. _See_ Chapek. Birds in autumn. HS Fly away, fly away, birdie. _See_ Marzo. Baby Bo. StN *Fly away, fly away, little brown things. Gaynor. LL Fly, little bird, in the golden sun. _See_ Gilchrist. Flying bird. SM Fly, little birdies, fly in the sunlight. _See_ Hill. Flying song. SHS *Fly, little birds, fly east and west. Cornwell. WS--HS *Fly, little birds, fly 'round the ring. WS (Hubbard. Flying birds. MSG) (Smith. Fly, little birds. SL2) Flying bird. Gilchrist. SM Flying birds. Hubbard. MSG (Cornwell. Fly, little birds. WS) (Smith. Fly, little birds. SL2) Flying kites. Knowlton. HMC2 Music only. Flying song. Hill. SHS Foerster. First snowflakes. HMC1 Music only. ---- Flitting butterflies. HMC1 Music only. ---- Flower fairies. HMC1 Music only. ---- Nocturne: Go-to-sleep, fairies. HMC1 Music only. ---- Under the linden tree. HMC1 Music only. ---- Under the meadow. HMC1 Music only. Folded pigeon and pigeon-house. Seidel. HR Follen. Stop, stop, pretty water. CM Follow me. HR--OYA Fondly loves the dog his master. _See_ Tufts. Dog. CL Fondly wishing joy and blessing. _See_ Reinecke. Another birthday song. FC Fontaine. Swing song. HMC2 Music only. Foote. Bells. TLB ---- Brook. FSC ---- Dandelion. StN ---- Going to London. StN ---- Land to the leeward. TC ---- Little Mistress Sans-Merci. FSC ---- Lullaby. TLB (Golden slumbers kiss your eyes. RCS) (Henderson. Golden slumbers kiss your eyes. StN) ---- Nikolina. StN ---- Sun's travels. SS ---- Young night thought. SS Footprints. Neidlinger. SSS For air and sunshine, pure and sweet. _See_ Galloway. Giving thanks. MSL For all the pleasant things I see. _See_ Knowlton. Hymn for a child. NS For flow'rs that bloom about our feet. _See_ George. We thank Thee. GS *For he's a jolly good fellow. EFS For lands that need the gospel. _See_ Martin. Lands that need the gospel. MSL For peace and for plenty. _See_ Knowlton. Patriotic hymn. NS For prayer. Montz. IMS For the sky so bright and blue. _See_ Beach. Singing joyfully. TC For this new morning with its light. _See_ Reed. Morning thanksgiving. HS Foreign children. Stevenson. CGV--SS _For composers see_ Stevenson. Foreign children. Foreign lands. Stevenson. SS (Stanford. Foreign lands. SS) Foreign tongues. Gaynor. SC2 Forest fir, O forest fir. _See_ Fir tree. FS (Fir and the pine. RCS) Forest weasel. HC Forget-me-not. Hubbard. MSG (Conrade. Forget-me-not. GS) Forget-me-not. Reinecke. FC--SL1 (Jacobs. Forget-me-not. WS) Forlorn. Franz. TLB Forming the ring. Reinecke. WS. Forming the ring. Smith. SL2 (Heerwart. Merrily, merrily. HR) (Hubbard. Merrily form a ring. MSG) Forth Rodes rides with his twelve strong sons from pirate land. _See_ Rodes. KK Forward. FDM Music only. Forward, forward, forward, O weary feet. _See_ Morning song and march. TLB *Forward, homeward. HR (At the beginning and at the close of play, no. 7. PS) Foster. Every night. TC ---- Lullaby. TC ---- My old Kentucky home, good night. EFS ---- Old folks at home. EFS--TLB Fountain. Gaynor. SC1 Fountain. Hadley. TLB (Johns. Fountain. TC) Four dance. FDM Music only. Four little chestnuts swinging, swinging high. _See_ Vose. Song of chestnuts. EL Four little children here in the ring. _See_ Cole. All around the mulb'ry bush. CM Four little wee birdies. _See_ Schumann. Bird game. KC Four owls. Smeltzer. SZ Four presents. BB (Perrie, merrie, dixi. RCS) Four seasons. Seidel. HR Four seasons make up all the days of the year. _See_ Brown. Seasons. EL Fourth of July. Kern. HS Fox and goose. RCS Fox and the goose. KK *Fox went out in a hungry plight. Gaynor. LL Fox thro' the forest. See If I may. KK Fox, you've stolen my grey gander. _See_ Fox and goose. RCS Foxhunt. FS Fragrant flowers are bright and gay. _See_ Abt. Bee game. HR. Franc. Old hundred. TLB Franz. Forlorn. TLB Frau Schwalbe. Gaynor. LL Frazer. Flowers. BSS ---- Let's go sliding down the hill. BSS ---- Little four-years. BSS ---- Oh, wouldn't you like to go? BSS Freedom, our queen. Paine. TC (Strong. Freedom, our queen. TC) Frere Jacques. _See_ Brother James. RCS (Friar John. FS) Freu't euch des Lebens. _See_ Naegeli. Fast fly the hours. RCS Friar John. FS (Brother James. RCS) Frieden der Nacht. _See_ Reinecke. Peace of night. FS Friendly cow all red and white. _See_ Stevenson. Cow. CM--LBS _For composers see_ Stevenson. Cow. Friendly dark. Smith. LCD Fritz and Spitz. RCS Froebel. All's gone. MP (Hubbard. All gone. MSG) ---- Asleep. HR ---- Awake, ye little sleepers. HR ---- Baby and the moon. SL1 ---- Ball will wander. HR ---- Barnyard gate. MP (Hubbard. Barnyard. MSG) ---- Basket. MP (Smith. Flower basket. SM) ---- Basket. SL1 ---- Beckon to the chickens. MP ---- Beckon to the pigeons. MP ---- Boy and the moon. MP ---- Bridge. MP (Hubbard. Brook is flowing. MSG) (Adaptation: Smith. Bridge. SL2) ---- Brothers and sisters. MP (Hubbard. Brothers and sisters. MSG) ---- Carpenter. MP (Hubbard. Oh, see the carpenter. MSG) ---- Charcoal burner's hut. MP (Hubbard. Charcoal burner. MSG) ---- Child and the moon. MP ---- Children at the tower. MP (Variant: Froebel. Children on the tower. SL1) ---- Children on the tower. SL1 (Variant: Froebel. Children at the tower. MP) ---- Children's supper. SL2 ---- Church. SL2 (Variant: Froebel. Church window and church door. MP) (Hubbard. Church bell. MSG) ---- Church window and church door. MP (Variant: Froebel. Church. SL2) (Hubbard. Church bell. MSG) ---- Clock game. KC ---- Conclusion. MP ---- Cooper. HR ---- Cuckoo. MP ---- Dove cote. SL1 ---- End to end. HR ---- Falling, falling. MP (Adaptation: Bullard. Falling! Falling! SM) ---- Family. HR ---- Family. SM ---- Farmer. SM (Can you show me how the farmer? JB) (Farmer. LBS) (Farmer. PS) (Farmer and the housewife. KK) (Koehler. Farmer. HR) (Shall I show you how the farmer? RCS) ---- Farmyard. SM ---- Finger piano. SL1 ---- Finger play. KC (Froebel. This little thumb. MP) (Hubbard. What's this? MSG) ---- Finger song. MP (Hubbard. Thumbs and fingers say "Good morning." MSG) (Adaptation: Smith. Thumbs and fingers say "Good morning." SL1--SM) ---- Fishes in the brook. MP ---- Five riders and good child. SL1 ---- Flower song. SM ---- Go to sleep, Thumbkin. SL1--SM ---- Going to sleep. HR ---- Grandmamma. MP ---- Grass mowing. MP (Hubbard. Hasten to the meadow, Peter. MSG) ---- Greeting. SM ---- Grinding wheat. HR ---- Happy brothers and sister. SM ---- Hide. MP (Hubbard. Hiding of the child. MSG) ---- Hide thee, child. MP ---- In a hedge. SL1--SM ---- Joiner. HR--MP--PS (Hubbard. Zish, zish, zish. MSG) (Joiner. PS) (Seidel. Joiner. HR) ---- Knights and the good child. MP (Adaptation: Hubbard. Five knights and good child. MSG) ---- Knights and the ill-humored child. MP (Adaptation: Hubbard. Five knights and bad child. MSG) ---- Lengthwise, crosswise. MP (Hubbard. Target. MSG) (Adaptation: Hurd. Kite. PTS) (Adaptation: Reed. Kite. TGS) ---- Light bird on the wall. MP (Hubbard. Oh, birdie dear. MSG) (Adaptation: Smith. Light bird. SL1) ---- Little artist. MP ---- Little birdie in a tree. HR ---- Little chickens. HR ---- Little fish. HR ---- Little fishes. HR ---- Little gardener. MP (Hubbard. Garden bed. MSG) ---- Little gardener. SL2 ---- Little maiden and the stars. MP ---- Little nest. MP ---- Little thumb is one. MP ---- Little window. MP (Hubbard. Oh, see the light. MSG) (Wiggin. Window. KC) ---- Merry helpers. HR ---- Mother, good and dear. MP ---- Mother in unity with her child. MP ---- Mowing grass. SM ---- Mowing song. SL1 ---- Naming the fingers. SM ---- Now come, let us play. HR ---- Numbering the fingers. SM (Variant: Finger play, no. 19. PS) ---- Pat-a-cake. MP (Hubbard. Pat-a-cake. MSG) ---- Pat-a-cake. SM ---- Pat-a-cake, pat-a-cake. SL1 ---- Pendulum. HR ---- Pianoforte. MP ---- Pigeon house. HR ---- Pigeon house. MP (Kohl. Pigeon house. HR) (Pigeon house. PS) (Walker. Pigeon song. WS) ---- Play with the limbs. MP ---- Play with the limbs. SM ---- Rabbit. MP ---- See the windmill. HR ---- Shadow rabbit. SM ---- Skipping. HR ---- Smelling. SL2 ---- Snail. HR--BG--MSG--PS--WS ---- Song of perfume. MP ---- Song of smell. MP ---- Song of taste. MP ---- Sunshine song. SL1 ---- This is the mother. SL1 ---- This little thumb. MP (Froebel. Finger play. KC) (Hubbard. What's this? MSG) ---- Though your eyes are blinded. SL2 ---- Thumbkin says "I'll dance." SL1 ---- Thumbs and fingers say "Good morning." SL1--SM (Variant: Froebel. Finger song. MP) ---- Tick, tack. MP (Hubbard. Tick, tack. MSG) ---- Toyman and boy. MP ---- Toyman and the maiden. MP ---- Venturesome children. HR ---- Wandering balls. HR ---- Wandering song. SM ---- We're playing together. SL2 ---- Weather vane. HR--MP ---- Wheelwright. MP (Hubbard. Wheelwright. MSG) ---- Wild boar. MP ---- Winding. HR ---- Window. KC ---- Window. MP ---- Wolf. MP Froebel. Coonley. GS Froebel hymn. KC Froebel's birthday song. Rust. EL Froebel's favorite hymn. Rust. EL Froehlich. Dancing song. HR (Reinecke. Dancing song. FC) ---- Rain song. KC (Reinecke. Rain song. FC) Frog. Gaynor. SC2 Frog and horse. Gaynor. SC1 Frog and ye crow. CBO *Frog he would a-wooing go. OYA--RCS Frog pond. NG Froggie's swimming school. Gaynor. SC1 Frogs. PS Frogs. Graham. HMC1 Music only. Frogs. Hailman. HR Music only. Frogs. Hubbard. MSG Frog's good-bye. Conrade. GS Frog's wooing. CBO From breakfast on. _See_ Stevenson. Land of Nod. CGV--SS _For composers see_ Stevenson. Land of Nod. From Deutschland I come. _See_ Buy a broom. BB--RCS (Music also given in Cube song, no. 1. EL) From down in the ground. _See_ Terhune. Wellsweep. CC *From dust and grit. Smith. SL1 From noise of scare-fires rest ye free. _See_ Douty. Bellman. TLB From north and from south come the voices of trees. _See_ Gaynor. Arbor day. GS From quiet night the sun's bright light awakes us. _See_ Rust. Froebel's favorite hymn. EL From the bright blue heavens. _See_ Reinecke. God, the Father in Heaven. FC From the far blue heaven. _See_ Reinecke. Morning hymn. KC From the height, lovely white. _See_ Winter. PS From the old belfry wide and low. _See_ Conrade. Angelus. GS From the willow branches slender. _See_ Kohl. Flower basket. SM Front to back we march away. _See_ At the beginning and at the close of play, no. 4. PS Frost. Birdie's song. WS (Cornwell. There was once a little birdie. EL) (Rust. There was once a little birdie. EL) Fruit basket. Hurd. PTS Fruit market ball play. Wiggin. KC Fuchs, du hast die Gans gestohlen. _See_ Fox and goose. RCS Fuehlt ihr den Regen. _See_ Taubert. Birds in the nest. RCS Full moon's face is big and round. _See_ Gaynor. Moon phases. SC2 Funiculi, funicula. Denza. FS (Denza. Merry life. TLB) (Denza. Sailing o'er a summer sea. EFS) _Words not like FS_ Funkhouser. All aboard. FSK ---- Brownies' dance. FSK ---- Christmas bells. FSK ---- Drummer boys. FSK ---- Fireman. FSK ---- Hickory, dickory dock. FSK (Dickory dock. CBO) (Elliott. Dickory, dickory dock. MG) ---- In winter I get up at night. FSK _For other composers see_ Stevenson. Bed in summer. ---- Indian song. FSK ---- Japanese song. FSK ---- Jack o' lantern. FSK ---- Mister Sunshine. FSK ---- Mother Nature and Mr. Wind. FSK ---- Prayer. FSK ---- Robin's nest. FSK ---- Shoo fly. FSK ---- Sidewalk song. FSK ---- Some day you'll be a man. FSK ---- Tom, Tom, the piper's son. FSK ---- Waltz. FSK Furry old fellow. _See_ Neidlinger. Caterpillar. SSS Fuzzy little caterpillar. _See_ Roeske. Caterpillar. PFP Gade. Child Jesus. RCS (Kies. Child Jesus. MSL) ---- Greeting to spring. RCS (Kies. Greeting to spring. MSL) Gaelic cradle song. Hahn. BSS (Tufts. Old Gaelic lullaby. CL) (Harris. Gaelic lullaby. TLB) Gaelic lullaby. Harris. TLB (Hahn. Gaelic cradle song. BSS) (Tufts. Old Gaelic lullaby. CL) Gaily through the window shining. _See_ Birge. Morning sunshine. HS Gallop. Hiller. HMC2 Galloping fast and galloping free. _See_ Smith. Knights and the good child. SM Galloping, galloping, glad and gay. _See_ Gaynor. Five knights. SC1 Galloping horses. Hitte. DM Galloway. Church bells. MSL ---- Giving thanks. MSL Game for the senses. Jenks. EL Game of tag. Biehl. HMC2 Music only. Game of tag. Karganoff. HMC2 Music only. Game of the golden band. Gaynor. LL Game to teach five. Knowlton. NS Game with first kindergarten gift. Knowlton. NS Garden. FS Garden. Chapek. HS Garden bed. Hubbard. MSG Garden bed. Hubbard. MSG (Froebel. Little gardener. MP) Garden bed. Reed. TGS Garden fence. Smith. SL1 Garden game. HC Garden game. Hurd. PTS Garden gate. Gilchrist. SM Garden gate. Hubbard. MSG Garden mole. Oldberg. HMC1 Music only. Garden of our house, it is the funniest garden yet. _See_ Garden. FS Garrett. Oh, my luve's like a red, red rose. TLB Garry Owen. _See_ Jig: "Garry Owen." Page. HMC2 Music only. Gascon. Carol of the flowers. TLB *Gaudeamus igitur. _See_ Meeting. FS Gaul. Song of the brook. TC Gavotte. Beaumont. HMC2 Music only. Gavotte. Gurlitt. HMC2 Music only. Gay and gladsome spring. _See_ Gaynor. Who would not be glad? LL Gay and sprightly, treading lightly. _See_ Smith. Fairy dance. LCD Gay dances Bibabutzemann. _See_ Bibabutzemann. RCS Gay pretty valentines gladly we send. _See_ Hill. Valentine's message. HS Gaynor. Arbor day. GS ---- Around the Christmas tree. LL ---- Autumn. SC2 ---- Autumn leaves. GS ---- Awake. LL ---- Awakening. SC2 ---- Baa, baa, black sheep. LL (Baa, baa, black sheep. CBO--FS) (Elliott. Baa, baa, black sheep. MG) (Hailmann. Baa, baa, black sheep. HR) ---- Bay dear. LL ---- Baby moon. SV ---- Baby's toys. SC1 ---- Ball. SC2 ---- Ball games. SC1 ---- Bird day. GS ---- Bird's nest. SC1 ---- Birth of the butterfly. SC1 ---- Birthday greeting. SC1 ---- Blacksmith. SC1 ---- Blowing bubbles. SC1 ---- Boating, nos. 1 and 2. SC2 ---- Bobby Shafto. LL (Bobby Shafto's gone to sea. OYA) ---- Bobolink. SC2 ---- Bringing the cattle home. LL ---- Brownies. SC1 ---- Bubbles. SC2 ---- Building the house. LL ---- Bumble bee. SC1 ---- Buttercups. SC2 ---- Butterflies' hide and seek. LL ---- Butterfly. SC1 ---- Call to the circle. SC1 ---- Cat-tails. SC2 ---- Cat's cradle. SC1 ---- Chickery, crany-crow. LL ---- Child's birthday. GS ---- Choosing a game. SC1 ---- Christmas carol. SC1 ---- Christmas carol. SC2 ---- Christmas joys. SC2 ---- Christmas secrets. SC2 ---- Church. SC1 ---- Clapping song. SC1 ---- Coasting. SC2 ---- Columbus. GS ---- Continued story. LL ---- Cook. LL ---- Crow. SC2 ---- Daffodil lady. LL ---- Daffy-down-dilly. SC1 ---- Daisies. SC2 ---- Dance of the rainbow fairies. SC1 ---- Dancing game. SC1 ---- Dancing song. GS ---- Dancing song. LL ---- Dandelion. SC1 ---- Dictation exercises with the blocks. SC1 ---- Drop the handkerchief. SC1 ---- Duckling. LL ---- Early bird. LL ---- Easter. GS ---- Easter song. SC1 ---- Electric light. SC2 ---- Eskimo. GS ---- Evening. SC2 ---- Farewell to the birds. SC1 ---- Farmer. LL ---- Farmer in the dell. LL (Variant: Farmer in the dell. BG--HC--NG--USI) (Variant: Farmer's in his den. JB) ---- Feather game. SC2 ---- Ferret. LL (Ferret of the woods. RCS) ---- Finger family. SC1 ---- Fingers' lullaby. SC1 ---- First Thanksgiving day. SC2 ---- Fishes. SC1 ---- Five knights. SC1 ---- Flagman. SC2 ---- Flower day. GS ---- Flowers' ball. LL ---- Fly. SC1 ---- Fly away. LL ---- Foreign tongues. SC2 ---- Fountain. SC1 ---- Fox went out in a hungry plight. LL ---- Froebel. GS ---- Frog. SC2 ---- Frog and horse. SC1 ---- Froggies' swimming school. SC1 ---- Game of the golden band. LL ---- Giants. SC1 ---- Good bye. LL ---- Good bye, no's. 1 and 2. SC1 ---- Good bye. SC2 ---- Good morning. LL ---- Good morning. SC2 ---- Grandma's knitting song. SC1 ---- Greeting to the sun. SC1 ---- Growing. GS ---- Guessing game. SC1 ---- Happy lambkins. SC1 ---- Harvest of the squirrel and honey bee. SC1 ---- He was a shepherd lad. LL ---- Hey-diddle-diddle. LL ---- Hickory dickory dock. SC2 ---- House of the tit-tat-toe. LL ---- Household hints. LL ---- How many miles to Babylon? LL (Variant: How many miles to Banbury? JB) ---- I had a little doll. LL ---- Indian. GS ---- Jack Frost. SC1 ---- Jack o'lantern. LL ---- Japanese. GS ---- King Arthur. LL (King Arthur. CBO) (Reinecke. Good King Arthur. FC) ---- King Pansy. LL ---- Kite. LL ---- Labor day. GS ---- Lads and lassies. LL ---- Ladybug. SC2 ---- Land of Nod. SC1 ---- Language lesson. SC2 ---- Leaves' party. SC1 ---- Legend of the Christmas tree. SC1 ---- Lesson in arithmetic. LL ---- Let us all be quiet. SC1 ---- Let us make a garden. LL ---- Letter to Santa Claus. SC1 ---- Liesel, the goose girl. LL ---- Light bird. SC1 ---- Little housewife. SC1 ---- Little Jack Horner. LL (Elliott. Little Jack Horner. MG) (Little Jack Horner. CBO) ---- Little maid, pretty maid. LL (Elliott. Little maid, pretty maid. MG) ---- Little shoemaker. SC1 ---- Little vocal lesson. SC1 ---- Little yellow dandelion. SC1 ---- Lullaby. SC2 ---- Marching song. SC1 ---- Marguerites. LL ---- May day. GS ---- May Queen. GS ---- Merry Christmas. SC1 ---- Merry month of May. LL ---- Milking time. SC2 ---- Milkweed seeds. SC2 ---- Mill. SC2 ---- Mr. and Mrs. Sparrow. SC2 ---- Mr. Rooster and Mrs. Hen. SC1 ---- Mr. Wind and Madame Rain. SC2 ---- Mistress Doh and her neighbors. SC1 ---- Mistress Mary. LL ---- Moon boat. SC1 ---- Moon phases. SC2 ---- Morning glory bells. SC2 ---- Morning greeting. SC1 ---- Morning prayer. SC1 ---- Mother day. GS ---- Mother Holly. LL ---- Mother's knives and forks. SC1 ---- My bicycle. GS ---- My pony. LL ---- My shadow. SC1 ---- New Year. SC2 ---- New Year's Day. SC1 ---- Night moth. SC2 ---- Norman's work is finished. SC1 ---- November. LL ---- Oh, wide, wide world. SC1 ---- Our flag. SC1 ---- Owl. SC1 ---- Pat-a-cake. LL ---- Pigeon. SC2 ---- Piggie wig and piggie wee. SC2 ---- Pit-a-pat. SC1 ---- Popcorn people. SC1 ---- Poppies. SC2 ---- Poppy lady. LL ---- Postman. SC2 ---- Prayer. LL ---- Prism game. SC2 ---- Pussy. SC2 ---- Pussy willows. SV ---- Queen of the May. LL ---- Ragman. SC2 ---- Rainbow. SC1 ---- Recipe for a valentine. SC1 ---- Regiment. LL ---- Rhythm game. SC1 ---- River. SC1 ---- Robin Redbreast. SC1 ---- Round game. LL ---- Rub-a-dub-dub. SC1 ---- Sail. LL ---- Sailor. SC1 ---- Salute to the flag. SC2 ---- Sandman. LL ---- See-saw. SC1 ---- Set of games. SC2 ---- Shepherd of tender youth. TLB ---- Signs of the seasons. LL ---- Skating. SC2 ---- Sleighing song. SC1 ---- Snow balls. SV ---- Snow flakes. SC1 ---- Snowman. SC2 ---- Some lullabies. SC2 ---- Song of iron. SC1 ---- Song of the kitchen clock. SC1 ---- Song of the loaf of bread. SC1 ---- Song of the miller. LL ---- Song of the shearer. SC1 ---- Song of the sunflower. LL ---- Spinning the yarn. SC1 ---- Spring dance. LL ---- Spring song. SC1 ---- Stepping stones. SC2 ---- Street car. SC2 ---- Sweeping and dusting. SC2 ---- Sweetpea ladies. SC2 ---- Swing. SC2 ---- Tailor. LL ---- Target game. SC1 ---- Target maker. SC1 ---- Tea kettle. SC1 ---- Telegraph. SC2 ---- Telephone. SC2 ---- Thanksgiving. LL ---- Thanksgiving song. SC1 ---- Three blind mice. LL ---- Tick-tock. LL ---- To a dandelion. LL ---- Top. SC ---- Tracks in the snow. SC1 ---- Tree's friends. SC1 ---- Tripping we go. LL ---- Tulips. SC1 ---- Turn the big wheel. LL ---- Twas this way and that way. LL (Variant: When I was a lady. LBS) (Variant: When I was a schoolgirl. NEB1) (Variant: When I was a shoemaker. NG) (Variant: When I wore flounces. JB) ---- Twinkle, twinkle, little star. LL (Elliott. Twinkle, twinkle, little star. MG--SL1--SM) (Hill. Twinkle, twinkle, little star. SHS) (Tufts. Twinkle, twinkle, little star. CL) (Twinkle, twinkle, little star. HR) (Walker. Twinkle, twinkle, little star. WS) ---- Valentine day. GS ---- Valentines. SC2 ---- Violet. SC1 ---- Water lilies. SC2 ---- We'll stand up straight. SC1 ---- We march like soldiers. SC1 ---- We thank Thee. GS ---- Weathervane. SC2 ---- Weaving. SC1 ---- Welcome song. SC1 ---- When the regiment comes marching by. LL ---- Whittier. GS ---- Who would not be glad? LL ---- Why Mr. Gobbler changed his tune. SC2 ---- Wind. SC1 ---- Winding the clock. SC1 ---- Windmill. SC1 ---- Wishing. LL ---- Woodpecker. SC2 ---- Work of the week. GS ---- World wonders. SC2 Gayrhos. Reapers. HMC1 Music only. ---- Spring's awakening. HMC1 Music only. ---- Tournament. HMC2 Music only. ---- Walking on stilts. HMC2 Music only. Gebauer. New Year. HS ---- Queer pussies. HS Gefunden. BB Generous clover. Cole. CM Gentle Jesus, meek and mild. _See_ Beethoven. Child's prayer. HR Gently flit from flow'r to flow'r. _See_ Hubbard. Butterfly. MSG George's song. Reinecke. FC (Reinecke. Boy and the wren. RCS) *Georgie Porgie. Elliott. MG Georgy could thrash a dragon well. _See_ Arthur of Bradley. FS German hopping dance. FDM Music only. German hopping dance. HMC2 Music only. Germer. Choral. HMC1 Gersbach. Barbarossa. RCS Gertrude's birthday now is here. _See_ Gaynor. Birthday greeting. SC1 Gestern Abend ging ich aus. _See_ Hunter and the hare. RCS Geza. Csardas. HMC2 Music only. Giants. Gaynor. SC1 Giardini. Come, thou almighty King. TLB Gibbons. Silver swan. RCS Giffe. Lullaby. BSS Giga. Corelli. HMC2 Gigue bretonne. Bachmann. HMC2 Music only. Gilchrist. Beckoning the chickens. SM ---- Bird thoughts. SM ---- Carpenter. SM ---- Child and mother. FSC ---- Dolphin lullaby. TLB ---- Evening concert. HMC1 Music only. ---- Family. SM ---- Flying bird. SM ---- Garden gate. SM ---- Going to the fair. StN ---- Good night. StN ---- Home they brought her warrior dead. TLB ---- If blue birds bloomed. StN ---- Kitty cat. StN (Kitty cat and the mouse. RCS) (Walker. Kitty cat and the mouse. WS) ---- Land of Nod. SS (Fisher. Land of Nod. CGV) ---- Little John Bottlejohn. StN (Bristow. Little John Bottlejohn. StN) (Stanley. Little John Bottlejohn. StN) ---- Little plant. SM ---- Little travelers. HS ---- Little window. SM ---- Midsummer frolics. StN ---- My bed is a boat. SS _For other composers see_ Stevenson. My bed is a boat. ---- Oh, look at the moon. SM ---- Piper. TLB ---- Prayers of love. TLB ---- Rippling, purling little river. SM (Mozart. Rippling, purling. HR) (Rippling, purling little river. RCS) ---- Rock-a-by lady. FSC ---- So wise. StN ---- We two together. TLB ---- Whip-poor-will. TLB *Gin a body meet a body. FS (Comin' thro' the rye. EFS) Girl I left behind me. EFS Girl I've left behind me. Marzials. CPP Girl that's born on an April day. _See_ Fairlamb. April girl. StN (Stanley. April girl. StN) *Girls and boys, come out to play. CBO Girls scornful glances throw. _See_ Koschot. Clod. EFS "Give" said the little stream. _See_ Hubbard. Stream. MSG Giving thanks. Galloway. MSL Giving the balls. Hailmann. HR Glacier. Neidlinger. ES1 *Glad Christmas bells. GS Glad Christmas tide. Thompson. EL Glad Easter is here. Dugan. HS Glare of the flames was all around. _See_ Sacrifice. EFS Gleam of a torch at midnight. _See_ Foote. Land to the leeward. TC *Glorious things of Thee are spoken. Haydn. TLE Glueck. Broken ring. EFS ---- Mill. FS ---- Spring song. HR Gnomes. Reinhold. HMC1 Music only. Go, Dobbin, go. _See_ Gaynor. Farmer. LL *Go over, come back here. Walker. WS (Ball songs, No. 13. PS) *Go round and round the valley. NG (Round and round the village. BG--HC--JB--USI) Go round and round the village. _See_ Round and round the village. BG--HC--JB--USI (Go round and round the valley. NG) *Go thither, come hither. HR Go to bed, my little children. _See_ Brewster. Christmas song. BSS Go to sleep, dolly. BSS Go-to-sleep fairies. _See_ Foerster. Nocturne: Go-to-sleep fairies. HMC1 Music only. *Go to sleep, little thumb. Hubbard. MSG Go to sleep, Thumbkin. Smith. SL1--SM Goat doth run and loudly call. _See_ Goat and the cow. RCS Goat and the cow. RCS God be with us. Hatton. TLB God, beneath Thy guiding hand. _See_ Hatton. God be with us. TLB God bless you all. _See_ Christmas welcome. GS *God is always near me. Heerwart. HR (Smith. God is always near me. SL2) God is ever good. Wiggin. KC God is there. Walker. WS (Hubbard. Nature's God is there. MSG) God knows. RCS (Hubbard. Do you know how many stars? MSG) God loves his little children. Knowlton. NS *God made the sun. Heerwart. HR God make my life a little light. Batchellor. WS God of harvest praise. _See_ Carey. Harvest hymn. BSS God our Father made the night. _See_ Mozart. God's love. SHS God preserve our noble nation. _See_ Haydn. Austrian national hymn. FS *God rest ye, little children. GS God save our gracious King. _See_ God save the King. LBS God save the King. LBS *God sends his bright spring sun. Rust. EL (Smith. God sends his bright spring sun. SL1) God sends his bright warm summer sun. _See_ Wolf. Song of summer and winter. SHS God, the Father in Heaven. Reinecke. FC God's blessing on work. Albert. SHS God's care of all things. Hill. SHS God's love. Mozart. SHS God's tender care. HR God's work. Hill. SHS (Heerwart. All things bright and beautiful. HR) Goethe. George's song. FC (Reinecke. Boy and the wren. RCS) ---- Hedge roses. _See_ Goethe. Heiden-Roeslein. ---- Heiden-Roeslein. BSS--FS--RCS (Reichardt. Heather rose. RCS) (Schubert. Heather rose. RCS) (Schubert. Hedge roses. FS) (Schubert. Wild rose. BSS) ---- Lyndhurst. TLB ---- Wild rose. _See_ Goethe. Heiden-Roeslein. Going home. HR Going over the mountain. USI Going round the mulberry bush. HR (As we go round the mulberry bush. NG) (Here we go round the mulberry bush. HC) (Little washerwoman. KK) (Mulberry bush. BG--CBO--FS--JB--LBS) Going to London. Foote. StN Going to market. Winslow. HS Going to school. Cole. CM Going to sleep. Mozart. HR Going to sleep. Smith. LCD Going to sleepy land. _See_ Brewster. Cradle song. BSS Going to the fair. Gilchrist. StN Gold and crimson tulips. _See_ Gaynor. Tulips. SC1 Golden grain was gathered. _See_ Gaynor. First Thanksgiving day. SC2 (Knowlton. September. NS) (McLellan. September. EL) Golden rule. Hubbard. MSG Golden rule. Tufts. CL *Golden slumbers kiss your eyes. RCS (Foote. Lullaby. TLB) (Henderson. Golden slumbers kiss your eyes. StN) Goldenrod is yellow. _See_ Conrade. September. GS Goldfish. Valentine. VBD *Gone from me evermore. EFS Gone, gone, my child, all gone. _See_ Froebel. All's gone. MP (Hubbard. All gone. MSG) Gone is winter's storm and rain. _See_ Wolf and the lamb. JB Gone, my child, all gone. _See_ Smith. All gone, baby. SL1 Good advice. Sherwood. HS Good and bad children. Stevenson. SF (Ramsay. Good and bad children. SF) Good boy. Stevenson. SS (Bartlett. Good boy. SS) Good-bye. HR Good-bye. Gaynor. LL Good-bye. Gaynor. SC1 Good-bye. Gaynor. SC2 Good-bye. Hitte. DM Good-bye, daisy, pinks and rose. _See_ Mendelssohn. Child's good-bye. HR (Sawyer. Good-bye to the flowers. WS) Good-bye, dear friends. _See_ Gaynor. Good-bye II. SC1 Good-bye, fare you well. NEB2 Good-bye! good-bye! _See_ Good-bye song. SL2 Good-bye, good-bye, God speed you well. _See_ Gaynor. Good-bye. LL Good-bye, good-bye to summer. _See_ Kuecken. Robin Redbreast. HR Good-bye, little birdie. _See_ Tufts. Nell and her bird. CL Good-bye, little children. _See_ Conrade. Frog's good-bye. GS Good-bye, mamma. _See_ Reinecke. Sleighing song. SL2 Good-bye song. Hurd. PTS Good-bye song. Koehler. HR Good-bye song. Mozart. SHS Good-bye song. Reed. TGS Good-bye song. Sheehan. OSM Good-bye song. Smith. SL2 Good-bye song. Smith. KC Good-bye song. Wiggin. KC (Hailmann. Our work is done. HR) (Hubbard. Parting song. MSG) (Walker. Our play is o'er. WS) Good-bye to old winter. See Spring. HR Good-bye to summer. Smith. SL1 Good-bye to the flowers. Sawyer. WS (Mendelssohn. Child's good-bye. HR) Good comrade. FS Good day, my biddy hen, good day. _See_ Smith. Cackling hen. LCD *Good day, my Rosa. KK Good king Arthur. Reinecke. FC (Gaynor. King Arthur. LL) (King Arthur. CBO) *Good King Wenceslas look'd out. FS--RCS Good morning. Andre. KC Good morning. Atkinson. GS Good morning. Gaynor. LL Good morning. Gaynor. SC2 Good morning. Hailmann. HR Good morning. Smith. SV Good morning bows. Montz. IMS Good morning, brave children who come out today. _See_ Hill. Rainy day good morning. SHS Good morning, canary. HS *Good morning, dear children. Walker. WS Good morning, dear cobbler. See Smith. Shoemaker. SL2 Good morning, dear playmates, how glad you should be. _See_ Andre. Good morning. KC Good morning, dear sun. _See_ Atkinson. Good morning. GS Good morning, dearest Grandpa. _See_ Cole. Good morning, Grandpa. CM. Good morning, good morning, dear Thumbkin to you. _See_ Hailmann. Good morning. HR Good morning, good morning, we bid you good morning. _See_ Gaynor. Good morning. SC2 Good morning, grandpa. Cole. CM *Good morning, kind teacher. Hubbard. MSG Good morning, little children dear. _See_ Rust. Happy greetings. EL Good morning, little children dear. _See_ Wiggin. Kindergartner's morning greeting. KC Good morning, little playmates dear. _See_ Grove. Morning song. HS Good morning, lovely playroom. _See_ Hill. Good morning to the playroom. SHS *Good morning, merry sunshine. Hubbard. MSG (Smith. Good morning, merry sunshine. SL1--SL2) Good morning. Mister mouse; we've nothing for you here. _See_ Knight. Mouse and cat. HS Good morning, Mister postman. _See_ Knowlton. Postman. NS *Good morning, new day. Walker. WS *Good morning, playmates. Hailmann. HR Good morning, pleasant sunshine. _See_ Mozart. Good morning to sunshine. HR Good morning song. Dugan. WS Good morning song. Hill. SHS Good morning song. Reed. TGS Good morning song. Sheehan. OSM Good morning song. Valentine. VBD Good morning to all. Hill. SHS Good morning to sunshine. Mozart. HR Good morning to the kindergarten. Smith. SL2 Good morning to the playroom. Hill. SHS *Good morning to the sunshine fair. Dugan. WS Good morning to this pretty room. _See_ Smith. Good morning to the kindergarten. SL2 Good morning to you. _See_ Hill. Good morning to all. SHS Good morning to you. _See_ Valentine. Good morning song. VBD Good morning to you, glorious sun. _See_ Gaynor. Greeting to the sun. SC1 Good morning to you one and all. _See_ Gaynor. Good morning. LL Good morning to you one and all. _See_ Sheehan. Good morning song. OSM Good morning, little rose bush. _See_ Bartlett. Sweet red rose. StN (Ingraham. Sweet red rose. StN) (Mosenthal. Sweet red rose. StN) Good Mother Hen sits here on her nest. _See_ Roeske. Hen and chickens. PFP *Good news on Christmas morning. Hatton. StN Good night. HR (Cole. Good night and good morning. CM) Good night. TLB Good night. Atkinson. GS Good night. Gilchrist. StN Good night. Hatton. StN Good night and good morning. Cole. CM (Good night, no. 2. HR) *Good night to you all, and sweet be your sleep. FS Good old cock. Reinecke. FC Good tailors are we. _See_ Smith. Tailor. SL2 Good weather. Smith. LCD Goodale. April, April, are you here? GS ---- April rain. NS Goodban. Round on the diatonic scale. RCS Goose and little goslings come nipping the grass. _See_ Fox and geese. KK *Goosey, goosey gander, whither do you wander? LBS (Elliott. Goosey, goosey gander. MG) Gotlands-Quadrille. FDM Music only. Gott erhalte Franz den Kaiser. _See_ Haydn. Austrian national hymn. FS Gottschalk. Christmas hymn. KC ---- Holy Spirit, truth divine. TLB Gould. Now the day is over. TLB ---- Pilot. TLB *Gracious Savior, gentle Shepherd. Martin. MSL Graeff. Carol, carol children. HS ---- Spring song. HS Graham. Frogs. HMC1 Music only. Grand ladies. Smith. LCD Grand parade. Kullak. HMC2 Music only. Granddaddy longlegs. Meissner. ASC Grandma drove her sparrow hitch'd up to the cart. _See_ Grandma's old sparrow. BFD Grandma told me all about it. _See_ Damrosch. Minuet. StN (Fairlamb. Minuet. StN) (Fisher. Minuet. StN) (Mosenthal. Minuet. StN) Grandmamma. Froebel. MP Grandma's knitting song. Gaynor. SC1 Grandma's old sparrow. BFD Grass mowing. Froebel. MP (Hubbard. Hasten to the meadow, Peter. MSG) *Grasshopper Green. Riley. LL *Grasshopper Green. Walker. WS Grasshoppers' dance. Knowlton. HMC1 Music only. Graves. Foxhunt. FS ---- John Peel. FS ---- Little red lark. EFS--FS Graves. My love's an arbutus. EFS--FS Gray. Hunt is up. FS Great big steeple clocks say. _See_ Koehler. Clocks and watches. HR Great God in Heaven. _See_ Reinicke. Morning prayer. FC Great Hamburger. FDM Music only. Great round sun is gone. _See_ Smith. Evening prayer. LCD Great, wide, beautiful, wonderful world. _See_ Roeske. World. EL (Hubbard. Child's world. MSG) Green grass. HC (Variant: Here we come up the green grass. NEB1) *Green gravel, green gravel. LBS--NG--USI Green-grocer. Valentine. VBD *Green grow the leaves. JB Green holly boughs bring. _See_ Smith. Christmas carol. SL2 Green leafy tree. Smith. LCD Green leaves grew all around. JB (There was a tree stood in the ground. NG) Greeting. Froebel. SM Greeting. Mendelssohn. FS Greeting. Mendelssohn. RCS Greeting, O peaceful one, greeting. _See_ Farwell. Song of greeting. TLB Greeting song. Smith. KC Greeting to all, both great and small. _See_ Wiggin. Morning greeting. KC Greeting to spring. Gade. RCS (Kies. Greeting to spring. MSL) Greeting to spring. Sawyer. EL Greeting to the sun. Gaynor. SC1 Greeting to you, children dear. _See_ Gaynor. Morning greeting. SC1 Greetings we offer thee. _See_ Reinecke. Birthday song. SL2 Gregory. Rainbow children. EL Gretchen lies in her gloomy bed. _See_ Sinding. Mother sings. EFS Grieg. Album leaf. HMC2 Music only. ---- Dance of the frost elves. HMC1 Music only. ---- Farmyard song. FS ---- First primrose. FS ---- Morning mood. HMC1 Music only. Grinding wheat. Froebel. HR Grove. Bedtime. HS ---- Bird-band. HS ---- Doll song. HS ---- Morning song. HS ---- Mr. Toadie's coat. HS Grow old along with me. _See_ Hadley. Rabbi Ben Ezra. TLB Growing. Gaynor. GS Gruber. Stilly night, starry and bright. FS (Haydn. Holy night. RCS) Guardian angels. Schumann. FS Guess. Neidlinger. SSS Guess what Doris told me. _See_ Vose. Spring secrets. EL Guessing game. HR Guessing game. Gaynor. SC1 Guessing game. Wiggin. KC (Hubbard. Seeing. MSG) (Guessing game, no. 32. PS) (When we're playing together. WS) Guessing games. PS Guessing the singer. Reinecke. SM Guglielmo. Rowing. FS Guinea hen. HMC2 Music only. Gurlitt. Cave of the winds. HMC1 Music only. ---- First dance. HMC2 Music only. ---- Gavotte. HMC2 Music only. ---- Morning prayer. HMC1 Music only. ---- Rabbit. HMC1 Music only. ---- Sunshiny morning. HMC2 Music only. ---- Under the Maypole. HMC2 Music only. Gustaf's skal. FDM Music only. *Gustaf's skoal! O 'tis the best the land can boast. KK Gustave's toast. See Gustaf's skal. FDM Music only. Gute Kamerad. _See_ Good comrade. FS Guten Morgen, ihr Baume wie seht ihr so kalt. _See_ Morning song. RCS Guten Tag, ihr fleissigen Maegdlein. _See_ Taubert. Sparrow's greeting. RCS Ha, ha, he! My fine pony see. _See_ Tufts. Rocking-horse. FS Had you seen my sweet Coolun at the day's early dawn. _See_ Coolun. EFS Hadley. Easter. TLB ---- Flag. TLB ---- Fountain. TLB (Johns. Fountain. TC) ---- Rabbi Ben Ezra. TLB ---- While you sleep. TLB Hahn. Calling the flowers. ---- Gaelic cradle song. BSS (Harris. Gaelic lullaby. TLB) (Tufts. Old Gaelic lullaby. CL) Hahn. Lullaby song. BSS *Hail Columbia. Hopkinson. EFS Hailmann. April showers. HR ---- Baa, baa, black sheep. HR (Baa, baa, black sheep. CBO--FS) (Elliott. Baa, baa, black sheep. MG) (Gaynor. Baa, baa, black sheep. LL) ---- Baby bye, here's a fly. HR ---- Ball play. KC (Hailmann. Selling fruit. HR) ---- Birds' nest. HR (Variant: Hubbard. See my little birdie's nest. MSG) ---- Come dance, little Thumbkin. HR ---- End to end. HR ---- Frogs. HR ---- Giving the balls. HR ---- Good morning. HR ---- Hopping. HR ---- Little chickens. HR ---- Newsboy. HR ---- Now come let us play. HR ---- Oh, see the snow. HR (Hubbard. See the snow is falling fast. MSG) (Walker. Snow. WS) ---- Our work is done. HR (Hubbard. Parting song. MSG) (Walker. Our play is o'er. KC) (Wiggin. Good-bye song. KC) ---- Opening stanza. HR ---- Postman. HR ---- Putting the fingers to sleep. HR ---- Rosy, my posy. HR ---- Selling fruit. HR (Hailmann. Ball play. KC) ---- Sewing. HR ---- Stanzas for finger-piano. HR ---- Street car. HR ---- Tailor. HR ---- Teacher of gymnastics. HR (Variant: Little teacher of gymnastics. PS) (Variant: Smith. Choosing a game. SL1) (Variant: Wiggin. Imitation game. KC) ---- Teachers' hymn. HR (Bacon. Mother's hymn. EL) (Osgood. Mother's hymn. EL) (Teachers' hymn, II. KC) ---- Tossing. HR ---- Tossing game. HR ---- Up, down. HR ---- Voyage. HR ---- Weather vane. HR (Froebel. Weather vane. MP) ---- You love me and I love you. HR ---- You must be very tired. HR Half an hour past twelve o'clock. _See_ Marella. Half past twelve. RCS Half past twelve. Marella. RCS Hallingen. FDM Music only. Hamburg. Morning hymn. HR Hand in hand dance around. _See_ Root. Dancing song. SV Hand in hand dancing. _See_ Krakoviak, II. FS Hand in hand you see us well. _See_ Snail. BG--HR--MSG--PS--WS (Snail game. HC) Handel. Antioch. TLB ---- Awake my soul. TLB ---- Blacksmith. SL1 ---- Harmonious blacksmith. HMC1 Music only. ---- Messiah. TLB Handel. Damrosch. StN (Stanley. Handel StN) Hands shall heavy millstones be. _See_ Froebel. Grinding wheat. HR Hansel and Gretel dance. Humperdink. HC Happiest day. Hill. HS Happy birds among the boughs. _See_ Brown. Reason why. WS Happy birds are singing. _See_ Martin. Springtime. MSL Happy birds are with us once again. _See_ Gaynor. Bird day. GS Happy birds with joy will sing. _See_ Gaynor. Easter song. SC1 Happy brothers and sisters. Froebel. SM Happy child. PS Happy every morning when the hour comes round. _See_ at the beginning and at the close of play, No. 3. PS Happy greetings. Rust. EL "Happy, happy Christmas" let our voices chime. _See_ Chapek. Little child's carol. HS Happy is the miller. _See_ Miller. USI Happy lambkins. Gaynor. SC1 Happy little fishes. _See_ Fishes. KC Happy Monday morning. _See_ Hill. Good-morning song. SHS Happy spring waltz. Osgood. TC *Happy summer. Smith. SL1 Happy thought. Stevenson. CGV (Fisher. Happy thought. CGV) (Adaptation: Cole. Beautiful world. CM) *Happy town of Salem. Martin. MSL Happy wanderer. Jensen. HMC1 Music only Hard and soft balls. Smith. SL2 Hare. PS *Hare in the hollow. HC *Hare in the hollow. WS Hares. LBS *Hark, hark, my soul. Smart. TLB *Hark, hark, the lark. Reinecke. SL1 Hark, hark, the lark, list to his call. _See_ Sheehan. Lark. OSM Hark it echoes down the street. _See_ Festive march. HR *Hark, the bells are ringing. Hubbard. MSG Hark, the birds are coming. _See_ Hahn. Calling the flowers. BSS Hark, the bonny Christ Church bells. _See_ Aldrich. Christ Church bells. SM Hark, the church bells pleasant sound. _See_ Smith. Church. SM Hark the skylark in the cloud. _See_ Knowlton. Oh, the merry lay of June. NS Hark to our singing, sweet flowers bringing. _See_ Pomona. FS *Hark, what mean the children's voices? Kies. MSL Hark, what mean those wonderous voices? _See_ Kies. Final triumph. MSL Harmonious blacksmith. Handel. HMC1 Music only Harold's eyes are blinded tight. _See_ Smith. Hearing. SL2 Harp at Nature's advent strung. _See_ Stanford. Worship. TC *Harp that once through Tara's halls. Moore. EFS Harris. Gaelic lullaby. TLB (Hahn. Gaelic cradle song. BSS) (Tufts. Old Gaelic lullaby. CL) Harry McGarry. JB Harte. Jessie. StN Harvest dance (Finnish.) FDM Music only. Harvest home. Marzials. CPP Harvest hymn. Carey. BSS Harvest is in; the cellar and bin. _See_ Sherwood. Thanksgiving for harvest. HS Harvest of the squirrel and honey-bee. Gaynor. SC1 Harvest song. Smith. SL2 Harvester's dance (English.) FDM Music only. Haschka. Austrian national hymn. FS *Haste thee, nymph. Arnold. TLB *Hasten to the meadow, Peter. Hubbard. MSG (Froebel. Grass mowing. MP) Hatton. God be with us. TLB ---- Good news on Christmas morning. StN ---- Good night. StN ---- Indian maid. TLB Hausegesinde. BB (Widdy-Widdy-Wurky. LBS) (Wide-wide-wenne. RCS) *Have you heard the news? FS Have you lost your old mother? _See_ Gaynor. Baby moon. SV Have you seen but a bright lily grow. _See_ Cauffman. Love song. TLB *Have you seen the beggar-man? JB *Have you seen the mocking bird? JB Have you seen the muffin man? _See_ Muffin man. BG--HC--JB--USI Have you seen the Shah? _See_ Hunting. BG--USI (A-hunting we will go. JB) *Have you seen the soldier? HC Have you seen the swimming school? _See_ Gaynor. Froggie's swimming school. SC1 Hawley. Hushaby, sweet my own. FSC ---- Singing. SS _For other composers see_ Stevenson. Singing. Hay and straw are in the stack. _See_ Gaynor. Thanksgiving. LL "Hay foot, straw foot" march, boys. _See_ Terhune. Train-band. CC Hayden. Visiting game. HC Haydn. Austrian hymn. TLB ---- Austrian national hymn. FS ---- Carpenter theme. HMC1 Music only. ---- Child's May song. HR ---- Christmas song. HR ---- Daisy. HR ---- Glorious things of Thee are spoken. TLB ---- Hide and seek. SM ---- High and low. HR ---- Holy night. RCS (Gruber. Stilly night. FS) ---- In native worth. TLB ---- Lambkin. GS ---- Wake up fairies. HMC1 Music only. ---- Winter. HR (Hubbard. Old winter. MSG) Hayes. Spring. RCS ---- Wind, gentle evergreen. TLB Hayloft. Stevenson. LBS--SF _For composers see_ Stevenson. Hayloft. Haymakers. Tabram. KC Haynes. There were four lilies. TC He brings his father's slippers. _See_ Smith. Useful. LCD He is calling. Martin. MSL He's an old bachelor. _See_ Day's far spent. JB He that will not when he may. FS He was a cabbage. _See_ Bridge. Her lovers. TC *He was a shepherd lad. Gaynor. LL He who wants to be a soldier. _See_ Young recruit. LBS Hear the captain clearly calling. _See_ Martin. Captain's call. MSL Hear the happy children as they sing. _See_ Martin. Christ is risen. MSL Hear the 'plashing of the fountain. _See_ Gaynor. Fountain. SC1 Hear the quail in yonder glen. _See_ Walker. Summer song. WS *Hear the shining angels sing. Martin. MSL Hear the sledges with the bells. _See_ Foote. Bells. TLB *Hear my prayer. RCS Hearing. Hubbard. MSG Hearing. Meissner. ASC Hearing. Smith. SL2 Heart of happiness is mine. _See_ Tailor's dance. BFD Heather rose. _See_ Goethe. Heiden-Roeslein. BSS--FS--RCS _For composers see_ Goethe. Heiden-Roeslein Heav'nly Father, hear thy children. _See_ Wiggin. Morning prayer, No. 3. KC Heavenly Father, Thee we love. _See_ Albert. God's blessing on work. SHS Heav'nly Father, Thee we love. _See_ Beethoven. Hymn. HMC1 Heavens resound with his praises eternal. TLB Heavy on my weary senses. _See_ Saleza. Remembrance. FS Hecker. Spring song. GS Hedge roses. _See_ Goethe. Heiden-Roeslein. BSS--FS--RCS _For composers see_ Goethe. Heiden-Roeslein Heerwart. All things bright and beautiful. HR (Hill. God's work. SHS) ---- God is always near me. HR *Here comes one duke a-riding. JB (Variant: Three dukes a-riding. OYA) (Variant: Here come three dukes a-riding. NEB1) (Variant: Here comes one soldier marching. HC) *Here comes one Jew. JB *Here comes one soldier marching. HC (Variant: Here come three dukes a-riding. NEB1) ---- God made the sun. HR ---- Merrily, merrily. HR ---- Spring flowers. HR ---- Spring joy. HR ---- Trees. HR--KC--SM ---- Windmill. KC (Seidel. Windmill. HR) Heiden-Roeslein. Goethe. BSS--FS--RCS _For composers see_ Goethe. Heiden-Roeslein. Heigh-ho, daisies and buttercups. _See_ Frazer. Flowers. BSS Heigh ho, heigh ho, how the winds blow. _See_ Gaynor. Autumn. SC2 Heine. Greeting. FS ---- Loreley. FS--RCS (Silcher. Loreley. FS) (Silcher. Lurlei. RCS) ---- Two grenadiers. TLB Heins. Dance of the bears. HMC2 Music only. Heise. Little Karen. EFS Hello, Central. _See_ Gaynor. Telephone. SC2 Hello! said Father Winter. _See_ Neidlinger. Cycle of the year. ES1 Help, neighbors, help. _See_ Strong. Baby's bread. HS Hen and chickens. Roeske. PFP Henderson. Golden slumbers kiss your eyes. StN (Foote. Lullaby. TLB) (Golden slumbers kiss your eyes. RCS) Henry. Fair Gabrielle. FS Henschel. Oak and the streamlet. TC Her kirtle has a rosy sheen. Dietrich. TC Her lovers. Bridge. TC Herald of freedom, for childhood's sweet sake. _See_ Froebel hymn. KC Here am I. See Elliott. Little jumping Joan. MG Here and there, everywhere. _See_ Smith. Dandelion fashions. SL2 Here are the little leaves that grow. _See_ Sherwood. Leaves, flowers and fruits. HS Here come riding the knights so gay. _See_ Smith. Knights and the bad child. SM Here come the sounding buglers. _See_ We are sounding buglers. JB *Here come three dukes a-riding. NEB1 (Three dukes a-riding. OYA) (Variant: Here comes one duke a-riding. JB) (Variant: Here comes one soldier marching. HC) Here come two creatures, now who can they be? Funkhouser. FSK *Here comes an old man from Hull. JB *Here comes an old woman from Switzerland. JB (Variant: Three dukes a-riding. OYA) (Variant: Here comes one duke a-riding. JB) Here comes Simon of Salle. _See_ Simon of Salle. KK Here comes the cable-car. _See_ Valentine. Conductor. VBD Here comes the flower wagon. _See_ Valentine. Flower wagon. VBD Here comes the merry baker. _See_ Taubert. Trade-game. KC Here comes the sandman stepping so lightly. _See_ Finch. Sandman. HS Here comes the wind. _See_ Root. Wind song. SV Here I am and how do you do? _See_ Cole. Month of May. CM Here I step within the ring. _See_ By streamlet and leafy dale. KK Here in my open hand. _See_ Ball song. KC Here is a pretty ball. _See_ Ball songs. No. 9. PS Here is a pretty cradle nest. _See_ Winslow. Cradle nest. HS Here is a snowflake, dainty and white. _See_ Sawyer. Snowflake. EL Here is Miss Pussy. _See_ Tufts. My pussy. CL Here is my trooper. _See_ My trooper. FS (My knight is a rider. RCS) Here is one in a purple hat. _See_ Thaxter. My pansies. EL Here is the beehive, where are the bees. _See_ Roeske. Counting lesson. PFP Here lies within this tomb so calm. _See_ Webbe. Epitaph on a parish clerk. TLB Here now we meet again. _See_ Wiggin. Morning hymn. KC Here's a ball for baby. _See_ Roeske. All for baby. PFP Here's a little birdie's nest. _See_ Hurd. Bird's nest. PTS Here's a little kitty. _See_ Smith. Soft and hard balls. SL2 Here's a pretty cradle nest. _See_ Gilchrist. Bird's nest. SM Here's another song. _See_ Neidlinger. Sea song. ES1 Here's Grandpapa. _See_ Froebel. Family. SM Here's the old man of Tobago. _See_ Smeltzer. Old man of Tobago. SZ Here stand we all united. _See_ Reinecke. Hiding game. SM Here we are the same old friends. _See_ Hubbard. Scissors grinder. MSG Here we come, bunnies in the sun. _See_ Bunny's accident. JB Here we come gath'ring nuts in May. _See_ Nuts in May. BG--JB--LBS--USI (Knots of May. NG) *Here we come, Looby Loo. JB (Looby light. BB) (Looby Loo. BG--HC--NEB1) (Looby Looby. LBS) *Here we come up the green grass. NEB1 (Variant: Green grass. HC) Here we dance Looby Loo. _See_ Looby Loo. BG--HC--NEB1 (Here we come, Looby Loo. JB) (Looby light. BB) (Looby Looby. LBS) Here we go. HR Here we go around this ring. _See_ Marriage. NG Here we go in the garden swing. _See_ Conrade. Swinging. GS Here we go o'er the snow. _See_ Sawyer. Coasting song. WS Here we go over the green grass. _See_ Green grass. HC (Variant: Here we come up the green grass. NEB1) Here we go round and round. _See_ Gaynor. Round game. LL Here we go round our gay juniper tree. _See_ Little washerwoman. KK (As we go round the mulberry bush. NG) (Going round the mulberry bush. HR) (Here we go round the mulberry bush. HC) (Mulberry bush. BG--CBO--FS--JB--LBS) Here we go round the mulberry bush. HC (As we go round the mulberry bush. NG) (Going round the mulberry bush. HR) (Little washerwoman. KK) (Mulberry bush. BG--CBO--FS--JB--LBS) Here we go, steady and slow. _See_ Hubbard. Skating song. MSG Here we stand hand in hand. _See_ Playtime. RCS Hering. Little pony. HR Herman bosses. FDM Music only. Herrick. Bellman. TLB Herron. Oh, ring glad bells. WS Hey, big thumbs up. _See_ Hey, thumbs up. KK *Hey, diddle, diddle. Bartlett. StN (Elliott. Hey, diddle, diddle. MG) (Gaynor. Hey, diddle, diddle. LL) Hey, hammer! ho, hammer! _See_ Smith. Carpenter. SL1 Hey ho, my bonny lad. _See_ Bacon. Before the mowing. EL Hey, little brownies, come and frolic. _See_ Brownie polska. KK Hey, master rider, your mare no farther ride her. _See_ Berry. Rider. KC Hey the rabbit! _See_ Froebel. Shadow rabbit. SM Hey, thumbs up. KK *Hickory, dickory, dock. Funkhouser. FSK (Dickory dock. CBO) (Elliott. Dickory, dickory dock. MG) Hickory, hickory dock. Gaynor. SC2 Hide. Froebel. MP (Hubbard. Hiding of the child. MSG) Hide and seek. Brown. EL Hide and seek. Haydn. MP Hide thee, child. Froebel. MP Hiding game. Reinecke. SM Hiding of the child. Hubbard. MSG (Froebel. Hide. MP) Hiding the ball. Elliott. SL2 Hiding the stone. PS High and low. Haydn. HR High art riding. HMC2 Music only. High in the air the birds are sailing. _See_ Reinecke. Birds and angels. FC High in the azure heaven. _See_ Reinecke. Evening star. RCS *High in the clear air. Elliott. SL1 High on the top of an old pine tree. _See_ Conrade. Little doves. GS (Wiggin. Little doves. KC) Highland fling. Burchenal. BFD Highland fling, I and II. FDM Highland fling. Page. HMC2 Music only. Highland lad my love was born. FS Highland schottische ("Weel may the keel row.") FDM Music only. Hildebrandshagen. Taubert. RCS Hill. Awakening song. SHS ---- Bees' market. SHS ---- Blacksmith's song. SHS ---- Blessings on effort. SHS ---- Brooklet's song. HS ---- Busy carpenters. SHS ---- Butterfly and moth. SHS ---- Bye, baby, bye. SHS (Smith. Bye, baby, night has come. SL2--StN) ---- Caterpillar and moth. SHS ---- Certainty of law. SHS ---- Children and the sheep. SHS ---- Christmas lullaby. SHS ---- Christmas star. SHS ---- Church bells. SHS ---- Each mother loves best. SHS ---- Earth's winter dress. SHS ---- Fall leaves. SHS (Autumn leaves. HR) (Osgood. Come, little leaves. MSG--RCS--WS) (Smith. Come, little leaves. SL2) ---- Falling snow. HS ---- Farewell. SHS ---- First Christmas song. HS ---- First ring song. SHS ---- Fishes at play. HS ---- Flying song. SHS ---- God's care of all things. SHS ---- God's work. SHS (Heerwart. All things bright and beautiful. HR) ---- Good morning song. SHS ---- Good morning to all. SHS ---- Good morning to the playroom. SHS ---- Happiest day. HS ---- In autumn. HS ---- Jack Frost. SHS ---- Light and shadow. SHS ---- Lullaby and good morning. SHS ---- Merry little snowflakes. SHS ---- Migration song. SHS ---- Moon song. SHS ---- Nature's Easter song. SHS ---- Nature's good night. SHS ---- North wind. SHS ---- Old year and new year. HS ---- Presentation song. SHS ---- Rain clouds. SHS ---- Rain on the roof. SHS ---- Rainy day good morning. SHS ---- See the pretty valentines. HS ---- Skipping song. SHS ---- Snow clouds. SHS ---- Song for a child's birthday. HS ---- Song of the millstream. SHS ---- Song of the sewing machine. SHS ---- Song of the trees. HS ---- Stages of life. SHS ---- Story of the apple. SHS ---- Story of the bread. SHS ---- Story of the butter. SHS ---- Story of the Christ. SHS ---- Sunrise. HS ---- Sunset. HS ---- Sunshine's message. SHS ---- Thanks for constant care. SHS ---- Thanks for daily blessings. SHS ---- Thanksgiving day. HS ---- Toyman's shop. HS ---- Twinkle, twinkle little star. SHS (Elliott. Twinkle, twinkle, little star. MG--SL1--SM) (Gaynor. Twinkle, twinkle, little star. LL) (Tufts. Twinkle, twinkle, little star. CL) (Twinkle, twinkle, little star. HR) (Walker. Twinkle, twinkle, little star. WS) ---- Valentine's message. HS ---- Waking flowers. SHS ---- Washing and ironing. SHS ---- Weather song. SHS ---- When you send a valentine. HS ---- While stars of Christmas shine. HS ---- Wind song. SHS ---- Yes, come, dear, dear Christmas. HS Hiller. Autumn. HMC1 Music only. ---- Gallop. HMC2 Music only. ---- Soldiers are coming. HMC2 Music only. Himmel. Prayer. TLB ---- Thanksgiving song. SHS His pretty head is brilliant red. _See_ Gaynor. Woodpecker. SC2 Hist, hist, be still. _See_ Gaynor. Brownies. SC1 Hitte. Autumn. DM ---- Clock. DM ---- Cookie song. DM ---- Dolly song. DM ---- Flower song. DM ---- Galloping horses. DM ---- Good-bye. DM ---- Indian lullaby. DM (Conrade. Indian cradle song. GS) ---- Little soldiers. DM ---- Marking time. DM ---- Merry Christmas bells. DM ---- Mill. DM ---- Partner sweet. DM ---- Rain. DM ---- Skipping. DM ---- Waltz. DM Ho! for us; hey! for us. _See_ Rieff. Christmas song. KC Ho! here comes Simon of Salle. _See_ Simon of Salle. KK Ho, ho, ho, ho, ho! High the Cossack's heart is bounding. _See_ Cossack's song. TLB *Ho, little laddie, let's be dancing. KK Ho! yonder stands a charming creature. _See_ Twenty, eighteen. NEB1 Hofer. Old carol. GS Hoffman. Ding, dong. StN (Molloy. Ding, dong. StN) Hog-drivers, hog-drivers, hog-drivers we are. NG Holden. Coronation. TLB ---- My neighbor. EL Hole in a log. _See_ Smith. Squirrel. SL2 Holiday. LBS Hollaender. Birds in the woods. HMC1 Music only. ---- In dolly's kitchen. HMC1 Music only. ---- March. HMC2 Music only. ---- Scenes from the circus. HMC2 Music only. Holland. Lullaby. StN Holly wreaths are shining. _See_ Gaynor. Christmas joys. SC2 Holmes. Build thee more stately mansions. TLB ---- Freedom, our Queen. TC Holy child. RCS Holy Christmas time. _See_ Haydn. Christmas song. HR *Holy, holy, holy, Lord God Almighty. Dykes. TLB Holy night. Haydn. RCS (Gruber. Stilly night. FS) Holy night, the stars are brightly shining. _See_ Adam. Christmas song. GS *Holy Spirit, truth divine. Gottschalk. TLB Home, sweet home. Bishop. EFS--FS--LBS *Home they brought her warrior dead. Gilchrist. TLB Homer. RCS Honest work earns pleasure after. _See_ Work. FS Honey bee. Cole. CM Honey bee and clover. Meissner. ASC Hook. Lass of Richmond Hill. FS--TLB *Hop, hop, come birdies all. Walker. WS *Hop, hop, hop, pony do not stop. LBS--RCS Hop, mother Annika. KK Hopp, mor Annika. FDM Music only. Hope carol. Smith. TLB Hope of the nation. Rogers. KM Hopkins. Spirit of God. TLB ---- Three kings of Orient. FS Hopkinson. Hail Columbia. EFS Hopp, hopp, hopp, Pferdchen lauf' Galopp. _See_ Hop, hop, hop. LBS--RCS Hopping. Hailmann. HR Hopping and flying together. Hubbard. MSG (Birds. PS) Hopping birds. WS Hopping birds. Hubbard. MSG (Birds. PS) Hops in the nest. HR Hornpipe. Page. HMC2 Music only. Hornpipe (Danish.) FDM Music only. Horse. Neidlinger. ES2 Horse-shoeing. Mozart. HR Horses trotting. Montz. IMS Hot cross buns, hot cross buns. BB Hot irons. _See_ Chapek. Ironing song. HS Houghton. Good night and good morning. CM ---- March. NS Hour was sad I left the maid. _See_ Girl I left behind me. EFS Hours have sped on golden wings. _See_ Gaynor. Good bye. SC2 House. Lark. TC House of the tit-tat-toe. Gaynor. LL Household hints. Gaynor. LL Housekeeping. NG (Variant: Polly put the kettle on. BB--OYA) Houseman. Awake, awake. HS How are the children awakened. _See_ Hill. Awakening Song. SHS How are Thy servants blessed. _See_ Psalter. These see His wonders in the deep. TLB How beautiful, how joyous, our circle large and wide. _See_ Smith. Transformation game. SM *How can I leave thee? Kuecken. EFS--FS How delightful 'tis to see. _See_ Pleasant light. PS How do robins build their nests? _See_ Johnson. What Robin told. BSS (Knowlton. What Robin told. NS) How do you do? Funkhouser. FSK How do you do, Mister Sunshine? Funkhouser. FSK How do you like to go up in a swing? _See_ Stevenson. Swing. BM--CGV--CM--EL--LBS--SM--SS _For composers see_ Stevenson. Swing. How does my lady's garden grow? _See_ My lady's garden. CBO How doth the little busy bee. _See_ Cole. Lesson from the bee. CM (Tufts. Busy bee. CL) *How d'ye do, sir? NEB2 *How gentle God's commands. Naegeli. TLB How great is our pleasure. _See_ Oh, how great is our pleasure. HR How he runs. _See_ Gaynor. Ferret. LL How hot, no cooling breeze. _See_ Thunderstorm. HR How I learned to sew. Bingham. BM How it blows and storms and pours. _See_ Koehler. Storm. HR How it looks in the mill. Reinecke. FC How Johnnie and Polly shake the apples. Reinecke. FC *How many miles to Babylon? Gaynor. LL (Variant: How many miles to Banbury? JB) *How many miles to Banbury? JB (Variant: Gaynor. How many miles to Babylon? LL) *How oats and beans and barley grow. JB (Oats, peas, beans. BG--HC) How pleasant the life of a bird must be. _See_ Tufts. Birds in summer. CL *How should I your true love know? Marzials. CPP *How sweetly the lark is trilling on high. JB How the little limbs fly out. _See_ Froebel. Play with the limbs. MP How strange to make a thing to float. _See_ Neidlinger. About boats. ES2 How the baby was named. Cole. CM How the corn grew. Roeske. PFP How the wind blows. Wills. EL *How we love our kindergarten. Andreae. HR How well upon one point I stand. _See_ Hubbard. Cube. MSG Howe. Battle hymn of the republic. EFS--FS ---- Child's American hymn. TC Howitt. Buttercups and daisies. CL--GS--MSG *Hub a dub dub. Smeltzer. SZ Hubbard. All gone. MSG (Froebel. All's gone. MP) ---- Apples ripe. MSG ---- Away among the blossoms. MSG (Away among blossoms. EL) ---- Ball. MSG ---- Ball is sinking. MSG ---- Barnyard. MSG (Froebel. Barnyard gate. MP) ---- Basket of flowers. MSG ---- Bees. MSG ---- Bell high in the steeple. MSG (Ball song, No. 11. PS) (Bell high in the steeple. WS) (Smith. Bell so high. SL1) ---- Bird on the tree. MSG ---- Bird song. MSG ---- Birds must fly. MSG ---- Bluebird. MSG (Bluebird. WS) ---- Brook is flowing. MSG (Froebel. Bridge. MP) (Variant: Smith. Bridge. SL2) ---- Brothers and sisters. MSG (Froebel. Brothers and sisters. MP) ---- Bucket song. MSG (Walker. Bucket song. WS) ---- Busy children. MSG ---- Buttercups and daisies. MSG (Conrade. Buttercups and daisies. GS) (Tufts. Buttercups and daisies. CL) ---- Butterfly. MSG ---- Cat and the mouse. MSG ---- Charcoal burner. MSG (Froebel. Charcoal burner's hut. MP) ---- Child's world. MSG ---- Chris-cradle sings. MSG ---- Christmas greeting. MSG ---- Christmas is coming. MSG ---- Church bell. MSG (Froebel. Church window and church door. MP) (Variant: Smith. Church. SL2) ---- Cling, cling, clinkerty clink. MSG ---- Come, little leaves. MSG _For other composers see_ Osgood. Come, little leaves. ---- Come take a little partner. MSG ---- Cooper. MSG (Walker. Cooper. WS) ---- Cube. MSG ---- Cuckoo. MSG ---- Cylinder. MSG ---- Dary dear. MSG ---- Dear Santa now appear. MSG ---- Ding, dong, dell. MSG ---- Do you know how many stars? MSG (God knows. RCS) ---- Down in the buttercup meadow. MSG ---- Easter. MSG ---- Farmer. MSG ---- Fishes. MSG ---- Five knights and bad child. MSG (Froebel. Knights and the ill-humored child. MP) ---- Five knights and good child. MSG (Froebel. Knights and the good child. MP) ---- Flying birds. MSG (Cornwell. Fly, little birds. WS) (Smith. Fly, little birds. SL2) ---- Forget-me-not. MSG (Conrade. Forget-me-not. GS) ---- Froebel's birthday. MSG ---- Froebel's song. MSG ---- Frogs. MSG ---- Garden bed. MSG (Froebel. Little gardener. MP) ---- Garden gate. MSG ---- Go to sleep, little thumb. MSG ---- Golden rule. MSG ---- Good morning, kind teacher. MSG ---- Good morning, merry sunshine. MSG ---- Hark, the bells are ringing. MSG ---- Hasten to the meadow, Peter. MSG (Froebel. Grass mowing. MP) ---- Hearing. MSG ---- Hiding of the child. MSG (Froebel. Hide. MP) ---- Hopping and flying together. MSG (Birds. PS) ---- Hopping birds. MSG ---- Hush-a-bye, birdie. MSG ---- I am a busy bee. MSG ---- I am the wind. MSG (Bertini. I am the wind. HR) (Cornwell. Wind. EL) (Sawyer. Wind. EL) ---- I should like to build today. MSG ---- In the branches of a tree. MSG (In the branches of a tree. WS) ---- It is lovely May. MSG (Cornwell. Birdies' ball. WS) ---- Jack Frost. MSG ---- Jesus bids us shine. MSG (Walker. Jesus bids us shine. WS) ---- Johnny's trade. MSG ---- Lady moon. MSG (Sawyer. Lady moon. WS) ---- Let your feet go tramp. MSG (Let the feet go tramp. BG) (Tramp, tramp, tramp. HR) ---- Little ball lies in my hands. MSG (Asleep. HR) (Ball songs, no. 10. PS) (Mozart. Going to sleep. HR) ---- Little bird made a nest. MSG ---- Little brown hands. MSG ---- Little brown thrush. MSG ---- Little star. MSG ---- Little worm. MSG ---- Lizzards. MSG (Variant: Knowlton. Over in the meadow. NS) ---- Lovely May. MSG ---- Maypole song. MSG ---- Merrily, form a ring. MSG ---- Miller. MSG (Mill. EL) ---- My soft ball loves to wander. MSG ---- Nailor. MSG ---- Nature's God is there. MSG (Walker. God is there. WS) ---- Nearer, my God, to Thee. MSG (Mason. Nearer, my God, to Thee. TLB) ---- Nearer to Heaven we'll be. MSG (Hubbard. There is a brooklet. MSG) ---- Now our morning work is ended. MSG ---- Now take this little ball. MSG ---- Now the time has come for play. MSG (Smith. Now the time has come for play. SL2) ---- Oh, birdie dear. MSG (Froebel. Light bird on the wall. MP) (Variant: Smith. Light bird. SL1) ---- Oh, see the carpenter. MSG (Froebel. Carpenter. MP) ---- Oh, see the light. MSG (Froebel. Little window. MP) (Wiggin. Window. KC) ---- Old winter. MSG (Haydn. Winter. HR) ---- One, two, three, roll. MSG ---- Onward, Christian soldiers. MSG ---- Our Father in Heaven. MSG ---- Over field and meadow. MSG (Over field and meadow. USI) ---- Pansies. MSG ---- Paradise. MSG ---- Parting song. MSG (Hailmann. Our work is done. HR) (Walker. Our play is o'er. KC) (Wiggin. Good-bye song. KC) ---- Pat-a-cake. MSG (Froebel. Pat-a-cake. MP) ---- Pigeons. MSG ---- Polly. MSG ---- Pretty moon. MSG (Sawyer. New moon. WS) ---- Rock-a-bye baby. MSG ---- Roll call. MSG ---- Roll over, come back. MSG (Smith. Ball song. SL2) ---- Roll the ball. MSG ---- Rose bush. MSG ---- Round and round it goes. MSG (Conrade. Millwheel. GS) (Millwheel. EL) ---- Sawing game. MSG (Sawing game. WS) (Sawyer. PS) (Stangenberger. Sawyer. HR) ---- Scissors grinder. MSG ---- Seasons. MSG ---- See my little birdie's nest. MSG (Variant: Hailmann. Bird's nest. HR) ---- See-saw. MSG ---- See the chickens round the gate. MSG (Conrade. Chickens round the gate. GS) (Seidell. See the chickens round the gate. HR) ---- See the snow is falling fast. MSG (Hailmann. Oh, see the snow. HR) (Walker. Snow. WS) ---- Seeing. MSG (Guessing game, No. 32. PS) (When we're playing together. WS) (Wiggin. Guessing game. KC) ---- Ship. MSG (Vessel. PS) ---- Shoemaker. MSG ---- Sing us a song, birdie. MSG ---- Skating game. MSG ---- Smelling. MSG (Smith. Smelling. SL2) (Wiggin. Smelling. KC) ---- Snail. MSG (Koehler. Snail. HR) (Snail. BG--PS) (Snail game. HC) (Walker. Snail. WS) Hubbard. Song of the blacksmith. MSG (Parker. Blacksmith. WS) ---- Spring. MSG ---- Stream. MSG ---- Suppose. MSG ---- Suppose a little cowslip. MSG ---- Swallow. MSG (Conrade. Tradespeople. GS) ---- Sweetly the birds are singing. MSG (Damrosch. Easter carol. StN) (Fairlamb. Easter carol. StN) ---- Swing, cradle, swing. MSG (Pollock. Sailor boy. HR) ---- Target. MSG (Froebel. Lengthwise, crosswise. MP) (Variant: Hurd. Kite. PTS) (Variant: Reed. Kite. TGS) ---- Tasting. MSG (Wiggin. Tasting. KC) ---- Thanksgiving day. MSG (Conrade. Thanksgiving day. GS) (Morton. Thanksgiving song. WS) (Sleigh-ride. HR) ---- There is a brooklet. MSG (Hubbard. Nearer to Heaven we'll be. MSG) ---- This is the mother good and dear. MSG ---- Thumbkin says "I'll dance." MSG (Walker. Thumbkin says "I'll dance." WS) (Adaptation; Smith. Thumbkin says "I'll dance." SL1) ---- Thumbs and fingers say "Good morning." MSG (Froebel. Finger songs. MP) ---- Tick, tack. MSG (Froebel. Tick, tack. MP) ---- To and fro. MSG ---- To and fro the ball. MSG ---- Touching. MSG (Wiggin. Touching. KC) ---- Two hands. MSG ---- Wake, says the sunshine. MSG ---- Washington's birthday. MSG ---- Waves on the seashore. MSG ---- We welcome you, dear friends. MSG ---- We'll join our hands. MSG ---- What a bird taught. MSG ---- What do birdies dream. MSG ---- What's this? MSG (Froebel. Finger play. KC) (Froebel. This little thumb. MP) ---- Wheelbarrow. MSG ---- Wheelwright. MSG (Froebel. Wheelwright. MP) ---- While we sing. MSG ---- Who taught the little bird? MSG (Schlager. Who taught the bird? HR) ---- Winter rose. MSG ---- Zish, zish, zish. MSG (Froebel. Joiner. MP) (Joiner. PS) (Seidel. Joiner. HR) Hum, hum, hum, humble bee. _See_ Reinecke. To the humble bee. FC Hum, hum, hum, look the bees have come. _See_ Bees' return. PS Humble bee. Neidlinger. TLB Humble bee. _See_ Reinecke. To the humble bee. FC Humming bird. Cole. CM *Humming bird. Tufts. CL Humming, humming, cheerily. _See_ Terhune. Spinning carol. CC Humming, humming, hear the sweet sound. _See_ Cole. Humming bird. CM Humperdink. Hansel and Gretel dance. HC Humpty Dumpty. Elliott. MG Humpty Dumpty. Smeltzer. SZ Humpty Dumpty is my name. _See_ Smeltzer. Humpty Dumpty. SZ Humpty Dumpty sat on a wall. _See_ Elliott. Humpty Dumpty. MG Hungry beasts and birds may eat. _See_ Smith. Thanks for food, I. LCD Hungry spider made a web. _See_ Wiggin. Spider and the flies. KC *Hunt is up. Gray. FS Hunt the slipper. HC Hunter and the hare. RCS Hunter in his career. Marzials. CPP Hunter's song. RCS Hunter's song. Weber. RCS Hunting. BG--USI (A-hunting we will go. JB) Hunting song. Schumann. HMC1 Music only. Hunting the hare. Purcell. RCS Hunting we will go. _See_ A-hunting we will go. JB (Hunting. BG--USI) Hurd. All gone. PTS (Bullard. All gone. SM) ---- Ball game. PTS ---- Ball game. (Color) EL ---- Ball song. (Spinning) EL ---- Bird song. (Color) EL ---- Bird's nest. PTS ---- Children on the tower. PTS ---- Elm trees are yellow. EL ---- Family. PTS ---- Fruit basket. PTS ---- Garden game. PTS ---- Good-bye song. PTS ---- Introduction song. PTS ---- Kite. PTS (Adapted from Froebel. Lengthwise, crosswise. MP) (Variant: Hubbard. Target. PTS) (Variant: Reed. Kite. TGS) ---- Labor game. PTS ---- Lullabye. PTS ---- Nature game. PTS ---- Ring song. PTS ---- Seasons. PTS ---- Thanksgiving game. PTS Hurdy gurdy. Reinecke. HMC1 Music only. Hurrah for Bobby Bumble. _See_ Smith. Brave. LCD Hurrah for Harry McGarry. _See_ Harry McGarry. JB Hurrah for ivied towers. _See_ Loomis. Uncrowned kings. TLB *Hurrah for the sleigh bells. Seward. EL Hurrah, hurrah, for the kite well made. _See_ Reed. Kite. TGS Hurrah, hurrah, swift as a star. _See_ Tufts. Coasting. CL Hurrah, hurrah, we march along. _See_ Neidlinger. Our flag. SSS Hurry quick, the ice is thick. _See_ Gaynor. Skating. SC2 Hurry to the corner, Dick. _See_ Elliott. Street car. SL2 *Hush-a-by baby on the tree top. CBO--LBS Hush-a-by, my little baby. _See_ Hahn. Lullaby. BSS Hush-a-by, sweet my own. Hawley. FSC Hush-a-bye birdie. Hubbard. MSG Hush, hush, my baby, to dreamland we go. _See_ Brewster. Hush my baby. BSS Hush, hush, the waves are rolling in. _See_ Harris. Gaelic lullaby. TLB (Hahn. Gaelic cradle song. BSS) (Tufts. Old Gaelic lullaby. CL) Hush, little baby dear. _See_ Reed. Lullaby. TGS Hush, little one, and fold your hands. _See_ Smith. Oh, little child. FSC Hush, my baby. Brewster. BSS Hush, the waves are rolling in. _See_ Hahn. Gaelic cradle song. BSS (Harris. Gaelic lullaby. TLB) (Tufts. Old Gaelic lullaby. CL) Hush thee, my baby. _See_ Macirone. Oh hush, thee, my baby. FS Huss. Crossing the bar. TLB ---- If I were a flower. TC ---- Recessional. TLB Hymn. Beethoven. HMC1 Hymn for a child. Knowlton. NS Hymn for a little child. Smith. SL1 Hymn for a national holiday. Knowlton. NS I am a blacksmith. _See_ Gaynor. Labor day. GS *I am a builder. Koehler. HR I am a busy bee. Hubbard. MSG I am a cooper and barrels I make. _See_ Cooper. HR I am a cooper, no care can I know. _See_ Walker. Cooper. WS (Hubbard. Cooper. MSG) I am a honey bee buzzing away. _See_ Hubbard. I am a busy bee. MSG I am a little farmer boy. _See_ Little farmer. HR I am a little gardener. _See_ Hailmann. Ball play. KC (Hailmann. Selling fruit. HR) I am a little New Year. _See_ Jenks. Little New Year. WS I am a little worsted ball. _See_ Elliott. Worsted ball. SL2 I am a sturdy farmer. _See_ Fischer. Trades. HR I am a young musician. _See_ Musician. HC I am making a fine cat's cradle. _See_ Gaynor. Cat's cradle. SC1 I am Mary, quite contrary. _See_ Smeltzer. Mary contrary. SZ I am only a little sparrow. _See_ Conrade. Sparrow GS I am Peter Piper. _See_ Smeltzer. Peter Piper. SZ I am the jolly miller of Dee. _See_ Smeltzer. Miller of Dee. SZ I am the miller. _See_ Gaynor. Song of the miller. LL *I am the wind. Bertini. HR (Cornwell. Wind. EL) (Hubbard. I am the wind. MSG) (Sawyer. Wind. EL) I am Tommy Tittlemouse. _See_ Smeltzer. Tommy Tittlemouse. SZ I can see with eyes aslant. _See_ Conrade. Crow calculations. GS *I'd like to have a partner. USI (Kuecken. Partners. HR) I found little footprints in the snow. _See_ Neidlinger. Footprints. SSS I go to bed when wee chicks cheep. _See_ Gaynor. Early bird. LL *I had a little doggy. Elliott. MG--SL2 *I had a little doll. Gaynor. LL *I had a little nut tree. CBO--RCS *I had a little pony. Bartlett. StN I had a loving comrade. _See_ Good comrade. FS I had four brothers over the sea. _See_ Four presents. BB (Perrie, merrie, dixi. RCS) *I had two pigeons. Tufts. CL I have a cat, a nice pussy cat. _See_ Cole. My kitty. CM I have a little doll. _See_ Tufts. My little doll, Rose. FS I have a little shadow. _See_ Stevenson. My shadow. SS (Stanford. My shadow. SS) I have a noble comrade. _See_ Gaynor. My bicycle. GS I have a pretty little card. _See_ Moore. Card sewing. SC1 I have something in my hand. _See_ Sense game. HR *I have two eyes to see with. LBS I hear the bugle sounding. _See_ Smith. Knights and the mother. SM I heard a thousand blended notes. _See_ Waller. Lines written in early spring. TLB *I heard the gull. Sinding. EFS *I heard the voice of Jesus say. Dykes. TLB I know a little fellow. _See_ Meissner. In Japan. ASC I know a place the sunbeams love. _See_ Neidlinger. Baby's face. ES I know not what it may betoken. _See_ Silcher. Loreley. FS (Silcher. Lurlei. RCS) I know the song that the bluebird is singing. _See_ Bluebird. WS (Hubbard. Bluebird. WS) *I lead my lambkin lovingly. Smith. SL1 *I like little pussy. Tufts. CL (Elliott. I love little pussy. MG--SL1) (My kitty. HR) I like to go to school, I do. _See_ Cole. Jolly Joe. CM I like to watch the spider. _See_ Neidlinger. Spider. SSS I live in a little brown house. _See_ Atkinson. Song of the nut. GS I lived first in a little house. _See_ Gilchrist. Bird thoughts. SM I'll be a gay postillion. _See_ Taubert. Postillion. RCS I'll give to you a paper of pins. NG I'll lie me down to yonder bank. _See_ Sawyer. What the little things said. WS I'll tell you how the sun rose. _See_ Knowlton. Day. NS I looked in the brook and saw a face. _See_ Foote. Brook. FSC I love little kitty. _See_ My kitty. HR (Elliott. I love little pussy. MG--SL1) (Tufts. I like little pussy. CL) *I love little pussy. Elliott. MG--SL1 (My kitty. HR) (Tufts. I like little pussy. CL) I love the meadow daisy bright. _See_ Taubert. Meadow daisy. RCS I'm a humble little thing. _See_ Reinecke. Daisy. SL1 (Reinecke. Field daisy. FC) (Haydn. Daisy. HR) I'm a jolly car driver. _See_ Wiggin. Car driver. KC I'm a little busy bee. _See_ Bee. EL I'm a little husbandman. _See_ Tufts. Busy little husbandman. CL *I'm a little soldier boy. Conrade. GS I'm a little soldier of the Cross. _See_ Martin. Little soldier. MSL I'm a little wind a-blowing. _See_ Conrade. Little wind. GS I'm a merry sailor lad. _See_ Gaynor. Sailor. SC1 I'm a pretty little thing. _See_ Haydn. Daisy. HR (Reinecke. Daisy. SL1) (Reinecke. Field daisy. FC) I'm a robin. _See_ Hubbard. Bird song. MSG I'm a scissors grinder. _See_ Knowlton. Scissors grinder. NS I'm a target round with my circles fair. _See_ Gaynor. Target game. SC1 I'm a weather vane, O. _See_ Gaynor. Weather vane. SC2 I'm going to make a dolly. _See_ Cole. Like baby. CM I'm little Boy Blue. _See_ Smeltzer. Boy Blue. SZ I'm little Jack Horner. _See_ Smeltzer. Jack Horner. SZ I'm looking for a partner sweet. _See_ Hitte. Partner sweet. DM I'm lonesome since I crossed the hill. _See_ Marzials. Girl I left behind me. CPP I'm on the king's land. HC I'm running and trying my papers to sell. _See_ Hailmann. Newsboy. HR I'm the big church bell. _See_ Gaynor. Ball games. SC1 *I'm the Gabel huntsman. JB I'm the old woman. _See_ Smeltzer. Old woman who lives in the shoe. SZ I'm very glad the spring is come. _See_ Heerwart. Spring joy. HR I'm walking on the levy. _See_ Walking on the levy. NG *I need Thee every hour. Lowry. TLB I once had a sweet little doll, dears. _See_ Brewster. Lost doll. BSS--GS I open now my pigeon house. _See_ Froebel. Pigeon house. MP I place my box at the back of the table. _See_ Reed. Table exercises for attention. TGS *I put my right hand in. Smith. SL2 *I put my specs upon my nose. KK *I rode away to Mandalay. FS *I saw a ship a-sailing. Reinecke. HR (Duck dance. BG) (Fairy ship. BB) (Reinecke. Barcarole. FC) (Ship a-sailing. EL) *I saw three ships come sailing by. CBO (Tufts. I saw three ships. CL) I saw you toss the kites on high. _See_ Stevenson. Wind. CGV--EL--LBS--SF--SL1--SM--SS _For composers see_ Stevenson. Wind. I say, br'er rabbit. _See_ Br'er rabbit. OYA *I see you, I see you. BFD--KK I sell butter, I sell cheese. _See_ Little farmer, no. 2. HR I sent a letter to my love. _See_ Lost letter. JB I sent a pretty valentine to one I love so well. _See_ Riley. My valentine. LL I should like to build today. Hubbard. MSG I should think that the man on the dromedary. _See_ Neidlinger. Man on the dromedary. SSS I sowed the seeds of love. _See_ Marzials. Seeds of love. CPP I think the little skylark. _See_ Cole. Skylark. CM I think when a little chicken drinks. _See_ Neidlinger. Chicken. SSS I think when I read that sweet story of old. _See_ Kies. Sweet old story. MSL I thought I heard the old man say, Goodbye, fare you well. _See_ Goodbye, fare you well. NEB2 *I took a walk one evening along the meadows sweet. KK I try to teach pussy. _See_ Neidlinger. Cat's cradles. SSS I've a funny little playmate. _See_ Gaynor. My shadow. SC1 *I've a little dog at home. RCS I've come to buy a target, sir. _See_ Gaynor. Target maker. SC1 I've come to choose you from the rest. _See_ Gaynor. Dancing game. SC1 I've come to see Jilly Jo. _See_ Jilly Jo. JB (Variant: Miss Jenny Jones. NG) I've come to see Miss Ginnia Jones. _See_ Miss Jenny Jones. NG (Variant: Jilly Jo. JB) I've eight white sheep fast asleep. _See_ Walker. Eight white sheep. WS I've heard them lilting at the ewe-milking. _See_ Flowers of the forest. FS I've made a basket neat and round. _See_ Andreae. Flower basket. HR I've many little children around me every day. _See_ Kindergartner's song. KC I wake, I feel the day is here. _See_ Clarke. Chanticleer. StN I went to visit a friend one day. _See_ Song of home work. HS I will give you the keys of Heaven. _See_ Keys of Heaven. LBS I will hold my right hand so. _See_ Gaynor. Rhythm game. SC1 I wish I had room for my roots. _See_ Smith. Little gardener. LCD I wish I was in de land ob cotton. _See_ Emmett. Dixie's land. EFS--FS I wish, little playmates, you'd skip with me today. _See_ Hill. Skipping song. SHS I wish the winter would go. _See_ Allen. Winter and summer. StN I wished to pluck a pretty thing. _See_ Bingham. Butterfly. BM I woke before the morning. _See_ Stevenson. Good boy. SS (Bartlett. Good boy. SS) I won't have none of your weevily wheat. _See_ Weevily wheat. OYA I would be a butterfly. _See_ Sheehan. Butterfly and rosebud. OSM Ich ging im Walde. _See_ Gefunden. BB Ich weiss nicht was soll es bedeuten. _See_ Silcher. Lurlei. RCS (Silcher. Loreley. FS) "If." Cole. TC If a body meet a body. _See_ Comin' thro' the rye. EFS (Gin a body meet a body. FS) If a child be meek and mild. _See_ Happy child. PS If a lad would be a soldier. _See_ Kuecken. Little soldier. RCS *If all the world was apple pie. CL (If all the world were paper. BB) *If all the world were paper. BB (If all the world was apple pie. CL) If among the garden flowers. _See_ Smith. Choosing a flower. LCD *If blue birds bloomed. Gilchrist. StN If I could but visit the sunrise land. _See_ Gaynor. Japanese. GS If I may. KK If I should beg politely, my pretty dear cuckoo. _See_ Reinecke. Child and the cuckoo. FC *If I were a fair one. JB *If I were a flower. Huss. TC If I were a little frog. _See_ Gaynor. Frog. SC2 If I were a little sweet pea. _See_ Conrade. Sweet pea. GS If little lads. _See_ Solomon. Just like this. KC If on the street you chance to meet. _See_ Gaynor. Street car. SC2 If rosy sunsets never paled. Smith. LCD If the children try to please. _See_ Imitating. PS If the trees knew how. _See_ Cole. "If." TC If thou wilt close thy drowsy eyes. _See_ Chadwick. Armenian lullaby. FSC If upon my flat faces you turn me round. _See_ Hubbard. Cylinder. MSG If with all your hearts. Mendelssohn. TLB If you know not which bonnet doth please you. _See_ Terhune. New calash. CC If you'll listen, little children. _See_ Hill. Story of the Christ. SHS If you want to sing in tune. _See_ Wiggin. Keeping time. KC If you were a flower. Smith. LCD If you were walking down the street. _See_ Funkhouser. How do you do. FSK Il etait un' bergere. _See_ Bergere. BB (Shepherd maiden. FS) (Shepherdess. RCS) Il etait un p'tit homme. _See_ Father Guillori. RCS (Petit chasseur. BB) Ilsley. Cradle song. StN (Fairlamb. Cradle song. StN) (Fisher. Cradle song. StN) (Stanley. Cradle song. StN) (Suck. Cradle song. StN) Imitating. PS Imitation game. Wiggin. KC (Little master of gymnastics. PS) (Smith. Choosing the game. SL1) (Variant: Hailmann. Teacher of gymnastics. HR) Impromptu. Schubert. KM In a country far away. _See_ Gottschalk. Christmas hymn. KC *In a hedge. Froebel. SM (Smith. In a hedge. SL1) In a lowly manger. _See_ Gaynor. Christmas carol. SC2 In a nest way up in a tree. _See_ Neidlinger. Robin's song. SSS In a round little house. _See_ Gaynor. Flagman. SC2 In an ocean, way out yonder. _See_ Kelley. Dinkey-bird. FSC In and out, in and out. _See_ Pratt. At the window. StN In another land and time. _See_ Smith. Christmas hymn. SL1 In autumn. Hill. HS In bonnet of blue and in apron of white. _See_ Reinecke. Dancing song. FC In China. Meissner. ASC In comes the farmer, drinking all the cider. _See_ Who'll be the binder? NG In day-time clouds can see to float. _See_ Atkinson. Clouds. SV *In Dixie land, there I was born. JB In dolly's kitchen. Hollaender. HMC1 Music only. In Dublin's fair city where girls are so pretty. _See_ Cockles and mussels. FS (Molly Malone. LBS) In each tiny drop of water. _See_ Neidlinger. Busy steam. ES1 In einem kuehlen Grunde. _See_ Glueck. Mill. FS In forest and in heather. _See_ Hunter's song. RCS In Germany. Meissner. ASC In Greenland. Meissner. ASC In Holland. Meissner. ASC In Japan. Meissner. ASC In little Annie's garden grew all sorts of posies. _See_ Smith. Little Annie's garden. SM In March come the March winds. _See_ Knowlton. March. NS In my basket here you'll find. _See_ Hurd. Fruit basket. PTS In my downy bed. _See_ Reinecke. Morning prayer. SL2 *In my hand a ball I hold. Macomber. WS In my heart they lightly sing. _See_ Mendelssohn. Greeting. RCS In my little garden bed. _See_ Roeske. Little plant. PFP *In native worth and honour clad. _See_ Haydn. In native worth. TLB In our still and mournful meadows. _See_ Orpheus. TLB In port. Stevenson. SF (Ramsay. In port. SF) In quaint old times and years of long ago. _See_ Neidlinger. Signs. ES2 In Scarlet town, where I was born. _See_ Marzials. Barbara Allen. CPP In Scotland. Meissner. ASC In September. Conrade. GS In snowy, blowy March. _See_ Riley. Mad tea party. LL In spring. PS In the barnyard. Smith. SL2 In the Bethlehem stable. Smith. LCD In the Black Ball Line 'twas that I did serve my time. _See_ Sea shanties. NEB2 In the branches of a tree. WS (Hubbard. In the branches of a tree. MSG) *In the branches of a tree. _See_ Bird's nest. HS In the chill November. _See_ Hill. Thanksgiving day. HS In the dusky twilight. _See_ Moonlight song. EL In the early spring. _See_ Cole. Scale song, no. 3. CM In the early springtime, when the violets grow. _See_ Batchellor. Daisy. WS In the frosty autumn. _See_ Bingham. Thanksgiving song. BM In the grassy places. _See_ Haydn. Lambkin. GS In the heaven earth reposes. _See_ Goodnight. TLB In the hedge midst thorn and briar. _See_ Nest. PS (Adopted from Froebel. Little nest. MP) In the hedgerow safely shielded. _See_ Froebel. Little nest. MP (Adaptation: Nest. PS) *In the land of France. HC In the merry month of May. _See_ Gaynor. Merry month of May. LL In the merry month of May. _See_ Marzials. 'Twas in the merry month of May. CPP In the mill. Parlow. HMC1 Music only. In the mill. Reinecke. HMC1 Music only. In the mill. Schytte. HMC1 Music only. In the oakwood, deep and green. _See_ Froebel. Wild boar. MP In the other gardens. _See_ Stevenson. Autumn fires. EL--SF _For composers see_ Stevenson. Autumn fires. In the pleasant August. _See_ Knowlton. August. NS *In the pleasant sunny meadows. Allen. WS In the rain or in the sunshine. _See_ Gaynor. Postman. SC2 In the rippling water. _See_ Hill. Fishes at play. HS In the sky of evening. _See_ Reinecke. To the evening star. FC In the smithy. Parlow. HMC1 Music only. *In the snowing and the blowing. Smith. SL1 (Cornell. March. StN) In the sombre fir-tree wood. _See_ Froebel. Wolf. MP In the south sea lives a whale. _See_ Neidlinger. Whale. SSS *In the spring. FS--HC (Adapted from Sur le pont d'Avignon. BB) (Variant: On the bridge of Avignon. JB--RCS) In the springtime. Conrade. GS In the springtime bright and gay. _See_ Hurd. Seasons. PTS In the sunny springtime. _See_ Houseman. Awake, awake. HS In the sweet scented meadows. _See_ With a hey-ding-ding. JB In the tall boughs on the tree-top. _See_ Abt. Birdie's cradle. HR In the tree-top. Clarke. StN (Knowlton. In the tree-top. NS) In the wintry woods. _See_ Sloane. Ferns. HS In the wood. Damrosch. StN In thine eyes O mother darling. _See_ Reinecke. My mother's eyes. FC In winter I get up at night. _See_ Stevenson. Bed in summer. CGV--CM--FSK--LBS--SF--SS _For composers see_ Stevenson. Bed in summer. In your tiny nest now lying. _See_ Wiggin. Ball play. KC Inasmuch, inasmuch, inasmuch as ye have done it. _See_ Wiggin. Kindergartner's funeral hymn. KC Independence day. Schuckburgh. HS Indian. Gaynor. GS Indian cradle song. Conrade. GS (Hitte. Indian lullaby. DM) Indian, in your blanket bound. _See_ Gaynor. Indian. GS Indian lullaby. Hitte. DM (Conrade. Indian cradle song. GS) Indian lullaby. Schwartz. BSS Indian maid. Hatton. TLB Indian song. Funkhouser. FSK Ingelow. Flowers. BSS ---- Oh moon, in the night. BSS ---- Seven times one. BSS Ingraham. Little Miss Clover. StN ---- Riding on the rail. StN (Bartlett. Riding on the rail. StN) ---- Sweet red rose. StN Integer vitae. Flemming. TLB Into the sunshine, full of light. _See_ Hadley. Fountain. TLB (Johns. Fountain. TC) Introduction song. Hurd. PTS Introductory song. Froebel. MP Invitation. Martin. MSL "Irish washerwoman." _See_ Lilt (Irish) FDM Music only. Ironing day. Smith. SL2 (Warren. Ironing song. StN) Ironing song. Chapek. HS Ironing song. Warren. StN (Smith. Ironing day. SL2) *Is John Smith within? Elliott. MG *Isabella, Isabella. JB *It came upon the midnight clear. Walker. EL It is lovely May. Hubbard. MSG (Cornwell. Birdie's ball. WS) It is of Lincoln that we sing. _See_ Atkinson. Lincoln. GS It is spring. Knowlton. NS It runs, it runs through the woods. _See_ Forest weasel. HC It's I that am the captain. _See_ Stevenson. My ship and I. SF--SS _For composers see_ Stevenson. My ship and I. It's pipe all hands to man capstan. _See_ Rolling home. NEB2 *It's raining, it's raining, cries cuckoo, alas. Taubert. RCS It swings up on the leafless tree. _See_ Boott. Snow filled nest. StN *It was a lover and his lass. Marzials. CPP *It was a maid of my countree. Marzials. CPP It was in the noon of night. _See_ Dugan. Babe Jesus. EL It was on a May. _See_ Little Harry Hughes and the duke's daughter. NG It was the frog lived in the well. _See_ Ye frogs wooing. CBO It will truly give me joy. _See_ Bringing home the sheep. RCS Italian national hymn. _See_ Giardini. Come thou almighty King. TLB *Itiskit, itasket. BG--HC J'ai un long voyage a faire. _See_ He that will not when he may. FS Jack and Jill. Smeltzer. SZ *Jack and Jill went up the hill. CBO--KM--OYA (Elliott. Jack and Jill. MG) *Jack be nimble. Smeltzer. SZ Jack Frost. Gaynor. SC1 Jack Frost. Hill. SHS Jack Frost. Hubbard. MSG Jack Frost. Neidlinger. SSS Jack Frost. Smith. SL2 Jack Frost has arrived with his cold stinging bite. _See_ Hurd. Nature game. PTS Jack Frost is a merry little elf. _See_ Gaynor. Jack Frost. SC1 Jack Frost is a roguish little fellow. _See_ Hubbard. Jack Frost. MSG Jack Frost went over the hills one night. _See_ Winter. HS Jack Horner. Smeltzer. SZ Jack in the box. Baumfelder. HMC2 Music only Jack o'lantern. Funkhouser. FSK Jack o'lantern. Gaynor. LL Jackie Jingle. Smeltzer. SZ Jackson. September. EL--GS--NS Jacob. Forget-me-not. WS (Reinecke. Forget-me-not. FC--SL1) Jacobs. Barnyard song. HS *Jail-keys. NG Japanese. Gaynor. GS Japanese lullaby. DeKoven. FSC Japanese song. Funkhouser. FSK Jay, jay, jay, calls out the blue jay. _See_ Bird's duet. FS Je m'en allay a Bagnolet. _See_ I rode away to Mandalay. FS Jenkins. Kine. RCS Jenks. Birthday greeting. EL ---- Five little chickadees. WS ---- Game for the senses. EL ---- Light bird. EL ---- Little New Year. WS ---- Orchard. EL--HS ---- Ring, merry Christmas bells. EL ---- Snowballs. EL ---- Thanksgiving song. EL ---- Twilight town. EL Jensen. Happy wanderer. HMC1 Music only ---- Windmill. HMC1 Music only ---- Windmill. SL1--SM Jerusalem above. Ward. TLB *Jerusalem the golden. Ewing. TLB *Jessie is both young and fair. Damrosch. StN (Allen. Jessie. StN) *Jesus bids us shine. Walker. WS (Hubbard. Jesus bids us shine. MSG) Jesus is king. Martin. MSL *Jesus' little lamb am I. Martin. MSL *Jesus, meek and mild. Martin. MSL Jesus, Savior, pilot me. _See_ Gould. Pilot. TLB Jesus, tender Shepherd, hear me. _See_ Martin. Last song. MSL *Jesus, when he was a child. Martin. MSL Jig.--"Garry Owen." Page. HMC2 Music only Jig.--"St. Patrick's day." BFD Jig.--"St. Patrick's day." FDM Music only Jilly Jo. JB (Variant: Miss Jenny Jones. NG) Jingle, jingle, go the bells. _See_ Jenks. Thanksgiving song. EL Jingle, jingle, jingle, hop, hop, hop. _See_ Smith. Knights and the mother. SM Jingle, jingle, ring the bells. _See_ Gaynor. Sleighing song. SC1 Jockey to the fair. NEB1 *Jog on, jog on the foot pathway. Marzials. CPP Johann, spann' an Johann. _See_ Taubert. Hildebrandshagen. RCS *John Anderson, my jo. EFS *John Brown had a little Indian. OYA John Peel. FS *John Smith. Smeltzer. SZ Johnny had to learn a trade. _See_ Hubbard. Johnny's trade. MSG *Johnny is a merry boy. HR Johnny is now old enough. _See_ Musicians. HR Johnny's trade. Hubbard. MSG Johns. Barefoot boy. TLB ---- Columbus saw across the main. TC ---- Doll's wooing. FSC ---- Easter song. TLB ---- Fountain. TC (Hadley. Fountain. TLB) Johnson. Indian cradle song. GS ---- Massa dear. TLB ---- What Robin told. BSS (Knowlton. What Robin told. NS) Johonnot. Three little doves. NS Joiner. PS (Froebel. Joiner. MP) (Hubbard. Zish, zish, zish. MSG) (Seidel. Joiner. HR) Joiner. Kohl. SM Jolly fat frog lived in the river swim. _See_ Ye frog and ye crow. CBO Jolly frogs hop in the pond. _See_ Frogs. PS *Jolly is the miller. HC Jolly Joe. Cole. CM Jolly miller. CBO--FS *Jolly old Saint Nicholas. HR Jolly rover. LBS Jolly tester. BB (Elliott. Jolly tester. MG) Jonson. Drink to me only with thine eyes. EFS--FS ---- Love song. TLB Journey of the logs. Neidlinger. ES1 Joy, hope and love. Damrosch. StN Joy to the world. _See_ Handel. Antioch. TLB *Joyfully, joyfully carol. Thayer. WS Joyous peasant. Schumann. HMC2 Music only Joyous tones of Christmas chimes. _See_ Ogden. Christmas carol. KC Joyously we gather. _See_ On Froebel's birthday. HS Juggler. HMC2 Music only. *July. Knowlton. NS Jumping Jack. Chavagnat. HMC2 Music only. Jumping the rope. Loeschhorn. HMC2 Music only. June. Schnecker. TLB *June roses. Knowlton. NS "Just as I am," thine own to be. _See_ Martin. Child's hymn. MSL Just like this. Solomon. KC Just see that child running. _See_ Smith. Obedient. LCD Just the thing. HR Kamarinskaia. Burchenal. BFD Karganoff. Brook. HMC1 Music only. ---- Game of tag. HMC2 Music only. ---- Nature's dream. HMC1 Music only. Katydid. Meissner. ASC Katydid song. _See_ Knowlton. August. NS Keats. Thing of beauty. TLB Keep moving. BG Keeping time. Wiggin. KC Keepsake mill. Stevenson. LBS (Bell. Keepsake mill. LBS) Kelley. Dinkey bird. FSC Kelly. O captain, my captain. TLB Kendall. Christmas, glad Christmas. HS Kern. Fourth of July. HS ---- Frau Schwalbe. LL Kettle. Neidlinger. SSS Key. Star spangled banner. EFS--FS--GS--MSG Keys of Heaven. LBS Kies. Cheerful gift. MSL ---- Child Jesus. MSL (Gade. Child Jesus. RCS) ---- Children's day. MSL ---- Come, let our lives like Jesus' shine. MSL ---- Dear little lambs in happy fold. MSL ---- Final triumph. MSL ---- Greeting to spring. MSL (Gade. Greeting to spring. RCS) ---- Hark, what mean the children's voices. MSL ---- Lilies and the cross. MSL ---- Little lambs. MSL ---- Love of Jesus. MSL ---- Morning hymn of praise. MSL ---- Reapers. MSL ---- Rest song. MSL ---- See, the gospel light is shining. MSL ---- Shepherd leads his flock. MSL ---- Sweet old story. MSL ---- Violet. MSL (Reinecke. Violet. FC--RCS--SL1--WS) (Violet. KC) ---- Virgin's cradle song. MSL (Barnby. Cradle song of the Virgin. RCS) Kimi-go-yo. TLB Kind deeds. Cornwell. EL Kind deeds are the gardens. _See_ Cornwell. Kind deeds. EL Kind Jesus ward zur Welt gebracht. _See_ Gade. Child Jesus. RCS (Kies. Child Jesus. MSL) Kindergartner's funeral hymn. Wiggin. KC Kindergartner's morning greeting. Wiggin. KC Kindergartner's song. KC Kinderpolka. FDM Kinderwacht. _See_ Schumann. Guardian angels. FS Kindness. Koehler. HR *Kine, the kine, are homeward going. Jenkins. RCS King Arthur. CBO (Gaynor. King Arthur. LL) (Reinecke. Good King Arthur. FC) *King Arthur was King William's son. NG (Variant: King William. HC--OYA--USI) King Cole. CBO (Old King Cole. FS--LBS) *King of France. HC--BG--MC--USI King of the Barbarees. JB King Pansy. Gaynor. LL *King William was King James' son. HC--OYA--USI (Variant: King Arthur was King William's son. NG) King's daughter sat in her lofty bow'r. _See_ Kjerulf. Twilight musing. FS King's land. HC Kingsley. As Joseph was a-walking. GS ---- Lost doll. BSS--GS ---- Sands of Dee. TLB ---- Three fishers. TLB ---- When all the world is young. FS Kipling. Recessional. TLB Kissing time. Chadwick. FSC Kit, kit, kit, kitty kitty kitty. _See_ Kitty pretty. LBS Kitchen carol. Terhune. CC Kite. Gaynor. LL Kite. Hurd. PTS (Variant: Reed. Kite. TGS) (Adapted from Froebel. Lengthwise, crosswise. MP) (Variant: Hubbard. Target. MSG) Kite time. Knowlton. NS Kitten and the bow-wow. Neidlinger. SSS Kittie put the kettle on. _See_ Housekeeping. NG (Variant: Polly put the kettle on. BB--OYA) Kitty cat. Gilchrist. StN (Kitty cat and the mouse. RCS) (Walker. Kitty cat and the mouse. WS) Kitty cat and the mouse. RCS (Gilchrist. Kitty cat. StN) (Walker. Kitty cat and the mouse. WS) Kitty cat, I hear a mouse. _See_ Kitty cat and the mouse. RCS (Gilchrist. Kitty cat. StN) (Walker. Kitty cat and the mouse. WS) Kitty cat, kitty cat, so smooth is your fur. _See_ Meissner. Touching. ASC *Kitty white so slyly comes. BG--RCS--WS Kjerulf. Spring song. SL1 ---- Twilight musing. FS Klappdans. FDM Music only. Klein. My mother's memory. TLB Kleinmichel. Sleighride. HMC2 Music only Kling, kling, kling. _See_ Reinecke. Winter winds are blowing. SL1 Knight. Mouse and the cat. HS Knight and the lady. JB Knights and the bad child. Smith. SM Knights and the good child. Froebel. MP (Hubbard. Five Knights and good child. MSG) Knights and the good child. Smith. SM Knights and the ill-humored child. Froebel. MP (Hubbard. Five knights and bad child. MSG) Knights and the mother. Smith. SM *Knock at the door. LBS Knots of May. NG (Nuts in May. BG--JB--LBS--USI) Knotted handkerchief. KK Know you the song that the bluebird is singing? _See_ Conrade. Bird songs. GS Knowest thou, how many star eyes. _See_ God knows. RCS (Hubbard. Do you know how many stars? MSG) Knowledge and wisdom. Purcell. RCS Knowlton. Afternoon tea. NS ---- April. NS ---- April rain. NS ---- August. NS ---- Call of the crow. NS ---- Calling the violet. NS ---- Captive bird. NS ---- Clovers. NS ---- Crows. NS ---- Daisy nurses. NS (Conrade. Daisy nurses. GS) ---- Dandelion. NS ---- Dandelion-cycle. NS ---- Day. NS ---- December. NS ---- Family drum corps. NS ---- Family drum corps. HMC2 Music only ---- February. NS ---- Feeding the chickens. NS ---- Flying kites. HMC2 Music only ---- Games to teach five. NS ---- Games with first kindergarten gift. NS ---- God loves his little children. NS ---- Grasshoppers' dance. HMC1 Music only. ---- Hymn for a child. NS ---- Hymn for national holiday. NS ---- In the tree top. NS (Clarke. In the tree top. StN) ---- It is lovely spring. NS ---- January. NS ---- July. NS ---- June roses. NS ---- Kite time. NS ---- Little Bo-Peep. NS ---- Little fairy. NS ---- Little friends. NS ---- Little hickory nut. NS ---- Litany. NS ---- March. NS ---- May. NS ---- Merry bells of Easter. NS ---- Merry lay of June. NS ---- Merry wind. NS ---- Morning prayer. NS ---- News for gardeners. NS ---- North and south. NS ---- November. NS ---- Now the day is over. NS (Barnby. Now the day is over. SL1--TLB) ---- October. NS ---- Oh, the merry lay of June. NS ---- Out of the window. NS ---- Over in the meadow. NS (Variant: Hubbard. Lizzards. MSG) ---- Patriotic hymn. NS ---- Pinky wild rose. NS ---- Points of the compass. NS ---- Postman. NS ---- Pussy willow. NS ---- Ripened leaves. NS ---- Rollicking Robin. NS ---- Scissors grinder. NS ---- Scissors grinder. HMC1 Music only. ---- See saw. HMC2 Music only. ---- September. NS (Conrade. September. GS) (McLellan. September. EL) ---- Sequel to an old story. NS ---- Snowballs. NS ---- Sow, sew, so. NS ---- Summer showers. NS ---- Ten little ponies. NS ---- What Robin told. NS (Johnson. What Robin told. BSS) Koehler. Arch. HR ---- Children, children, quick make speed. HR ---- Clocks and watches. HR ---- Farewell work. HR ---- Farmer. HR (Farmer. LBS) (Farmer. PS) (Can you show us how the farmer? JB) (Froebel. Farmer. SM) (Farmer and the housewife. KK) (Shall I show you how the farmer. RSC) ---- Forward, homeward. HR ---- Good-bye song. HR ---- I am a builder. HR ---- Kindness. HR ---- Let us march. HR (Marching, No. 22. PS) ---- Mice. HR ---- Miller. HR ---- Race. HR ---- Skating. HR ---- Skipping. HR ---- Snail. HR (Hubbard. Snail. MSG) (Snail. PS--BG) (Snail game. HC) (Walker. Snail. WS) ---- Softly, softly, softly. HR ---- Storm. HR ---- Time for play. HR Kohl. Ball will wander. HR ---- Bird's nest. SM ---- Fish in the brook. SM ---- Flower basket. SM ---- Joiner. SM ---- Light bird. SM ---- Little fish. HR (Fishes. PS) ---- Pendulum. HR ---- Pigeon house. HR (Froebel. Pigeon house. MP) (Pigeon house. PS) (Walker. Pigeon song. WS) ---- Pigeon house. SM ---- Weathervane. SM Komarno. BFD Komarno. FDM Music only Komm, komm, mein liebes Spitzchen. _See_ Fritz and Spitz. RCS Komm, lieber Mai. _See_ Come, lovely May. Mozart. RCS Kommt gezogen. _See_ Taubert. Like a fairy. RCS Kommt heran! kommt heran lockt's Euch an auf den weiten. _See_ Come, come, come. RCS Koschat. City lad and country lass. EFS Koschat. Clod. EFS Krakoviak. FS Kroeger. Clown elephant. HMC2 Music only ---- Squirrels chatter. HMC2 Music only ---- Young thoughts have music. TLB Kuecken. How can I leave thee? FS ---- Little soldier. RCS ---- Partners. HR (I'd like to have a partner. USI) ---- Robin Redbreast. HR ---- With footsteps firm. SL1 Kuhlan. Earth and clouds. HR Kuk-kuk, Kuk-kuk, ruf aus dem Wald. _See_ Messenger of spring. RCS Kull-dansen. (Lassie dance.) BFD Kull-dansen. FDM Music only. Kullak. Evening bell. HMC1 Music only ---- Grand parade. HMC2 Music only ---- Little spinning song. HMC1 Music only Labor day. Gaynor. GS Labor game. Hurd. PTS Lach. Spring rain. SL2 Laddie is in the circle. _See_ Laddie with red golden band. KK Laddie with red golden band. KK Lads and lassies. Gaynor. LL Lads and lassies out a-walking. _See_ Social game. HC Lady bird. Schumann. FS *Lady bird, lady bird, fly away home. LBS *Lady bird, lady bird, fly away home. Brown. EL Lady bug. Gaynor. SC2 *Lady fair, oh, lady fair. HC Lady mine, thy casement open. _See_ Barnby. Morning song. TLB Lady moon, lady moon, sailing so high. _See_ Smith. Baby and the moon. SL1 (Baby and the moon. SM) Lady moon, lady moon, where are you roving? _See_ Sawyer. Lady moon. WS (Hubbard. Lady moon. MSG) Laendler. _See_ Two stars. FS Lake. TLB Lamb. Which way does the wind blow? WS Lamb. Chadwick. TLB Lambkin. Haydn. GS Lambkins frisk and the lambkins play. _See_ Gaynor. Happy lambkins. SC1 Lambs. Roeske. PFP Lamplighter. Mueller. SHS Lamplighter. Stevenson. LBS (Bell. Lamplighter. LBS) Lamps now glitter down the street. _See_ Stevenson. Armies in the fire. SF (Ramsay. Armies in the fire. SF) Land. My old friend John. FS Land of counterpane. LBS--SS _For composers see_ Stevenson. Land of counterpane. Land of Nod. Gaynor. SC1 Land of Nod. Stevenson. CGV--SS _For composers see_ Stevenson. Land of Nod. Land of story books. Stevenson. SS (Bartlett. Land of story books. SS) Land to the leeward. Foote. TC Land where the banners wave last in the sun. _See_ Paine. Freedom, our Queen. TC (Strong. Freedom, our Queen. TC) Lands that need the gospel. Martin. MSL Lang. My love dwelt in a northern land. TLB ---- To the fringed gentian. TLB ---- True freedom. TLB Lange. Cosaque. HMC2 Music only Language lesson. Gaynor. SC2 Larcom. Calling the violet. NS ---- Childhood's gold. StN ---- Easter hymn. WS ---- In the tree top. NS--StN ---- Little rivulet. HR ---- Rollicking Robin. NS ---- Run, little rivulet, run. WS ---- Shower and flower. WS ---- Sing-away bird. StN ---- Sing, little children, sing. KC ---- Tiny little snowflakes. WS ---- Wind flowers. HS Largo. TLB Lark. EFS Lark. Sheehan. OSM *Lark, sweet lark. House. TC Larned. Raindrops. HS ---- Sunbeams. HS Lass of Richmond Hill. Hook. FS--TLB Lass with the delicate air. EFS "Lassie." See Kull-Dansen. FDM Music only. *Lassie and I, and lassie and I. KK Lassie dance. BFD Lassus. Matona, lovely maiden. TLB Last evening Cousin Peter came. _See_ Cousin Peter. LBS Last night these songs were finished. _See_ Neidlinger. Carnival. ES Last rose of summer. FS (Tis the last rose of summer. EFS) Last song. Martin. MSL Last to the chamber where I lie. See Stevenson. In port. SF (Ramsay. In port. SF) Laud'num bunches. NEB2 Music only "Laudnum bunches." See Morris dance. BFD Music only Lavender cry. Maitland. NEB1 *Lavender's blue, diddle, diddle. CBO--FS--RCS Lawson. Come live with me. CPP Lay them neatly edge to edge. _See_ Smith. Garden fence. SL1 Lay your head upon my arm. _See_ Atkinson. Doll's cradle song. GS Lazy cat. HR (Elliott. Lazy cat. MG) *Lazy Mary. NG Lazy sheep, pray tell us why. _See_ Marie Antoinette. Children and the sheep. HR (Cole. Sheep. CM) (Hill. Children and the sheep. SHS) *Lead, kindly light. Dykes. TLB Leap frog. Loomis. HMC2 Music only Learning to dance. Schoenefeld. HMC2 Music only Leather bottel. Marzials. CPP *Leaves are green. BG--USI Leaves, flowers and fruits. Sherwood. HS Leaves had a party one autumn day. _See_ Gaynor. Leaves' party. SC1 Leaves' party. Gaynor. SC1 Leaves today are whirling. _See_ Thalberg. November, No. 1. GS Lecocq. Valentine day, no. 1. GS Lee. Toyman. HS Left foot first and then the right. _See_ Marching exercise. KC Left foot! right foot! SL2 Left, left! listen to the music. _See_ Gaynor. Marching song. SC1 *Leg over leg as the dog goes to Dover. LBS Legend of the Christmas tree. Gaynor. SC1 Leise zieht durch mein Gemueth. _See_ Mendelssohn. Greeting. RCS Lengthwise, crosswise. Froebel. MP (Hubbard. Target. MSG) (Adaptation: Hurd. Kite. PTS) (Adaptation: Reed. Kite. TGS) Lesson from the bee. Cole. CM (Tufts. Bust bee. CL) Lesson in arithmetic. Gaynor. LL Let little hands bring blossoms sweet. _See_ Rossini. Bring blossoms sweet. GS Let me learn a busy trade. Wiggin. Trade game, I. KC (Workingman. HR) Let me now thy finger take. _See_ Froebel. Little artist. MP Let others seek the shady places. _See_ Gaynor. Song of the sunflower. LL Let our voices, dearest comrades. _See_ Reading. Dulce domum. TLB Let's all sing together. _See_ Hurd. Goodbye. PTS *Let's go sliding down the hill. Frazer. BSS Let's have a game with a little ball. _See_ Hailmann. Tossing game. HR Let's play a new game, just show us the way. _See_ Hurd. Introduction song. PTS Let's play soldiers. Becker. HMC2 Music only Let's sing a song about the horse. _See_ Neidlinger. Horse. ES2 Let's stand on the corner. _See_ Hailmann. Street car. HR Let the breezes, the breezes blow. _See_ Gaynor. Kite. LL Let the feet go tramp, tramp, tramp! _See_ Tramp, tramp, tramp! HR (Hubbard. Let your feet tramp, tramp. MSG) (Let the feet go tramp. BG) Let us all be quiet. Gaynor. SC1 Let us all be quiet. _See_ Gaynor. Dictation exercises with the blocks. SC1 Let us all in concert sing. _See_ Barnby. Alleluia. TLB Let us all like little mice. _See_ Gaynor. Let us all be quiet. SC1 Let us build a boat together. _See_ Rust. Boat. EL *Let us chase the squirrel. Preston. HS Let us choose a hiding place. _See_ Elliott. Hiding the ball. SL2 Let us find a hiding place. _See_ Hiding the stone. PS Let us form a circle here. _See_ Gaynor. Drop the handkerchief. SC1 Let us give a joyous greeting. _See_ Jenks. Birthday greeting. EL Let us make a garden. Gaynor. LL *Let us march without a blunder. Koehler. HR (Marching, No. 22. PS) Let us now begin our sawing. _See_ Stangenberger. Sawyer. HR (Sawing game. MSG--WS) (Sawyer. PS) Let us now our garden make. _See_ Hurd. Garden game. PTS Let us pace around in singing. _See_ Guessing, No. 31. PS Let us play we're grown folks. _See_ Neidlinger. Dance. SSS Let us say the alphabet. _See_ A B C D. LBS Let us sing to Him whose hand. _See_ Knowlton. Hymn for national holiday. NS Let us sing to-day. See Reed. Froebel's birthday. HS Let us stand quite still and listen. _See_ Hubbard. Hearing. MSC Let us to the wheelwright go. _See_ Froebel. Wheelwright. MP (Hubbard. Wheelwright. MSG) *Let your feet tramp, tramp. Hubbard. MSG (Let the feet go tramp. BG) (Tramp, tramp, tramp. HR) Let your hands so loudly clap, clap, clap. _See_ Gaynor. Clapping song. SC1 Letter to Santa Claus. Gaynor. SC1 Letters. Neidlinger. ES2 Libby. Shoemaker. WS Lichner. Mazurka. HMC2 Music only ---- Polka. HMC2 Music only Liebchen, ade. _See_ Swallow, good-bye. FS Liesel, the goose girl. Gaynor. LL Light and shadow. Hill. SHS Light bird. Gaynor. SC1 Light bird. Jenks. EL Light bird. Kohl. SM Light bird. Smith. SL1 (Adapted from Froebel. Light bird. MP) (Variant: Hubbard. Oh, birdie dear. MSG) Light bird. Smith. SM Light bird. Stetson. HS Light bird on the wall. Froebel. MP (Hubbard. Oh, birdie dear. MSG) (Adaptation: Smith. Light bird. SL1) Light is fading out. _See_ Foster. Lullaby. TC Light within the window gleams. _See_ Froebel. Church window and church door. MP (Hubbard. Church bell. MSG) (Variant: Froebel. Church. SL2) Lighthouse. Hurd. PTS Lighthouse. Smith. LCD Lightly fairies go tripping to and fro. _See_ Fairy play. KK Lightly in my heart they sing. _See_ Gade. Greeting to spring. RCS (Kies. Greeting to spring. MSL) Lightly, lightly falls the snow. _See_ Schubert. Winter song. WS Lightly our boat is rocking. _See_ Ring. Boating song. SC1 *Lightly row, lightly row! RCS (Boat song. HR--WS) Lightly swinging in his cradle. _See_ Brewster. Light bird in the cradle. BSS Lightly trip on dancing feet. _See_ Gaynor. Flowers' ball. LL Lights from the parlor and kitchen shone out. _See_ Stevenson. Escape at bedtime. CGV (Fisher. Escape at bedtime. CGV) Like a band in tree tops playing. _See_ Grove. Bird band. HS Like a fairy. Taubert. RCS Like a leaf or feather in the windy, windy weather. _See_ Smith. Whirlabout. LCD *Like as a father. Cherubini. TLB Like baby. Cole. CM Like gathering thunder spreads a cry. _See_ Wilhelm. Watch on the Rhine. FS (Wilhelm. Watch by the Rhine. EFS) Like silver lamps in a distant shrine. _See_ Stegall. Christmas carol. RCS (Stegall. Manger throne. FS) Like small curled feathers white and soft. _See_ Sawyer. While shepherds watched their flocks by night. EL *Like the ball we move around. Call. WS Lilies and the cross. Kies. MSL Lilies are not whiter. _See_ Kies. Lilies and the cross. MSL *Lilies sweet. Spohr. HS Lilt: "The Irish washerwoman." FDM Music only *Lily white and fair. KK Lily white, then violet blue. _See_ Smith. Flower garden. LCD Lincoln. Atkinson. GS Lindbald. Apple orchard. EFS ---- Dalecarlian maiden's song. EFS Lindsay. Memorial day. HS Lines written in early spring. Waller. TLB Lips say good morning. _See_ Smith. Morning greeting. SL1 *List, fairest maiden, will you tread a dance with me? KK List! the bells swing far and near. _See_ Thompson. Glad Christmas tide. EL List to the song of the wooden shoon. _See_ Meissner. In Germany. ASC Listen birds! ah, pretty birds. _See_ Gaynor. Farewell to the birds. SC1 Listen! countless bees are humming. _See_ Osgood. Happy spring waltz. TC Listen, listen! it seems to me I hear it thunder. _See_ Raining. HR Listen, listen, listen while I sing. _See_ Damrosch. Joy, hope and love. StN Listen, little children, maybe you will hear. _See_ Cole. Sunbeam voices. CM Listen, Lordlings, unto me. _See_ Carol for Christmas eve. RCS Listen, mother dearest! _See_ Schwartz. Mother's birthday. BSS Listen, the sun is calling. _See_ Gaynor. Growing. GS Litany. Knowlton. NS Little acts of kindness. _See_ Koehler. Kindness. HR Little Annie's garden. Smith. SM Little artist. Froebel. MP Little ball hops out my hand. _See_ Hubbard. Hall. MSG Little ball lies in my hand. _See_ Asleep. HR (Ball song, No. 10. PS) (Hubbard. Little ball lies in my hand. MSG) (Mozart. Going to sleep. HR) Little ball is lying here. _See_ Little ball lies in my hand. *Little ball pass along. Sawyer. WS Little bird. RCS *Little bird, from out my hand. Smith. SL1 Little bird hops in the nest. _See_ Hops in the nest. HR Little bird in the cradle. Brewster. BSS Little bird, little bird, come to me. _See_ Maiden and the bird. HR Little bird made a nest. Hubbard. MSG Little bird on weary pinion. _See_ Nevin. Return of the birds. TC Little bird sat on the twig of a tree. _See_ Hubbard. Bird on the tree. MSG *Little bird with eager wing. Conrade. GS Little bird, you are welcome. _See_ Carrier dove. HR Little birdie. Neidlinger. SSS Little birdie. Tufts. CL (Tennyson. Baby's waking song. SHS) (Tennyson. Cradle song. EL) (Tennyson. What does little birdie say? SM) *Little birdie in a tree. Pollock. HR Little birdies. Cole. CM Little birds hop out of the nest. _See_ Hubbard. Hopping birds. MSG Little black cricket once lived in a chink. _See_ Conrade. Chorister. GS Little blue bird sat on a tree. _See_ Walker. Song of the blue bird. EL *Little Blue Jay, what does she say? Conrade. GS Little Bo-Peep. KM (Bo-Peep. CBO) (Conrade. Little Bo-Peep. GS) (Elliott. Little Bo-Peep. MG) Little Bo-Peep. Knowlton. NS Little Bo-Peep. Smeltzer. SZ Little Boy Blue. Cornwell. EL (Dugan. Little Boy Blue: WS) Little Boy Blue. DeKoven. FSC *Little Boy Blue, come blow your horn. Elliott. SL1 *Little boy bubble. Conrade. GS Little boy got out of bed. _See_ Tufts. Cock-a-doodle-do! CL Little boy lay dreaming. _See_ Osgood. Little dreamer. RCS (Tufts. Little dreamer. CL) Little boy went walking one frosty winter's day. _See_ Sherwood. Little boy's walk in winter. HS Little boy went walking one lovely summer's day. _See_ Roeske. Little boy's walk. PFP Little boys in Labrador would stare. _See_ Knowlton. North and south. NS Little boy's walk. Roeske. PFP Little boy's walk in winter. Sherwood. HS *Little brother in a cot. Tufts. CL Little brown baby so round and so wee. _See_ Knowlton. Little hickory nut. NS *Little brown birds. Tufts. CL Little brown brother. _See_ Conrade. Baby seed songs. GS Little brown hands. Hubbard. MSG Little brown seed. Phippen. EL Little brown sparrows flying around. _See_ Roeske. Sparrows. PFP Little brown thrush. Hubbard. MSG Little Brownies, come and frolic. _See_ Brownie Polska. KK Little card so dainty. _See_ Sewing song. WS Little cat climbs up the tree. _See_ Fischer. Cat on the tree. HR Little chickens. Hailmann. HR Little child. Smith. FSC Little child asleep. Smith. SL1 Little child is in its bed. _See_ Smith. Little child asleep. SL1 Little child to us has sped. _See_ Seidel. New Year. HR Little children, can you tell. _See_ Sawyer. Old English carol. EL Little children, come let us form our ring. _See_ Third ring song. SHS Little children, leave your play. _See_ Smith. Harvest song. SL2 Little children, little children. _See_ Mozart. Lullaby. SHS Little child's gift carol. Chapek. HS. *Little cock sparrow sat on a high tree. BB--FS (Elliott. Little cock-sparrow. MG) Little Cossack. FS (Russian lullaby. TLB) Little cousins, red and brown. _See_ Smith. Hard and soft balls. SL2 Little cunning pussy, tell me. _See_ Pussy on the roof. PS Little dancing song. Smith. LCD Little disaster. BB Little dog says bow-wow-wow! _See_ Gaynor. Foreign tongues. SC2 Little doggie. Cole. CM *Little dove with wings wide spreading. KK *Little dove, you are welcome. Walker. WS Little doves. Wiggin. KC (Conrade. Little doves. GS) Little dreamer. Osgood. RCS (Tufts. Little dreamer. CL) Little drops of dew. _See_ Cole. Dewdrop. CM Little drops of water. _See_ Tufts. Little things. CL *Little drops of water in a tiny shady spring. Neidlinger. ES1 Little dustman. Brahms. EFS (Brahms. Lullaby. SHS) Little elf. Schoenefeld. HMC2 Music only Little Elsie. Stanley. StN Little fairy. Knowlton. NS Little farmer, no's. 1 and 2. HR Little feet and lips be quiet. _See_ Gaynor. Choosing a game. SC1 Little fir tree in a forest grew. _See_ Gaynor. Legend of the Christmas tree. SC1 Little fish. Kohl. HR (Fishes. PS) *Little fishes in the brook. Froebel. HR. Little flowers came from the ground. _See_ Smith. Easter song. SL1 (At Easter time. WS) Little flowers you love me so. _See_ Tufts. Little girl's fancies. CL *Little four-years. Frazer. BSS Little French doll was a dear little doll. _See_ Johns. Doll's wooing. FSC Little friends. Knowlton. NS Little frog in a pond am I. _See_ Gaynor. Frog and horse. SC1 Little frogs hop in the pond. _See_ Hailmann. Hopping. HR Little frosty snowflakes. _See_ Smith. To a snowflake. LCD Little game for little folks. WS Little gardener. SM Little gardener. Froebel. MP (Hubbard. Garden bed. MSG) Little gardener. Reinecke. SM Little gardener. Smith. SL2 Little gardener. Smith. LCD *Little gardens. Walker. WS Little geese your feathers preen. _See_ Gaynor. Liesel, the goose-girl. LL. Little girl's fancies. Tufts. CL Little gold leaf dancing gaily on the tree. _See_ Dugan. Wind and the leaves. EL Little gray pigeon. _See_ Gaynor. Pigeon. SC2 Little gypsy dandelion. _See_ Bingham. Dandelion. BM Little Hamburger. FDM Music only Little Harry Hughes and the Duke's daughter. NG Little hickory nut. Knowlton. NS Little housewife. Gaynor. SC1 Little Indian maiden, have you come to play? _See_ Terhune. Red and white. CC Little Indian, Sioux, or Crow. _See_ Stevenson. Foreign children. CGV--SS _For composers see_ Stevenson. Foreign children. Little Indians. Smeltzer. SZ *Little Jack-a-Dandy. Smeltzer. SZ *Little Jack Frost went up the hill. HR (Cornwell. Little Jack Frost. WS) (Walker. Little Jack Frost. WS) *Little Jack Horner sat in a corner. CBO (Elliott. Little Jack Horner. MG) (Gaynor. Little Jack Horner. LL) *Little John Bottlejohn. Bristow. StN (Gilchrist. Little John Bottlejohn. StN) (Stanley. Little John Bottlejohn. StN) Little John loves to wander. _See_ Child's greeting. PS Little juggler. Loeschhorn. HMC2 Music only Little jumping Joan. Elliott. MG Little Jutlander. FDM Music only Little Karen. Heise. EFS Little kitten goes "Me-yow." _See_ Neidlinger. Kitten and the bow-wow. SSS *Little laddie, let's be dancing. KK Little lamb. Neidlinger. SSS Little lamb, who made thee? _See_ Chadwick. Lamb. TLB *Little lamb so white and fair. WS (Kies. Little lambs. MSL) Little loveliest lady mine. _See_ Fairlamb. Valentine. StN (Damrosch. Valentine. StN) Little maid Margery. Palmer. StN *Little maid, pretty maid. Elliott. MG (Gaynor. Little maid, pretty maid. LL) Little maiden and the stars. Froebel. MP Little maiden and the stars. Osgood. SM Little man and maid. BB--FS Little man bought him a big bass drum. _See_ Knowlton. Family drum corps. NS Little man in a fix. FDM Music only Little master of gymnastics. PS (Smith. Choosing the game. SL1) (Wiggin. Imitation game. KC) (Adaptation.: Hailmann. Teacher of gymnastics. HR) Little mermaid. Fairlamb. StN Little mice. Smith. SL2 *Little mice are creeping. Morton. WS Little Miss Careful. _See_ Smith. Careful. LCD Little Miss Clover. Ingraham. StN Little Miss Daisy lives in the grass. _See_ Gaynor. SC2 *Little Miss Muffet, so frightened is she. Smeltzer. SZ *Little Mistress Sans Merci. Foote. FSC *Little moon. Cornwell. EL Little nest. Froebel. MP Little New Year. Jenks. WS Little-oh-dear. DeKoven. FSC Little peach in an orchard grew. _See_ Smith. Little peach. FSC Little plant. Brown. EL Little plant. Gilchrist. SM Little plant. Roeske. PFP Little playmate, dance with me. _See_ Humperdink. Hansel and Gretel. HC Little playmate, walk with me. _See_ Hayden. Visiting game. HC Little Polly Flinders. _See_ Polly Flinders. LBS Little Polly Flinders always loved the fire. _See_ Smeltzer. Polly Flinders. SZ Little pony. EL Little pony. Hering. HR Little rain-drop, sighing. _See_ Barnby. West wind. TC Little rain-drops. Tufts. CL Little red lark. EFS--FS Little river runs away. _See_ Chadwick. Brook. TC Little rivulet. Bertini. HR (Boott. Run, little rivulet, run. RCS--WS) *Little Robin Redbreast. Bingham. BM Little Robin Redbreast sat upon a tree. _See_ Bacon. Robin Redbreast. EL Little Robin Redbreasts. Tufts. CL Little round head and a little red bonnet. _See_ Ingraham. Little Miss Clover. StN Little seeds have a nice warm bed. _See_ Sheehan. Seed song. OSM Little sheep were fast asleep. _See_ Allen. Christmas carol. EL Little shoemaker. Gaynor. SC1 Little shoes are sold at the doorway of Heaven. _See_ Blake. Dodo. RCS Little Sir William. Maitland. NEB1 Little snowflakes falling lightly. _See_ Knowlton. Little friends. NS Little soldier. Kuecken. RCS Little soldier. Martin. MSL Little soldiers. Hitte. DM Little song of gratitude. GS Little songs all full of joy. _See_ Verdi. Little song of gratitude. GS Little songs and dances. Smith. SL1 Little spinning song. Kullak. HMC1 Music only. Little squirrel, living there. _See_ Roeske. Squirrel. PFP *Little squirrels, crack your nuts. Stoeckel. StN Little star. Hubbard. MSG Little star that shines so bright. _See_ Elliott. Child and the star. SL2--SM--MG *Little stars from night's dark skies. Atkinson. SV Little stream goes laughing by. _See_ Gaynor. Boating. SC2 Little sunbeam. Elliott. SL1 Little things. Tufts. CL *Little thumb is one. Froebel. MP *Little Tommy Titmouse. OYA *Little Tommy Tucker. Elliott. MG Little town of Bethlehem. Martin. MSL Little toy dog is covered with dust. _See_ DeKoven. Little Boy Blue. FSC Little travelers. Gilchrist. HS Little vocal lesson. Gaynor. SC1 Little waiters. Wiggin. KC Little washerwoman. KK (As we go round the mulberry bush. NG) (Going round the mulberry bush. HR) (Here we go round the mulberry bush. HC) (Mulberry bush. BG--CBO--FS--JB--LBS) Little weary winged bees. _See_ Randegger. At night. TC Little white cloudlets. _See_ Smith. Snow clouds. SL1 *Little white daisy. Smith. SL1 *Little white feathers. Smith. SL1 (Conrade. Little white feathers. GS) *Little white lily sat by a stone. Tufts. CL (Smith. Little white lily. WS) (Walker. Little white lily. SL2) Little white snowdrop, just waking up. _See_ Waiting to grow. EL (Turner. Waiting to grow. EL) Little wind. Conrade. GS Little window. Beethoven. HR Little window. Froebel. MP (Wiggin. Window. KC) (Hubbard. Oh! see the light. MSG) Little window. Gilchrist. SM Little woman. BB (There was a little woman. RCS) Little woodpecker and I. Walker. WS Little worm. Hubbard. MSG *Little yellow dandelion. Gaynor. SC1 Little yellow goldenrod. _See_ Conrade. Autumn of flowers. GS Little yellowhead. Neidlinger. SSS Lively jig. NEB2 Liverpool girls. NEB2 Lizzards. Hubbard. MSG (Adaptation: Knowlton. Over in the meadow. NS) Lo, here I step within the ring. _See_ By streamlet and leafy dale. KK Lo! sunk in each others' arms they lie. _See_ Froebel. Brothers and sisters. MP (Hubbard. Brothers and sisters. MSG) Loag. In the springtime. GS *Loaves are burning. JB Loch Lomond. EFS--FS--TLB Locomotive. Montz. IMS Loeschhorn. Jumping the rope. HMC2--MO Music only. ---- Little juggler. HMC2 Music only. ---- Rider upon the rockinghorse. HMC Music only. Logs begin their journey in the mountains. _See_ Neidlinger. Journey of the logs. ES1 *London bridge is falling down. BG--HC--JB--NG--OYA--USI (Adaptation: London bridge. BB) (Adaptation: London bridge. NEB1) (Adaptation: London bridge. RCS) Lonely bird. PS Long. Little wind. GS Long ago in Bethlehem, the gentle mother mild. _See_ Reed. Christmas. HS Long ere the morn expects the return of Apollo from the ocean Queen. _See_ Marzials. Hunter in his career. CPP Long long ago the angels sang. _See_ Elliott. Christmas carol. SL1 Long, long time, and a long time ago. _See_ Long time ago. NEB2 *Long, long weary day. EFS Long time ago. NEB2 Long years ago, by Bethlehem town. _See_ Martin. When Jesus came. MSL Long years ago in Bethlehem. _See_ Reed. Christmas. HS--TGS Long years ago in David's town. _See_ Kies. Come, let our lives like Jesus' shine. MSL Longfellow. Holy Spirit, truth divine. TLB Longfellow. Atkinson. GS Longing. Cole. TLB Longing for spring. Reinecke. RCS Looby light. BB (Here we come. Looby Loo. JB) (Looby Loo. BG--HC--NEB1) (Looby Looby. LBS) Looby Loo. NEB1--BG--HC (Here we come. Looby Loo. JB) (Looby light. BB) (Looby Looby. LBS) Looby, Looby. LBS (Here we come, Looby Loo. JB) (Looby light. BB) (Looby Loo. BG--HC--NEB1) Look at little Harry. _See_ Wiggin. Imitation game. KC (Little master of gymnastics. PS) (Smith. Choosing the game. SL1) Look at our teacher, showing the game. _See_ Hailmann. Teacher of gymnastics. HR (Variant: Little master of gymnastics. PS) Look at the moon. _See_ O look at the moon. Gilchrist. SM (Variant: Smith. Choosing the game. SL1) (Variant: Wiggin. Imitation game. KC) Look at those pretty balls. _See_ Ball song, No. 8. PS Look far across the waves with me. _See_ Hurd. Lighthouse. PTS Look! here's a pretty pigeon house! _See_ Tufts. Pigeon house. CL Look, look! there goes the faithful watchman. _See_ Terhune. Watchman. CC Look, there the stork is on the wing. _See_ Stork, and the frogs. PS Look up! Look up. _See_ Gaynor. World wonders. SC2 Look up, look up, good people. _See_ Smith. Weather vane. LCD Look! who's coming down the street. _See_ Warner. Postman. KC Loomis. Bicycle. HMC2 Music only. ---- Leap frog. HMC2 Music only. ---- Merry-go-round. HMC1 Music only. ---- Pickaninnies picnic. HMC2 Music only. ---- Playing golf. HMC2 Music only. ---- Return ball. HMC2 Music only. ---- Uncrowned kings. TLB Lord, a tired child am I. _See_ Evening song. SL2 *Lord, in Thy great, Thy glorious name. Schumann. TLB *Lord Lovell. FS Lord of our fathers known of old. _See_ Huss. Recessional. TLB Lord, we thank thee for this day. _See_ Funkhouser. Prayer. FSK Lord, we thank Thee for this day. _See_ Gaynor. Morning prayer. SC1 Lord, who ordained for mankind. _See_ Teacher's hymn. I. KC Lordly cock. Smith. LCD Lord's day. Damrosch. StN Lorelei. _See_ Silcher. Loreley. FS (Silcher. Lurlei. RCS) Loreley. Silcher. FS (Silcher. Lurlei. RCS) Lorsque j'etais petit. _See_ When I was shepherd. FS Lost chicken. Brahms. FS Lost doll. Brewster. BSS--GS Lost letter. JB Lost rose seed. Neidlinger. ES Lost, the summer. Conrade. GS Lott' ist tod. FDM Music only. Loure. Bach. HMC Music only. Love and kindness we may measure. _See_ Tufts. Golden rule. CL Love and mirth. RCS *Love divine, all love excelling. Zundel. TLB Love of Jesus. Kies. MSL Love song. Cauffman. TLB *Love virtue, love virtue. Clarke. TLB *Love wakes and weeps. Callcott. TLB Love will find out the way. Marzials. CPP Lovely ball of golden light! we sing to you a sweet good night. _See_ Hill. Sunsets. HS Lovely ball of golden light, we thank you for the sunshine bright. _See_ Hill. Sunrise. HS Lovely bright star, you shine from afar. _See_ Reinecke. Evening star. FC Lovely lady in the sky. _See_ Smith. Silver night. SV Lovely little flow'ret. _See_ Jacob. Forget-me-not. WS (Reinecke. Forget-me-not. FC--SL1) Lovely little violet. _See_ Schults. Violet. FC--KC--MSL--RCS--SL1--WS _For composers_ see Schults. Violet. *Lovely lovely May. WS Lovely May. Hubbard. MSG Lovely Minka. FS Lovely moon, lovely moon. _See_ Hill. Moon song. SHS Lover. Girl I left behind me. EFS ---- Low-backed car. EFS--FS Love's parting. EFS Loving Jesus, meek and mild. _See_ Smith. Hymn for a little child. SL1 Loving mother, kind and true. _See_ Naegeli. Father and mother's care. SHS Low-backed car. EFS--FS Lowell. Fountain. TLB--TC ---- June. TLB ---- Longing. TLB ---- True freedom. TLB Lowry. I need Thee every hour. TLB *Lucy Locket lost her pocket. BB--OYA (Arne. Lucy Locket. FS) Louisella. _See_ Dairy. FS Lullaby. RCS Lullaby. Allen. StN (Fairlamb. Lullaby. StN) Lullaby. Brahms. SHS (Brahms. Little dustman. EFS) Lullaby. Elliott. MG--SM (Lullaby. HR) (Walker. Baby lullaby. WS) Lullaby. Fairlamb. StN (Allen. Lullaby. StN) Lullaby. Foote. TLB (Henderson. Golden slumbers kiss your eyes. StN) (Golden slumbers kiss your eyes. RCS) Lullaby. Foster. TC Lullaby. Gaynor. SC2 Lullaby. Giffe. BSS Lullaby. Mozart. SHS Lullaby. Reed. TGS Lullaby and good morning. Hill. SHS Lullaby and good-night! _See_ Brahms. Cradle song. FS *Lullaby baby, go to sleep. BSS Lullaby ball song. KC Lullaby, lullaby, Baby must sleep. _See_ Tufts. Cradle song. CL Lullaby, lullaby, twilight is falling. _See_ Dietrich. Woodland lullaby. TC Lullaby, my darling, shut your eyes to sleep. _See_ Giffe. Lullaby. BSS Lullaby song. Hahn. BSS Lullabye. Hurd. PTS Lully. By the moon's pale light. FS Lurlei. Silcher. RCS (Silcher. Loreley. FS) "Lust'ger Schweizerbu'" _See_ Country dance, I. FDM Music only Luther. Ein' feste Burg. TLB (Luther. Mighty fortress is our God. EFS) (Luther. Safe stronghold. FS) Lvoff. We praise Thee, Lord. FS ---- Rise, crowned with light. TLB Lyndhurst. TLB *M. O. for Maudie-O. JB Ma Normandie. _See_ Berat. My Normandy. FS Macdonald. Little white lily. CL (Smith. Little white lily. SL2) (Walker. Little white lily. WS) Macfarren. Mid-summer night's dream. TLB ---- Single chants. HMC1 Music only ---- Three fishes. TLB McHugh. October. GS Macirone. O hush thee, my baby. FS Mackenzie. Things of beauty. TC ---- Through love to light. TC McLellan. Christmas bells. EL ---- September. EL (Conrade. September. GS) (Knowlton. September. NS) Macomber. In my hand a ball I hold. WS Macy. Autumn leaves. EL ---- Clover blossoms. EL Mad tea party. Riley. LL Madam, I am come a-courting. _See_ Quaker courtship. NG Madam, I present you with six rows of pins. _See_ Proposal. NEB1 Madeleine. Roeckel. TLB Maggie's pet. Elliott. MG Mai ist gekommen. _See_ May-time has come. RSC Maid o' the mill. NEB1 Maiden and the bird. HR Maiden's wish. Chopin. FS (Chopin. Spring song. EFS) Main. Bye, baby, bye. EL Maitland. Barkshire tragedy. NEB1 ---- Lavender cry. NEB1 ---- Little Sir William. NEB1 Make a basket. _See_ Smith. Basket. SL2 Making bread. Roeske. PFP Making butter. Roeske. PFP Malbrough s'en va-t-en guerre. _See_ Duke Malborough. FS Mamma and the baby. Reinecke. FC Man in the moon. Elliott. MG Man in the moon. Smeltzer. SZ Man in the moon came down too soon. _See_ Elliott. Man in the moon. MG Man in the moon came tumbling down. _See_ Smeltzer. Man in the moon. SZ Man on the dromedary. Neidlinger. SSS Manger throne. Steggall. FS (Steggall. Christmas carol. RCS) Mann. God sends his bright spring sun. EL--SL1 *Man's life's a vapor. LBS Many fields of grass and clover. _See_ Hill. Story of the butter. SHS Many happy returns of the day. _See_ Gaynor. Child's birthday. GS Many miles have I been straying. _See_ Lindbald. Dalecarlian maiden's song. EFS March. Cornell. StN (Smith. In the snowing and the blowing. SL1) March. Hollaender. HMC2 Music only March. Knowlton. NS March. Rogers. KM March like gallant soldiers, rataplan. _See_ Reinecke. Rataplan. FC--HR March! march! comrades gay. _See_ Wandering workmen. SL2 March of Fingall's men. Reinhold. HMC2 Music only March of the men of Harlech. FS March of the men of Harlech. TLB March of the priests. Mendelssohn. HMC2 March together and never stop. _See_ Smith. Wheel-wright. SM Marche militaire. Concone. HMC2 Music only Marching; no.'s 22-30. PS Marching: no. 22. PS (Koehler. Let us march without a blunder. HR) Marching, no. 25. PS (Adaptation: Equal measure. HR) Marching exercise. KC Marching 'round the valley. USI Marching song. Stevenson. CGV--LBS--SS _For composers see_ Stevenson. Marching song. Marching song for Froebel's birthday. Rockwell. KC Marella. Half past twelve. RCS Margery Daw. BB Marguerite. JB Marguerites. Gaynor. LL Marion, May and Maud have not passed me by. _See_ Schlesinger. Bronze, brown eyes. StN Marianina. _See_ Sea breeze. FS Marie Antoinette. Children and the sheep. HR (Cole. Sheep. CM) (Hill. Children and the sheep. SHS) ---- Return. FS Marien-wuermchen. _See_ Schumann. Lady bird. FS Marionetts. Reinecke. HMC1 Music only Marjorie Daw. Smeltzer. SZ Marjorie's almanac. Warren. StN Making time. Hitte. DM Mariner of old, when he sailed to sea. _See_ Neidlinger. Beacon of long ago. ES2 Marriage. NG Marseillaise. De L'Isle. EFS--FS Marseilles hymn. _See_ Marseillaise. Marston. February. EL Martin. Autumn. MSL ---- Captain's call. MSL ---- Children's day. MSL ---- Child's hymn. MSL ---- Christ is risen. MSL ---- Cross and crown. MSL ---- Easter morning. MSL ---- Gracious Saviour, gentle Shepherd. MSL ---- Happy town of Salem. MSL ---- He is calling. MSL ---- Hear the shining angels sing. MSL ---- Invitation. MSL ---- Jesus is King. MSL ---- Jesus' little lamb. MSL ---- Jesus, meek and gentle. MSL ---- Jesus, when he was a child. MSL ---- Lands that need the gospel. MSL ---- Last song. MSL ---- Little soldier. MSL ---- Mary to the Saviour's tomb. MSL ---- Morning song. MSL ---- "O little town of Bethlehem." MSL ---- Royal conqueror. MSL ---- Springtime. MSL ---- Summer. MSL ---- Thou crownest the year with thy goodness. MSL ---- When Jesus came. MSL ---- Winter. MSL Mary Contrary. Smeltzer. SZ Mary, go and call the cattle home. _See_ Sands of Dee. TLB *Mary had a little lamb. OYA Mary had a little lamb which grew to be a sheep. _See_ Knowlton. Sequel to an old story. NS Mary, look around you. _See_ Wiggin. Seeing game. KC *Mary rides upon a horse. LBS *Mary to the Saviour's tomb. Martin. MSL Maryland! my Maryland. EFS Marzials. Bailiff's daughter of Islington. CPP ---- Barbara Allen. CPP ---- Black eyed Susan. CPP ---- Come, lasses and lads. CPP (Come, lasses and lads. FS--LBS) ---- Drink to me only with thine eyes. CPP ---- Early one morning. CPP ---- Girl I've left behind me. CPP ---- Harvest home. CPP ---- How should I your true love know? CPP ---- Hunter in his career. CPP ---- It was a lover and his lass. CPP ---- It was a maid of my countree. CPP ---- Jog on, jog on. CPP ---- Leather bottel. CPP ---- Love will find out the way. CPP ---- Mermaid. CPP ---- My lady Greensleeves. CPP (My lady Greensleeves. NEB1) ---- My lodging is on the cold ground. CPP ---- Near Woodstock town in Oxfordshire. CPP ---- O mistress mine, where are you roving? CPP ---- Phillida flouts me. CPP ---- Phillis on the new made hay. CPP ---- Poor beggar's daughter. CPP ---- Sally in our alley. CPP ---- Seeds of love. CPP ---- Since first I saw your face. CPP ---- Sir Simon de Montfort. CPP ---- Spanish lady. CPP ---- Three ravens. CPP (Three ravens. EFS--FS) ---- To all you ladies. CPP ---- 'Twas in the merry month of May. CPP ---- We be soldiers three. CPP ---- We be three poor mariners. CPP ---- When the bright God of day. CPP ---- Who liveth so merry in all this land? CPP Marzo. Baby. StN ---- Baby's skies. StN *Ma's little pigs we're all of us. BFD Mason. How gentle God's command. TLB ---- Nearer my God to Thee. TLB Mason and carpenter with stone and brick and wood. _See_ Gaynor. Building the house. LL *Massa dear. Johnson. TLB Master Hare sat in a hole fast asleep. _See_ Hare. PS Mather. Robin, Robin Redbreast. WS *Matona, lovely maiden. Lassus. TLB Maxwelton's braes are bonny. _See_ Scott. Annie Laurie. EFS--FS--TLB May. PS May. Brown. WS May. Knowlton. NS May-basket. Smith. LCD May dance. FDM Music only Many dancing song. Richter. HR May day. Coonley. GS May day invitation. Sherwood. HS May is trav'ling hither. _See_ May. PS May our Emperor's reign endure. _See_ Kimi-go-yo. TLB May pole dance.--"Bluff King Hal." BFD May Queen. Gaynor. GS May song. Smith. TLB May song. Strong. HS May-time has come. RCS May-time is coming. _See_ May-time has come. RCS Maypole song. Hubbard. MSG Maypole style. JB Mazurka. Lichner. HMC2 Music only ---- Wilm. HMC2 Music only Meadow daisy. Taubert. RCS Meadow talk. Fisher. StN Meeting. FS Meeting of the waters. TLB Mein Schatz ist ein Reiter. _See_ My knight is a rider. RCS (My trooper) Meissner. Brownie firefly. ASC ---- Granddaddy longlegs. ASC ---- Hearing. ASC ---- Honey bee and clover. ASC ---- In China. ASC ---- In Germany. ASC ---- In Holland. ASC ---- In Japan. ASC ---- In Scotland. ASC ---- Katy did. ASC ---- Mr. Bumble Bee. ASC ---- Seeing. ASC ---- Smelling. ASC ---- Tasting. ASC ---- Touching. ASC Mellow light is shining. _See_ Martin. Autumn. MSL Melody in F. Rubinstein. HMC1 Music only Memorial day. Flotow. GS Memorial day. Stetson. HS Memorial hymn. Allen. TLB Men of Harlech! in the hollow. _See_ March of the men of Harlech. TLB Men of Harlech, march to glory. _See_ March of the men of Harlech. FS Men! whose boast it is. _See_ Lang. True freedom. TLB Menard. Slumber song. BSS Mendelssohn. Allegro. HMC1 Music only ---- Child's good-bye. HR (Sawyer. Good-bye to the flowers. WS) ---- Greeting. FS ---- Greeting. RCS ---- If with all your hearts. TLB ---- March of the priests. HMC2 Music only ---- O rest in the Lord. TLB ---- O, wert thou in the cold blast. TLB ---- Raindrops. HMC1 Music only ---- Sleep, gentle babe. TLB ---- Spring song. HMC1 Music only ---- Spring song. SL1 Merkel. Polonaise. HMC2 Music only Mermaid. Marzials. CPP Mérot. Youth has gone. FS Merrily away they fly. _See_ Fischer. Bees. HR Merrily, form a ring. Hubbard. MSG (Heerwart. Merrily, merrily. HR) (Smith. Forming the ring. SL2) Merrily in the brooklet clear. _See_ Froebel. Fishes in the brook. MP *Merrily, merrily let us form a ring. Heerwart. HR (Hubbard. Merrily, form a ring. MSG) (Smith. Forming the ring. SL2) Merrily, merrily, the anvil rings. _See_ Hill. Blacksmith's song. SHS Merrily swinging on brier and weed. _See_ Conrade. Robert of Lincoln. GS Merrily we dance. Smith. SL1 Merry and swift in the crystal stream. _See_ Kohl. Fish in the brook. SM *Merry bells of Easter. NS Merry chimes. KK Merry Christmas bells. Batchellor. GS (Murray. Merry Christmas bells. WS) Merry Christmas bells. Hitte. DM *Merry Christmas has come. Wiggin. KC Merry Christmas! Merry Christmas! we sing and we say. _See_ Knowlton. December. NS *Merry Christmas now is here. Gaynor. SC1 *Merry Christmas to our friends. HS Merry frogs are blithe and gay. _See_ Hailmann. Frogs. HR Merry-go-round. Loomis. HMC2 Music only Merry-go-round. _See_ Carrousel. BFD Merry, happy little children. HR Merry helpers. Stangenberger. HR Merry lay of June. Knowlton. NS Merry life. Denza. TLB (Denza. Funiculi, funicula. FS) (---- Sailing o'er a summer sea. EFS) Merry little fishes in the brook at play. _See_ Brahms. Fish in the brook. SM Merry little maiden. _See_ Haydn. Child's May song. HR Merry little men. Roeske. PFP Merry little playmate, at my side all day. _See_ Hill. Light and shadow. SHS Merry little river. _See_ Roeske. Mill. PFP Merry little skip and dance. _See_ Sherwood. Around the Maypole. HS *Merry little snowflakes dancing in the air. Hill. SHS Merry little snowflakes dancing thro' the street. _See_ Reinecke. Snowflakes. HR Merry may the keel row. FS Merry, merry, merry, merry, Christmas bells. _See_ Murray Merry Christmas bells. WS (Batchellor. Merry Christmas bells. GS) Merry mice stay in their holes. _See_ Koehler. Mice. HR Merry month of May. Gaynor. LL Merry rain. Bartlett. StN Merry wind. Smith. LCD *Merry wind came racing. Knowlton. NS Merry workers. Smith. SL2 Messenger of spring. RSC Messenger from cloudland. BSS Messiah. Handel. TLB Methfessel. Dandelion. SHS Mice. Koehler. HR 'Mid pleasures and palaces though we may roam. _See_ Bishop. Home, sweet home. EFS--FS--LBS 'Mid the winter storms we're sleeping. _See_ Reissmann. Waking flowers. RCS Midsummer frolics. Gilchrist. StN Midsummer night's dream. Macfarren. TLB Miew, miew, purr, purr, I am a cat you see. _See_ Valentine. Cat. VBD *Mighty fortress is our God. Luther. EFS (Luther. Ein' feste Burg. TLB) (Luther. Safe stronghold. FS) Migration song. Hill. SHS Milk for supper. Smith. LCD Milking time. Gaynor. SC2 Milkweed babies. Smith. SL2 Milkweed pods are ripe and brown. _See_ Gaynor. Milkweed seeds. SC2 Milkweed seeds. Gaynor. SC2 Mill. EL (Hubbard. Miller. MSG) Mill. WS (Anschuetz. Mill by the rivulet. HR) Mill. Gaynor. SC2 Mill. Glueck. FS Mill. Hitte. DM Mill. Reed. TGS (Reinecke. Mill-wheel. SM) Mill. Reinecke. FC (Adaptation in SL1) Mill. Roeske. PFP *Mill by the rivulet. Anschuetz. HR (Mill. WS) Mill goes toiling slowly around. _See_ DeKoven. Nightfall in Dordrecht. FSC Millard. Sing-away bird. StN Miller. Bluebird. GS ---- Spring secrets. EL ---- Tick! Tock. SM Miller. PS Miller. USI Miller. Hubbard. MSG (Mill. EL) Miller. Koehler. HR Miller, have you nought for grinding? _See_ Koehler. Miller. HR Miller of Dee. Smeltzer. SZ Miller's flowers. Schubert. FS *Million little diamonds. Burdett. StN (Damrosch. Million little diamonds. StN) (Tufts. Winter jewels. CL) (Walker. Winter jewels. WS) Million wee cradles are curtained with green. _See_ Knowlton. Pinky wild rose. NS Millstone. Smith. SL1 Millwheel. EL (Conrade. Millwheel. GS) (Hubbard. Round and round it goes. MSG) Millwheel. PS (Clip, clap. RSC) Millwheel. Montz. IMS Millwheel. Reinecke. SM (Reed. Mill. TGS) Millwheels are clapping. _See_ Clip, clap. RCS (Millwheel. PS) Millwheels are turning. _See_ Mill. EL (Hubbard. Miller. MSG) Milton. Haste thee, nymph. TLB ---- Love virtue. TLB ---- Stanzas from the nativity. TLB Minding their mother. Smith. LCD Mine eyes have seen the glory of the coming of the Lord. _See_ Howe. Battle hymn of the republic. EFS--FS *Mine's a lovely house. JB Miner. Neidlinger. ES1 *Minstrel boy. EFS--FS Minuet. Damrosch. StN (Fairlamb. Minuet. StN) (Fisher. Minuet. StN) (Mosenthal. Minuet. StN) Minuet. Mozart. HMC2 Music only Minuet. Terhune. CC Miss, I'll give you a paper of pins. _See_ I'll give you a paper of pins. NG Miss Jenny Jones. NG (Variant: Jilly Jo. JB) Missing ball. Reed. TGS Mr. and Mrs. Sparrow. Gaynor. SC2 Mr. Bumble bee. Meissner. ASC Mr. Duck and Mr. Turkey. Neidlinger. SSS Mister Duck went to call. _See_ Neidlinger. Mr. Duck and Mr. Turkey. SSS *Mr. Frog. Neidlinger. SSS Mr. Period and his friends. ES2 Mr. Rooster and Mrs. Hen. Gaynor. SC1 Mr. Rooster and Mrs. Hen. Neidlinger. SSS Mister Rooster does nothing but crow. _See_ Neidlinger. Mr. Rooster and Mrs. Hen. SSS Mister Rooster wakes up early in the morning. _See_ Gaynor. Mr. Rooster and Mrs. Hen. SC1 Mr. Squirrel. Neidlinger. SSS Mister Sun, good-night, we say. _See_ Atkinson. Good-night. GS Mister Sunshine. Funkhouser. FSK Mr. Toadie's coat. Grove. HS Mr. Wind and Madam Rain. Gaynor. SC2 Mrs. Bond. CBO *Mistress Cow stand at the gate. Neidlinger. ES Mistress Doh and her neighbors. Gaynor. SC1 *Mistress Mary. Elliott. MG (Gaynor. Mistress Mary. LL) *Mistress mine, where are you roving? Marzials. CPP Mrs. Pussy, sleek and fat. _See_ Roeske. Mrs. Pussy's dinner. PFP Mrs. Pussy's dinner. Roeske. PFP Mistress Sparrow, pert and perky. _See_ Gaynor. Mr. and Mrs. Sparrow. SC2 Mit dem Pfeil, dem Bogen. _See_ Weber. Hunter's song. RCS Mit einer Primula veris. _See_ Grieg. First primrose. FS Mix a pancake, stir a pancake. _See_ Krakoviak, I. FS Mokrejs. Field mouse. HMC1 Music only ---- Shoemaker. HMC1 Music only Molloy. Ding, dong! StN (Hoffman. Ding, dong! StN) ---- Snow-flakes. StN (Warren. Snow-flakes. StN) ---- Wren and the hen. StN (Bartlett. Wren and the hen. StN) Molly Malone. LBS (Cockles and mussels. FS) Mond, der scheint. _See_ Wenk. Nursery clock. RCS *Monday night, Tuesday night. JB Monday's Dolly's washing day. _See_ Gaynor. Little housewife. SC1 Monk. Abide with me. TLB Monkey married the baboon's sister. _See_ Monkey's wedding. OYA Monkey's wedding. OYA Month of May. Cole. CM Montz. Birds flying. IMS ---- Blacksmith. IMS ---- Butterflies. IMS ---- Chopping wood. IMS ---- Church bells. IMS ---- Circle march. IMS ---- Feeding chickens. IMS ---- Fire bells. IMS ---- Flags. IMS ---- For prayer. IMS ---- Good morning bows. IMS ---- Horses trotting. IMS ---- Loading and unloading. IMS ---- Millwheel. IMS ---- Nodding flowers. IMS ---- North wind. IMS ---- Pumping. IMS ---- Rocking the cradle. IMS ---- Run. IMS ---- Scythe movement. IMS ---- Seeds; or Flowers unfolding. IMS ---- Sewing machine. IMS ---- Skip. IMS ---- Smoke. IMS ---- Stream freezing. IMS ---- Tip-toe march. IMS ---- Washing. IMS Moon. Conrade. CS Moon. Stevenson. LBS (Bell. Moon. LBS) Moon and the stars. PS (Reinecke. Who has the whitest lambkins? FC--KC) (White lambkins. HR) Moon boat. Gaynor. SC1 Moon has a face like the clock in the hall. _See_ Stevenson. Moon. LBS (Bell. Moon. LBS) Moon! in the night I have seen you sailing. _See_ Brewster. O moon! in the night. BSS Moon in the pool. _See_ Meissner. Seeing. ASC *Moon is playing hide and seek. Neidlinger. SSS Moon phases. Gaynor. SC2 Moon rides high. _See_ Wenk. Nursery clock. RCS Moon so round and silv'ry. _See_ Smith. Silver moon. SL2 Moon song. Hill. SHS Moonbeam floateth from the skies. _See_ DeKoven. Orkney lullaby. FSC Moonlight song. EL Moore. Canadian boat song. TLB ---- Card sewing. SC1 ---- Harp that once through Tara's halls. EFS ---- Last rose of summer. FS ---- Meeting of the waters. TLB ---- Minstrel boy. EFS--FS ---- Valley lay smiling. EFS ---- When love is kind. EFS Morn was fair, the skies were clear. _See_ Rose of Allandale. TLB Morning. FS Morning. Brewster. BSS Morning bright, with rosy light. _See_ Tufts. Morning hymn. CL (Walker. Morning bright. WS) Morning fair has come again. _See_ Morning song. KC *Morning-glory bells. Gaynor. SC2 Morning greeting. Gaynor. SC1 Morning greeting. Mozart. SHS Morning greeting. Pollen. HMC2 Music only Morning greeting. Smith. SL1 Morning greeting. Wiggin. KC Morning hymn. Batchellor. WS (Hamburg. Morning hymn. HR) (Wiggin. Morning prayer, no. 1. KC) Morning hymn. Mozart. HR Morning hymn. Reinecke. KC Morning hymn. Smith. LCD Morning hymn. Tufts. CL (Walker. Morning bright. WS) Morning hymn. Wiggin. KC Morning hymn of praise. Kies. MSL Morning mood. Grieg. HMC1 Music only Morning prayer. Gaynor. SC1 Morning prayer. Gurlitt. HMC1 Music only Morning prayer. Knowlton. NS Morning prayer. Randegger. SL1 (Wiggin. Morning prayer, no. 4. KC) Morning prayer. Reinecke. FC--SL1 Morning prayer. Reinecke. SL2 Morning prayer, no. 1. Wiggin. KC (Batchellor. Morning hymn. WS) (Hamburg. Morning hymn. HR) Morning prayer, no. 2. Wiggin. KC Morning prayer, no. 3. Wiggin. KC Morning prayer, no. 4. Wiggin. KC (Randegger. Morning prayer. SL1) Morning prayer, no. 5. Smith. KC Morning song. HR Morning song. KC Morning song. Barnby. TLB Morning song. Grove. HS Morning song. Martin. MSL Morning song. Schumann. HMC1 Music only Morning song. Tufts. CL Morning song and march. TLB *Morning song, dear forest. RCS *Morning sun is shining. Smith SL1 Morning sun peeps in at you. _See_ Gaynor. Awake. LL Morning thanksgiving. Reed. HS Mornings frosty grow, and cold. _See_ Conrade. In September. GS Morris dance:--"Laudnum bunches." BFD Morris off. NEB1 Morris on. NEB1 Morton. Air is filled with the echoes. WS ---- Christmas picture. HS ---- First Christmas. HS--WS (Reinecke. First Christmas. GS) ---- Little mice are creeping. WS ---- Thanksgiving song. WS (Conrade. Thanksgiving day. GS) (Hubbard. Thanksgiving day. MSG) (Sleigh-ride. HR) Mosenthal. Minuet. StN (Damrosch. Minuet. StN) (Fairlamb. Minuet. StN) (Fisher. Minuet. StN) ---- Punkydoodle and Jollypin. StN ---- Sweet red rose. StN (Bartlett. Sweet red rose. StN) (Ingraham. Sweet red rose. StN) Moth of the night. _See_ Gaynor. Night moth. SC2 Mother Annika. KK Mother day. Gaynor. GS Mother dear, Jerusalem. _See_ Ward. Jerusalem alone. TLB Mother dear, so kind and good. _See_ Hurd. Family. PTS Mother eye, so blue and tender. _See_ Reinecke. Mother love. RCS Mother, good and dear. Froebel. MP *Mother Holly. Gaynor. LL Mother how pretty the moon looks tonight. _See_ Hubbard. Pretty moon. MSG (Sawyer. New moon. WS) Mother in unity with her child. Froebel. MP Mother love. Reinecke. RCS Mother my love, if you'll give me your hand. _See_ Gilchrist. Child and mother. FSC Mother Nature and Mr. Wind. Funkhouser. FSK Mother says I must practise. _See_ Terhune. Spinet. CC "Mother, see the moon." _See_ Froebel. Boy and the moon. MP Mother sings. Sinding. EFS Mother Tabbyskins. Elliott. MG *Mother, will you buy me a milking can? JB Mother's birthday. Reinecke. FC (Reinecke. Birthday song. SL1) Mother's birthday. Schwartz. BSS Mother's busy sewing. _See_ Cole. How the baby was named. CM Mother's hymn. Bacon. EL (Hailmann. Teachers' hymn. HR) (Teachers' hymn, II. KC) Mother's knives and forks. Gaynor. SC1 Mother's little Olle walks in the wood. _See_ Olle and the bear. KK Mother's little pets are we together. _See_ Mother's pets. KK Mother's lullaby babies. Sheehan. OSM Mother's pets. KK Mountain polka. _See_ Fjallnaspolska. FDM Music only Mountain march. BFD Mountain march. FDM Music only Mouse and cat. Knight. HS *Mow, mow, the oats. HC Mowers. Tabram. KC Mowing grass. Froebel. SM Mowing song. Smith. SL1 Mozart. Come, lovely May. RCS ---- God's love. SHS ---- Going to sleep. HR (Asleep. HR) (Ball songs, no. 10. PS) (Hubbard. Little ball lies in my hand. MSG) ---- Good-bye song. SHS ---- Good morning to the sunshine. HR ---- Horse-shoeing. HR ---- Lullaby. SHS ---- Minuet. HMC2 Music only ---- Morning greeting. SHS ---- Morning hymn. HR ---- Rain song. SHS ---- Rippling, purling. HR (Gilchrist. Rippling, purling little river. SM) (Rippling, purling little river. RCS) ---- Second ring song. SHS ---- Summer joy. HR ---- Theme from sonata. HMC1 Music only ---- Two hands I have. HR Mueller. Lamplighter. SHS ---- Miller's flowers. FS Muellers Blumen. _See_ Schubert. Miller's flowers. FS Muffin man. BG--HC--JB--USI Mulberry bush. BG--CBO--FS--JB--LBS (As we go round the mulberry bush. NG) (Going round the mulberry bush. HR) (Here we go round the mulberry bush. HC) (Little washerwoman. KK) Murray. Merry Christmas bells. WS Music box. Berghs. HMC1 Music only Musician. HC Musicians. HR Must I ride so long a journey. _See_ He that will not when he may. FS *Must I then go afar from the town. EFS Mutteraug' in deine Bläue. _See_ Reinecke. Mother love. RCS *My ball comes up to meet me. Walker. WS My ball, I want to call you. _See_ Walker. Tossing game. WS My ball is fond of moving. Ball songs, no. 15. PS *My ball is soft and round and gay. HR My ball is soft and round and gay. _See_ Ball songs, no. 12. PS My ball is soft and round and bright. _See_ Just the thing. HR *My ball lies in its little bed. WS My ball reflects the clear blue sky. _See_ Ball songs, no. 17. PS My ball will be an apple red. _See_ Knowlton. Game with first kindergarten gift. NS My barrow I have brought to you. _See_ Wheelbarrow. PS My bed is a boat. Stevenson. CGV--LBS--SS _For composers see_ Stevenson. My bed is a boat. My bed is like a little boat. _See_ Stevenson. My bed is a boat. CGV--LBS--SS _For composers see_ Stevenson. My bed is a boat. My bicycle. Gaynor. GS My big black dog. OYA My brigantine. Saar. TLB My brothers they were Tom and Jack and Joe and Jock and Bill. _See_ Seven brothers. LBS *My country 'tis of thee. Carey. TLB (America. FS--GS--MSG) My daddy is dead, but I can't tell you how. _See_ Plough boy in luck. BO *My dame has a lame tame crane. FS My dear mama I love to hear. _See_ Smith. Bedtime. SV My dog, Carl. Cole. CM My doggie's name is "Guess". _See_ Neidlinger. Guess. SSS *My father and mother were Irish. OYA *My father was a carpenter. LBS *My father was a tailor. JB My first good horse is very very tall. _See_ Valentine. Baby's horses. VBD My garden flowers. Sheehan. OSM My God and Father, while I stray. _See_ Troyte. Troyte's chant. TLB My hand must be the mill-stone. _See_ Smith. Mill-stone. SL1 My heart is God's little garden. Smith. SL2 My kingdom. Stevenson. SF (Ramsey. My kingdom. SF) My kitty. HR (Elliott. I love little pussy. MG--SL1) (Tufts. I like little pussy. CL) My kitty. Cole. CM *My knight is a rider. RCS (My trooper. FS) My lady Greensleeves. NEB1 (Marzials. My lady Greensleeves. CPP) *My lady wind. Elliott. MG My lady's garden. CBO My little ball lies in my hand. _See_ Wiggin. Ball lullaby. KC My little doll Rose. Tufts. FS My little sixpence. _See_ Elliott. Jolly tester. MG (Jolly tester. BB) *My lodging is on the cold ground. Marzials. CPP *My love dwelt in a northern land. Elgar. TLB *My love's an arbutus. EFS--FS My love, you do me wrong. _See_ Marzials. My lady Greensleeves. CPP (My lady Greensleeves. NEB1) *My luve's like a red, red rose. Garrett. TLB My mother minds me not. _See_ Franz. Forlorn. TLB *My mother said. JB *My mother sent me unto you. JB My mother's eyes. Reinecke. FC My mother's memory. Klein. TLB My neighbor. Holden. EL My Normandy. Berat. FS My old friend John. Land. FS My old Kentucky home, good night. Foster. EFS My pansies. Smith. SV My pansies. Thaxter. EL *My Pigeon house. Parker. WS *My pony. Gaynor. LL *My pretty Jane. Bishop. EFS My pretty little ball is round. _See_ Ball song. KC My pretty maid. CBO--LBS My pussy. Tufts. CL My shadow. Gaynor. SC1 My shadow. Stevenson. SS (Stanford. My shadow. SS) My ship and I. Stevenson. SF--SS _For composers see_ Stevenson. My ship and I. *My ship has been a sailing across the ocean blue. Smeltzer. SZ My six square flat faces are running away. _See_ Cube song, no. 2. EL *My soft ball loves to wander. Hubbard. MSG My song. Cole. TC My song I sing at early dawning day. _See_ Hubbard. Farmer. MSG My tea is nearly ready and the sun has left the sky. _See_ Stevenson. Lamplighter. LBS (Bell. Lamplighter. LBS) My trooper. FS (My knight is a rider. RCS) My valentine. Riley. LL *Mystery man. Reed. TGS Naegeli. Fast fly the hours. RCS ---- Father and mother's care. SHS ---- How gentle God's commands. TLB ---- Violet. HR--RCS--WS Nailor. Hubbard. MSG Naming the fingers. Froebel. SM Natural history. CBO Nature game. Hurd. PTS Nature's dream. Karganoff. HMC1 Music only Nature's Easter song. Hill. SHS Nature's God is there. Hubbard. MSG (Walker. God is there. MSG) Nature's goodnight. Hill. SHS Nature's novel. Neidlinger. ES2 Near the barnyard's open gate. _See_ Smith. In the barnyard. SL2 *Near Woodstock town in Oxfordshire. Marzials. CPP *Nearer, my God, to Thee. Hubbard. MSG (Mason. Nearer, my God, to Thee. TLB) Nearer to Heaven we'll be. Hubbard. MSG (Hubbard. There is a brooklet. MSG) Neddy has a pony. _See_ Cole. Neddy's pets. CM Neddy's pets. Cole. CM *Needle's eye. HC--NG--OYA--USI Neidlinger. About boats. ES2 ---- Baby's face. ES1 ---- Bad pussy. SSS ---- Beacon of long ago. ES2 ---- Bee. SSS ---- Beginnings. ES2 ---- Blacksmith. ES1 ---- Blue-bird. SSS ---- Blow, bugle, blow! TLB ---- Bowl of bread and milk. SSS ---- Bunny. SSS ---- Buried stone. ES1 ---- Busy stream. ES1 ---- Busy wind. ES1 ---- Cable. ES1 ---- Carnival. ES1 ---- Caterpillar. SSS ---- Cat's cradles. SSS ---- Chicken. SSS ---- Comparisons. ES2 ---- Cut finger. SSS ---- Cycle of the year. ES1 ---- Daisy and the wind. SSS ---- Dance. SSS ---- Day and night. ES1 ---- Endless song. TLB ---- Engineer. ES2 ---- Evening star. SSS ---- Fairies. ES2 ---- Falling leaves. SSS ---- First flying lesson. SSS ---- Footprints. SSS ---- Glacier. ES1 ---- Guess. SSS ---- Horse. ES2 ---- Humble bee. TLB ---- Jack Frost. SSS ---- Journey of the logs. ES1 ---- Kettle. SSS ---- Kitten and the bow-wow. SSS ---- Letters. ES2 ---- Little birdie. SSS ---- Little drop of water. ES1 ---- Little lamb. SSS ---- Little yellowhead. SSS ---- Lost rose seed. ES1 ---- Man on the dromedary. SSS ---- Miner. ES1 ---- Mr. Duck and Mr. Turkey. SSS ---- Mr. Frog. SSS ---- Mr. Period and his friends. ES2 ---- Mr. Rooster and Mrs. Hen. SSS ---- Mr. Squirrel. SSS ---- Mistress Cow. ES1 ---- Moon is playing hide and seek. SSS ---- Nature's novel. ES2 ---- Night. ES2 ---- Old families. ES2 ---- Old friends. ES2 ---- Old gravitation. ES2 ---- Our flag. SSS ---- Painter sun. ES1 ---- Palette of painter Sun. ES2 ---- Plowman. ES1 ---- Polly. SSS ---- Rainbow. ES1 ---- Rainy day. SSS ---- Robin's song. SSS ---- Rocking baby. SSS ---- Rosebush's baby. SSS ---- Same old road. ES2 ---- Sea garden. ES2 ---- Sea song. ES2 ---- See-saw. SSS ---- Shadows. ES2 ---- Sheep. ES2 ---- Signs. ES2 ---- Six little puppies. SSS ---- Small and great. ES2 ---- Snowflakes. SSS ---- Snowman. SSS ---- Soap-babies. SSS ---- Spider. SSS ---- Steamer's message. ES1 ---- Story of the horse. ES2 ---- Telegraph. ES1 ---- Thermometer. ES2 ---- Three funny old men. SSS ---- Thunder. ES1 ---- Tick-tock. SSS ---- Tiddlely Winks and Tiddlely Wee. SSS ---- Tide. ES1 ---- Tin soldiers. SSS ---- Two crows. SSS ---- Voyage. ES2 ---- Whale. SSS ---- When I grow to be a man. SSS ---- Winds. ES1 ---- Windy day. SSS ---- Wise old owl. SSS ---- Year's color song. ES1 Nelham. Windmill. RSC Nell and her bird. Tufts. CL Nest. PS. Nest eggs. Stevenson. SF (Ramsay. Nest eggs. SF) Nevin. Return of the birds. TC New calash. Terhune. CC New moon. Sawyer. WS (Hubbard. Pretty moon. MSG) New Year. Gaynor. SC2 New Year. Gebauer. HS New Year. Seidel. HR New Year greeting. Sherwood. HS New Year is beginning. _See_ Sherwood. New Year greeting. HS New Year is my mother. _See_ April. SL2 *New Year's day is coming. Gaynor. SC1 Newman. Lead kindly light. TLB News for gardeners. Knowlton. NS Newsboy. Hailmann. HR Nice little mermaid lived under the sea. _See_ Fairlamb. Little mermaid. StN Nigarepolskan. FDM Night. Neidlinger. ES2 Night and day. Stanley. StN (Warren. Night and day. StN) (Wiggin. Night and day. KC) Night comes over the hills, dear. _See_ Rittmeyer. Night song. TLB Night comes to guard the sleeping earth. _See_ Neidlinger. Night. ES2 Night moth. Gaynor. SC2 Night song. Rittmeyer. TLB Night was near, a day was near. _See_ Smith. Hope carol. TLB Nightfall in Dordrecht. DeKoven. FSC *Nightingale, O nightingale. Alabieff. FS Night's shadows falling, men to rest are calling. _See_ Fleming. Integer Vitae. TLB Night's song. Behr. HMC1 Music only Nikolina. Foote. StN *Nineteen birds. Elliott. MG Nocturne: Go-to-sleep fairies. _See_ Forester. HMC1 Music only *Nodding daisies nod away. Bingham. BM Noël, noël, the Christ is born! Shelly. WS Norman's birthday now is here. _See_ Gaynor. Birthday greeting. SC1 Norman's work is finished. Gaynor. SC1 Norse lullaby. DeKoven. FSC North-west passage--good night. Stevenson. SF (Ramsay. North-west passage--good night. SF) North wind. Montz. IMS North wind and the robin. BB (Bartlett. North wind doth blow. StN) (Conrade. North wind doth blow. GS) (Elliott. North wind doth blow. MG--SL1) (North wind doth blow. HR) (Tufts. North wind doth blow. CL) *North wind blew one cold, fall night. Hill. SHS North wind came along one day. _See_ Hill. In autumn. HS *North wind doth blow. HR (Bartlett. North wind doth blow. StN) (Conrade. North wind doth blow. GS) (Elliott. North wind doth blow. MG--SL1) (North wind and the robin. BB) (Tufts. North wind. CL) North wind doth blow. _See_ Hill. Migration song. SHS North wind how he blows. _See_ Gaynor. Wind. SC1 North winds do blow. _See_ Knowlton. Kite time. NS North winds blow o'er drifts of snow. _See_ Walker. Old Year and the New. WS Norton. Game to teach five. NS ---- Out of the window. NS Norwegian dance. HMC2 Music only Nothing but a hand I see. _See_ Hubbard. Cube. MSG Notte é bella. _See_ Guglielmo. Rowing. FS November. Gaynor. LL November. Knowlton. NS November, no. 1. Thalber. GS November, no. 2. Conrade. GS November skies are dreary. _See_ Brewster. Thanksgiving song. BSS Now all ye flow'rs make room. _See_ Allen. Memorial hymn. TLB Now before we work today. _See_ Wiggin. Morning prayer, no. 1. KC (Randegger. Morning prayer. SL1) Now children, stand up. _See_ Wiggin. Flower game. KC Now children, we're beginning. _See_ Berry. Children, we're beginning. KC Now come, let us play. Hailmann. HR Now, fishermen, draw in your nets. _See_ Tabram. Fisherman. KC Now go to sleep, my Thumbkin. _See_ Smith. Go to sleep, Thumbkin. SL1--SM Now hide the flowers beneath the snow. _See_ Brown. Hide and seek. EL Now in the dance we'll float around. _See_ Smith. Little dancing song. LCD Now it is turning 'round and 'round. _See_ Hubbard. Ball. MSG Now Jenny her walk is taking. _See_ Wiggin. Every day problems. KC Now, join hands and let us all play a little with the ball. _See_ Little game for little folks. WS Now, my baby, now. _See_ Dream-baby. FS Now my child would have us baking. _See_ Hubbard. Pat-a-cake. MSG (Froebel. Pat-a-cake. MP) Now my little rogue may smell. _See_ Froebel. Song of perfume. MP Now 'neath the silver moon. _See_ Santa Lucia. EFS--TLB (_See_ where the star of eve. FS) *Now, oh, now I needs must part! Marzials. CPP Now our happy playtime ring we'll form. _See_ Sheehan. Playtime ring song. OSM *Now our morning work is ended. Hubbard. MSG Now our work is ended for another day. _See_ Gaynor. Good-bye, no. 1. SC1 Now our work is over. _See_ Closing song. KC Now see them here, these friends so dear. _See_ Froebel. Greeting. SM *Now take this little ball. Hubbard. MSG Now taste, little playmate. _See_ Jenks. Game for the senses. EL Now the ball comes round to meet us. _See_ Wiggin. Wandering game. KC Now the busy morn is over. _See_ Dugan. Parting song. WS Now the clock upon the wall. _See_ Reed. Good-bye song. TGS Now the cylinder comes with his faces three. _See_ Cylinder song. EL *Now the day is over. Barnby. SL1--TLB (Knowlton. Now the day is over. NB) *Now the sun is sinking. Tufts. CL (Wiggin. Slumber song. KC) Now the flowers lift their heads. _See_ Conrade. In the springtime. GS Now the garden beds are blooming. _See_ Froebel. Little gardener. MP (Hubbard. Garden bed. MSG) Now the leaves fall one by one. _See_ Gaynor. Signs of the seasons. LL Now the night is over. _See_ Smith. Morning prayer, no. 5. KC Now the silver moon arising. _See_ Bach. Venetian boatman's song. TLB Now the stars begin to peep. _See_ Osgood. Little maiden and the stars. SM *Now the time has come for play. Smith. SL2 (Hubbard. Now the time has come for play. MSG) Now we dance Looby, Looby, Looby. _See_ Looby light. BB (Here we come. Looby Loo. JB) (Looby Loo. BG--HC--NEB1) (Looby, Looby. LBS) Now welcome to the new born year. Rischart. HR New we'll have a merry play. _See_ Reed. Pebble game. TGS Now we'll throw balls of snow. _See_ Sawyer. Snow balls. EL Now we've had our merry play. _See_ To work. HR Now what shall I send to the earth today? _See_ Smith. Sunbeams. SL2 Now, who should know when pansies grow? _See_ Stanley. Little Elsie. StN Number game. Czerny. HR Numbering the fingers. Froebel. SM (Adaptation: Finger play, no. 19. PS) Nursery clock. Wenk. RCS Nurse's song. Elliott. MG (Dance a baby diddy. CBO) Nuts in May. BG--JB--LBS--USI (Knots of May. NG) O sanctissima. _See_ Work. FS "O Strasburg". _See_ Country dance, 11. FDM O Tannenbaum, O Tannenbaum. _See_ Fir and pine. RCS (Fir tree. FS) O Tempora! O Mores! TLB *O, thou holy child. RCS O wie ist es kalt geworden. _See_ Reinecke. Longing for spring. RCS Oak and the streamlet. Henschel. TC *Oats, peas, beans. BG--HC (How oats and beans and barley grow. JB) Obedient. Smith. LCD October. Conrade. GS October. Knowlton. NS October's woods are bare and brown. _See_ Conrade. October. GS Oehmler. Reaper's dance. HMC2 Music only O'er the white foam of the wild singing sea. _See_ Gilchrist. Dolphin lullaby. TLB Of all the days of gladness. _See_ Hill. Happiest day. HS Of all the girls that are so smart. _See_ Marzials. Sally in our alley. CPP Of all the myriad moods of mind. _See_ Cole. Longing. TLB Of many giants in the world. _See_ Neidlinger. Old gravitation. ES2 Of priests we can offer a charming variety. _See_ Father O'Flynn. FS Of speckled eggs the birdie sings. _See_ Stevenson. Singing. CGV--CM--SS _For composers see_ Stevenson. Singing. Off! and with a merry song. _See_ Marching, no. 26. PS Ogden. Christmas carol. KC Oh, a little frog in a pond am I. _See_ Gaynor. Frog and horse. SC1 Oh all you little blackey tops. _See_ Scarecrow. BB Oh, arch of glory curving there on high. _See_ Gaynor. Rainbow. SC1 Oh big round world. _See_ Gaynor. Oh, wide, wide world. SC1 Oh, birdie dear! See Froebel. Lightbird. MP (Hubbard. Oh, birdie dear. MSG) (Adaptation: Smith. Lightbird. SL1) Oh, birdie gleaming on the wall. _See_ Smith. Lightbird. SM Oh, birdie, Oh birdie. _See_ Smith. Light bird. SL1 (Adapted from Froebel. Light bird on the wall. MP) (Adapted from Hubbard. Oh, birdie dear. MSG) Oh, blithe and merrily sang the shark. _See_ Chadwick. Song of the shark. StN Oh, bring the fife and bring the drum. _See_ Gaynor. Salute to the flag. SC2 Oh, builders we would like to be. _See_ Wiggin. Building song. KC Oh, busy squirrel with shining eyes. _See_ Gaynor. Harvest of the squirrel and honey-bee. SC1 Oh, butterfly, stay, please don't fly away. _See_ Butterfly. PS Oh, call the pigeons, baby dear. _See_ Reinecke. Beckoning the pigeons. SM *Oh, can ye sew cushions? FS *Oh, captain! my captain! Kelly. TLB *Oh, Charlie is my darling. FS Oh, child of my heart so fair and so dear. _See_ Froebel. Mother in unity with her child. MP Oh, clap, clap the hands. _See_ Roeske. Santa Claus. PFP *Oh, Columbia, the gem of the ocean. Shaw. GS *Oh come, all ye faithful. Reading. TLB Oh, come and join our circle. _See_ Smith. Come and join our circle. SL2 Oh, come, come, my pretty man. _See_ Come, come, my pretty man. JB Oh come, dear little children. _See_ Himmel. Thanksgiving song. SHS Oh come, let us worship. Haydn. TLB Oh! come now, our vessel is ready. _See_ Weber. On the sea. HR Oh come to the woods and let us play. _See_ Hubbard. Froebel's birthday.MSG Oh dear, here I sit and sit. _See_ Terhune. Tithing-man. CC Oh dear oh! the cat is in the snow. _See_ Cat in the snow. LBS Oh dear sixpence, I've got sixpence. _See_ Jolly tester. BB (Elliott. Jolly tester. MG) *Oh! dear, what can the matter be? FS--OYA Oh, do you know the Land of Nod? _See_ Gaynor. Land of Nod. SC1 Oh, do you know the muffin man? _See_ Muffin man. BG--HC--JB--USI Oh fairest maiden, when I behold thee. _See_ Love's parting. EFS Oh forest fir! Oh forest fir. _See_ Fir tree. FS (Fir and the pine. RCS) Oh! gay pretty valentines gladly we send. _See_ Hill. Valentines. HS Oh God! beneath Thy guiding hand. _See_ Hatton. God be with us. TLB Oh, happy birds among the boughs. _See_ Brown. Reason why. WS Oh, have you seen the muffin man? _See_ Muffin man. BG--HC--JB--USI Oh, have you seen the shak? _See_ Hunting. BG--USI (A-hunting we will go. JB) Oh, have you seen the swimming school? _See_ Gaynor. Froggies' swimming school. SC1 Oh! here are the little leaves that grow. _See_ Sherwood. Leaves, flowers and fruits. HS Oh! here is Miss Pussy. _See_ Tufts. My Pussy. CL Oh, here is my trooper, my trooper so fine. _See_ My trooper. FS (My knight is a rider. RCS) Oh, here is one in a purple hat. _See_ Thaxter. My pansies. EL Oh! here we are the same old friends. _See_ Hubbard. Scissors grinders. MSG Oh, here's another song. _See_ Neidlinger. Sea song. ES1 Oh, here with her wonderful, wonderful bag. _See_ Reed. Wonderful bag. TGS Oh, his pretty head is brilliant red. _See_ Gaynor. Woodpecker. SC2 *Oh, how great is our pleasure. HR Oh! how he runs. _See_ Gaynor. Ferret. LL Oh, how hot! no cooling breeze. _See_ Thunderstorm. HR Oh, hurry quick, the ice is thick. _See_ Gaynor. Skating. SC2 *Oh hush thee, my baby. Macirone. FS Oh, I am a cooper, no care can I know. _See_ Walker. Cooper. WS (Hubbard. Cooper. MSG) Oh, I am the little New Year, oh, oh! _See_ Jenks. Little New Year. WS Oh I know a little fellow. _See_ Meissner. In Japan. ASC Oh, I'm a jolly car driver. _See_ Wiggin. Car driver. KC Oh! I'm a scissors grinder. _See_ Knowlton. Scissors grinder. NS Oh, I'm lonesome since I crossed the hill. _See_ Marzials. Girl I've left behind me. CPP Oh, I say, br'er rabbit. _See_ Br'er rabbit. OYA Oh I wish the winter would go. _See_ Allen. Winter and summer. StN Oh! in our still and mournful meadow. _See_ Orpheus. TLB Oh, it's I that am the captain. _See_ Stevenson. My ship and I. SF--SS _For composers see_ Stevenson. My ship and I. Oh it was in the noon of night. _See_ Dugan. Babe Jesus. EL Oh, Jack Frost is a merry little elf. _See_ Gaynor. Jack Frost. SC1 Oh Lady bird, Lady bird, fly away home. _See_ Lady bird. LBS Oh, lady bird, lady bird, fly away home. _See_ Brown. Lady bird. EL Oh, lark, sweet lark. _See_ House. Lark. TC Oh, lassie and I, and lassie and I. _See_ Lassie and I. KK *Oh, list, fairest maiden, will you tread a dance with me? KK Oh, list to the song of the wooden shoon. _See_ Meissner. In Germany. ASC Oh, listen, mother dearest! _See_ Schwartz. Mother's birthday. BSS Oh, listen, the sun is calling. _See_ Gaynor. Growing. GS Oh, little birds! oh, pretty birds. _See_ Gaynor. Farewell to the birds. SC1 Oh! Little Bo-peep. _See_ Smeltzer. Little Bo-peep. SZ Oh, little child. Smith. FSC Oh, little flowers, you love me so. _See_ Tufts. Little girl's fancies. CL Oh, little frosty snow-flakes. _See_ Smith. To a snow-flake. LCD Oh! little loveliest lady mine. _See_ Damrosch. Valentine. StN (Fairlamb. Valentine. StN) Oh! little Miss Careful. _See_ Smith. Careful. LCD *"Oh, little town of Bethlehem." Martin. MSL *Oh, look at the moon. Gilchrist. SM Oh! lovely ball of golden light! _See_ Hill. Sunrise. HS Oh! lovely ball of golden light! We sing to you a sweet good night. _See_ Hill. Sunset. HS Oh lovely bright star, you shine from afar. _See_ Reinecke. Evening star. FC Oh, lovely little violet. _See_ Schults. Violet. FC--KC--MSL--RCS--SL1--WS _For composers see_ Schults. Violet. Oh Mary dear, come here, come here. _See_ Reed. Surprise. TGS "Oh Mary, go and call the cattle home." _See_ Sands of Dee. TLB Oh, Mary, look around you. _See_ Wiggin. Seeing game. KC Oh Miss, I'll give you a paper of pins. _See_ I'll give to you a paper of pins. NG *Oh mistress mine, where are you roving? Marzials. CPP Oh, Monday's Dolly's washing day. _See_ Gaynor. Little housewife. SC1 *Oh moon! in the night. Brewster. BSS Oh, moth of the night. _See_ Gaynor. Night moth. SC2 *Oh mother dear, Jerusalem. _See_ Ward. Jerusalem above. TLB Oh, mother, how pretty the moon looks tonight. _See_ Sawyer. New moon. WS (Hubbard. Pretty moon. MSG) Oh, mother my love, if you'll give me your hand. _See_ Gilchrist. Child and mother. FSC Oh, my little sixpence. _See_ Elliott. Jolly tester. MG (Jolly tester. BB) *Oh, my luve's like a red red rose. Garrett. TLB Oh oh, let the breezes, the breezes blow. _See_ Gaynor. Kite. LL Oh! Paddy dear, and did you hear the news that's going round? _See_ Wearing of the green. EFS *Oh Paradise! Oh Paradise. Barnby. TLB (Hubbard. Paradise. MSG) Oh, pilgrim from the Indies! Weidig. TC Oh Pillykin Willykin Winkie Wee! _See_ Bartlett. Punkydoodle and Jollapin. StN (Burdett. Punkydoodle and Jollapin. StN) (Mosenthal. Punkydoodle and Jollapin. StN) (Stanley. Punkydoodle and Jollapin. StN) Oh! poor chickabiddy, where's she gone? _See_ Brahms. Lost chicken FS Oh, pretty bird, O shining bird. _See_ Kohl. Light bird. SM Oh, pretty bird of colored light. _See_ Gaynor. Light bird. SC1 Oh, pretty white clouds, now what have you done? _See_ Reed Cloudy day. TGS *Oh rest in the Lord. Mendelssohn. TLB Oh, ring, glad bells. Herron. WS Oh, ring, ring, ring, ring, merry bells. _See_ Hitte. Merry Christmas bells. DM Oh, Sally Waters. _See_ Sally Waters. JB Oh, say, busy bee, whither now are you going? _See_ Busy workers. HR (Bees. MSG) Oh, say, can you see? _See_ Key. Star-spangled banner. EFS--FS--GS--MSG Oh, say have you heard of the sing-away bird? _See_ Millard. Singaway bird. StN Oh, say Mister Cube, what now are you hiding? _See_ Cube song no. 1. EL Oh, see my pigeon-house, so high! _See_ Kohl. Pigeon-house SM Oh, see the carpenter. _See_ Froebel. Carpenter. MP (Hubbard. Oh, see the carpenter. MSG) Oh, see the gate! it opens wide. _See_ Froebel. Farmyard SM Oh, see the light. Hubbard. MSG (Froebel. Little window. MP) (Wiggin. Window. KC) Oh, see the little window bright. _See_ Froebel. Little window. MP (Wiggin. Window. KC) (Hubbard. Oh! see the light. MSG) *Oh, see the snow, the falling snow. Hailmann. HR (Hubbard. See the snow is falling fast. MSG) (Walker. Snow. WS) Oh, see the snow is falling now. _See_ Hubbard. See the snow is falling fast. MSG (Hailmann. Oh! see the snow. HR) (Walker. Snow. WS) Oh, see the window I have here. _See_ Beethoven. Little window. HR Oh, see the shining skating pond. _See_ Koehler. Skating. HR Oh, shall I sing you a song that tells you how? _See_ Sowing song. KK Oh Shenandoah, I long to hear you. _See_ Shenandoah. NEB2 *Oh sing with thy cheery voices. Smith. SL2 Oh, sun-beams that dance on the summer sea. _See_ Rust. Summer shower. EL Oh, swan of slenderness. _See_ Little red lark. EFS--FS Oh take, thou lovely child of spring. _See_ Grieg. First primrose. FS Oh tell me, little children. _See_ Foote. Nikolina. StN *Oh! tell me the tone that the cricket sings. Schwartz. BSS Oh, the Eskimo has a house of snow. _See_ Meissner. In Greenland. ASC Oh, the fox thro' the forest! _See_ If I may. KK Oh! the gay and gladsome spring. _See_ Gaynor. Who would not be glad? LL *Oh the lovely, lovely May. WS Oh, the merry lay of June. Knowlton. NS Oh, the morning-glory bells. _See_ Gaynor. Morning-glory bells. SC2 Oh, the North wind how he blows. _See_ Gaynor. Wind. SC1 Oh, the tree loves me. See Gaynor. Tree's friends. SC1 Oh the wide, wide world. Gaynor. SC1 Oh, there he comes! I hear his horn. _See_ Bingham. Balloon man. BM Oh, this is the little chicken coop. _See_ Gaynor. Some lullabies. SC2 Oh! Tooriletoo was a bonnie cock robin. _See_ Tooriletoo. RCS Oh, violet, darling violet. _See_ Schults. Violet. FC--KC--MSL--RCS--SL1--WS _For composers see_ Schults. Violet. Oh ! we are little waiters. _See_ Wiggin. Little waiters. KC Oh, we are the shears big and strong. _See_ Gaynor. Song of the shears. SC1 Oh, we wear brown velvet jackets. _See_ Gaynor. Cat-tails. SC2 *Oh, wert thou in the cauld blast. Mendelssohn. TLB Oh what a plague is love. _See_ Marzials. Phillida flouts me. CPP Oh, what a pretty black-bird. _See_ Black-bird song. BSS Oh, what do birdies dream of? _See_ Hubbard. What do birdies dream? MSG Oh, what do you ever suppose, Mama? _See_ Meissner. Smelling. ASC Oh what do you think came down last night? _See_ Dayre. Snow. EL Oh, what fun it is to be just a tiny girl. _See_ Terhune. Sedan chair. CC Oh, what fun, what jolly fun. _See_ Gaynor. Coasting. SC2 "Oh, what have you got for dinner, Mrs. Bond?" _See_ Mrs. Bond. CBO Oh, what is this? _See_ Froebel. Barnyard gate. MP (Hubbard. Barnyard gate. MSG) Oh! when do birds with weary wing. _See_ Smith. Friendly dark. LCD Oh! when I was a farmer. _See_ Gaynor. 'Twas this way and that way. LL _For variants see_ When I was a lady. Oh! where are the merry, merry little men? _See_ Roeske. Merry little men. PFP Oh, where are you going Billy Boy? _See_ Billy Boy. OYA Oh, where do you come from? _See_ Tufts. Little raindrops. CL Oh, where is Little Boy Blue? WS (Cornwell. Little Boy Blue. EL) Oh where is Marguerite? _See_ Marguerite. JB Oh where is my little dog gone? OYA Oh, where, oh, where is little Boy Blue? _See_ Cornwell. Little Boy Blue. EL (Dugan. Little Boy Blue. WS) Oh where, O where's my little dog gone? _See_ O where is my little dog gone? OYA Oh, where, tell me where is your Highland laddie gone? _See_ Blue Bells of Scotland. FS Oh, who is so merry, so merry, heigh-ho. _See_ Reinecke. Fairy. FC Oh! who's the friendly little chap? _See_ Smith. Polite. LCD Oh, who will buy my toys? _See_ Toyman. HS Oh, who will o'er the downs so free. Pearsall. FS Oh, who will take a walk with me? _See_ Hill. Toyman's shop. HS Oh, who wouldn't be a bounding ball. _See_ Gaynor. Ball. SC2 Oh! who wouldn't be a soldier when the band begins to play? _See_ Gaynor. When the regiment goes marching by. LL Oh! whom shall I choose for the beautiful band? _See_ Gaynor. Game of the golden band. LL Oh, why does the charcoal-burner stay up in the woods? _See_ Bullard. Charcoal-burner. SM Oh, willow, willow. Marzials. CPP Oh, wonderful shell. _See_ Meissner. Hearing. ASC Oh, won't you take me to your party? _See_ Party. USI Oh, worship the King all glorious above. _See_ Haydn. O come let us worship. TLB *Oh, wouldn't you like to go? Frazer. BSS Oh, you buttercups, yellow. _See_ Gaynor. Buttercups. SC2 Oh, you pussy willow. _See_ Sawyer. Pussy willow. WS Old black crow flew o'er the corn. _See_ Gaynor. Crow. SC2 Old carol. Conrade. GS *Old Caspar had six sons so fine. LBS Old coats to mend, old coats to mend. _See_ Hailmann. Tailor. HR *Old Dan Tucker. OYA *Old Dan Tucker came to town. USI Old English carol. Sawyer. EL *Old families. Neidlinger. ES2 Old folks at home. Foster. TLB--EFS Old Fred'ric Barbarossa. _See_ Gersbach. Barbarossa. RCS Old friends. Neidlinger. ES2 Old gravitation. Neidlinger. ES2 Old Gaelic lullaby. Tufts. CL (Hahn. Gaelic cradle song. BSS) (Harris. Gaelic cradle song. TLB) Old hundred. France. TLB Old hundred. EFS Old Jack Frost he is here. _See_ Smith. Jack Frost. SL2 *Old King Cole is a jolly old soul. Smeltzer. SZ *Old King Cole was a merry old soul. FS--LBS (King Cole. CBO) Old King Frost comes and locks me up. _See_ Gaul. Song of the brook. TC Old man. KK Old man and his wife. LBS Old man clothed in leather. Elliott. MG (Old man in leather. BB) Old man in leather. BB (Elliott. Old man clothed in leather. MG) Old man of Tobago. Smeltzer. SZ Old mother earth has good children. _See_ Neidlinger. Falling leaves. SSS *Old Mother Hubbard. Smeltzer. SZ Old mother Oxford. NEB2 Old oak stood on a streamlet's bank. _See_ Henschel. Oak and the streamlet. TC Old ocean has a son. _See_ Neidlinger. Tide. ES1 *Old Roger is dead. JB--NEB1 Old Santa Claus puts on his cap. _See_ Santa Claus. EL Old winter is a sturdy one. _See_ Haydn. Winter. HR (Hubbard. Old winter. MSG) Old winter's coat is made of white. _See_ Neidlinger. Year's color song. ES1 Old woman of Norwich. BB Old woman tossed up in a basket. BB Old woman who lives in the shoe. Smeltzer. SZ Old Year and New Year. Hill. HS Old Year and the New. Walker. WS Oldberg. Cricket. HMC1 Music only ---- Garden mole. HMC1 Music only Olle and the bear. KK On a hedge there sat a linnet. _See_ Reinecke. Poor linnet in the hedge. FC *On a mountain stands a lady. JB On Christmas day, Babe Jesus in a manger lay. _See_ Morton. Christmas picture. HS On Fourth of July. _See_ Kern. Fourth of July. HS On Friday morn as we set sail. _See_ Marzials. Mermaid. CPP On Froebel's birthday. HS On guard. Pleyel. GS On lightsome wing from flow'r to flow'r. _See_ St. John. Butterfly. BSS On Monday we wash out our clothes. _See_ Gaynor. Work of the week. GS On my sampler long I work. _See_ Terhune. Sampler. CC On my two feet I used to run. _See_ Smith. My pansies. SV On Richmond Hill there lives a lass. _See_ Hook. Lass of Richmond Hill. FS--TLB On silver skates we curve and slide. _See_ Meissner. In Holland. ASC On steep Mount Carmel's height we stand. _See_ Crusaders. TLB *On the bridge of Avignon. JB--RCS (Adaptation: In the spring. FS--HC) (Trans. from Sur le pont d'Avignon. BB) *On the bridge neath the town. LBS On the gay red sarafan. See Red Sarafan. EFS On the green and swelling moss-bank. _See_ Mozart. Summer joy. HR On the path that leads to school. _See_ Smith. After the rain. SV On the railroad train. Seeboeck. HMC1 Music only On the ring we stand. _See_ Hurd. Ball game. PTS On the sea. Weber. HR On the wall there hangs a clock. _See_ Atkinson. Clock. GS On the wind of January. _See_ Knowlton. January. NS *On this happy feast day. Strong. HS On this memorial morning. _See_ Flotow. Memorial day. GS On tiptoe. Chavagnat. HMC2 Music only On yonder fleeting river. _See_ Glueck. Broken ring. EFS Once a boy a rose espied. _See_ Goethe. Heiden-Roeslein. BSS--FS--RCS _For composers see_ Goethe. Heiden-Roeslein. Once a little baby lay. _See_ Morton. First Christmas. HS--WS (Reinecke. First Christmas. GS) Once a little boy and girl went to school together. _See_ Cole. Going to school. CM Once a rat who loved the city. _See_ City rat and the country rat. FS Once I got into a boat. _See_ Smith. Boat ride. SL2 *Once in my life. Story. StN *Once in my youth a maiden I knew. KK Once more, dear home, I with rapture behold thee. _See_ Wagner. Pilgrims' charm. TLB Once our hennies sought their cock. _See_ Reinecke. Good old clock. FC Once some little apple seeds. _See_ Hill. Story of the apple. SHS Once there lay a little baby. _See_ Sawyer. First Christmas. EL Once there lived a little man where a little river ran. _See_ Little disaster. BB *Once there was a little kitty. Walker. WS Once upon our earth there came. _See_ Smith. Froebel's birthday song. SL2 Once unto the shepherds. _See_ Gaynor. Christmas carol. SC1 Once within a lowly stable. _See_ Hill. Christmas night. SHS One bird has joined another. _See_ Wiebe. Two birds. KC One by one, one by one. _See_ Here we go. HR One by one we march along. _See_ Koehler. Arch. HR (Marching, no. 23. PS) One by one we move along. _See_ Marching, no. 23. PS (Koehler. Arch. HR) One candle for baby. _See_ Smith. Baby's birthday. LCD One day as Mrs. Squirrel. _See_ Neidlinger. Mrs. Squirrel. SSS One day when I was lonesome. _See_ Bingham. How I learned to sew. BM One finger, one thumb keep moving. _See_ Keep moving. BG One has found another place. _See_ Cole. Scale song, no. 8. CM One has moved again, you see. _See_ Cole. Scale song, no. 6. CM One hundred years ago and more. Schuckburgh. HS One cat in the corner. _See_ Knowlton. Game to teach five. NS One little kitten scrubbing down its nose. _See_ Clarke. Two kittens. StN One little sparrow had learned to fly. _See_ Neidlinger. First flying lesson. SSS One little, two little, three little Indians. HC One little, two little, three little Indians. _See_ Smeltzer. Little Indians. SZ *One man went to mow. JB One merry summer day. _See_ Bacon. Two little roses. EL One misty, moisty morning. _See_ Elliott. Old man clothed in leather. MG (Old man in leather. BB) One morning laughing West wind blew. _See_ Neidlinger. Winds. ES1 One night in far Australia. _See_ Neidlinger. Telegraph. ES1 One night when the dew had washed the face. _See_ Neidlinger. Daisy and the wind. SSS One piece this way and one piece that. _See_ Bullard. Target. SM One Robin Red-breast hopped on the ground. _See_ Hurd. Bird song, (Color). EL One thing at a time. Tufts. CL One time in 'Frisco being sick of the shore. _See_ Liverpool girls. NEB2 One, two candles we must take. _See_ Smith. Two year old. LCD One, two, three. Cole. CM One, two, three. Pratt. StN One, two, three! a bonny boat I see. _See_ Pratt. One, two, three. StN One, two, three, four, five, six, seven, eight. _See_ Counting game. KK One, two, three, four, march around. _See_ Smith. Circles. SL2 One, two, three, in a ring are we. _See_ Hubbard. Ding, dong, dell. MSG *One, two, three, roll! Hubbard. MSG One, two, three, ticka, tacka, tee. _See_ Reinecke. How it looks in the mill. FC One winter night a star shone bright. _See_ Hill. Christmas lullaby. SHS Only see, only see. _See_ Wiggin. Clock game. KC Onward, Christian soldiers. Hubbard. MSG (Sullivan. Onward, Christian soldiers. TLB) Open cups of dazzling white. _See_ Gaynor. Water lilies. SC2 Open the dove cote door. _See_ Smith. Dove cote. SL1 Open your eye, little daisy. _See_ Tufts. Daisy birds. CL Open your eyes, my pansies sweet. _See_ Hubbard. Pansies. MSG Opening stanza. Hailmann. HR *"Oranges and lemons" says the bells of St. Clemens. CBO--JB Orchard. Jenks. EL--HS Orchard is a rosy cloud. _See_ Knowlton. May. NS Orioles. FS Orkney lullaby. DeKoven. FSC Ormen lange. KK Orpheus. TLB Osgood. Click, clack. RCS ---- Come, little leaves. RCS--MSG--WS (Autumn leaves. HR) (Hill. Fall leaves. SHS) (Smith. Come little leaves. SL2) ---- Happy spring waltz. TC ---- Little dreamer. RCS (Tufts. Little dreamer. CL) ---- Little maiden and the stars. SM ---- Mother's hymn. EL (Bacon. Mother's hymn. EL) (Hailmann. Teachers' hymn. HR) (Teachers' hymn, II. KC) ---- Sing, little children, sing. WS ---- Weather vane. SM Ostgotapolska. FDM Music only Otto and the cow. KK Otto would a-riding go. _See_ Otto and the cow. KK Our anchor's just a shovel. _See_ Faning. Boat song. TC (Weidig. Boat song. TC) *Our balls are going to bye-low-land. Walker. WS Our country is America. _See_ Song for Washington's birthday. HS Our country is calling. _See_ Riego's hymn. FS *Our Father in Heaven. Hubbard. MSG (At the beginning and at the close of play, no. 1. FS) Our Father who is Heaven art. _See_ At the beginning and at the close of day, no. 1. PS (Hubbard. Our Father in Heaven. MSG) Our fir-tree. Sherwood. HS Our flag. Gaynor. SC1 Our flag. Neidlinger. SSS Our flag, our flag above the clouds. _See_ Hadley. Flag. TLB Our gentle patriot poet knew. _See_ Gaynor. Whittier. GS Our heads we give. _See_ Root. Salute. GS Our King went forth to Normandy. _See_ Deo gratias. EFS Our land. Reed. HS--TGS Our little balls move round and round. _See_ Froebel. Wandering balls. HR Our oats they are hoed and our barley's reap'd. _See_ Marzials. Harvest home. CPP Our play is o'er, our work is done. _See_ Wiggin. Good-bye song. KC (Hailmann. Our work is done. HR) (Hubbard. Parting song. MSG) (Walker. Our play is o'er. KC) Our play time is now o'er. _See_ At the beginning and at the close of play, no. 5. PS Our playtime now is over. _See_ Going home. HR Our souls are thine, dear Fatherland. _See_ Waller. To America. TLB Our stately ship moves on with ease. _See_ Hailmann. Voyage. HR Our tiny little sister is a maiden sweet as honey. _See_ Reinecke. Serenade. FC Our vessel forward calmly sails. _See_ Hubbard. Ship. MSG (Vessel. PS) Our work and play are over. _See_ Parting song. EL Our work is done. Hailmann. HR (Hubbard. Parting song. MSG) (Walker. Our play is o'er. WS) (Wiggin. *Good-bye song. KC) Out in my garden, daisies I see. _See_ Hitte. Flower song. DM Out in the farmyard. _See_ Smith. Lordly cock. LCD *Out in the fields. BSS Out in the fragrant clover fields. _See_ Hill. Bees' market. SHS Out in the garden hangs the swing. _See_ Gaynor. Swing. SC2 *Out in the meadows. Walker. WS (Conrade. Daisies in the meadow. GS) Out in the meadows so fresh and dewy. _See_ Conrade. Daisies in the meadows. GS (Walker. Out in the meadows. WS) Out in the woods where the nut trees grow. _See_ Winter forethought. SHS Out of my window at night. _See_ Neidlinger. Evening star. SSS Out of the window. Knowlton. NS Out on the breeze. _See_ Root. Flag song. SV *Over and back. Walker. WS Over and over the little wheels go. _See_ Winslow. Going to market. HS Over and over the same old road. _See_ Neidlinger. Same old road. ES2 Over blue eyes, gray or brown. _See_ Bullard. Taste--Guessing game. SM *Over field and meadow. USI (Hubbard. Over field and meadow. MSG) *Over hill and dale we're tripping. KK Over in the meadow by the old mossy gate. _See_ Hubbard. Lizzards. MSG *Over in the meadow in the sand, in the sun. Knowlton. NS (Variant. Hubbard. Lizzards. MSG) Over one, under one. _See_ Weaving song. WS Over one, under one. _See_ Gaynor. Weaving. SC1 Over the bare hills far away. Brown. WS Over the borders, a sin without pardon. _See_ Stevenson. Keepsake mill. LBS (Bell. Keepsake mill. LBS) Over the ditch. _See_ Cubes and balls. SC2 Over the hill in the green of the grass. _See_ Gaynor. Queen of the May. LL Over the hills and far away. CBO Over the mountains, and over the waves. _See_ Marzials. Love will find out the way. CPP Over the pond where we used to play. _See_ Reed. Skating game. TGS Over the river and through the wood. _See_ Sleighride. HR (Conrade. Thanksgiving song. GS) (Hubbard. Thanksgiving day. MSG) (Morton. Thanksgiving song. WS) Over the standing corn. _See_ Knowlton. Call of the crows. NS Over the water and over the lea. _See_ Charley over the water. BB Over there the sun gets up. _See_ Sun. SL2 Owen. All through the night. TLB (All through the night. TLB) Owl. Gaynor. SC1 Oxdansen. BFD. Oxdansen. FDM Music only Paddy dear, and did you hear? _See_ Wearing of the green. EFS Page. Air du roi Louis XIII. HMC2 Music only ---- Barnyard. HMC1 Music only ---- Barnyard people. HMC2 Music only ---- Bolero. HMC2 Music only ---- Highland fling. HMC2 Music only ---- Hornpipe. HMC2 Music only ---- Jig: "Garry Owen." HMC2 Music only ---- Kite. PTS--TGS ---- Sir Roger de Coverly. HMC2 Music only ---- Thing of beauty. TLB Pail. Smith. SL2 Paine. Freedom, our queen. TC (Strong. Freedom, our queen. TC) Painter sun. Neidlinger. ES1 Palette of painter Sun. Neidlinger. ES2 Palmer. Childhood's gold. StN ---- Little maid Margery. StN Paloma. _See_ Yradier. Dove. FS Pansies. Conrade. GS Pansies. Hubbard. MSG Papillon. Schumann. HMC1 Music only *Paradise, O Paradise. Barnby. TLB (Hubbard. Paradise. MSG) Parker. Blacksmith. WS (Hubbard. Song of the blacksmith. MSG) Parker. Carpenter. SM ---- Evensong. TC ---- Family. SM ---- My pigeon house. WS ---- Robbers. TLB ---- Rose song. TC Parlow. In the mill. HMC1 Music only ---- In the smithy. HMC1 Music only ---- Skaters. HMC2 Music only ---- Valiant rider. HMC1 Music only Parry. Rock-a-bye. TC Parting. TLB Parting song. EL Parting song. Dugan. WS Parting song. Hubbard. MSG (Hailmann. Our work is done. HR) (Walker. Our play is o'er. WS) (Wiggin. Good-bye song. KC) Partner right merry. _See_ Reinecke. Partner so merry. SL2 Partner, so merry. Reinecke. SL2 Partner sweet. Hitte. DM Partners. Kuecken. HR (I'd like to have a partner. USI) Party. USI *Pass time with good company I love. Marzials. CPP Pastral. TLB Pat-a-cake. SM Pat-a-cake. Froebel. MP (Hubbard. Pat-a-cake. MSG) *Pat-a-cake. Gaynor. LL *Pat-a-cake, pat-a-cake. LBS *Pat-a-cake, pat-a-cake, baker's man. Brewster. BSS *Pat-a-cake, pat-a-cake, dear baby. Smith. SL1 Patch. Bellringer. TGS ---- Christmas. TGS ---- Cloudy day. TGS ---- First gift exercise. TGS ---- Fishes. TGS ---- Garden bed. TGS ---- Good-bye song. TGS ---- Missing ball. TGS ---- Mystery man. TGS ---- Skating game. TGS ---- Sleeping leaves. HS--TGS ---- Surprise. TGS ---- Two little windows. ---- Wonderful bag. TGS Patter, patter goes the rain. _See_ Neidlinger. Rainy day. SSS Patter, patter, here they come. SL2 Patter, patter, let it pour. _See_ Sawyer. April shower. EL Paulsen. First primrose. FS Paxton. Come mirth. RCS Payne. Home, sweet home. EFS--FS Peace of night. Reinecke. FC--FS Persall. Oh, who will o'er the downs so free. FS Pebble game. Reed. TGS Peek-a-boo, peek-a-boo light. _See_ Gilchrist. Little window. SM Peep of day. Tufts. CL *Peeping at Susie, Susie, Susie. USI Peeping from his curtain'd pavilion. _See_ Pastral. TLB Pendulum. PS Pendulum. WS Pendulum. Kohl. HR Perhaps the biggest garden in the world. _See_ Neidlinger. Sea garden. ES2 Perrie, merrie, dixi. RCS (Four presents. BB) Perushka. FDM Music only Peter goes out fresh and early. _See_ Smith. Children's supper. SL2 Peter, Peter, quickly go. _See_ Froebel. Mowing grass. SM Peter Piper. Smeltzer. SZ *Peter Polt had a little colt. LBS *Peter White that never goes right. Brown. RCS Petit chasseur. BB (Father Guillori. RCS) Pettibone. Sewing song. SC1 Phillida flouts me. Marzials. CPP *Phillis on the new made hay. Marzials. CPP Phippen. Child-land echoes with music. EL ---- Little brown seed. EL *Phoebus, arise! Phoebus, arise, arise! Sternberg. TLB Phoebus, golden sun of morning. _See_ Brewster. Morning. BSS Pianoforte. Froebel. MP Pickaninnies' picnic. Loomis. HMC2 Music only Picture books in winter. Stevenson. SF (Stevenson. Pictures in winter. LBS) _For composers see_ Stevenson. Picture books in winter. Pictures in winter. Stevenson. SF (Stevenson. Picture books in winter. SF) _For composers see_ Stevenson. Picture books in winter. *Pie sat on a pear tree. LBS Piece of cardboard white. _See_ Gaynor. Recipe for a valentine. SC1 Pigeon. Gaynor. SC2 Pigeon house. PS (Froebel. Pigeon house. MP) (Kohl. Pigeon house. HR) (Walker. Pigeon house. WS) Pigeon house. Kohl. SM Pigeon house. Tufts. CL Pigeon song. Walker. WS (Froebel. Pigeon house. MP) (Kohl. Pigeon house. HR) (Pigeon house. PS) Pigeons. HMC2 Music only Pigeons. Hubbard. MSG Pigeons are coming, dear love, to meet you. _See_ Froebel. Beckon to the pigeons. MP Pigeon's flight. Saville. HS *Piggie Wig and Piggie Wee. Gaynor. SC2 Piggie Wig and Piggie Wee. _See_ Roeske. Pigs. PFP Pigs. Roeske. PFP Pigtail. Bullard. TLB Pilgrim from the Indies! _See_ Weidig. Pilgrims. TC Pilgrims. Weidig. TC Pilgrim's chorus. Wagner. TLB Pillykin, Willykin, Winkie Wee! _See_ Bartlett. Punkydoodle and Jollapin. StN (Burdett. Punkydoodle and Jollapin. StN) (Mosenthal. Punkydoodle and Jollapin. StN) (Stanley. Punkydoodle and Jollapin. StN) Pilot. Gould. TLB Pinky wild rose. Knowlton. NS Pinsuti. Crusaders. TLB Piper. Gilchrist. TLB Piping down the valleys wind. _See_ Gilchrist. Piper. TLB Pirate story. Stevenson. SS (Stanford. Pirate story. SS) *Pit-a-pat, pit-a-pat, fall the tiny raindrops. Gaynor. SC1 Pit! pat! pit! pat! pit! pat! _See_ Mozart. Rain song. SHS Pitter, patter, patter, hear the raindrops fall. _See_ Sheehan. April showers. OSM Pity the bees in the steeple. _See_ Hatton. Good night. StN Plane, plane, plane, joiner follow the grain. _See_ Kohl. Joiner. SM (Variant: Hubbard. Zish, zish. MSG) Plantation dance. HMC2 Music only Planting of the apple tree. Roeske. HS Planting the corn and potatoes. _See_ Hubbard. Busy children. MSG Plants awakening. Vose. EL Play in all seasons. Smith. LCD Play with the limbs. Froebel. SM Play with the limbs. Froebel. MP Playing golf. Loomis. HMC2 Music only Playtime. RCS Playtime ring song. Sheehan. OSM Pleasant light. PS Pleasant weather. Rust. EL Pleyel. On guard. GS Plough boy in luck. CBO Plowman. Neidlinger. ES1 Plump little baby clouds. _See_ Elliott. Rainshowers. SL2 (Verdi. Raindrops. GS) Plums in winter. Smith. LCD Plus ne suis ce que j'ai été. _See_ Youth has gone. FS Poe. Bells. TLB Poet lived beside the sea. _See_ Atkinson. Longfellow. GS Points of the compass. Knowlton. NS Policeman. Valentine. VBD Polite. Smith. LCD Polka, (Bohemian) HMC2 Music only Polka. Lichner. HMC2 Music only Polkett. I and II. FDM Music only Pollen. Busy housewife. HMC1 Music only ---- Morning greeting. HMC2 Music only ---- Rocking horse. HMC2 Music only Pollock. Little birdie in a tree. HR ---- Sailor boy. HR (Hubbard. Swing, cradle, swing. MSG) Polly. Hubbard. MSG Polly. Neidlinger. SSS Polly. Valentine. VBD Polly Flinders. LBS Polly Flinders. Smeltzer. SZ Polly, Polly, have a cracker, do! _See_ Valentine. Polly. VBD *Polly put the kettle on. BB--OYA (Variant: Housekeeping. NG) Polonaise. FDM Music only Polonaise. Merkel. HMC1 Music only Pomona. FS *Poor beggar's daughter. Marzials. CPP Poor chickabiddy, where's she gone? _See_ Brahms. Lost chicken. FS *Poor dog Bright. Elliott. MG *Poor Ellen. JB (Poor Mary. LBS) Poor linnet in the hedge. Reinecke. FC Poor little thistle so homely and rough. _See_ Cole. Thistle's story. CM *Poor Mary is a-weeping, a-weeping. LBS (Poor Ellen. JB) Poor soul sat sighing by a sycamore tree. _See_ Marzials. O, willow, willow. CPP Pop-corn. Vose. EL Pop-corn people. Gaynor. SC1 Pop goes the weasel. NEB1 Music only Pop, goes the weasel. OYA Pope. Rise, crowned with light. TLB Poppies. Gaynor. SC2 Poppy lady. Gaynor. LL Posies and roses. LBS Posies, posies, red and white and blue. _See_ Posies and roses. LBS Postillion. Taubert. RCS Postillion. Schoenfeld. HMC1 Music only Postknecht will ich werden. _See_ Taubert. Postillion. RCS Postman. Gaynor. SC2 Postman. Hailmann. HR Postman. Knowlton. NS Postman. Reed. HS Postman. Valentine. VBD Postman. Warner. KC Postman as he travels round upon his way. _See_ Neidlinger. Letters. ES2 Postman trudges down the street. _See_ Reed. Postman. HS Postman with his leather bag. _See_ Shedd. St. Valentine's day. HS Poulsson. All for baby. PFP ---- Around the Maypole. HS ---- Autumn song. HS ---- Autumn wind. LCD ---- Baby's birthday. LCD ---- Baby's bread. HS ---- Baby's cotton gown. HS ---- Beckoning the pigeons. SM ---- Bed-time. LCD ---- Birds in autumn. HS ---- Bird's joy. HS ---- Bird's nest. HS ---- Bold snow man. LCD ---- Bossy cow. LCD ---- Bowing game. HS ---- Brave. LCD ---- Bridge. SM ---- Brooklet's song. HS ---- Busy wind. LCD ---- Butterfly dance. LCD ---- Cackling hen. LCD ---- Canary. LCD ---- Careful. LCD ---- Carpenter. SM ---- Caterpillar. LCD ---- Caterpillar. PFP ---- Caterpillar. SM ---- Chimes. LCD ---- Chirpings. LCD ---- Choosing a flower. LCD ---- Christmas time is coming. LCD ---- Counting lesson. PFP ---- Dandelion cycle. NS ---- Dove talk. LCD ---- Easter morning. HS ---- Echo play. LCD ---- Evening prayer. LCD ---- Falling! falling! SM ---- Falling snow. HS ---- Family. SM ---- Ferns. HS ---- First Christmas. HS--WS ---- First Christmas song. (For older children.) HS ---- Fishes at play. HS ---- Five little mice. PFP ---- Flower garden. LCD ---- Fly, little birds. HS--WS ---- Friendly dark. LCD ---- Froebel's birthday. HS ---- Garden. HS ---- Going to sleep. LCD ---- Good morning, canary. HS ---- Good weather. LCD ---- Grand ladies. LCD ---- Green leafy tree. LCD ---- Greeting. SM ---- Hen and chickens. PFP ---- How the corn grew. PFP ---- If rosy sunsets never paled. LCD ---- If you were a flower. LCD ---- In the Bethlehem stable. LCD ---- Independence day. HS ---- Ironing song. HS ---- Kite. TGS ---- Lambs. PFP ---- Light bird. HS ---- Lighthouse. LCD ---- Little boy's walk. PFP ---- Little child's gift carol. HS ---- Little dancing song. LCD ---- Little game for little folks. WS ---- Little garden. WS ---- Little gardener. LCD ---- Little plant. PFP ---- Little travelers. HS ---- Lordly cock. LCD ---- Making bread. PFP ---- Making butter. PFP ---- May-basket. LCD ---- Merry little men. PFP ---- Merry wind. LCD ---- Milk for supper. LCD ---- Mill. PFP ---- Minding their mother. LCD ---- Mrs. Pussy's dinner. PFP ---- Moonlight song. EL ---- Morning hymn. LCD ---- Morning sunshine. HS ---- Mowing grass. SM ---- New Year greeting. HS ---- Numbering the fingers. SM ---- Obedient. LCD ---- Old Year and New Year. HS ---- On Froebel's birthday. HS ---- On this happy feast day. HS ---- Orchard. EL--HS ---- Pigeon's flight. HS ---- Pigs. PFP ---- Play in all seasons. LCD ---- Plums in winter. LCD ---- Polite. LCD ---- Postman. HS ---- Prompt. LCD ---- Rainbow. LCD ---- Raining! raining! LCD ---- "Riddle-cum-riddle". LCD ---- St. Valentine's day. HS ---- Santa Claus. PFP ---- Saying good-night. LCD ---- See the pretty valentines. HS ---- Sequel to an old story. NS ---- Sewing song. WS ---- Sheep. LCD ---- Shell. LCD ---- Slow little snail. LCD ---- Softly, softly blows the wind. LCD ---- Soldiers true. HS ---- Sparrows. PFP ---- Sprinkling the clothes. HS ---- Squirrel. PFP ---- Sunshine far and near. LCD ---- Thanks for food. LCD ---- Thanksgiving for harvest. HS ---- Three years old. LCD ---- Tick-tack. SM ---- To a snow-flake. LCD ---- To the sky and back. LCD ---- Toyman's shop. HS ---- Train. LCD ---- Transformation game. SM ---- Treasures. LCD ---- Two years old. LCD ---- Useful. LCD ---- Valentine's message. HS ---- Washing day. EL ---- Washing day. HS ---- Waves. LCD ---- Weathervane. LCD ---- Weathervane. SM ---- Welcome to spring. LCD ---- When you send a valentine. HS ---- While stars of Christmas shine. HS ---- Whirlabout. LCD Praise God from whom all blessings flow. _See_ Franc. Old hundred. TLB Praise not to me the new born rose. _See_ Charming Marguerite. EFS Praise the Lord with thankful spirits. _See_ Martin. Thou crownest the year with thy goodness. MSL Praise the Lord! ye heavens, adore Him. _See_ Haydn. Austrian hymn. TLB Pratt. At the window. StN ---- August. NS ---- Feeding the chickens. NS ---- God loves his little children. NS ---- Little friends. NS ---- May. NS ---- News for gardeners. NS ---- North and South. NS ---- October. NS ---- One, two, three. StN ---- Pinky wild rose. NS ---- Points of the compass. NS ---- Postman. NS ---- Sleep, sleep, the south wind blows. StN Pray tell me where you came from. _See_ Smith. Brook. SL2 Pray, where are the little blue-bells gone? _See_ Conrade. Fairies. GS Prayer. Funkhouser. FSK Prayer. Gaynor. LL Prayer. Himmel. TLB Prayer. Randegger. KC (Randegger. Song of thanks. EL) *Prayers of love. Gilchrist. TLB Prelude. Chopin. HMC1 Music only Presentation song. Hill. SHS Preston. Let us chase the squirrel. HS Pretty bird, O shining bird. _See_ Kohl. Lightbird. SM Pretty bird of colored light. _See_ Gaynor. Light bird. SC1 Pretty bird with plumage gay. _See_ Hubbard. Polly. MSG *Pretty birdlings, blithe and gay. RCS Pretty cow. Cole. CM (Seidell. Thank you, pretty cow. HR) (Smith. Thank you, pretty cow. SL1) (Tufts. Thank you, pretty cow. CL) Pretty flow'rs were sleeping. _See_ Rich. Easter song. HS Pretty game. Brown. EL Pretty garden-gate, we pray you open wide and let us go. _See_ Gilchrist. Garden-gate. SM Pretty little blue-bird. _See_ Neidlinger. Blue-bird. SSS Pretty little blue eyed dolly. _See_ Hitte. Dolly song. DM Pretty little goldi-locks shining in the sun. _See_ Knowlton. Dandelion cycle. NS Pretty little Johnnie, Polly, come with me. _See_ Reinecke. How Johnnie and Polly shake the apples. FC Pretty little Madelene. _See_ Roeckel. Madelene. TLB Pretty little violets. _See_ Brown. May. WS Pretty maiden, sweet and gay. _See_ Carrousel. BFD Pretty moon. Hubbard. MSG (Sawyer. New moon. WS) Pretty Poll Parrott. Bingham. BM *Pretty Polly Pansy. Conrade. GS Pretty robin, do not go. _See_ Tufts. Robin. CL Pretty skylark, winging, singing skylark. _See_ Lark. EFS *Pretty swallow, fly away. Bingham. BM Pretty white snow flakes. _See_ Smith. Snow flakes. SL2 Princes royal. NEB1 Prism game. Gaynor. SC2 Prompt. Smith. LCD Proposal. NEB1 Psalter. These see His wonder in the deep. TLB Pumpkin head, pumpkin head there in the dark. _See_ Gaynor. Jack O'Lantern. LL Punkydoodle and Jollapin. Bartlett. StN (Burdett. Punkydoodle and Jollapin. StN) (Mosenthal. Punkydoodle and Jollapin. StN) (Stanley. Punkydoodle and Jollapin. StN) Purcell. Hunting the hare. RCS ---- Knowledge and wisdom. RCS Purer yet and purer I would be in mind. _See_ Lyndhurst. TLB Puss at court. CBO (Elliott. Pussy cat, pussy cat. MG) Pussy. Gaynor. SC2 Pussy by the fire. _See_ Neidlinger. Bad pussy. SSS Pussy cat. BB Pussy cat high, pussy cat low. _See_ Pussy cat. BB *Pussy cat mew jumped over a coal. LBS *Pussy cat, pussy cat, where have you been? Elliott. MG (Puss at court. CBO) Pussy cat, where have you been today? _See_ Lazy cat. HR (Elliott. Lazy cat. MG) Pussy has a cozy home. _See_ Gaynor. Pussy. SC2 Pussy on the roof. PS Pussy, where have you been today? _See_ Elliott. Lazy cat. MG (Lazy cat. HR) Pussy white so slyly comes. _See_ Hubbard. Cat and the mouse. MSG Pussy willow. Gaynor. SV Pussy willow. Knowlton. NS Pussy willow. Riley. LL Pussy willow. St. John. BSS Pussy willow. Sawyer. WS Put on your bonnet and take your doll. _See_ Knowlton. Afternoon tea. NS Put the clothes into the tub. _See_ Smith. Washing day. SL2 Put the pretty pink shell to your pretty pink ear. _See_ Smith. Shell. LCD Put your feet upon the line. _See_ Gaynor. Call to the circle. SC1 Put your hand in mine and let us form our ring. _See_ Sheehan. Ring song. OSM Putting the fingers to sleep. Hailmann. HR Quack! said the duckling. _See_ Gaynor. Duckling. LL Quadrille (Swedish) FDM Quaker courtship. NG *Queen Mary, Queen Mary. JB *Queen o' May held court one day. Warren. StN (Stanley. Queen o' May. StN) Queen of the May. Gaynor. LL Queer pussies. Gebauer. HS Quercy. Carol of the birds. TLB Quickly from our bed we rise. _See_ Marching, no. 24. PS Quiet little sunbeam comes through the window clear. _See_ Stetson. Lightbird. HS Quiet Sabbath morn is here. _See_ Gaynor. Church. SC1 Rabbi Ben Ezra. Hadley. TLB Rabbit. Froebel. MP Rabbit. Gurlitt. HMC1 Music only Race. Koehler. HR Ragman. Taynor. SC2 Railway. Wiseneder. HR Rain. Hitte. DM Rain. St. John. BSS Rain. Stevenson. CGV (Fisher. Rain. CGV) Rain clouds. Hill. SHS Rain coach. Smith. SL2 Rain fairies. Reinecke. HMC1 Music only Rain is falling. _See_ Gaynor. November. LL Rain is raining all around. _See_ Stevenson. Rain. CGV (Fisher. Rain. CGV) Rain on the roof. Hill. SHS *Rain, rain, here again. Tufts. CL Rain shower. Elliott. SL2 Rain song. Froelich. KC (Reinecke. Rain song. FC) Rain song. Mozart. SHS Rain song. Smith. SL1 (Allen. Song of the rain. WS) Rainbow. Atkinson. GS Rainbow. Gaynor. SC1 Rainbow. Neidlinger. ES1 Rainbow. Smith. LCD *Rainbow children have come to town. Gregory. EL Rainbow song. Walker. WS Raindrop is a little thing. _See_ Tufts. Trifles. CL Raindrops. Larned. HS Raindrops. Mendelssohn. HMC1 Music only Raindrops. Verdi. GS (Elliott. Rainshowers. SL2) Raining. HR *Raining! raining! sang the sparrow. Smith. LCD Rainshowers. Elliott. SL2 (Verdi. Raindrops. GS) Rainy day. Neidlinger. SSS Rainy day good morning. Hill. SHS Ramsay. Armies in the fire. SF ---- Autumn fire. SF (Wells. Autumn fires. EL) ---- Bed in summer. SF _For other composers see_ Stevenson. Bed in summer. ---- Good and bad children. SF ---- Hayloft. SF (Bell. Hayloft. LBS) ---- In port. SF ---- My kingdom. SF ---- My ship and I. SF (Stanford. My ship and I. SS) ---- Nest eggs. SF ---- Northwest passage--good-night. SF ---- Picture books in winter. SF (Bell. Pictures in winter. LBS) ---- Shadow march. SF ---- Swing. SF _For other composers see_ Stevenson. Swing. ---- Where go the boats? SF _For other composers see_ Stevenson. Where go the boats? ---- Wind. SF _For other composers see_ Stevenson. Wind. Ramsay. Windy nights. SF _For other composers see_ Stevenson. Windy nights. Randegger. At night. TC ---- Morning prayer. SL1 ---- Prayer. KC (Randegger. Song of thanks. EL) ---- Song of thanks. EL (Randegger. Prayer. KC) Ranged in rows. Wiebe. KC Ranged in two long facing rows. _See_ Wiebe. Ranged in rows. KC Rataplan. Reinecke. FC--HR (Reinecke. Marching song (Rataplan.) KC) Rap, rap, rap, rap, how the shingles snap. _See_ Hubbard. Nailor. MSG Reach out your hands. _See_ Wiggin. Ball song, no. 1. KC Reading. Dulce domum. TLB ---- Oh, come, all ye faithful. TLB Reap the flax. BFD Reapers. Gayrhos. HMC1 Music only Reapers. Kies. MSL Reaper's dance. Oehmler. HMC2 Music only Reaping the flax. KK Reason why. Brown. WS Recipe for a valentine. Gaynor. SC1 Recessional. Huss. TLB Red and speckled lady bug. _See_ Gaynor. Lady bug. SC2 Red and white. Terhune. CC Red Sarafan. EFS *Red, white and blue. Atkinson. GS Reed. Bell-ringer. TGS ---- Christmas. HS--TGS ---- Cloudy day. TGS ---- First gift exercises. TGS ---- Fishes. TGS ---- Froebel's birthday. HS ---- Garden bed. TGS ---- Good morning song. TGS ---- Good-bye song. TGS ---- Kite. TGS (Variant: Hurd. Kite. PTS) (Adapted from Froebel. Lengthwise, crosswise. MP) (Variant: Hubbard. Target. MSG) ---- Lullaby. TGS ---- Mill. TGS (Reinecke. Mill-wheel. SM) ---- Missing ball. TGS ---- Morning thanksgiving. HS ---- Mystery man. TGS ---- Our land. HS--TGS ---- Pebble game. TGS ---- Postman. HS ---- Skating game. TGS ---- Sleepy leaves. HS--TGS ---- Surprise. TGS ---- Table exercise for attention. TGS ---- Two little windows. TGS ---- Wonderful bag. TGS Reel (Danish). FDM Music only Reel (Finnish). FDM Music only Regiment. Gaynor. LL Regimental march. FS Reichardt. Heather rose. RCS _For other composers see_ Goethe. Heiden-Roeslein Reinecke. Another birthday song. FC ---- Barcarole. FC (Duck dance. BG) (Fairy ship. BB) (Reinecke. I saw a ship a sailing. HR) (Ship a-sailing. EL) ---- Barley brownie. FC ---- Beckoning the pigeons. SM ---- Birds and angels. FC ---- Birds of passage. FC ---- Birdie's burial. FC ---- Birthday song. SL1 (Reinecke. Mother's birthday song, No. 1. FC) ---- Birthday song. SL2 ---- Blue-bell and the flowers. FC ---- Boy and the wren. RCS (Reinecke. George's song. FC) ---- Broom and the rod. FC ---- Carriage to ride in. FC ---- Child and the cuckoo. FC ---- Christmas at the door. FC--HR--SL1 ---- Christmas hymn. FC ---- Christmas song. FC ---- Daisy. SL1 ---- Dancing song. FC (Froelich. Dancing song. HR) ---- Doll's cradle song. FC ---- Dragonfly in the sunshine. HMC1 Music only ---- Dream. HMC1 Music only ---- Evening prayer. FC--HR--SL1 ---- Evening star. FC ---- Evening star. RCS ---- Fairy. FC ---- Farmer. SL2 ---- Field daisy. FC ---- Finger piano. SM ---- First Christmas. GS (Morton. First Christmas. HS--WS) ---- Five in a row. SL2--SM ---- Flower song. SM ---- Forget-me-not. FC--SL1 (Jacob. Forget-me-not. WS) ---- Forming the ring. WS ---- George's song. FC (Reinecke. Boy and the wren. RCS) ---- God the Father in Heaven. FC ---- Good King Arthur. FC (Gaynor. King Arthur. LL) (King Arthur. CBO) ---- Good old cock. FC ---- Guessing the singer. SM ---- Hark, hark, like the lark. SL1 ---- Hiding game. SM ---- How it looks in the mill. FC ---- How Johnnie and Polly shake the apples. FC ---- Hurdy gurdy. HMC1 Music only ---- I saw a ship a sailing. HR (Duck dance. BG) (Fairy ship. BB) (Reinecke. Barcarole. FC) (Ship a-sailing. EL) ---- In the mill. HMC1 Music only ---- Little gardener. SM ---- Longing for spring. RCS ---- Mamma and the baby. FC ---- Marching song. KC ---- Marching song. (Rataplan.) (Reinecke. Rataplan. FC--HR) ---- Marionetts. HMC1 Music only ---- Mill. FC (Adaptation, in SL1) ---- Millwheel. SM (Reed. Mill. TGS) ---- Morning hymn. KC ---- Morning prayer. FC--SL1 ---- Morning prayer. SL2 ---- Mother love. RCS ---- Mother's birthday. FC (Reinecke. Birthday song. SL1) ---- My mother's eye. FC ---- Partner, so merry. SL2 ---- Peace of night. FC--FS ---- Poor linnet in the hedge. FC ---- Rain song. FC ---- Rataplan. FC--HR (Reinecke. Marching song. (Rataplan.) KC) ---- Santa Claus. SL2 ---- Schnick schnack. RCS ---- Serenade. FC ---- Sicillian. HMC2 Music only ---- Sir Spring's concert. FC ---- Sleighing song. SL2 ---- Snowflakes. HR ---- Snowwhite. FC ---- Spin, lassie, spin. SL2 (Reinecke. Spinning song. FC--RCS) ---- Spinning song. FC--RCS (Reinecke. Spin, lassie, spin. SL2) ---- Stork, stork, stander. FC (Reinecke. Stork, stork, stanley. RCS) ---- Sunshine. HR ---- Tick tack. SM ---- To the evening star. FC ---- To the humblebee. FC ---- To the nightingale. FC ---- Toyman of Nuremberg. FC ---- Up yonder on the mountain. FC ---- Violet. FC--RCS--SL1--WS (Kies. Violet. MSL) (Schults. Violet. FC--KC--MSL--RCS--SL1--WS) (Violet. KC) ---- Visit. SM ---- Weaving song. HR ---- When mother was ill. FC ---- When the little children sleep. FC--KC ---- Who has the whitest lambkins? FC--KC (Moon and the stars. PS) (White lambkins. HR) Reinhold. Boat song. HMC1 Music only ---- Brownies. HMC2 Music only ---- Fairy steps. HMC2 Music only ---- Gnomes. HMC1 Music only ---- March of Fingall's men. HMC2 Music only ---- War song. HMC2 Music only Reissmann. Waking flowers. RCS Remember the glories of Brien, the brave. _See_ Brien, the brave. TLB Remembrance. Saleza. FS Resch. "Secret love." KM *Rest in the Lord. Mendelssohn. TLB Rest song. Kies. MSL Rest thee now. Schubert. RCS (Schubert. Softly sleep thou. FS) Rest thee, rest thee. _See_ Schubert. Rest thee now. RCS (Schubert. Softly sleep thou. FS) Retour. _See_ Marie Antoinette. Return. FS Return. Marie Antoinette. FS Return ball. Loomis. HMC2 Music only Return of the birds. Nevin. TC Rheinlaender. FDM Music only Rhythm game. Gaynor. SC1 Rhythmic measure, gives us pleasure. _See_ Equal measure. HR (Variant: Marching song, no. 25. PS) Rich. Easter song. HS Richards. At Easter time WS ---- Baby bo. StN ---- Church. SM ---- December. NS ---- Happy brothers and sisters. SM ---- Hymn for a child. NS ---- Little gardener. SM ---- Little John Bottlejohn. StN ---- Naming the fingers. SM ---- Punkydoodle and Jollapin. StN ---- Shadow rabbit. SM ---- Song of the shark. StN ---- Valentine. StN Richter. May dancing song. HR *Riddle-cum-riddle. Smith. LCD *Ride a cock-horse to Banbury Cross. Elliott. MG (Banbury Cross. OYA) Rider. Berry. KC Rider on the rockinghorse. Loeschhorn. HMC1 Music only Riders five on steeds so gay. _See_ Smith. Five riders and good child. SL1 Riding on the rail. Ingraham. StN (Bartlett. Riding on the rail. StN) Rieff. Christmas song. KC ---- Christmas tree march. KC Riego's hymn. FS *Right, left, together. Fischer. HR Rigs o'marlow. NEB1 Riley. Grasshopper green. LL ---- Mad tea party. LL ---- My valentine. LL ---- Pussy willow. LL Ring. Boating song. SC1 Ring. Elliott. SL2 *Ring a ring of roses, a pocket full of posies. JB--LBS (Variant: Ring around the rosie. NG) *Ring around a rosy sweet. USI Ring around the posy bed. Smith. SL1 Ring around the rosie. NG (Ring a ring of roses. JB--LBS) Ring, glad bells. Herron. WS Ring, kling, ling, ling. _See_ Reinecke. Christmas at the door. HR Ring made of seven pretty girls. _See_ Seven pretty girls. KK *Ring, merry Christmas bells. Jenks. EL *Ring out, wild bells. TLB Ring, ring, ring, ring, merry bells. _See_ Hitte. Merry Christmas bells. DM Ring! ring! ye bells of Christmas. Funkhouser. FSK Ring, ring, ye merry bells. _See_ Rust. Froebel's birthday song. EL Ring song. Hurd. PTS Ring song. Sheehan. OSM Ring song, no. 1. Weber. KC Ring song, no. 2. KC Ring song, no. 3-6. Wiggin. KC Ring song, no. 7. Smith. KC Ringel Tanz. BB Ripe apples. Cole. CM Ripened leaves. Knowlton. NS *Rippling, purling little river. RCS (Gilchrist. Rippling, purling little river. SM) (Mozart. Rippling, purling. HR) Rippling, sparkling in the sun. _See_ Reinecke. Finger piano. SM Rischart. Now welcome to the new-born year. HR *Rise crowned with light. Lvoff. TLB Rittmeyer. Night song. TLB *River, river, tell me pray. Gaynor. SC1 Robbers. Parker. TLB Robert of Lincoln. Conrade. GS Robin. Tufts. CL Robin Adair. EFS Robin Redbreast. BSS Robin Redbreast. Bacon. EL Robin Redbreast. Gaynor. SC1 Robin Redbreast. Kuecken. HR Robin, robin redbreast, hopping in the snow. _See_ Gaynor. Robin Redbreast. SC1 Robin, robin redbreast, how your voice does ring. _See_ Robin Redbreast. BSS *Robin, robin redbreast, swinging on the bough. Mather. WS Robins and pussy willow. Brewster. BSS Robins in the tree top. _See_ Warren. Marjorie's almanac. StN Robin's nest. Funkhouser. FSK Robin's song. Neidlinger. SSS Rock-a-bye baby on the tree top. _See_ Cole. Rock-a-bye baby. CM (Bingham. Rock-a-bye baby.) (Hubbard. Rock-a-bye baby. MSG) (Rock-a-bye baby. HR) (Smith. Rock-a-bye baby. SL2) Rock-a-bye baby, see the leaves grow. _See_ Atkinson. Cradle song. SV *Rock-a-bye baby, the moon is a cradle. Parry. TC (Seeboeck. Rock-a-bye baby. TC) (Wills. Rock-a-bye baby. EL) Rock-a-bye baby up in the tree top. _See_ Knowlton. In the tree top. NS (Clarke. In the tree top. StN) Rock-a-bye baby, upon the tree top, when the bow bends. _See_ Rock-a-bye baby, on the tree top. *Rock-a-bye lady from the Hush-a-bye Street. Gilchrist. FSC Rock-a-bye, lullaby, bees in the clover. Allen. Lullaby. StN (Fairlamb. Lullaby. StN) Rock-a-way, rock-a-way, here we go. _See_ Elliott. Rockinghorse. SL2 Rock the baby. _See_ Neidlinger. Rocking baby. SSS Rocking baby. Neidlinger. SSS Rocking-horse. Elliott. SL2 Rocking-horse. Pollen. HMC2 Music only Rocking-horse. Tufts. FS Rocking the cradle. Montz. IMS Rockwell. Marching song for Froebel's birthday. KC Rodes. KK Rodney. NEB2 Roeckel. Day is dying. TLB ---- Madelene. TLB Roelofson. Swing song. EL _For other composers see_ Stevenson. Swing. Roeske. All for baby. PFP ---- Caterpillar. PFP ---- Counting lesson. PFP ---- Five little mice. PFP ---- Hen and chickens. PFP ---- How the corn grew. PFP ---- Lamb. PFP ---- Little boy's walk. PFP ---- Little plant. PFP ---- Making bread. PFP ---- Making butter. PFP ---- Merry little men. PFP ---- Mill. PFP ---- Mrs. Pussy's dinner. PFP ---- Pigs. PFP ---- Planting of the apple tree. HS ---- Santa Claus. PFP ---- Sparrow. PFP ---- Squirrel. PFP ---- Wind-flowers. HS ---- World. EL Rogers. Hope of the nation. KM ---- March. KM Roll call. Hubbard. MSG Roll on, roll on, you restless waves. _See_ Hubbard. Waves on the sea-shore. MSG *Roll over, come back. Hubbard. MSG *Roll the ball. Hubbard. MSG Rollicking Robin. Knowlton. NS Rolling and rolling. _See_ Elliott. Cart-wheel. SL2 (Walker. Cartwheel song. WS) Rolling home. NEB2 Rolling the hoop. Scharwenka. HMC2 Music only Roly-poly caterpillar. _See_ Smith. Caterpillar. LCD Roly-poly honey bee. _See_ Burdett. Summer song. StN Roman soldiers. JB Root. Child and the tree. SV ---- Christmas song. SV (Bingham. Why do bells for Christmas ring? BM) ---- Dancing song. SV ---- Flag song. SV ---- Salute. GS ---- Sunshine song. SV ---- Wind song. SV Rose-bush. Hubbard. MSG Rose-bush has a baby. _See_ Neidlinger. Rose-bush's baby. SSS Rose-bush's baby. Neidlinger. SSS Rose of Allandale. TLB Rose song. Parker. TC Roses are waking. _See_ Commencement song. TLB Rosetti. January. NS Rossini. Bring blossoms sweet. GS ---- Sleighing. HR ---- Stars and posies. GS *Rosy apple, lemon, or a pear. JB *Rosy, my posy. Hailmann. HR Rothe Sarafan. _See_ Titoff. Flicker, flicker, firesprite. FS (Music: Tasting. KC) Rough riders. Seeboeck. HMC2 Music only Round and round. HR Round and round and round we go a tripping-oh! _See_ Gaynor. Dancing song. LL *Round and round it goes. Hubbard. MSG (Conrade. Millwheel. GS) (Millwheel. EL) Round and round, round and round. _See_ Ball song. (Motion.) EL Round and round, round and round. _See_ Valentine. Goldfish. VBD Round and round, the millwheels turn. _See_ Round and round. HR *Round and round the village. BG--HC--JB--USI (Go round and round the valley. NG) Round and round, we're slowly winding. _See_ Froebel. Winding. HR Round and round we're lightly pacing. _See_ Guessing game. HR Round game. Gaynor. LL Round goes the ball in ev'ry place. _See_ Hurd. Ball song (Spinning.) EL Round, on the diatonic scale. Goodban. RCS Round, round, wind the clock. _See_ Gaynor. Winding the clock. SC1 *Round the corn stocks see us winding. JB Rowing. Guglielmo. FS Royal conqueror. Martin. MSL *Roy's horse enjoys a gallop. FS Ru, ri, ru, ri, going o'er the mountain. _See_ Going over the mountain. USI Rub-a-dub-dub. Gaynor. SC1 Rub! scrub! rub-a-dub-dub! _See_ Hill. Washing and ironing. SHS Rubinstein. Melody in F. HMC1 Music only ---- Trot de cavalerie. HMC2 Music only Rumbling down the alleys. _See_ Gaynor. Ragman. SC2 Run. Montz. IMS *Run, little rivulet, run. Boott. RCS--WS (Bertini. Little rivulet. HR) Run, run, run. Concone. HMC2 Music only Run, run, run! oh, what jolly fun! _See_ Hering. Little pony. HR Running a race. PS Russell. Autumn song. HS Russian lullaby. TLB (Little Cossack. FS) Russian dance melody. HMC2 Music only Rust. Boat. EL ---- Bucket song. EL ---- Child-land echoes with music. EL ---- Duck game. EL ---- Froebel's birthday song. EL ---- Froebel's favorite hymn. EL ---- God sends his bright spring sun. EL (Smith. God sends his bright spring sun. SL1) ---- Happy greetings. EL ---- Pleasant weather. EL ---- Seasons. EL ---- Summer shower. EL ---- Thanksgiving song. EL ---- There was once a little birdie. EL (Cornwell. There was once a little birdie. EL) (Frost. Birdie's song. WS) Saar. My brigantine. TLB Sabbath morn is dawning. _See_ Damrosch. Lord's day. StN Sacrifice. EFS *Safe stronghold. Luther. FS (Luther. Ein' feste Burg. TLB) (Luther. Mighty fortress. EFS) Sah ein Knab' ein Roeslein stehn. _See_ Goethe. Heiden-Roeslein. BSS--FS--RCS _For composers see_ Goethe. Heiden-Roeslein. Said a very small wren. _See_ Bartlett. Wren and the hen. StN (Molloy. Wren and the hen. StN) Said a very young crow. _See_ Neidlinger. Two crows. SSS Said the boy to the brook that was rippling away. _See_ Sawyer. Boy and the brook. EL Said the clouds to the sun. _See_ Cole. What can you do? TC Said the leaves on the branches. _See_ Knowlton. Ripened leaves. NS Sail. Gaynor. LL Sailing at high tide. NG Sailing in the boat when the tide runs high. _See_ Sailing at high tide. NG Sailing o'er a summer sea. Denza. EFS (Denza. Funiculi, funicula. FS) (Denza. Merry life. TLB) Sailor. Gaynor. SC1 Sailor boy. Pollock. HR (Hubbard. Swing cradle, swing. MSG) Sailor, tell me, over the ocean. _See_ Marie Antoinette. Return. FS Sailors. Sawyer. EL Sailor's song. Schumann. HMC1 Music only St. Edmund. Sullivan. TLB St. Gregory. Barnby. TLB St. John. Butterfly. BSS ---- Pussy willows. BSS ---- Rain. BSS ---- Sing, sing, lily bells ring. BSS St. Patrick's day. _See_ Jig. BFD "St. Patrick's day" _See_ Jig (Irish) FDM Music only St. Paul's steeple. CBO St. Valentine's day Shedd. HS Saint Valentine's day will soon be here. _See_ Gaynor. Valentines. SC2 Saleza. Remembrance. FS Sally in our alley. Marzials. CPP Sally Luker. NEB1 Sally Waters. JB Salute. Root. GS Salute to the flag. Gaynor. SC2 Same old road. Neidlinger. ES2 Sampler. Terhune. CC Sanctissima. _See_ Work. FS Sandman. Finch. HS Sandman. Gaynor. LL Sandman. Taubert. RCS Sands of Dee. TLB Sangster. Call of the crow. NS ---- Hymn for national holiday. NS ---- Litany. NS ---- Little fairy. NS ---- Merry wind. NS ---- Patriotic hymn. NS ---- Ripened leaves. NS Santa Claus. Brown. EL Santa Claus. Conrade. GS Santa Claus. Reinecke. SL2 Santa Claus. Roeske. PFP Santa Claus, dear Santa Claus, I wonder if you know. _See_ Conrade. Santa Claus. GS Santa Claus is coming children! _See_ Schwartz. Christmas song. BSS Santa Lucia. EFS--FS--TLB (Now neath the silver moon. EFS--TLB) (See where the star of eve. FS) Sap has begun to flow. Smith. SL2 Saraband. HMC2 Music only Sartorio. Albumleaf. HMC2 Music only Saville. Pigeon's flight. HS ---- Song of thanks. HS Saw, saw, saw, make the boards fit. _See_ Hill. Busy carpenters. SHS Sawing game. WS (Hubbard. Sawing game. MSG) (Sawyer. PS) (Stangenberger. Sawyer. HR) Sawyer. Alder by the river. EL (Strachauer. Alder by the river. WS) ---- April shower. EL ---- Boy and the brook. EL ---- Chickadee. EL ---- Child's inquiry. EL ---- Coasting song. WS ---- Come let us live with our children. EL ---- Duck game. EL ---- Easter carol. EL ---- First Christmas. EL ---- Good-bye to the flowers. WS (Mendelssohn. Child's good-bye. HR) ---- Greeting to the spring. EL ---- Lady moon. WS (Hubbard. Lady moon. MSG) ---- Little ball, passing along. WS ---- New moon. WS ---- Old English carol. EL ---- Pussy willow. WS ---- Sailors. EL ---- Snow balls. EL ---- Snowflake. EL ---- Waits. EL ---- What the little things said. WS ---- While shepherds watched their flocks by night. EL ---- Wind. EL (Bertini. I am the wind. HR) (Cornwell. Wind. EL) (Hubbard. I am the wind. MSG) Sawyer. Stangenberger. HR (Hubbard. Sawing game. MSG) (Sawing game. WS) (Sawyer. PS) *Say, bonnie lassie. JB Say, busy bee, whither now are you going? _See_ Busy workers. HR (Bees. MSG) Say, can you see? _See_ Key. Star spangled banner. EFS--FS--GS--MSG Say, can you tell what the sweet birds are singing? _See_ Twilight and dawn. SHS Say, have you heard of the sing-away bird? StN Say, Mr. Cube, what now are you hiding? _See_ Cube song, no. 1. EL Saying good-night. Smith. LCD Says birdie: Wee-tee, wee-tee. _See_ Reinecke. Birds of passage. FC Scale songs. Cole. CM Scarecrow. BB Scenes from the circus. Hollaender. HMC2 Music only Schaefermaedchen weidete. _See_ Shepherdess and the cuckoo. RCS Scharwenka. Rolling the hoop. HMC2 Music only Schilling. Wonderful tree. WS Schlaf' ein, mein suesses Kind. _See_ Taubert. Sleep, thou, my darling. RCS Schlaf' in gute Ruh? _See_ Dream-baby. FS *Schlaf, Kindlein, schlaf. BB (Sleep, darling, sleep. RCS) Schlaf, kindlein, schlaf. _See_ Sleep, baby, sleep. FS--RCS Schlafe, schlafe, holder suesser Knabe. _See_ Schubert. Rest thee now. RCS (Schubert. Softly sleep thou. FS) Schlager. Who taught the bird? HR Schlesinger. Bronze, brown eyes. StN Schneckenberger. Watch by the Rhine. EFS--FS Schnecker. June. TLB ---- Song of Illyrian peasants. TLB *Schnick, schnack, dud'l sack, children gaily dancing. Reinecke. RCS Schoenefeld. Learning to dance. HMC2 Music only ---- Little elf. HMC2 Music only ---- Postillion. HMC1 Music only ---- Silver fishes. HMC1 Music only ---- Tally-ho. HMC1 Music only ---- Top. HMC1 Music only ---- Turkish march. HMC2 Music only Schubert. Heather rose. RCS (Reichardt. Heather rose. RCS) (Schubert. Hedge roses. FS) (Schubert. Wild rose. BSS) ---- Hedge roses. FS (Reichardt. Heather rose. RCS) (Schubert. Heather rose. RCS) (Schubert. Wild rose. BSS) ---- Impromptu. KM ---- Miller's flowers. FS ---- Rest thee now. RCS (Schubert. Softly sleep thou. FS) ---- Softly sleep thou. FS (Schubert. Rest thee now. RCS) ---- Wild rose. BSS (Reichardt. Heather rose. RCS) (Schubert. Heather rose. RCS) (Schubert. Hedge roses. FS) ---- Winter song. WS Schuckburgh. Independence Day. HS Schultz. Violet. FC--KC--MSL--RCS--SL1--WS (Kies. Violet. MSL) (Reinecke. Violet. FC--RCS--SL1--WS) (Violet. KC) Schulz. Blossom, pretty flower. RCS Schumann. Bird-game. KC ---- Birthday march. HMC2 Music only ---- Cradle song. HMC1 Music only ---- Guardian angels. FS ---- Hunting song. HMC1 Music only ---- Joyous peasant. HMC2 Music only ---- Lady bird. FS ---- Lord in thy great, thy glorious name. TLB ---- Lost chicken. FS ---- Morning song. HMC1 Music only ---- Papillon. HMC1 Music only ---- Sailor's song. HMC1 Music only ---- Soldiers march. HMC2 Music only ---- Wild horseman. HMC1 Music only Schwartz. Christmas song. BSS ---- Flag. BSS ---- Indian lullaby. BSS ---- Mother's birthday. BSS ---- Oh! tell me the tone that the cricket sings. BSS Schytte. In the mill. HMC1 Music only ---- Shadow. HMC2 Music only ---- Styrian dance. HMC2 Music only Scissors grinder. Hubbard. MSG Scissors grinder. Knowlton. HMC1 Music only Scissors grinder. Knowlton. NS Scollard. November. NS Scotch reel. BFD *Scotland's burning. FS--LL--OYA *Scots, wha hae wi' Wallace bled! Burns. EFS Scott. Annie Laurie. EFS--FS--TLB ---- Love wakes and weeps. TLB ---- O hush, thee, my baby. FS Scythe movement. Montz. IMS Sea breeze. FS Sea garden. Neidlinger. ES2 Sea is a jovial comrade. _See_ Kauffman. Wind and sea. TLB Sea shanties. NEB2 Sea song. Neidlinger. ES1 Searching for some simple thing. _See_ Neidlinger. Beginning. ES2 Seasons. Brown. EL Seasons. Hubbard. MSG Seasons. Hurd. PTS Season's work is over. _See_ Koehler. Good-bye song. HR Second gift song. Wiggin. KC Second ring song. Mozart. SHS Secret love. Resch. KM Sedan chair. Terhune. CC *See, amid the winter's snow. TLB See, here is grandmamma. _See_ Wiggin. Family finger play. KC See how our hammer swings. _See_ Blacksmith. KC See how the lovely fishes swim. _See_ Kohl. Little fish. HR (Fishes. PS) See how the sparkling fishes gleam. _See_ Fishes. PS (Kohl. Little fish. HR) See how within the shallow stream. _See_ Hubbard. Fishes, No. 19. MSG See it go, see it go, not too fast and not too slow. _See_ Pendulum. PS See, millions of bright raindrops. WS See my little ball. _See_ Lullaby ball song. KC See, my bird has built a nest. _See_ Hailmann. Bird's nest. HR (Variant: Hubbard. See my little birdie's nest. MSG) See my little birdie's nest. Hubbard. MSG (Variant: Hailmann. Bird's nest. HR) See my dog, nice old Carl. _See_ Cole. My dog, Carl. CM See my pigeon-house, so high! _See_ Kohl. Pigeon-house. SM See my soldiers. _See_ Neidlinger. Tin soldiers. SSS See our bright beautiful dresses. _See_ Gaynor. Autumn leaves. GS See our cards all in a row. _See_ Hailmann. Sewing. HR See our Maypole filled with flowers. _See_ Hubbard. Maypole song. MSG See our pretty birdie fly. _See_ Seidel. Folded pigeon and pigeon house. HR See-saw. Gaynor. SC1 See-saw. Hubbard. MSG See-saw. Knowlton. HMC2 Music only See-saw. Neidlinger. SSS *See-saw, Margery Daw. LBS (Elliott. See-saw, Margery Daw. MG) See-saw, Margery Daw. _See_ Margery Daw. BB See-saw, Margery Daw has lost her way to London town. _See_ Smeltzer. Marjorie Daw. SZ *See saw, up and down. HR See the banner waving o'er us. _See_ Schwartz. Flag. BSS See the blacksmiths so active and brawny. _See_ Mozart. Horseshoeing. HR *See the bunny sleeping. JB See the busy farmer. _See_ Gaynor. Song of the loaf of bread. SC1 See the carpenter! all the day he works away. _See_ Hubbard. Oh! see the carpenter. MSG (Froebel. Carpenter. MP) See the cheerful carpenter. _See_ Carpenter. KC See the cheerful postman coming. _See_ Hailmann. Postman. HR *See the chickens round the gate. Hubbard. MSG (Conrade. Chickens round the gate. GS) (Seidell. Chickens round the gate. GS) See the children on our ring joining in our song. _See_ Mozart. Second ring song. SHS See the children swinging. _See_ Cole. Scale song, no. 4. CM See the fishes in the brook. _See_ Hubbard. Fishes, no. 20. MSG See the fly buzzing by. _See_ Gaynor. Fly. SC1 See the gate! it opens wide. _See_ Froebel. Farmyard. SM *See the gospel light is shining. Kies. MSL See the light. Hubbard. MSG (Froebel. Little window. MP) (Wiggin. Window. KC) See the little doggie run. _See_ Cole. Little doggie. CM *See the little hands go clip. JB See the little table here. _See_ Smith. Setting the table. SL2 *See the little window bright. _See_ Froebel. Little window. MP (Hubbard. Oh! see the light. MSG) (Wiggin. Window. KC) See the neat little clock. _See_ Clock. HR See the pretty bunny. _See_ Neidlinger. Bunny. SSS See the pretty little birdies. _See_ Cole. Little birdies. CM See the pretty pussy willows. _See_ St. John. Pussy willows. BSS See the pretty snow-flakes falling. _See_ Messengers from cloudland. BSS *See the pretty valentines. Hill. HS See the pussy willows peeping. _See_ Brown. Welcome to the pussy willows. EL See the rabbit running, skipping. _See_ Froebel. Rabbit. MP See the red tops in the clover. _See_ Smith. Mowing song. SL1 See the regiment passing by! _See_ Gaynor. Regiment. LL See the ripples in the water. _See_ Gaynor. Boating, no. 2. SC2 *See the rosy morn appearing. Shield. TLB See the sailor toiling. _See_ Sawyer. Sailor. EL See the shining dew drops. _See_ Wiggin. God is ever good. KC See the sky is glowing. _See_ Smith. Morning hymn. LCD *See the snow is falling. Hubbard. MSG (Hailmann. Oh, see the snow. HR) (Walker. Snow. WS) See the snow, the falling snow. _See_ Hailmann. Oh, see the snow. HR (Hubbard. See the snow is falling fast. MSG) (Walker. Snow. WS) See the tiny fishes dart. _See_ Gaynor. Fishes. SC1 See the trees all in a row. _See_ Heerwart. Trees. HR--KC--SM See the waterwheel go round. _See_ Waterwheel. PS See the windmill. _See_ Stangenberger. Windmill. HR (Windmill. PS--WS) See the window I have here. _See_ Beethoven. Little window. HR See this shining skating pond. _See_ Koehler. Skating. HR See us now as we go by. _See_ Threading the needle. EL See us sawing. _See_ Hubbard. See-saw. MSG *See what a pretty little girl. JB See what a wonderful garden is here. _See_ DeKoven. Little-oh-dear. FSC See what a pretty sheep we've got. _See_ Shepherdess. HC See where the star of eve. _See_ Cottrau. Santa Lucia. FS (Now neath the silver moon. EFS--TLB) Seeboeck. On the railroad train. HMC1 Music only ---- Rock-a-bye. TC (Parry. Rock-a-bye baby. TC) (Willis. Rock-a-bye baby. EL) ---- Rough riders. HMC2 Music only ---- Shepherd. HMC1 Music only ---- Threshers. HMC1 Music only ---- Winter sports. HMC2 Music only Seed song. Sheehan. OSM Seeds and flowers are sleeping sound. _See_ Hill. Nature's Easter song. SHS Seeds of love. Marzials. CPP Seeds; or, Flowers unfolding. Montz. IMS Seeing. Hubbard. MSG (Guessing game, no. 32. PS) (When we're playing together. WS) (Wiggin. Guessing game. KC) See. Meissner. ASC Seeing game. Wiggin. KC Seek the Saviour early, children dear. _See_ Martin. Morning song. MSL Seems to me the whole world's singing. _See_ Neidlinger. Endless song. TLB Seidel. Folded pigeon and pigeon-house. HR ---- Four seasons. HR ---- Joiner. HR (Froebel. Joiner. MP) (Hubbard. Zish! zish! zish. MSG) (Joiner. PS) ---- New Year. HR ---- See the chickens round the gate. HR (Conrade. Chickens and the gate. GS) (Hubbard. See the chickens round the gate. MSG) ---- Thank you, pretty cow. HR (Cole. Pretty cow. CM) (Smith. Thank you, pretty cow. SL1) (Tufts. Thank you, pretty cow. CL) ---- Venturesome children. HR ---- Windmill. HR (Heerwart. Windmill. KC) Selling fruit. Hailmann. HR (Hailmann. Ball play. KC) September. Conrade. GS (Knowlton. September. NS) (McLellan. September. EL) Sequel to an old story. Knowlton. NS Serenade. Reinecke. FC Set of games. Gaynor. SC2 Setting the table. Smith. SL2 Seven brothers. LBS Seven game. JB Seven great towns of Greece. _See_ Homer. RCS Seven little fairies came. _See_ Walker. Rainbow song. WS Seven pretty girls. KK Seven ships sailing on a milky sea. _See_ Neidlinger. Bowl of bread and milk. SSS Seven times one. BSS Seward. Hurrah for the sleigh bells. EL Sewing. Hailmann. HR Sewing machine. Montz. IMS Sewing song. WS Sewing song. Pettibone. SC1 Sewing song. Smith. SL2 Shadow. Schytte. HMC2 Music only Shadow march. Stevenson. SF (Ramsay. Shadow march. SF) Shadow rabbit. Froebel. SM Shadows. Neidlinger. ES2 Shadows creeping along the sky. _See_ Smith. Birdling's goodnight to the stars. SL2 Shakespeare. Blow, blow, thou winter wind. TLB ---- Mid-summer night's dream. TLB ---- Who is Silvia? TLB *Shall I show you how the farmer? RCS (Can you show me how the farmer? JB) (Farmer. LBS) (Farmer. PS) (Farmer and the housewife. KK) (Froebel. Farmer. SM) (Koehler. Farmer. HR) Shall I sing you a song that tells you how our farmers of old did their sowing? _See_ Sowing song. KK. Shall I tell you I spilled the ink? _See_ Brewster. Dotty and the clock. BSS Shall I tell you how the farmer sows his barley and wheat? _See_ Farmer. LBS (Can you show me how the farmer? JB) (Farmer. PS) (Froebel. Farmer. SM) (Koehler. Farmer. HR) (Shall I show you how the farmer? RCS) *Shall I tell you how we sew in our garden? LBS Shall we show you how the carpenter? _See_ Hurd. Labor game. PTS Shall we show you how the farmer? _See_ Froebel. Farmer. SM (Farmer. LBS) (Farmer. PS) (Farmer and the housewife. KK) (Koehler. Farmer. HR) (Can you show me how the farmer? JB) (Shall I show you how the farmer? RCS) Shaw. Columbia, the gem of the ocean. GS She's an old spinster. _See_ Day's far spent. JB Shean Trews. (Whistle o'er the leaves o't). FDM Music only Sheehan. April showers. OSM ---- At Easter tide. OSM ---- Butterfly and rose bud. OSM ---- Good-bye song. OSM ---- Good morning song. OSM ---- Lark. OSM ---- Mothers' lullaby babies. OSM ---- My garden flowers. OSM ---- Playtime ring song. OSM ---- Ring song. OSM ---- Seed song. OSM ---- Spring is here. OSM ---- Spring morning prayer. OSM ---- To the wild flowers. OSM Sheep. Cole. CM (Hill. Children and the sheep. SHS) (Marie Antoinette. Children and the sheep. SHS) Sheep. Neidlinger. ES1 Sheep. Smith. LCD Shell. Smith. LCD Shelley. Noël, noël, the Christ is born. WS ---- Tonight. TLB *Shenandoah, I long to hear you. NEB2 Shepherd. Seeboeck. HMC1 Music only *Shepherd leads his flock. Kies. MSL *Shepherd of tender youth. Gaynor. TLB Shepherd maiden. FS (Bergere. BB) (Shepherdess. RCS) Shepherdess. HC Shepherdess. RCS (Bergere. BB) (Shepherd maiden. FS) Shepherdess and the cuckoo. RCS Shepherdess so faithful. _See_ Shepherdess. RCS (Bergere. BB) (Shepherdess. RCS) Shepherd's hay. NEB1 Shepherds were watching their sheep thru' the night. _See_ Watching the flocks. GS Sherman. Dewdrops. CM ---- Hide and seek. EL ---- July. NS ---- Kite time. NS ---- Snowbird. NS Sherwood. Around the Maypole. HS ---- Baby's calendar. HS ---- Christmas, merry Christmas. HS ---- Good advice. HS ---- Leaves, flowers and fruit. HS ---- Little boy's walk in winter. HS ---- May day invitation. HS ---- New Year greeting. HS ---- Our fir-tree. HS ---- Soldiers true. HS ---- Song for the prism. HS ---- Thanksgiving for harvest. HS ---- We thank thee. HS Shield. See the rosy morn appearing. TLB *Shine out, oh blessed star! Dugan. WS Shine! shine! shine! Pour down your warmth, great sun. _See_ Gilchrist. We two together. TLB Ship. Hubbard. MSG (Vessel. PS) Ship-a-sailing. EL (Duck dance. BG) (Fairy ship. BB) (Reinecke. Barcarole. FC) (Reinecke. I saw a ship-a-sailing. HR) (Ship a-sailing. RCS) Ship, a ship, a-sailing. _See_ Fairy ship. BB (Duck dance. BG) (Reinecke. Barcarole. FC) (Reinecke. I saw a ship a-sailing. HR) (Ship a-sailing. EL) (Ship a-sailing. RCS) Shoe the horse. Smeltzer. SZ (Shoe the old horse. HR) *Shoe the old horse. HR (Smeltzer. Shoe the horse. SZ) Shoemaker. Hubbard. MSG Shoemaker. Libby. WS Shoemaker. Mokrejs. HMC1 Music only Shoemaker. Smith. SL2 Shoemakers' dance. BFD Shoemakers' dance. FDM Music only *Shoo fly. Funkhouser. FSK Shoot the buffalo. USI Short. Little boy bubble. GS Should auld acquaintance be forgot. _See_ Burns. Auld lang syne. EFS--FS Shower and flower. Batchellor. WS Shut them! open! Shut them! _See_ Smith. Finger song. SL2 Shut your eyes. _See_ Smith. Tasting. SL2 Siciliana. Dost thou no longer love me? EFS Sicillian. Reinecke. HMC2 Music only Sidewalk song. Funkhouser. FSK Signals of time. SHS Signs. Neidlinger. ES2 Signs of the seasons. Bacon. EL Signs of the seasons. Gaynor. LL Silcher. Loreley. FS (Silcher. Lurlei. RCS) Silent little snow flakes so silently falling down. _See_ Lecocq. Valentine day, no. 1. GS Silver fishes. Schoenefeld. HMC1 Music only Silver moon. Smith. SL2 Silver moon is floating, floating. _See_ Gaynor. Moon boat. SC1 Silver night. Smith. SV *Silver swan, who living had no note. Gibbons. RCS Simon of Salle. KK *Simple Simon. Elliott. MG *Since first I saw your face. Marzials. CPP Sinding. I heard the gull. EFS ---- Mother sings. EFS Sing a song of iron. _See_ Gaynor. Song of iron. SC1 *Sing a song of sixpence. Elliott. MG (Song of sixpence. CBO) Sing a song of snowflakes. _See_ Dugan. Winter song. EL Sing a song of the murmuring trees. _See_ Hill. Song of the trees. HS Sing a song of Washington. _See_ Work. Song of Washington. HS Sing a song of winter; pocket full of rye. _See_ Cole. Song about winter. CM Sing-away bird. Millard. StN Sing, children, sing. Conrade. GS Sing ho! for the planter who planted the cotton. _See_ Strong. Baby's cotton apron. HS Sing, little children, I love to hear you sing. _See_ Cole. Singing and playing. CM *Sing, little children, sing. Osgood. WS *Sing, sing, lily bells ring. St. John. BSS Sing softly, sing sweetly, but join in the song. _See_ Stetson. Memorial day. HS Sing the song we love to sing. _See_ Meeting. FS Sing us a song, birdie. Hubbard. MSG Sing we all merrily, Christmas is here. _See_ Christmas is here. HR Sing with cheery voices. _See_ Smith. O sing with cheery voices. SL2 Singing. Stevenson. CGV--CM--SS _For composers see_ Stevenson. Singing. Singing and playing. Cole. CM Singing and swaying. _See_ Cachucha. FS Singing in the breezes where the tree tops flower. _See_ Orioles. FS Singing joyfully. Beach. TC Singing low. _See_ Smith. Slumber song. SL1 Singing, singing all the day. _See_ Cole. Cheerful singing. CM Single chants. Macfarren. HMC1 Music only *Sippity sup. HR Sir, pray be so good. _See_ Purcell. Hunting the hare. RCS *Sir Rider, ho! ho! no farther can your horse go! RCS Sir Roger de Coverly. Page. HMC2 Music only "Sir Roger de Coverley." _See_ English country dance. FDM Music only Sir Spring will give a concert rare. _See_ Reinecke. Sir Spring's concert. FC *Sir Simon de Montfort my subject shall be. Marzials. CPP Sir Spring's concert. Reinecke. FC Sitting at a window in her cloak and hat. _See_ Elliott. Mother Tabbyskins. MG *Six little puppies. Neidlinger. SSS *Six little snails. Elliott. MG Six, seven, eight, nine o'clock. _See_ Grove. Bedtime. HS Sixty seconds make a minute. _See_ Calendar song. RCS (Conrade. Calendar song. GS) Sixty seconds make a minute. _See_ Tufts. Time. CL Skaters. Parlow. HMC2 Music only Skating. Gaynor. SC2 Skating. Koehler. HR Skating game. Hubbard. MSG Skating game. Reed. TGS Skim, skim, skim. _See_ Roeske. Making butter. PFP Skip. Montz. IMS Skipping. Hitte. DM Skipping. Koehler. HR--PS Skipping song. Hill. SHS Skralat. FDM Music only Sky is dark and the hills are white. _See_ DeKoven. Norse lullaby. FSC Skye boat song. FS Skylark. Cole. CM Skylark. Tschaikowsky. HMC2 Music only Sleep, ah, sleep, my darling baby. _See_ Little Cossack. FS (Russian lullaby. TLB) *Sleep, baby, sleep, thy father watches his sheep. FS--RCS (Brewster. Sleep, my baby, sleep. BSS) (Cornwell. Sleep, baby, sleep. EL) (Smith. Sleep, baby, sleep. SL1) *Sleep, darling, sleep. RCS (Schlaf, Kindlein, schlaf. BB) Sleep, dolly, sleep. _See_ Reinecke. Doll's cradle song. FC *Sleep, gentle babe, your mother watches o'er you. Mendelssohn. TLB Sleep, little bird. _See_ Gaynor. Lullaby. SC2 Sleep, little pigeon, and fold your wings. _See_ DeKoven. Japanese lullaby. FSC Sleep, my baby, sleep. Brewster. BSS (Cornwell. Sleep, baby, sleep. EL) (Sleep, baby, sleep. FS--RCS) (Smith. Sleep, baby, sleep. SL1) Sleep, my darling little one. _See_ Spazier. Cradle song. SHS *Sleep, my heart's treasure. Weber. RCS Sleep, my love, and peace attend thee. All through the night. EFS (Owen. All through the night. TLB) Sleep now, birdies. _See_ Wiggin. Slumber song of the birdlings. KC *Sleep, sleep, my darling. RCS *Sleep, sleep, the south wind blows. Pratt. StN Sleep, sweet babe, my cares beguiling. _See_ Dormi. FS *Sleep thou, my darling. Taubert. RCS Sleep, Thumbkin, sleep, sleep. _See_ Hailmann. Putting the fingers to sleep. HR *Sleep time. Bingham. BM Sleepy flowers now are waking. _See_ Waking flowers. SHS *Sleepy leaves. Reed. HS--TGS *Sleepy old duck. Bingham. BM Sleepy poppies, red and white. _See_ Gaynor. Poppies. SC2 Sleigh-ride. HR (Conrade. Thanksgiving day. GS) (Hubbard. Thanksgiving day. MSG) (Morton. Thanksgiving song. WS) Sleigh-ride. Kleinmichel. HMC2 Music only Sleighing. Rossini. HR Sleighing song. Gaynor. SC1 Sleighing song. Reinecke. SL2 Sloane. Ferns. HS ---- Washing day. HS Slow and stately, quite sedately. _See_ Smith. Grand ladies. LCD Slow little snail. Smith. LCD Slowly o'er the dark, dark waters. _See_ Lake. TLB Slowly, so slowly we tread our minuet. _See_ Terhune. Minuet. CC Slumber song. Brewster. BSS Slumber song. Menard. BSS Slumber song. Smith. SL1 Slumber song. Wiggin. KC (Tufts. Now the sun is sinking. CL) Slumber song of the birdlings. Wiggin. KC Small and great. Neidlinger. ES2 Smart. Hark! hark! my soul, angelic songs. TLB Smell the flow'r, my child, and see. _See_ Reinecke. Flower song. SM Smelling. Hubbard. MSG (Smith. Smelling. SL2) (Wiggin. Smelling. KC) Smelling. Meissner. ASC Smeltzer. As I was coming along. SZ ---- Big John Stout. SZ ---- Bobbie Shaftoe. SZ ---- Boy Blue. SZ ---- Farmer. SZ ---- Four owls. SZ ---- Hub a dub dub. SZ ---- Humpty dumpty. SZ ---- Jack and Jill. SZ ---- Jack be nimble. SZ ---- Jack Horner. SZ ---- Jackie Jingle. SZ ---- John Smith. SZ ---- Little Bo-peep. SZ ---- Little Indians. SZ ---- Little Jack-a-Dandy. SZ ---- Little Miss Muffet. SZ ---- Man in the moon. SZ ---- Marjorie Daw. SZ ---- Mary Contrary. SZ ---- Miller of Dee. SZ ---- My ship. SZ ---- Old King Cole. SZ ---- Old man of Tobago. SZ ---- Old mother Hubbard. SZ ---- Old woman who lives in the shoe. SZ ---- Peter Piper. SZ ---- Polly Flinders. SZ ---- Shoe the horse. SZ ---- Three men of Gotham. SZ ---- Tommy Snooks and Bessie Brooks. SZ ---- Tommy Tittlemouse. SZ ---- Wooley Foster and Daffy Down Dilly. SZ Smiling in the valley, streaming o'er the plain. _See_ Reinecke. Sunshine. HR Smith. After the rain. SV ---- Afternoon song. KC ---- Alice's supper. SL1 ---- All gone baby. SL1 ---- All the birds have come again. SL1 ---- America. FS--GS--MSG (My country, 'tis of thee. TLB) ---- Autumn wind. LCD ---- Autumn winds are crying. SL1 ---- Baby and the moon. SL1 (Baby and the moon. SM) ---- Baby's birthday. LCD ---- Ball song. KC ---- Ball song. SL2 (Hubbard. Roll over, come back. MSG) ---- Basket. SL1 ---- Bed. SL1 ---- Bedtime. LCD ---- Bedtime. SV ---- Bell so high. SL1 (Bell song, no. 11. PS) (Bell high in the steeple. WS) (Hubbard. Bell high in the steeple. MSG) ---- Birdlings' good-night to the flowers. SL2 ---- Boat ride. SL2 ---- Bold snow-man. LCD ---- Bossy cow. LCD ---- Brave. LCD ---- Bridge. SL2 (Variant: Froebel. Bridge. MP) (Variant: Hubbard. Brook is flowing. MSG) ---- Bridge. SM ---- Brook. SL2 ---- Busy wind. LCD ---- Butterfly dance. LCD ---- Bye, baby, night has come. StN--SL2 (Hill. Bye, baby, bye. SHS) ---- Cackling hen. LCD ---- Can you count the stars? SL1 (Canst thou count the stars? WS) ---- Canary. LCD ---- Careful. LCD ---- Carpenter. SL1 ---- Caterpillar. LCD ---- Caterpillar. SL2 ---- Caterpillar. SM ---- Children on the tower. SL1 ---- Children's supper. SL2 ---- Chimes. LCD ---- Chirpings. LCD ---- Choosing a flower. LCD ---- Choosing the game. SL1 (Variant: Hailmann. Teacher of gymnastics. HR) (Little master of gymnastics. PS) (Wiggin. Imitation game. KC) ---- Christmas carol. KC ---- Christmas carol. SL2 ---- Christmas hymn. SL1 ---- Christmas is coming. LCD ---- Christmas song. SL2 ---- Church. SL2 (Variant: Froebel. Church window and church door. MP) (Variant: Hubbard. Church bell. MSG) ---- Church. SM ---- Circles. SL2 ---- Come and join our circle. SL2 ---- Come, little leaves. SL2 (Autumn leaves. HR) (Hill. Fall leaves. SHS) (Osgood. Come, little leaves. RCS--MSG--WS) ---- Come, my dolly. SV ---- Daffy-down-dilly. SL2 ---- Daisies are dancing. SL2 ---- Dancing song. SL2 ---- Dandelion fashions. SL2 ---- Dear little ball. SL1 ---- Did you ever see a lassie? SL2 (Did you ever see a lassie? BG--USI) ---- Do the little brown twigs complain? SL1 ---- Dove cote. SL1 ---- Dove talk. LCD ---- Easter song. SL1 (At Easter time. WS) ---- Echo play. LCD ---- Evening prayer. LCD ---- Evening song. SL2 ---- Fairy dance. LCD ---- Finding the place. SL2 ---- Finger-piano. SL1 ---- Finger song. SL2 ---- Five riders and good child. SL1 ---- Flag song. SL2 ---- Flower basket. SM (Froebel. Basket. MP) ---- Flower bed. SL1 ---- Flower garden. LCD ---- Fly, little birds. SL2 (Cornwell. Fly, little birds. WS) (Hubbard. Flying birds. MSG) ---- Forming the ring. SL2 ---- Friendly drake. LCD ---- Froebel's birthday song. SL2 ---- From dust and grit. SL1 ---- Garden fence. SL1 ---- Go to sleep, Thumbkin. SL1 ---- God is always near me. SL2 ---- God sends his bright spring sun. SL1 (Rust. God sends his bright spring sun. EL) ---- Going to sleep. LCD ---- Good-bye song. KC ---- Good-bye to summer. SL1 ---- Good morning. SV ---- Good morning, merry sunshine. SL1--SL2 (Hubbard. Good morning, merry sunshine. MSG) ---- Good morning to the kindergarten. SL2 ---- Good weather. LCD ---- Grand ladies. LCD ---- Green leafy tree. LCD ---- Greeting song. KC ---- Happy summer. SL1 ---- Hard and soft balls. SL2 ---- Harvest song. SL2 ---- Hearing. SL2 ---- Hope carol. TLB ---- Hymn for a little child. SL1 ---- I lead my lambkin lovingly. SL1 ---- I put my right hand in. SL2 ---- If rosy sunsets never paled. LCD ---- If you were a flower. LCD ---- In a hedge. SL1 (Froebel. In a hedge. SM) ---- In the barnyard. SL2 ---- In the Bethlehem stable. LCD ---- In the snowing and the blowing. SL1 ---- Ironing day. SL2 (Warren. Ironing song. StN) ---- Jack Frost. SL2 ---- Joiner. SM ---- Knights and the bad child. SM ---- Knights and the good child. SM ---- Knights and the mother. SM ---- Light bird. SL1--SM ---- Lighthouse. LCD ---- Little Annie's garden. SM ---- Little bird. SL1 ---- Little child asleep. SL1 ---- Little dancing song. LCD ---- Little gardener. LCD ---- Little gardener. SL2 ---- Little mice. SL2 ---- Little peach. FSC ---- Little songs and dances. SL1 ---- Little white daisy. SL1 ---- Little white feathers. SL1 ---- Little white lily. SL2 (Tufts. Little white lily. CL) (Walker. Little white lily. WS) ---- Lordly cock. LCD ---- Marching song. KC ---- May basket. LCD ---- May song. TLB ---- Merrily dance. SL1 ---- Merry wind. LCD ---- Merry workers. SL2 ---- Milk for supper. LCD ---- Milkweed babies. SL2 ---- Mill-stone. SL1 ---- Minding their mother. LCD ---- Morning greeting. SL1 ---- Morning hymn. LCD ---- Morning hymn. KC ---- Morning prayer, no. 5. KC ---- Morning song. KC ---- Morning song. SL1 ---- Morning sun is shining. SL1 ---- My country, 'tis of thee. TLB (Smith. America. FS--GS--MSG) ---- My heart is God's little garden. SL2 ---- My Pegasus. SV ---- Now the time has come for play. SL2 ---- Obedient. LCD ---- Oh little child. FSC ---- Oh sing with cheery voices. SL2 ---- Pail. SL2 ---- Pat-a-cake, pat-a-cake. SL1 ---- Play in all seasons. LCD ---- Plums in winter. LCD ---- Polite. LCD ---- Prayer. KC ---- Prompt. LCD ---- Rain coach. SL2 ---- Rain song. SL1 (Allen. Song of the rain. WS) ---- Rainbow. LCD ---- Raining! Raining! LCD ---- Riddle-cum-riddle. LCD ---- Ring around the posy bed. SL1 ---- Ring song, no. 7. KC ---- Rock-a-by, baby. SL2 ---- Sap has begun to flow. SL2 ---- Saying good-night. LCD ---- Setting the table. SL2 ---- Sewing song. SL2 ---- Sheep. LCD ---- Shell. LCD ---- Shoemaker. SL2 ---- Silver moon. SL2 ---- Silver night. SV ---- Sing with cheery voices. _See_ Smith. Oh, sing with cheery voices. SL2 ---- Sleep, baby, sleep. SL1 (Brewster. Sleep, my baby, sleep. BSS) (Cornwell. Sleep, baby, sleep. EL) (Sleep, baby, sleep. FS--RCS) ---- Slow little snail. LCD ---- Slumber song. SL1 ---- Smelling. SL2 (Hubbard. Smelling. MSG) (Wiggin. Smelling. KC) ---- Snow clouds. SL1 ---- Snowball song. SL2 ---- Snowflakes. SL2 ---- So bright and so round. SL1 ---- Soft and hard balls. SL2 ---- Softly, softly blows the wind. LCD ---- Song of the clock. SL2 ---- Squirrel. SL2 ---- Stanzas from the nativity. TLB ---- Stars and daisies. SL2 (Stars and daisies. SM) ---- Summer song. SL1 ---- Sunbeams. SL2 ---- Sunshine far and near. LCD ---- Sunshine song. SL1 ---- Sweet content. TLB ---- Tailor. SL2 ---- Tarantelle. HMC2 Music only ---- Taste song. SL2 ---- Tasting. SL2 ---- Thank you, pretty cow. SL1 (Cole. Pretty cow. HR) (Seidell. Thank you, pretty cow. HR) (Tufts. Thanks, pretty cow. CL) ---- Thanks for food, I and II. LCD ---- Thanksgiving song. SL2 ---- This is the mother. SL1 ---- Though your eyes are blinded. SL2 ---- Three years old. LCD ---- Thumbkin says "I'll dance." SL1 (Variant: Hubbard. Thumbkin says "I'll dance." MSG) (Variant: Walker. Thumbkin says "I'll dance." WS) ---- Thumbs and fingers say "Good morning." SL1--SM (Variant: Froebel. Finger song. MP) (Hubbard. Thumbs and fingers say "Good morning." MSG) ---- To a snowflake. LCD ---- To the sky and back. LCD ---- Tonight. TLB ---- Tower. SL1 ---- Train. LCD ---- Transformation game. SM ---- Treasures. LCD ---- Tree in winter. SL2 ---- Two years old. LCD ---- Useful. LCD ---- Wandering song. SM ---- Washing day. SL2 ---- Waves. LCD ---- We are little soldier men. SL1 ---- We are red birds. SL2 ---- We plow the fields. SL2 ---- We're playing together. SL2 ---- Weather vane. LCD ---- Welcome, little robin. SL2 ---- Welcome to spring. LCD ---- Wheel-wright. SM ---- Whirlabout. LCD ---- Wind song. SL1--SM _For other composers see_ Stevenson. Wind. ---- Window. SM ---- Woodman. SL2 Smith. HR Smoke. Montz. IMS Snail. Conrade. GS Snail. Hubbard. MSG (Koehler. Snail. HR) (Snail. BG--PS) (Snail game. HC) (Walker. Snail. WS) Snail all cosily may dwell. _See_ Smith. Slow little snail. LCD Snail crawls out with his house on his back. _See_ Conrade. Snail. GS Snail game. HC (Koehler. Snail. HR) (Hubbard. Snail. MSG) (Snail. BG--PS) (Walker. Snail. WS) Snail he lives in his hard round house. _See_ Snail. HR Snick, snick, snack! Up my back. _See_ Gaynor. Tailor. LL Snow. Cole. EL Snow. Walker. WS (Hailmann. Oh, see the snow. HR) (Hubbard. See the snow is falling fast. MSG) Snow clouds. Hill. SHS Snow clouds. Smith. SL1 Snow falls white and soft and light. _See_ Snowstorm. RCS Snow-filled nest. Boot. StN Snowball song. Smith. SL2 Snowballs. Gaynor. SV Snowballs. Knowlton. NS Snowballs, snowballs, oh such jolly fun. _See_ Knowlton. Snowballs. NS Snowballs. Sawyer. EL Snowbird. Knowlton. NS Snowdrops and violets. EL Snowdrops are thinking. _See_ Snowdrops and violets. EL Snowdrops, waking from your sleep. _See_ Gaynor. Easter. GS Snowflakes. Dow. SL2 Snowflakes. Fisher. StN (Molloy. Snowflakes. StN) (Warren. Snowflakes. StN) Snowflakes. Gaynor. SC1 Snowflakes. Neidlinger. SSS Snowflakes. Reinecke. HR Snowflakes. Sawyer. EL Snowflakes. Smith. EL Snowflakes are falling. _See_ Adams. Christmas carol. HS Snowflakes falling down. _See_ Neidlinger. Snowflakes. SSS Snowflakes white, from a height. _See_ Winter. PS Snowman. Neidlinger. SSS *Snowman stands out on the lawn. Gaynor. SC2 Snowstorm. RCS Snowwhite. Reinecke. FC Snurrbocken. FDM Music only So bright and so round. Smith. SL1 So, good day, my Rosa. _See_ Good day, my Rosa. KK So we say, good day, good day. _See_ We say good day. KK So we weave the woolen. _See_ Weaving game. HC So wise! Gilchrist. StN Soap-bubbles. Neidlinger. SSS Social game. HC Soft and hard balls. Smith. SL2 Soft-shell crab. Chadwick. TC Softly courses thro' my soul. _See_ Mendelssohn. Greeting. FS Softly now the snowflakes fall. _See_ Hill. Earth's winter dress. SHS *Softly sleep thou. Schubert. FS (Schubert. Rest thee now. RCS) Softly, softly blows the wind. Smith. LCD *Softly, softly, softly. Koehler. HR Soldatenlied. See Taubert. Soldier song. FS--SL2 *Soldier boy, soldier boy. HC *Soldier, soldier, will you marry me? NG Soldier song. Taubert. FS--SL2 Soldiers are coming. Hiller. HMC2 Music only Soldiers' march. Schumann. HMC2 Music only *Soldiers true. Sherwood. HS Solomon. Just like this. KC Some day you'll be a man. Funkhouser. FSK Some flags are red, or white, or green. _See_ Smith. Flag song. SL2 Some little drops of water. _See_ Smith. Rain coach. SL2 Some lullabies. Gaynor. SC2 Some think the world is made for fun and frolic. _See_ Denza. Funiculi, funicula. FS (Merry life. TLB) (Denza. Sailing o'er a summer sea. EFS) Sometimes when flowers are very glad. _See_ Neidlinger. Rainbow. ES1 Son of God goes forth to war. _See_ Martin. Royal conqueror. MSL Song about winter. Cole. CM Song birds are flying. _See_ Russell. Autumn song. HS Song for a child's birthday. Hill. HS Song for the prism. Sherwood. HS Song for Washington's birthday. HS Song I am singing my friend must repeat. _See_ Reinecke. Guessing the singer. SM Song of April. Fairlamb. TLB Song of chestnuts. Vose. EL Song of greeting. Farwell. TLB Song of home work. HS Song of Illyrian peasants. Schnecker. TLB Song of iron. Gaynor. SC1 Song of kindness. Elliott. SL1 Song of love. RCS Song of perfume. Froebel. MP Song of sixpence. CBO (Elliott. Sing a song of sixpence. MG) Song of smell. Froebel. MP Song of summer and winter. Wolf. SHS Song of taste. Froebel. MP Song of thanks. EL Song of thanks. Randegger. EL (Randegger. Prayer. KC) Song of thanks. Saville. HS Song of the bee. Batchellor. WS Song of the blacksmith. Hubbard. MSG (Parker. Blacksmith. WS) Song of the bluebird. Walker. EL Song of the brook. Gaul. TC Song of the clock. Smith. SL2 Song of the five fingers. Tufts. CL Song of the ghost dance. TLB Song of the kitchen clock. Gaynor. SC1 Song of the loaf of bread. Gaynor. SC1 Song of the mill-stream. Hill. SHS Song of the miller. Gaynor. LL Song of the nut. Atkinson. GS Song of the rain. Allen. WS (Smith. Rain song. SL1) Song of the robin. Cornell. StN Song of the roller skates. Bartlett. StN Song of the sewing machine. Hill. SHS Song of the shark. Chadwick. StN Song of the shearer. SC1 Song of the sunflower. Gaynor. LL Song of the tress. Hill. HS Song of the wind. Burnett. HS Song of Washington. Work. HS *Songs my mother taught me. EFS Soon shall winter's reign be ended. _See_ Brewster. Spring must come. BSS Sounds of spring. FS Sonne hat sich mued' gelaufen spricht. _See_ Taubert. By-low-by. RCS Sow, sew, so. Knowlton. NS Sowing song. KK *Spacious firmament on high. TLB Spanish lady. Marzials. CPP Sparks the charcoal throws. _See_ Smith. HR Sparrow. Conrade. GS Sparrows. Roeske. PFP Sparrow's greeting. Taubert. RCS Sparrows' nest. Berry. KC Spazier. Cradle song. SHS Speed, bonnie boat, like a bird on the wing. _See_ Skye boat song. FS Spider. Neidlinger. SSS Spider and the flies. Wiggin. KC Spider and the fly. Elliott. MG Spied a boy a rosebud fair. _See_ Goethe. Heiden-Roeslein. BSS--FS--RCS _For composers see_ Goethe. Heiden-Roeslein. *Spin, lassie, spin. Reinecke. SL2 (Reinecke. Spinning song. FC--RCS) Spin, maiden, spin. _See_ Reinecke. Spinning song. FC--RCS (Reinecke. Spin, lassie, spin. SL2) Spindler. Trumpeters' serenade. HMC2 Music only Spinet. Terhune. CC Spinn, Maegdlein, spinn. _See_ Reinecke. Spinning song. FC--RCS (Reinecke. Spin, lassie, spin. SL2) Spinning carol. Terhune. CC Spinning song. Ellmenreich. HMC1 Music only Spinning song. Reinecke. FC--RCS (Reinecke. Spin, lassie, spin. SL2) Spinning the yarn. Gaynor. SC1 Spinning top, lightly spin. _See_ Gaynor. Top. SC2 *Spirit of God, descend upon my heart. Hopkins. TLB Splendor falls on castle walls. _See_ Neidlinger. Blow, bugle, blow. TLB Spohr. Lillies sweet. HS Spring birds. Wiggin. KC Spring comes with smiles and with sunshine so bright. _See_ Spring's return. PS Spring dance. Gaynor. LL Spring flowers. Heerwart. HR Spring flowers are op'ning. _See_ Dugan. Glad Easter is here. HS Spring has called us from our sleep. _See_ Heerwart. Spring flowers. HR Spring is come. _See_ Glueck. Spring song. HR *Spring is come. Hayes. RCS Spring is here. Sheehan. OSM Spring is here, O children dear. _See_ Stearns. Springtime joy. HS Spring is near. _See_ Gaynor. Pussy willows. SV Spring joy. Heerwart. HR Spring morning prayer. Sheehan. OSM Spring must come. Brewster. BSS Spring once said to the nightingale. _See_ Cornwell. Birdies' ball. WS (Hubbard. It is lovely May. MSG) Spring rain. Lach. SL2 Spring secrets. Vose. EL Spring song. Chopin. EFS (Chopin. Maiden's wish. FS) Spring song. Mendelssohn. HMC1 Music only Spring the early blossoms bringeth. _See_ Seidel. Four seasons. HR Spring's awakening. Gayrhos. HMC1 Music only Spring's call to the flowers. Wiggin. KC Springtime. Martin. MSL Springtime brings the robin and the blue-bird home. _See_ Conrade. Clacker. GS Springtime is here. _See_ Graeff. Spring song. HS Springtime joy. Stearns. HS Sprinkle, sprinkle, comes the rain. _See_ Bartlett. Merry rain. StN Sprinkle, sprinkle, gentle rain. _See_ Hailmann. April showers. HR Sprinkling the clothes. Chapek. HS Squirrel. JB Squirrel. Roeske. PFP Squirrel. Smith. SL2 Squirrel loves a pleasant place. _See_ Chasing the squirrel. WS Squirrels' chatter. Kroeger. HMC2 Music only Stages of life. Hill. SHS Stanford. Bed in summer. SS _For other composers see_ Stevenson. Bed in summer. ---- Foreign children. SS (Fisher. Foreign children. CGV) ---- Foreign lands. SS ---- Marching song. SS _For other composers see_ Stevenson. Marching song. ---- My shadow. SS ---- My ship and I. SS (Ramsay. My ship and I. SF) ---- Pirate story. SS ---- Summer's rain and winter's snow. TC ---- Where go the boats? SS _For other composers see_ Stevenson. Where go the boats? ---- Windy nights. SS _For other composers see_ Stevenson. Windy nights. ---- Worship. TC Stangenberger. Merry helpers. HR ---- Sawyer. HR (Hubbard. Sawing game. MSG) (Sawing game. WS) (Sawyer. PS) ---- Windmill. HR (Windmill. PS--WS) Stanley. April girl. StN (Fairlamb. April girl. StN) ---- Cat and the dog. StN ---- Cradle song. StN (Fairlamb. Cradle song. StN) (Fisher. Cradle song. StN) (Ilsley. Cradle song. StN) (Suck. Cradle song. StN) ---- Handel. StN (Damrosch. Handel. StN) ---- Little Elsie. StN ---- Little John Bottlejohn. StN (Bristow. Little John Bottlejohn. StN) (Gilchrist. Little John Bottlejohn. StN) ---- Night and day. StN ---- Punkydoodle and Jollapin. StN (Bartlett. Punkydoodle and Jollapin. StN) (Burdett. Punkydoodle and Jollapin. StN) (Mosenthal. Punkydoodle and Jollapin. StN) ---- Queen o' May. StN ---- Three wise women. StN ---- Whenever a little child is born. StN Stanzas for finger-piano. Hailmann. HR Stanzas from the nativity. Smith. TLB Star. Cole. TC Star. Tours. TC Star shone in the East one night. _See_ Willcox. Christine's Christmas carol. EL Star spangled banner. Key. EFS--FS--GS--MSG Stars and daisies. SM (Smith. Stars and daisies. SL2) Stars and posies. Rossini. GS Stars are tiny daisies high. _See_ Stars and daisies. SM (Smith. Stars and daisies. SL2) Stay with us, sweet songstress. _See_ Reinecke. To the nightingale. FC Steamer that passes far out at sea. _See_ Neidlinger. Steamer's message. ES1 Steamer's message. Neidlinger. ES1 Stearns. Springtime joy. HS Stedman. Ball play. KC Stegall. Christmas carol. RCS (Stegall. Manger throne. FS) ---- Manger throne. FS (Stegall. Christmas carol. RCS) Steh' nur auf. _See_ Morning. FS Steig' empor am Himmel. _See_ Reinecke. Evening star. RCS Step and fetch her. NEB2 Stephanos. Baker. TLB Stepping stones. Gaynor. SC2 Sternberg. Phoebus, arise! TLB Stetson. Lightbird. HS ---- Memorial day. HS Stevenson. Armies in the fire. SF (Ramsay. Armies in the fire. SF) ---- Autumn fires. EL--SF (Ramsay. Autumn fires. SF) (Wills. Autumn fires. EL) ---- Bed in summer. CGV--CM--FSK--LBS--SF--SS (Bell. Bed in summer. LBS) (Cole. Bed in summer. CM) (Fisher. Bed in summer. CGV) (Funkhouser. In winter I get up at night. FSK) (Ramsay. Bed in summer. SF) (Stanford. Bed in summer. SS) ---- Cow. CM--LBS (Bell. Cow. LBS) (Cole. Cow. CM) ---- Escape at bedtime. CGV (Fisher. Escape at bed time. CGV) ---- Farewell to the farm. SS (Chadwick. Farewell to the farm. SS) ---- Foreign children. CGV--SS (Fisher. Foreign children. CGV) (Stanford. SS) ---- Foreign lands. SS (Stanford. Foreign lands. SS) ---- Good and bad children. SF (Ramsay. Good and bad children. SF) ---- Good boy. SS (Bartlett. Good boy. SS) ---- Happy thought. CGV (Fisher. Happy thought. CGV) (Adaptation: Cole. Beautiful world. CM) ---- Hayloft. LBS--SF (Bell. Hayloft. LBS) (Ramsay. Hayloft. SF) ---- In port. SF (Ramsay. In port. SF) ---- In winter I get up at night. FSK (See his Bed in summer.) ---- Keepsake mill. LBS (Bell. Keepsake mill. LBS) ---- Lamplighter. LBS (Bell. Lamplighter. LBS) ---- Land of counterpane. LBS--SS (Bell. Land of counterpane. LBS) (Chadwick. Land of counterpane. SS) ---- Land of Nod. CGV--SS (Fisher. Land of Nod. CGV) (Gilchrist. Land of Nod. SS) ---- Land of story books. SS (Bartlett. Land of story books. SS) ---- Marching song. CGV--LBS--SS (Bell. Marching song. LBS) (Fisher. Marching song. CGV) (Stanford. Marching song. SS) ---- Moon. LBS (Bell. Moon. LBS) ---- My bed is a boat. CGV--LBS--SS (Bell. My bed is a boat. LBS) (Fisher. My bed is a boat. CGV) (Gilchrist. My bed is a boat. SS) ---- My kingdom. SF (Ramsay. My kingdom. SF) ---- My shadow. SS (Stanford. My shadow. SS) ---- My ship and I. SF--SS (Ramsay. My ship and I. SF) (Stanford. My ship and I. SS) ---- Nest eggs. SF (Ramsay. Nest eggs. SF) ---- Northwest passage--good night. SF (Ramsay. North-west passage--goodnight. SF) ---- Picture books in winter. SF (Bell. Pictures in winter. LBS) (Ramsay. Picture books in winter. SF) ---- Pictures in winter. LBS See above ---- Pirate story. SS (Stanford. Pirate story. SS) ---- Rain. CGV (Fisher. Rain. CGV) ---- Shadow march. SF (Ramsay. Shadow march. SF) ---- Singing. CGV--CM--SS (Cole. Singing. CM) (Fisher. Singing. CGV) (Hawley. Singing. SS) ---- Stormy evening. TLB (Chadwick. Stormy evening. TLB) ---- Sun's travels. SS (Foote. Sun's travels. SS) ---- Swing. CGV--CM--BM--EL--LBS--SM--SS (Bell. Swing. LBS) (Bingham. Swing. BM) (Cole. Swing. CM) (DeKoven. Swing. SS) (Fisher. Swing. CGV) (Ramsay. Swing. SF) (Roelofson. Swing song. EL) ---- System. CGV (Fisher. System. CGV) ---- Time to rise. CGV (Fisher. Time to rise. CGV) ---- Where go the boats? CGV--LBS--SF--SS (Bell. Where go the boats? LBS) (Fisher. Where go the boats? CGV) (Ramsay. Where go the boats? SF) (Stanford. Where go the boats? SS) ---- Wind. CGV--EL--LBS--SF--SL1--SS--SM (Allen. Wind. EL) (Bell. Wind. LBS) (DeKoven. Wind. SS) (Fisher. Wind. CGV) (Ramsay. Wind. SF) (Smith. Wind song. SL1--SM) ---- Wind song. See his Wind. ---- Windy nights. CGV--SF--SS (Fisher. Windy nights. CGV) (Ramsay. Windy nights. SF) (Stanford. Windy nights. SS) ---- Young night thought. SS (Foote. Young night thought. SS) Stick dance. NEB2 Still as little mice. _See_ Smith. Little mice. SL2 *Still, still with Thee. Barnby. TLB Stille nacht, heilige Nacht! _See_ Gruber. Stilly night. FS (Haydn. Holy night. RCS) *Stilly night, starry and bright. Gruber. FS (Haydn. Holy night. RCS) Stitch, stitch, stitch, the shoe-makers go. _See_ Wiggin. Trade game. II. KC Stoeckel. Billy Buttercup. StN ---- Little squirrels. StN *Stop, stop, pretty water. Cole. CM (Tufts. Stop, stop, pretty water. CL) Storch, Storch, steiner. _See_ Reinecke. Stork, stork, stately. RCS (Reinecke. Stork, stork, stander. FC) Stork and the frogs. PS *Stork, stork, stander. Reinecke. FC (Reinecke. Stork, stork, stately. RCS) Storm. Koehler. HR *Stormy evening closes now in vain. Chadwick. TLB Story. Can a little child like me? WS (Bassford. Can a little child like me? EL) ---- Come and join our carol. WS ---- Easter hymn. WS (Batchellor. Easter hymn. WS) ---- Once in my life. StN Story of night. Zelter. SHS Story of the apple. Hill. SHS Story of the bread. Hill. SHS Story of the butter. Hill. SHS Story of the Christ. Hill. SHS Story of the clothes. SHS Story of the day. SHS Story of the house. Neidlinger. ES2 Story sad, I've got to tell. _See_ Elliott. Thievish mouse. MG Stowe. Still, still with Thee. TLB Strachauer. Alder by the river. WS (Sawyer. Alder by the river. EL) Straight and tall in the garden beds. _See_ Smith. Little gardener. SL2 Strasak. BFD (Adaptation: Character dance. HC) ---- FDM Music only "Strassburg." _See_ Country dance, II. FDM Music only Strawberries! Strawberries! ten cents a quart. _See_ Valentine. Greengrocer. VBD Stream. Hubbard. MSG Stream freezing. Montz. IMS Stream melting. Montz. IMS Street car. Elliott. SL2 Street car. Gaynor. SC2 Street car. Hailmann. HR Strong. Baby's bread. HS ---- Baby's cotton gown. HS ---- Freedom, our Queen. TC (Paine. Freedom, our Queen. TC) ---- May song. HS ---- On this happy feast day. HS Stucken. Weave in, my hardy life. TLB Styrian dance. Schytte. HMC2 Music only Suck. Cradle song. StN (Fairlamb. Cradle song. StN) (Fisher. Cradle song. StN) (Stanley. Cradle song. StN) ---- Dandelion. StN *"Suffer the children," the Savior said. _See_ Martin. Invitation. MSL Sugar lump. NG Sullivan. Onward, Christian soldiers. TLB ---- St. Edmund. TLB Summer. Martin. MSL Summer day. Brown. EL Summer fading, winter comes. _See_ Stevenson. Picture books in winter. SF (Stevenson. Pictures in winter. LBS) _For composers see_ Stevenson. Picture books in winter. Summer flow'rs are sleepy. _See_ Flower's lullaby. SHS Summer has gone, the birds have flown. _See_ Sawyer. Chickadee. EL *Summer is a-coming in. FS Summer is coming. Bacon. EL Summer is gone. _See_ Smith. Thanksgiving song. SL2 Summer joy. Mozart. HR Summer shower. Knowlton. NS Summer shower. Rust. EL Summer song. Burdett. StN Summer song. Kreutzer. SHS Summer song Smith. SL1 Summer song. Walker. WS Summer's gone, autumn's here. _See_ Hitte. Autumn. DM *Summer's rain and winter's snow. Stanford. TC Sun. SL2 Sun and rain in fickle weather. _See_ Brown. Pretty game. EL Sun, a-weary goes to rest. _See_ Taubert. By-low-by. RCS Sun has crept behind the clouds. _See_ Sawyer. Snowflakes. Sun has long departed. _See_ Reinecke. Peace of night. FC--FS Sun is on the land and sea. _See_ Kies. Morning hymn of praise. MSL Sun is not a-bed. _See_ Stevenson. Sun's travels. SS (Foote. Sun's travels. SS) Sun shines bright in the old Kentucky home. _See_ Foster. My old Kentucky home, good night. EFS Sun shining, rain falling. _See_ Smith. Rainbow. LCD Sunbeam touched my little bed. _See_ Smith. Good morning. SV Sunbeam voices. Cole. CM Sunbeams. Larned. HS Sunbeams. Smith. SL2 Sunbeams get up early. _See_ Larned. Sunbeams. HS Sunbeams on the water danced. _See_ Smith. To the sky and back. LCD Sunbeams that dance on the summer sea. _See_ Rust. Summer shower. EL Sunrise. Hill. HS Sun's travels. Stevenson. SS (Foote. Sun's travels. SS) Sunset. Hill. HS Sunset and evening star. _See_ Huss. Crossing the bar. TLB Sunshine. Reinecke. HR Sunshine dear, bright and clear. _See_ Spring song. PS Sunshine far and near. Smith. LCD Sunshine song. Root. SV Sunshine song. Smith. SL1 Sunshine's message. Hill. SHS Sunshiny morning. Gurlitt. HMC2 Music only Suppose. Hubbard. MSG *Suppose a little cowslip. Hubbard. MSG *Sur le pont d'Avignon. BB (Adaptation: In the spring. FS--HC) (Trans: On the bridge of Avignon. JB--RCS) Surprise. Reed. TGS Swabian folk song. _See_ Reinecke. Dancing song. FC Swallow. FS Swallow. Hubbard. MSG (Conrade. Tradespeople. GS) *Swallow, good bye. FS Swallow is a mason. _See_ Conrade. Tradespeople. GS (Hubbard. Swallow. MSG) *Swallow is come. Tufts. CL Swan of slenderness. _See_ Little red lark. EFS--FS Swedish schottische. FDM Music only Sweeping and dusting. Gaynor. SC2 *Sweet and low. Barnby. FS--RCS Sweet Billy Buttercup! pretty little fay. _See_ Stoeckel. Billy Buttercup. StN Sweet content. Smith. TLB Sweet Daffy-down-dilly. _See_ Smith. Daffy-down-dilly. SL2 Sweet Maggie had a little bird. _See_ Elliott. Maggie's pet. MG Sweet old story. Kies. MSL Sweet pea. Conrade. GS Sweet-pea ladies. Gaynor. SC2 Sweet peas white. _See_ Gaynor. Sweet-pea ladies. SC2 Sweet red rose. Bartlett. StN (Ingraham. Sweet red rose. StN) (Mosenthal. Sweet red rose. StN) Sweet summer's gone away. Conrade. GS Sweet wildwood flowers. HR Sweetly sing the love of Jesus. _See_ Kies. Love of Jesus. MSL Sweetly the birds are singing at Easter dawn. _See_ Damrosch. Easter carol. StN (Fairlamb. Easter carol. StN) (Hubbard. Sweetly the birds are singing. MSG) Swiftly round and round it goes. _See_ Cushman. Wheel song. EL Swiftly thro' the card so white. _See_ Smith. Sewing song. SL2 Swiftly walk over the western wave. _See_ Smith. Tonight. TLB Swine-herder. NG Swing. Gaynor. SC2 Swing. Stevenson. BM--CGV--CM--EL--LBS--SM--SS _For composers see_ Stevenson. Swing. Swing, cradle, swing. Hubbard. MSG (Pollock. Sailor boy. HR) *Swing high and swing low. DeKoven. FSC Swing high, swing low, my tawny papoose. _See_ Schwartz. Indian lullaby. BSS Swing it here; swing it there. _See_ Knotted handkerchief. KK Swing song. Fontaine. HMC2 Music only Swing thee low in thy cradle soft. _See_ Hitte. Indian lullaby. DM (Conrade. Indian cradle song. GS) Swing, swong! this is the way. _See_ Smith. Tick, tock! SM Swing the shining sickle. _See_ Gaynor. Thanksgiving song. SC1 Swinging. Conrade. GS Swinging 'neath the old apple tree. KM Swinging, swinging, swinging, swinging. _See_ Swinging 'neath the old apple tree. KM Switzer's farewell. EFS Swoop-a-hoo! swoop-a-hoo! _See_ Bartlett. Song of the roller skates. StN Sword and a gun. _See_ Taubert. Soldier song. FS--SL2 Sword dance. NEB2 System. Stevenson. CGV (Fisher. System. CGV) Table army. LBS Table exercises for attention. Reed. TGS Tabram. Fisherman. KC ---- Haymakers. KC ---- Mowers. KC *Taddypole and pollywog lived together in a bog. EL--HR *Taffy was a Welshman. Elliott. MG Tailor. Gaynor. LL Tailor. Hailmann. HR Tailor. Smith. SL2 Tailor's dance. BFD Take care I tell you. _See_ Duke and the castle. HC Take me, take me, mother, pray. _See_ Froebel. Toyman and the maiden. MP Take, thou lovely child of spring. _See_ Grieg. First primrose. FS Tally-ho. Schoenefeld. HMC1 Music only Tannenbaum, O Tannenbaum. _See_ Fir and the pine. RCS (Fir tree. FS) Tantoli. FDM Music only Tap, tap, listen to the rain-drops fall. _See_ Hitte. Rain. DM Tarantella. Smith. HMC2 Music only Tarentella Meridionale. FDM Music only Tarentella. Burchenal. BFD Target. Bullard. SM Target. _See_ Froebel. Lengthwise, crosswise. MP (Hubbard. Target. MSG) (Adaptation: Hurd. Kite. PTS) (Adaptation: Reed. Kite. TGS) Target game. Gaynor. SC1 Target maker. Gaynor. SC1 Taste song. Smith. SL2 Tasting. Hubbard. MSG (Wiggin. Tasting. KC) Tasting. Meissner. ASC Tasting. Smith. SL2 Tasting. Wiggin. KC (Hubbard. Tasting. MSG) Tattler's Mistress Swallow for she gossips all the day. _See_ Gaynor. Frau Schwalbe. LL Taubert. Birds in the nest. RCS ---- Busy brook. RCS ---- By-low-by. RCS ---- Doll's cradle song. RCS ---- Down in the grassy meadow. RCS ---- Drummer. SL2 ---- Eia popeia. RCS ---- Farmer and the doves. RCS ---- Hildebrandshagen. RCS ---- It's raining. RCS ---- Like a fairy. RCS ---- Meadow daisy. RCS ---- Postillion. RCS ---- Sand man. RCS ---- Sleep, thou, my darling. RCS ---- Soldier song. FS--SL2 ---- Sparrow's greeting. RCS ---- Trade game. KC Taylor. Children and the sheep. HR (Cole. Sheep. CM) (Hill. Children and the sheep. SHS) ---- My kitty. HR ---- Pretty cow. CM (Taylor. Thank you, pretty cow. CL--HR--SL1) ---- Thank you, pretty cow. CL--CM--HR--SL1 (Taylor. Pretty cow. CM) (Cole. Thank you, pretty cow. CM) (Seidell. Thank you, pretty cow. HR) (Smith. Thank you, pretty cow. SL1) (Tufts. Thank you, pretty cow. CL) ---- Twinkle, twinkle, little star. CL--HR--LL--MG--SHS--SL1--SM--WS (Elliott. Twinkle, twinkle, little star. MG--SL1--SM) (Gaynor. Twinkle, twinkle, little star. LL) (Hill. Twinkle, twinkle, little star. SHS) (Tufts. Twinkle, twinkle, little star. CL) (Twinkle, twinkle, little star. HR) (Walker. Twinkle, twinkle little star. WS) ---- Violet. HR--WS ---- Wind and sea. TLB Tching-a-ring-a-ring-tching, Feast of lanterns. _See_ Elliott. Feast of lanterns. MG Tea-kettle. Gaynor. SC1 Tea kettle's singing a song. _See_ Gaynor. Tea kettle. SC1 Teacher of gymnastics. Hailmann. HR (Variant: Little master of gymnastics. PS) (Variant: Smith. Choosing the game. SL1) (Variant: Wiggin. Imitation game. KC) Teacher's hymn. Hailmann. HR (Bacon. Mother's hymn. EL) (Osgood. Mother's hymn. EL) (Teachers' hymn, II. KC) Teachers' hymn, I. and II. KC Telegraph. Gaynor. SC2 Telegraph. Neidlinger. ES1 Telephone. Gaynor. SC2 Tell me how Chris-cradle sings. _See_ Hubbard. Chris-cradle sings. MSG Tell me, little children. _See_ Foote. Nikolina. StN Tell me, little Daisy. _See_ Gaynor. Household hints. LL *Tell me the tone that the cricket sings. Schwartz. BSS Tell us year before you go ding, dong! _See_ Hoffman. Ding, dong! StN (Molloy. Ding, dong! StN) Tempora! O mores! TLB Ten little Indians. HC *Ten little ponies. Knowlton. NS Ten white eggs in a nest of hay. _See_ Gaynor. Lesson in arithmetic. LL Tender flowers that early grow. _See_ Martin. Springtime. MSL Tender little violet. _See_ Gaynor. Violet. SC1 Tennyson. Baby's waking song. SHS (Tennyson. Cradle song. EL) (Tennyson. What does little birdie say? SM) (Tufts. Little birdie. CL) ---- Blow bugle, blow. TLB Tennyson. Cradle song. EL (Tennyson. Baby's waking song. SHS) (Tennyson. What does little birdie say? SM) (Tufts. Little birdie. CL) ---- Crossing the bar. TLB ---- Home they brought her warrior dead. TLB ---- Little birdie. CL (Tennyson. Baby's waking song. SHS) (Tennyson. What does little birdie say. SM) (Tennyson. Cradle song. EL) ---- Ring out, wild bells. TLB ---- Sweet and low. FS--RCS ---- What does little birdie say? SM (Tennyson. Cradle song. EL) (Tennyson. Baby's waking song. SHS) (Tufts. Little birdie. CL) Terhune. Christmas carol. CC ---- Coaching carol. CC ---- Cradle carol. CC ---- Kitchen carol. CC ---- Minuet. CC ---- New calash. CC ---- Red and white. CC ---- Sampler. CC ---- Sedan chair. CC ---- Spinet. CC ---- Spinning carol. CC ---- Tithing man. CC ---- Train band. CC ---- Watchman. CC ---- Well sweep. CC Thalberg. November, No. 1. GS Than old Judea fairer. _See_ Kies. Children's day. MSL Thank Thee, Father, for this day. _See_ Gaynor. Prayer. LL *Thank you, pretty cow. Taylor. CL--CM--HR--SL1 _For composers see_ Taylor. Thank you, pretty cow Thanks for constant care. Hill. SHS Thanks for daily blessings. Hill. SHS Thanks for food, I and II. Smith. LCD Thanks to Thee, O God we give. _See_ Smith. Thanks for food, II. LCD Thanksgiving. Child. GS Thanksgiving. Gaynor. LL Thanksgiving. Hill. HS Thanksgiving day. Hubbard. MSG (Conrade. Thanksgiving day. GS) (Morton. Thanksgiving song. WS) (Sleigh ride. HR) Thanksgiving day has come at last. _See_ Hurd. Thanksgiving game. PTS Thanksgiving for harvest. Sherwood. HS Thanksgiving game. Hurd. PTS Thanksgiving joys. Conrade. GS Thanksgiving song. Bingham. BM Thanksgiving song. Brewster. BSS Thanksgiving song. Gaynor. SC1 Thanksgiving song. Himmel. SHS Thanksgiving song. Jenks. EL Thanksgiving song. Rust. EL Thanksgiving song. Sawyer. EL Thanksgiving song. Smith. SL2 Thaxter. Alder by the river. EL--WS ---- Chanticleer. StN ---- It is spring. NS ---- My pansies. EL ---- Nikolina. StN Thayer. Joyfully, joyfully. WS The while we are singing this morning song. _See_ Neidlinger. ES2 Their scythes the mowers sharpened. _See_ Tabram. Mowers. KC Theme from impromptu. Schubert. HMC1 Music only Theme from sonata. Mozart. HMC1 Music only There are three men of Gotham. _See_ Smeltzer. Three men of Gotham. SZ There he comes! I hear his horn. _See_ Bingham. Balloon Man. BM There he stood, the snow-man. _See_ Smith. Bold snow-man. LCD Then hoist the main sail. _See_ Gaynor. Sail. LL There is a brooklet just over the way. _See_ Hubbard. There is a brooklet. MSG (Hubbard. Nearer to Heaven we'll be. MSG) There is a little artist. _See_ Conrade. Fairy artist. GS There is not in this wide world a valley so sweet. _See_ Meeting of the waters. TLB There is one bright star in heaven. _See_ Klein. My mother's memory. TLB There lived a sage in days of yore. _See_ Bullard. Pigtail. TLB There once was a bird that lived up in a tree. _See_ DeKoven. Fiddle-dee-dee. FSC There once was a house in olden time. _See_ Neidlinger. Story of the house. ES2 There's a fairy flying o'er the sea. _See_ Sea breeze. FS There's a flower within my hand. _See_ Hubbard. Smelling. MSG (Smith. Smelling. SL2) (Wiggin. Smelling. KC) There's a little old man. _See_ Neidlinger. Snow man. SSS There's a little wee man in a little wee house. _See_ Gaynor. Little shoemaker. SC1 There's a merry little brown thrush. _See_ Hubbard. Little brown thrush. MSG There's a music up in the frozen hills. _See_ Hadley. Easter. TLB There's a plump little chap in a speckled coat. _See_ Conrade. Bob White. GS There's a pretty Poll Parrott all yellow and green. _See_ Bingham. Pretty Poll Parrott. BM There's a purple tint on the woodland leaves. _See_ Conrade. Sweet summer's gone away. GS There's a ship on the sea. Allen. StN (Damrosch. There's a ship on the sea. StN) (Fisher. There's a ship on the sea. StN) *There's a song in the air. Draper. EL There's a time for every thing. _See_ Signals of time. SHS There's a very old man. _See_ Neidlinger. Windy day. SSS There's a wee little nest. _See_ Gaynor. Bird's nest. SC1 There's a wise old owl in the tree. _See_ Gaynor. Owl. SC1 There's a wonderful tree, a wonderful tree. _See_ Schilling. Wonderful tree. WS There's always a sun and a moon. _See_ Neidlinger. Day and night. ES1 There's no dew left on the daisies and clover. _See_ Seven times one. BSS *There she stands, a lovely creature. NG There's something very funny a-sitting over there. _See_ Funkhouser. Jack o'lantern. FSK There strayed a pretty shepherdess. _See_ Shepherdess and the cuckoo. RCS There they go in the pond below. _See_ Sawyer. Duck game. EL *There was a crooked man. Elliott. MG There was a farmer had a dog. _See_ Bingo. JB There was a field that waiting lay. _See_ Roeske. How the corn grew. PFP *There was a jolly miller. JB There was a jolly miller once. _See_ Jolly Miller. CBO--FS *There was a lady loved a swine. CBO There was a little fellow whose name was Guillori. _See_ Father Guillori. RCS (Petit chasseur. BB) There was a little gardener who spent the summer days. _See_ Knowlton. News for gardeners. NS *There was a little girl. Chadwick. StN (Warren. There was a little girl. StN) There was a little maiden. _See_ Shepherd maiden. FS (Bergere. BB) (Shepherdess. RCS) There was a little man and he woo'd a little maid. _See_ Little man and little maid. BB--FS *There was a little woman as I've heard tell. RCS (Little woman. BB) There was a man lived in the moon. _See_ Aiken drum. BB There was a pretty dandelion. Foote. StN There was a small boy with a toot. _See_ Bartlett. Boy and the toot. StN There was a soft-shell crab. _See_ Chadwick. Soft-shell crab. TC *There was a tree stood in the ground. NG (Green leaves grew all around. JB) There was a wood in valley green. _See_ Green leaves grew all around. JB (There was a tree stood in the ground. NG) There was a youth, and a well beloved youth. _See_ Marzials. Bailiff's daughter of Islington. CPP There was an old man in a wood. _See_ Old man and his wife. LBS There was an old woman and what do you think? _See_ Old woman of Norwich. BB There was an old woman tossed up in a basket. _See_ Old woman tossed up in a basket. BB *There was once a little birdie. Cornwell. EL (Frost. Birdie's song. WS) (Rust. There was once a little birdie. EL) There went a fiddler marching. _See_ O Tempora! O Mores! TLB There were four big owls. _See_ Smeltzer. Four owls. SZ *There were four lilies. Haynes. TC There were shepherds abiding in the field. _See_ Handel. Messiah. TLB *There were three jolly fisherman. JB There were three little kittens put on their mittens. _See_ Three little kittens. BB--FS There were three ravens sat on a tree. _See_ Marzials. Three ravens. CPP (Three ravens. EFS--FS) There were two little boys playing out in the snow. _See_ Two little boys in the snow. KK Thermometer. Neidlinger. ES2 These are mother's knives and forks. _See_ Gaynor. Mother's knives and forks. SC1 These little birdies in their nest. _See_ Hopping birds. WS These see His wonders in the deep. _See_ Psalter. TLB They are having a merry party. _See_ Gaynor. Pop-corn people. SC1 They drive home the cows from the pasture. _See_ Hubbard. Little brown hands. MSG They need not go so far away. _See_ Palmer. Childhood's gold. StN Thievish mouse. Elliott. MG *Thing of beauty is a joy forever. Page. TLB Things of beauty. Mackenzie. TC Think how strange 'twould be if to go a hundred miles. _See_ Neidlinger. Comparisons. ES2 Third ring song. SHS Thirsty earth one summer day. _See_ Kuhlan. Earth and the clouds. HR This is how, all through the night. _See_ Walker. Good-morning. WS This is how we spade the ground. _See_ Garden game. HC *This is little Tommy Thumb. Brown. EL This is little yellowhead. _See_ Neidlinger. Little yellowhead. SSS This is mamma, kind and dear. _See_ Froebel. Family. HR This is mother, kind and tender. _See_ Gaynor. Finger play. SC1 This is pretty Polly. _See_ Neidlinger. Polly. SSS This is the chicken coop. _See_ Gaynor. Some lullabys. SC2 This is the cow that jumped over the moon. _See_ Neidlinger. Old friends. ES2 This is the day of light. _See_ Barnby. Dawn. TLB This is the dolly that I love best. _See_ Grove. Doll song. HS This is the farmer, who planted the corn. _See_ Smeltzer. Farmer. SZ This is the grandmamma. _See_ Froebel. Grandmamma. MP This is the grandmamma. _See_ Walker. Family. WS *This is the lady going to town. USI This is the little Tommy Thumb. _See_ Froebel. Naming the fingers. SM This is the loving mother. _See_ Gilchrist. Family. SM (Parker. Family. SM) This is the meadow where all the long day. _See_ Roeske. Lambs. PFP This is the month, and this is the happy morn. _See_ Smith. Stanzas from the nativity. TLB *This is the mother. Smith. SL1 (Froebel. Mother good and dear. MP) (Hubbard. This is the mother. MSG) This is the way my father sows. _See_ Knowlton. Sow, sew, so. NS This is the way that we form our ring. _See_ Hill. First ring song. SHS This is the way the cloud comes down. _See_ Walker. Weather song. WS. (Hill. Weather song. SHS) (Weather song. HR) *This is the way the ladies go. LBS This is the way the morning dawns. _See_ Brown. A summer day. EL This is the way the rain comes down. _See_ Hill. Weather song. SHS (Walker. Weather song. WS) (Weather song. HR) This is the way the sunshine comes down. _See_ Weather song. HR (Hill. Weather song. SHS) (Walker. Weather song. WS) This is your birthday, my dear, my dear. _See_ Hill. Song for a child's birthday. HS This little ball may visit you. _See_ Hurd. Ball game. (Color). EL This little bird lived in a tree. _See_ Tufts. Song of the five fingers. CL This little pig went to town. _See_ Ernst. Five little pigs. HR This little thumb. Froebel. MP (Froebel. Finger play. KC) (Hubbard. What's this? MSG) This piece of wood I lengthwise lay. _See_ Froebel. Lengthwise, crosswise. MP (Adaptation: Hurd. Kite. PTS) (Adaptation: Reed. Kite. TGS) (Hubbard. Target. MSG) This way, that way turns the weather vane. _See_ Osgood. Weathervane. SM Thistles' story. Cole. CM Thomas. Bed time. EL Thompson. Glad Christmas tide. EL Thou blossom bright with autumn dew. _See_ Lang. To the fringed gentian. TLB Thou crownest the year with thy goodness. Martin. MSL Thou holy child. RCS Thou holy Jesus, meek and mild. _See_ Reinecke. Christmas hymn. EFS Thou wilt keep him in perfect peace. _See_ Williams. Trust. TLB Thou wilt not cower in the dust. _See_ Maryland, my Maryland. EFS Though you're not my partner. _See_ You are not my partner. KK *Though your eyes are blinded. Smith. SL2 Though your little eyes are blinded. _See_ Hubbard. Touching. MSG (Wiggin. Touching. KC) Threading the needle. EL Three big white stepping stones. _See_ Gaynor. Stepping stones. SC2 *Three blind mice. CBO--FS--LL--OYA *Three children sliding on the ice. CBO (Elliott. Three children sliding. MG) (Tufts. Three children sliding. CL) *Three crows. Elliott. MG Three dukes a-riding. OYA (Here come three dukes a-riding. NEB1) (Variant: Here comes one duke a-riding. JB) (Variant: Here comes one soldier marching. HC) *Three fishers. Macfarren. TLB *Three funny old men. Neidlinger. SSS Three-in-hand is slowly rolling. Troika. EFS *Three jolly little boys. LBS Three kings of Orient. Hopkins. FS Three knights went riding away to the war. _See_ Parting. TLB *Three little doves. Knowlton. NS Three little kittens. BB--FS *Three little mice. Elliott. MG Three men of Gotham. Smeltzer. SZ Three men's reel. FDM Music only Three of us afloat. _See_ Stevenson. Pirate story. SS (Stanford. Pirate story. SS) Three ravens. EFS--FS (Marzials. Three ravens. CPP) Three shining sides of glass have I. _See_ Gaynor. Prism game. SC2 Three times round goes the gallant ship. _See_ Wind blows high. JB Three wise old women were they. _See_ Bartlett. Three wise women. StN (Stanley. Three wise women. StN) Three wise women. Bartlett. StN (Stanley. Three wise women. StN) Three years old. Smith. LCD Threshers. Seeboeck. HMC1 Music only Through fair grassy meadows. _See_ Hill. Brooklet's song. HS *Through love to light. Mackenzie. TC Through painted windows. _See_ Smith. Church. SL2 Through the chequered window pane. _See_ Froebel. Window. MP Through the golden meadows. _See_ Knight and the lady. JB Through the pleasant meadow side. _See_ Stevenson. Hayloft. LBS--SF _For composers see_ Stevenson. Hayloft. Thro' the streets and o'er the snow. _See_ Rossini. Sleighing. HR Through time to come as in ages past. _See_ Neidlinger. Nature's novel. ES2 Thrupp. Chickens round the gate. GS (Hubbard. See the chickens round the gate. MSG) (Seidell. See the chickens round the gate. HR) Thumb I count as one. _See_ Finger plays, No. 19. PS (Adapted from Froebel. Numbering the fingers. SM) Thumb is one. _See_ Froebel. Numbering the fingers. SM (Adaptation: Finger plays, No. 19. PS) *Thumbkin says "I'll dance." Hubbard. MSG (Walker. Thumbkin says "I'll dance." WS) (Variant: Smith. Thumbkin says "I'll dance." SL1) *Thumbs and fingers say "Good morning." Hubbard. MSG (Froebel. Finger song. MP) *Thumbs and fingers say "Good morning." Smith. SL1--SM (Adapted from Froebel. Finger song. MP) Thumbs up. KK Thunder. Neidlinger. ES1 Thunder storm. HR Thus spake the mother fish. _See_ Sherwood. Good advice. HS Tick, tack! Froebel. MP (Hubbard. Tick, tack. MSG) Tick-tack. Reinecke. SM Tick, tack, tee. _See_ Reinecke. Mill. SL1 Tick tack! tick tack! Hear the old clock. _See_ Reinecke. Tick-tack. SM Tick, tock! Gaynor. LL Tick, tock! Miller. SM Tick, tock! Neidlinger. SSS Tick, tock, old clock, strike the hour for baby. _See_ Brewster. Slumber song. BSS Tick-tock, tick-tock. _See_ Gaynor. Song of the kitchen clock. SC1 Tick tock, tick tock. _See_ Kohl. Pendulum. HR Tick-tock, tick-tock! Amy, Jammie, Jo and Jock. _See_ Smith. Bed time. LCD Tick, tock, tick, tock! Busy, friendly, helpful clock. _See_ Smith. Song of the clock. SL2 "Tickity tock!" Hark to the clock. _See_ Grove. Bed time. HS *Tiddlely-winks and Tiddlely-wee. Neidlinger. SSS Tide. Neidlinger. ES1 Time. Tufts. CL Time for play. Koehler. HR Time to rise. Stevenson. CGV (Fisher. Time to rise. CGV) Timid, blue-eyed flower. _See_ Naegeli. Violet. HR--WS (Variant: Naegeli. Violet. RCS) Tin soldiers. Neidlinger. SSS Ting a-ling, a-ling, a-ling. _See_ Smeltzer. Jackie Jingle. SZ Ting, ting, tinkle ting! _See_ Smith. Bossy cow. LCD Tiny fingers in a row. _See_ Gilchrist. Beckoning to the chickens. SM Tiny flakes of snow. _See_ Gaynor. Snowballs. SV Tiny little seed. _See_ Brown. Spring song. EL *Tiny little snow-flakes. Batchellor. WS Tip-toe march. Montz. IMS 'Tis a lesson you should heed. _See_ Try, try again. HR 'Tis bed-time for the doggy now. _See_ Smith. Saying good-night. LCD 'Tis forty years my old friend John. _See_ Land. My old friend John. FS 'Tis God our Father. _See_ Hill. Blessings on effort. SHS 'Tis May Day! 'tis May Day! let's up and away. _See_ Sherwood. May day invitation. HS 'Tis raining, 'tis raining. _See_ Froelich. Rain song. KC (Reinecke. Rain song. FC) 'Tis spring, the field is ready. _See_ Reinecke. Farmer. SL2 *'Tis the last rose of summer. EFS (Last rose of summer. FS) 'Tis twelve o'clock. _See_ Good-bye. HR 'Tis when the lark goes soaring. _See_ Chadwick. Kissing time. FSC Tit-tat-toe! _See_ Gaynor. House of tit-tat-toe. LL Tithing-man. Terhune. CC. Titoff. Flicker, flicker, fire sprite. FS To a daisy. Dietrich. TC To a dandelion. Gaynor. LL To a honey-bee. Cole. CM To a snowflake. Smith. LCD *To all you ladies now on land. Marzials. CPP To America. TLB *To Anacreon in Heav'n. EFS *To and fro. HR To and fro. Hubbard. MSG To and fro, gay we go. _See_ Smith. Dancing song. SL2 To and fro, so soft and slow. _See_ Fairlamb. Cradle song. StN (Fisher. Cradle song. StN) (Ilsley. Cradle song. StN) (Stanley. Cradle song. StN) (Suck. Cradle song. StN) *To and fro the ball. Hubbard. MSG To and fro the strong arms go. _See_ Allen. Canoe song. EL To and fro, to and fro goes the pendulum. _See_ Froebel. Tick, tack! MR (Hubbard. Tick, tack. MSG) To and fro, to and fro, that my ball can nicely do. _See_ Hubbard. To and fro. MSG *To Araby will I wander. EFS *To Beccles. JB To do to others as I would. _See_ Hubbard. Golden rule. MSG To fight the French in Flanders. _See_ Duke Marlborough. FS To France were returning two grenadiers. _See_ Two grenadiers. TLB *To market, to market, to buy a fat pig. KM To me the land that gave me birth. _See_ At the beginning and at the close of play, no. 2. PS To night. Smith. TLB To push the business on. JB To Santa Claus. Conrade. GS To the cool and shaded pond. _See_ Reed. Fishes. TGS To the evening star. Reinecke. FC To the fringed gentian. Lang. TLB To the great brown house. _See_ Allen. Song of the rain. WS (Smith. Rain song. SL1) To the humble-bee. Reinecke. FC To the lords of convention. _See_ Bonnie Dundee. EFS To the mill let us go. _See_ Hitte. Mill. DM To the nightingale. Reinecke. FC To the sky and back. Smith. LCD To the sleeping seeds. _See_ Hill. Sunshine's message. SHS To the war the Cossack goes. _See_ Lovely Minka. FS To the wild flowers. Sheehan. OSM *To the woods, O come away. KK To thy loving parents. _See_ Reinecke. Birthday song. SL1 (Reinecke. Mother's birthday. FC) To Ting. FDM Music only To wander is the miller's joy. _See_ Miller. PS To work. HR *Today is the first of May. KK (First of May. BFD) Tom, he was a piper's son. _See_ Over the hills and far away. CBO Tom, he was the piper's son. _See_ Funkhouser. Tom, Tom, the piper's son. FSK Tom, the piper's son. Elliott. MG (Tom, Tom, the piper's son. CBO) Tom, Tom, the piper's son. Funkhouser. FSK Tom, Tom, the piper's son. _See_ Elliott. Tom, the piper's son. MG (Tom, Tom, the piper's son. CBO) Tommy Snooks and Bessie Brooks. Smeltzer. SZ Tommy Tittlemouse. Smeltzer. SZ *Tooriletoo was a bonnie cock robin. RCS Top. Gaynor. SC2 Top. Schoenefeld. HMC1 Music only Toppelius. Yes, come, dear, dear Christmas. HS Toss a feather in the air. _See_ Gaynor. Feather game. SC2 Tossing. Hailmann. HR Tossing game. Hailmann. HR Tossing game. Walker. WS Touch the clavier now. _See_ Froebel. Pianoforte. MP Touching. Hubbard. MSG (Wiggin. Touching. KC) Touching. Meissner. ASC Touching. Wiggin. KC (Hubbard. Touching. MSG) Tournament. Gayrhos. HMC2 Music only Tours. Star. TC Tower. Smith. SL1 Toyman. HS Toyman and boy. Froebel. MP Toyman and the maiden. Froebel. MP *Toyman of Nuremberg. Reinecke. FC Toyman's shop. Hill. HS Tra la la la, there's joy in the air. _See_ Hubbard. Birds must fly. MSG Tra la la! tra la la! wee birds are singing. _See_ Gaynor. Spring dance. LL Tra-ra, tra-ra, tra-ra. _See_ Froebel. Wild boar. MP Tracks in the snow. Gaynor. SC1 Trade game. Taubert. KC Trade game. Wiggin. KC Trade song. I. Wiggin. KC (Working man. HR) Tradespeople. Conrade. GS (Hubbard. Swallow. MSG) Train. EL Train. Smith. LCD Train. Valentine. VBD Train-band. Terhune. CC Train is all ready and we must get on. _See_ Train. EL Tramp, tramp, tramp. HR (Hubbard. Let your feet go tramp, tramp! MSG) (Let the feet go tramp. BG) Transformation game. Smith. SM *Tread the green grass. NG Treasures. Smith. LCD Tree loves me. _See_ Gaynor. Tree's friends. SC1 Tree was cold. _See_ Smith. Tree in winter. SL2 Trees are bare and brown. _See_ Conrade. November, No. 2. GS Tree's friends. Gaynor. SC1 Trekarlspolska. FDM Music only Tremp! ton pain, Marie. _See_ Dip your bread, Marie. RCS (Variant: Dip your bread, Polly. LBS) Triangle. FDM Music only Trifles. Tufts. CL *Tripping we go. Gaynor. LL Troika. EFS Trois princesses. _See_ Clear cool pond. FS Trot along! Trot along! _See_ Hop, mother Annika. KK Trot de cavalerie. Rubinstein. HMC2 Music only Trot, trot, trot, through the pasture lot. _See_ Little pony. EL Troyte. Troyte's chant. TLB True freedom. Lang. TLB Trum te tum, tum. _See_ Taubert. Drummer. SL2 Trumpeter's serenade. Spindler. HMC2 Trunkles. NEB2 Music only Trust. Williams. TLB Try, try again. HR Tschaikowsky. Skylark. HMC2 Music only Tufts. Bee is a rover. CL ---- Birds in summer. CL ---- Busy bee. CL (Cole. Lesson from the bee. CM) ---- Busy little husbandman. CL ---- Buttercups and daisies. CL (Conrade. Buttercups and daisies. GS) (Hubbard. Buttercups and daisies. MSG) ---- Butterflies are pretty things. CL ---- Calling the tides. CL ---- Cherry tree. CL ---- Coasting. CL ---- Cock-a-doodle-do! CL ---- Come here, little robin. CL ---- Come, my children, come away. CL ---- Cradle song. CL (Tennyson. Little birdie. CL) (Tennyson. Baby's waking song. SHS) (Tennyson. What does little birdie say? SM) ---- Daisy buds. CL ---- Ding, dong. CL ---- Dog. CL ---- Engine song. CL ---- Golden rule. CL ---- Humming bird. CL ---- I had two pigeons. CL ---- I like little pussy. CL (Elliott. I love little pussy. MG--SL1) (My kitty. HR) ---- I saw three ships. CL (I saw three ships come sailing by. CBO) ---- If all the world was apple-pie. CL (If all the world were paper. BB) ---- Little birdie. CL (Tennyson. Baby's waking song. SHS) (Tennyson. Cradle song. EL) (Tennyson. What does little birdie say? SM) ---- Little brother. CL ---- Little brown birds. CL ---- Little dreamer. CL (Osgood. Little dreamer. RCS) ---- Little girl's fancies. CL ---- Little rain-drops. CL ---- Little Robin Redbreast. CL ---- Little things. CL ---- Little white lily. CL (Walker. Little white lily. WS) (Smith. Little white lily. SL2) ---- Morning hymn. CL ---- Morning song. CL ---- My little doll Rose. FS ---- My pussy. CL ---- Nell and her bird. CL ---- North wind doth blow. CL (Bartlett. North wind doth blow. StN) (Conrade. North wind doth blow. GS) (Elliott. North wind doth blow. MG--SL1) (North wind and the robin. BB) (North wind doth blow. HR) ---- Now the sun is sinking. CL (Wiggin. Slumber song. KC) ---- Old Gaelic lullaby. CL (Hahn. Gaelic cradle song. BSS) (Harris. Gaelic lullaby. TLB) ---- One thing at a time. CL ---- Peep of day. CL ---- Pigeon house. CL ---- Rain, rain. CL ---- Robin. CL ---- Rocking horse. FS ---- Song of the five fingers. CL ---- Stop, stop, pretty water. CL (Cole. Stop, stop, pretty water. CM) ---- Swallow is come. CL ---- Thank you, pretty cow. CL (Cole. Pretty cow. HR) (Seidell. Thank you, pretty cow. HR) (Smith. Thank you, pretty cow. SL1) ---- Three children sliding. CL (Elliott. Three children sliding. MG) (Three children sliding on the ice. CBO) ---- Time. CL ---- Trifles. CL ---- Twinkle, twinkle, little star. CL (Elliott. Twinkle, twinkle, little star. MG--SL1--SM) (Gaynor. Twinkle, twinkle, little star. LL) (Hill. Twinkle, twinkle, little star. SHS) (Twinkle, twinkle, little star. HR) (Walker. Twinkle, twinkle, little star. WS) ---- Wave's gift. CL ---- Welcome swallow. CL ---- Wind blows sweetly. CL ---- Winter jewels. CL Tulips. Gaynor. SC1 Tupper. Skylark. CM Turkey gobbler lived within a barnyard. _See_ Gaynor. Why Mr. Gobbler changed his tune. SC2 Turkish march. Schoenefeld. HMC2 Music only *Turn again. Whittington. RCS Turn around, around. _See_ Wiebe. Wheel. KC "Turn!" said the little stream. _See_ Hill. Song of the mill-stream. SHS *Turn the big wheel. Gaynor. LL Turner. Waiting to grow. EL Turning, whirling, turning, whirling. _See_ Hill. Song of the sewing machine. SHS 'Twas a merry time when Jenny Wren was young. _See_ Cock Robin and Jenny Wren. CBO 'Twas an old, old, old, old lady and a boy that was half past three. _See_ Cole. One two three. CM 'Twas in the lowly stable. _See_ Smith. In the Bethlehem stable. LCD 'Twas in the merry month of May. Marzials. CPP 'Twas on a chill December morn. _See_ Washing day. LBS 'Twas on a merry time. _See_ Cock Robin and Jenny Wren. RCS 'Twas this way and that way. Gaynor. LL (Variant: When I was a shoemaker. NG) (Variant: When I was a lady. LBS) (Variant: When I was a schoolgirl. NEB1) (Variant: When I wore flounces. JB) 'Twas within a mile of Edinboro' town. _See_ Within a mile of Edinboro' town. EFS Twenty, eighteen. NEB1 Twilight and dawn. SHS Twilight town. Jenks. EL *Twinkle, twinkle, little star. HR (Elliott. Twinkle, twinkle little star. MG--SL1--SM) (Gaynor. Twinkle, twinkle little star. LL) (Hill. Twinkle, twinkle little star. SHS) (Tufts. Twinkle, twinkle little star. CL) (Walker. Twinkle, twinkle little star. WS) Twinkle, twinkle little star. _See_ Hubbard. Little star. MSG 'Twixt a hill and deep and shelter'd vale. _See_ Two hares. RCS (Zwei Hasen. BB) Two birds. Wiebe. KC Two boys in the snow. KK Two crows. Neidlinger. SSS Two grenadiers. TLB Two hands and eight little fingers. _See_ Hurd. Children on the tower. PTS Two hands I have. Mozart. HR Two hands, thereon eight fingers are. _See_ Froebel. Children at the tower. MP (Hubbard. Two hands. MSG) Two hares. RCS (Zwei Hasen. BB) Two kittens. Clarke. StN Two little birds. Bacon. EL *Two little birds. Fisher. StN Two little hands. _See_ Smith. Children on the tower. SL1 Two little hands I have. _See_ Fischer. What I have. HR *Two little maidens all alone. JB Two little roses. Bacon. EL *Two little windows. Reed. TGS Two merry little builders. _See_ Brewster. Robins and pussy willow. BSS Two pretty boots are these of mine. _See_ Taubert. Sand man. RCS Two Robin Redbreasts built their nest. _See_ Tufts. Robin Redbreasts. CL (Two Robin Redbreasts. HR) (Walker. Two Robin Redbreasts. WS) *Two stars are in heaven. FS Two years old. Smith. LCD Tyrolese and his child. EFS *Tyrolese are jolly. JB Uhland. Good comrade. FS Ukrainian dance melody. HMC2 Music only Uncrowned kings. Loomis. TLB Under and over the chain is unwound. _See_ Rust. Bucket song. EL Under the crimson flow'rets. _See_ Reinecke. Birdie's burial. FC Under the glowing sun. _See_ Reinecke. Little gardener. SM Under the lindentree. Foerster. HMC1 Music only Under the Maypole. Gurlitt. HMC2 Music only Up and down and in and out. _See_ Froebel. Play with the limbs. SM Up and down, and up and down. _See_ Terhune. Kitchen carol. CC Up and down the centre we go. _See_ Catch the squirrel. USI Up comes the little bucket. _See_ Smith. Pail. SL2. *Up, down. Hailmann. HR Up, down, up down, all the way to London town. _See_ Foote. Going to London. StN Up in the apple tree over the way. _See_ Holden. My neighbor. EL Up in the tall old tree. _See_ Cole. Where the birdies grow. CM Up into the cherry tree. _See_ Stevenson. Foreign lands. SS (Stanford. Foreign lands. SS) Up the scale we're climbing. _See_ Cole. Scale song, No. 1. CM Up through the mould. _See_ Bacon. Daffy-down-dilly. EL Up to us sweet childhood looketh. _See_ Bacon. Mother's hymn. EL (Hailmann. Teacher's hymn. HR) (Osgood. Mother's hymn. EL) (Teacher's hymn, II. KC) Up up in the sky. Walker. WS (Ball song. KC) (Direction song. HR) Up, up my little bucket comes. _See_ Walker. Bucket song. WS (Hubbard. Bucket song. MSG) *Up yonder on the mountain. Reinecke. FC Upon a showery night and still. _See_ Suck. Dandelion. StN Upon Paul's steeple stands a tree. _See_ St. Paul's steeple. CBO Upon the blooming meadow. _See_ Reinecke. Forget-me-not. FC--SL1 (Jacob. Forget-me-not. WS) Upon the bottom of the sea. _See_ Neidlinger. Cable. ES1 Upon the meadow. Foerster. HMC1 Music only Upon the sweetest summer time. _See_ Blow away the morning dew. LBS Useful. Smith. LCD V-v-v-v-v buzzing, buzzing, buzzing bees. _See_ Fischer. Bees. HR Vafva vadmal. FDM Music only Valentine. Baby's horses. VBD ---- Cat. VBD ---- Conductor. VBD ---- Fireman. VBD ---- Flower-wagon. VBD ---- Goldfish. VBD ---- Good-morning song. VBD ---- Green grocer. VBD ---- Policeman. VBD ---- Polly. VBD ---- Postman. VBD ---- Train. VBD ---- Water-cart. VBD Valentine. Damrosch. StN (Fairlamb. Valentine. StN) Valentine day. Gaynor. GS Valentine song. Brewster. BSS Valentines. Gaynor. SC2 Valentine's message. Hill. HS Valiant rider. Parlow. HMC1 Music only *Valley boy smiling. EFS Vapperstavals. FDM Music only Varmer he lived in the West Countree. _See_ Barkshire tragedy. NEB1 Varsovienne. FDM Music only Veilchen wie so schweigend. _See_ Naegeli. Violet. HR--RCS--WS Venetian boatmen's song. Bach. TLB Venturesome children. Seidell. HR Verdi. Little song of gratitude. GS ---- Raindrops. GS Vesper sparrow now has sung. _See_ Gilchrist. Whip-poor-will. TLB Vessel. PS (Hubbard. Ship. MSG) Viens, Aurore. _See_ Come, Aurora. FS Village dance. Wiggin. KC Vineyard dance. FDM Music only Vingakersdans. FDM Music only Violet. Bingham. BM Violet. Gaynor. SC1 Violet. Naegeli. HR--RCS--WS Violet. Schults. FC--KC--MSL--RCS--SL1--WS (Reinecke. Violet. FC--RCS--SL1--WS) (Kies. Violet. MSL) (Violet. KC) Violet, darling violet. _See_ Schults. Violet. FC--KC--MSL--RCS--SL1--WS _For composers see_ Schults. Violet Violet, dearest violet. _See_ Schults. Violet. FC--KC--MSL--RCS--SL1--WS _For composers see_ Schults. Violet Violet does not dress as gay. _See_ Bingham. Violet. BM Violet lowly bending. _See_ Naegeli. Violet. RCS (Adaptation: Naegeli. Violet. HR--WS) Violet song. Brewster. BSS Virgin stills the crying. _See_ Barnby. Cradle song of the Virgin. RCS (Kies. Virgin's cradle song. MSL) Virgin's cradle song. Kies. MSL (Barnby. Cradle song of the Virgin. RCS) Visit. Reinecke. SM Visiting game. EL. Visiting game. Hayden. HC Vose. Little plant. EL ---- Plants awakening. EL ---- Pop corn. EL ---- Song of chestnuts. EL ---- Spring secrets. EL Voyage. Hailmann. HR Voyage. Neidlinger. ES2 Wacht am Rhein. _See_ Wilhelm. Watch on the Rhine. FS (Wilhelm. Watch by the Rhine. EFS) Wagner. Pilgrims' chorus. TLB Waiting to grow. EL (Turner. Waiting to grow. EL) Waits. Sawyer. EL Wake, little bird. _See_ Gaynor. Awakening. SC2 *Wake! says the sunshine. Hubbard. MSG Wake up fairies. Hayden. HMC1 Music only *Wake up, snowdrop. Atkinson. GS *Wake up! wake up! the morning light. Bingham. BM *Waken little children. Ashmall. SL1 Waking flowers. Hill. SHS Waking flowers. Reissmann. RCS Wakonda, hear us, hear us. _See_ Song of the ghost dances. TLB Walker. All the little sparrows. WS ---- Baby's lullaby. WS (Elliott. Lullaby. MG--SM) (Lullaby. HR) ---- Baker. WS ---- Ball comes round to meet us. WS (Ball comes to meet us. PS) ---- Birdies in the greenwood. WS (Birdie. PS) (Weber. Birdies in the greenwood. HR) ---- Birthday song. WS ---- Bucket song. WS (Hubbard. Bucket song. MSG) ---- Carol, children, carol. WS ---- Cartwheel song. WS (Elliott. Cartwheel. SL2) ---- Children, can you truly tell. WS ---- Children grateful for meeting. WS ---- Cooper. WS (Hubbard. Cooper. MSG) ---- Eight white sheep. WS ---- Family. WS ---- Go over, come back here. WS ---- God is there. WS (Hubbard. Nature's God is there. MSG) ---- Good morning. WS ---- Good morning, dear children. WS ---- Good morning, new day. WS ---- Grasshopper green. WS ---- Hop, hop, come birdies all. WS ---- It came upon the midnight clear. EL ---- Jesus bids us shine. WS (Hubbard. Jesus bids us shine. MSG) ---- Kitty cat and the mouse. WS (Gilchrist. Kitty cat. StN) (Kitty cat and the mouse. RCS) ---- Little dove, you are welcome. WS ---- Little gardens. WS ---- Little Jack Frost. WS (Cornwell. Little Jack Frost. WS) (Little Jack Frost. HR) ---- Little white lily. WS (Smith. Little white lily. SL2) (Tufts. Little white lily. CL) ---- Little woodpecker am I. WS ---- Morning bright. WS ---- My ball comes up to meet me. WS ---- My ball lies in its little bed. WS ---- Old Year and the new. WS ---- Once there was a little kitty. WS ---- Our balls are going to bye-low-land. WS ---- Our play is o'er. WS (Hailmann. Our work is done. HR) (Hubbard. Parting song, MSG) (Wiggin. Good-bye song. KC) ---- Out in the meadows. WS (Conrade. Daisies in the meadows. GS) ---- Over and back. WS ---- Pigeon song. WS (Froebel. Pigeon house. MP) (Kohl. Pigeon house. HR) (Pigeon house. PS) ---- Rainbow song. WS ---- Snail. WS (Koehler. Snail. HR) (Hubbard. Snail. MSG) (Snail. BG--PS) (Snail game. HC) ---- Snow. WS (Hailmann. Oh, see the snow. HR) (Hubbard. See the snow is falling fast. MSG) ---- Song of the bluebird. EL ---- Summer song. WS ---- Thumbkin says, "I'll dance." WS (Hubbard. Thumbkin says, "I'll dance." MSG) (Variant: Smith. Thumbkin says, "I'll dance." SL1) ---- Tossing game. WS (Twinkle, twinkle little star. HR) (Elliott. Twinkle, twinkle little star. MG--SL1--SM) (Gaynor. Twinkle, twinkle little star. LL) (Hill. Twinkle, twinkle little star. SHS) (Tufts. Twinkle, twinkle little star. CL) (Twinkle, twinkle little star. HR) ---- Two Robin Redbreasts. WS (Tufts. Little Robin Redbreast. CL) (Two Robin Redbreasts. HR) ---- Up, up in the sky. WS ---- Weather song. WS ---- Where do all the daisies go? WS (Conrade. Where they go. GS) ---- Which way does the wind blow? WS ---- Winter jewels. WS (Burdett. Million little diamonds. StN) (Damrosch. Million little diamonds. StN) (Tufts. Winter jewels. CL) Walking on stilts. Gayrhos. HMC2 Music only Walking on the green grass. NG Walking on the levy. NG Wallbanck. Forget-me-not. GS Waller. Lines written in early spring. TLB ---- To America. TLB *Wallflowers, wallflowers. JB Waltz. Funkhouser. FSK Music only Waltz. Hitte. DM Music only Waltz. Weber. HMC2 Music only Wandering balls. HR Wandering game. Wiggin. KC Wandering song. Bullard. SM Wandering song. Froebel. SM Wand'ring up and down one day. _See_ Cobbler. HR--LBS Wandering workmen. SL2 War song. Reinhold. HMC2 Music only Ward. Jerusalem above. TLB *Warm hands, warm, the men have gone to plough. CBO--LBS Warner. Postman. KC Warren. April snow. StN ---- Ironing song. StN (Smith. Ironing day. SL2) ---- Marjorie's almanac. StN ---- Night and day. StN ---- Queen o' May. StN ---- Snow flakes. StN (Molloy. Snow-flakes. StN) ---- There was a little girl. StN Was eilst du so? _See_ Taubert. Busy brook. RCS Washing. Montz. IMS Washing and ironing. Hill. SHS Washing day. LBS Washing day. Sloane. HS Washing day. Smith. SL2 *Washing day has come again. Brown. EL Washing the clothes. BFD *Washington, O Washington, thy name is ever dear. Atkinson. GS Washington the soldier true who won our land. _See_ Hubbard. Washington's birthday. MSG *Wassail, a wassail, a wassail and we begin. NEB1 Watch by the Rhine. Wilhelm. EFS (Watch on the Rhine. Wilhelm. FS) Watches and clocks. PS Watches for good reasons never have any sleep. _See_ Watches and clocks. PS Watching the flocks. GS Watchman. Terhune. CC *Water, water wild flowers. NG Watercart. Valentine. VBD Watering the flowers. Dugan. EL Waterlilies. Gaynor. SC2 Watermill. USI Watermill. Andreae. HR Watersprite. _See_ Nigarepolskan. FDM Music only Waterwheel. PS Watts. Busy bee. CL (Lesson from the bee. CM) ---- Ellacombe. TLB Watts. Lesson from the bee. CM (Busy bee. CL) Wave our bonny flag on high. _See_ Gaynor. Our flag. SC1 Wave, pretty wave, come over the sea. _See_ Tufts. Wave's gift. CL Waves. Smith. LCD Wave's gift. Tufts. CL Waves of the ocean roll in with a roar. _See_ Smith. Waves. LCD Waves on the sea-shore. Hubbard. MSG Way down in the buttercup meadow. _See_ Hubbard. Down in the buttercup meadow. MSG Way down in the field where the wheat seeds lie. _See_ Hill. Story of the bread. SHS Way down upon the Suwanee ribber. _See_ Foster. Old folks at home. EFS--TLB We all agree in loving. _See_ Marching, no. 29. PS We all go round the mulberry bush. _See_ Going round the mulberry bush. HR (As we go round the mulberry bush. HC) (Here we go round the mulberry bush. HC) (Little washerwoman. KK) (Mulberry bush. BG--CBO--FS--JB--LBS) We all have found a pleasant place. _See_ Koehler. Race. HR *We are all little girlies. JB *We are all nodding, nid, nid, nodding. LBS (Variant: And we're a noddin'. FS) We are butterflies dipping as we flit. _See_ Gaynor. Butterflies' hide and seek. LL We are drummer boys. _See_ Funkhouser. Drummer boys. FSK We are fairies from fairy land. _See_ Gaynor. Dance of the rainbow fairies. SC1 *We are happy all the day. Bingham. BM We are joyous today. _See_ Hubbard. Froebel's song. MSG We are little busy bees. _See_ Busy bees. HR *We are little soldier men. Smith. SL1 We are little waiters. _See_ Wiggin. Little waiters. KC We are merry children. _See_ Stangenberger. Merry helpers. HR *We are red birds. Smith. SL2 We are sewing, sewing, sewing. _See_ Pettibone. Sewing song. SC1 We are soldiers of the Froebel guard. _See_ Rockwell. Marching song for Froebel's birthday. KC We are the shearers big and strong. _See_ Gaynor. Song of the shearer. SC1 We are the sounding buglars. JB *We be soldiers three. Marzials. CPP *We be three poor mariners. Marzials. CPP We birds are a merry set. _See_ Birds. PS (Hubbard. Hopping and flying together. MSG) *We cats get up in the morning. LBS We caught a young squirrel. _See_ Squirrel. JB We children form a flowery ring. _See_ Elliott. Ring. SL2 We come to see Miss Jennie Jones. _See_ Miss Jenny Jones. (Variant: Jilly Jo. JB) We go across the street. _See_ Visiting game. EL We have a little blue eye within the ring. _See_ Choosing game. HC We have a little fairy. _See_ Knowlton. Little fairy. NS We have friends on land and sea. _See_ Neidlinger. Sheep. ES1 We have got an army fit to march around the table. _See_ Table army. LBS We have put our work away. _See_ Koehler. Time for play. HR We know a lovely garden. _See_ Chapek. Garden. HS We lightly skip on tip toe, all. _See_ Koehler. Skipping. HR--PS We'll hire a horse and steal a gig. _See_ To push the business on. JB *We'll join our hands. Hubbard. MSG We'll join our hands and in a circle sing. _See_ Hubbard. Seasons. MSG We'll march and march and march around. _See_ Reinecke. Forming the ring. WS We'll march like soldiers brave. _See_ Hitte. Little soldiers. DM We'll mix up some water and meal in a pan. _See_ Knowlton. Feeding chickens. NS We'll open the pigeon house again. _See_ Walker. Pigeon song. WS (Kohl. Pigeon house. HR) (Pigeon house. PS) We'll play we're giants tall. _See_ Gaynor. Giants. SC1 *We'll stand up straight. Gaynor. SC1 We'll sweep. Terhune. CC We'll turn to our places. _See_ Wiggin. Ring song, no. 4. KC We love this blessed land of ours. _See_ Reed. Our land. HS--TGS We love to go a-roaming. _See_ Bullard. Wandering song. SM We made a see-saw yesterday. _See_ Neidlinger. See-saw. SSS *We march like soldiers. Gaynor. SC1 We meet again together. _See_ Afternoon song. KC We open now our pigeon house. _See_ Kohl. Pigeon house. HR (Froebel. Pigeon house. MP) (Pigeon house. PS) (Walker. Pigeon song. WS) *We plow the fields. Smith. SL2 *We praise Thee, Lord. Lvoff. FS *We're a band of happy children. KC We're a band of merry merry workmen. _See_ Smith. Merry workers. SL2 We're a-noddin'. FS (Variant. We are all nodding. LBS) We're busy making shoes. _See_ Libby. Shoemaker. WS We're marching round the valley. _See_ Marching round the valley. USI We're playing at railway. _See_ Wiseneder. Railway. HR *We're playing together. Smith. SL2 We sail toward evening's loving star. _See_ Parker. Even song. TC We say good day. KK We send a "Merry Christmas" thro' the air. _See_ Hubbard. Christmas greeting. MSG We thank the Heav'nly Father for sunshine and for rain. _See_ Saville. Song of thanks. HS We thank Thee. George. GS We thank Thee, dear Father, for care through the night. _See_ Knowlton. Morning prayer. NS *We thank Thee, Father, for the love. Sherwood. HS We thank Thee, loving Father. _See_ Germer. Choral. HMC1 We, the slender twigs are taking. _See_ Hubbard. Basket of flowers. MSG We three Kings of Orient are. _See_ Hopkins. Three Kings of Orient. FS We throw our balls up, up so high. _See_ Hailmann. Tossing. HR We twine the boughs of holly green. _See_ Christmas wreath. HC We two together. Gilchrist. TLB We walk with equal paces. _See_ Marching, no. 28. PS We weave brown velvet jackets. _See_ Gaynor. Cat tails. SC2 *We welcome you, dear friends. Hubbard. MSG We went to the meadow and what did we see? _See_ Smith. Green leafytree. LCD We will blind Jamie's eyes. _See_ Gaynor. Guessing game. SC1 We will fetch you a pint of wine. _See_ Roman soldiers. JB We will wash our clothes, we'll wash them. _See_ Washing the clothes. BFD We won't go home till morning. NEB2 Music only We won't go home until morning. _See_ For he's a jolly good fellow. EFS Wearily at daylight's close. _See_ Reinecke. Evening prayer. FC--HR--SL1 Wearing of the green. EFS Weary fingers. HR Weary now the little fingers. _See_ Weary fingers. HR Weather song. Hill. SHS (Walker. Weather song. WS) (Weather song. HR) Weather vane. BSS Weather vane. Froebel. MP (Hailmann. Weathervane. HR) Weather vane. Gaynor. SC2 Weather vane. Kohl. SM Weather vane. Osgood. SM Weather vane. Smith. LCD Weather vane is perch'd on high. _See_ Kohl. Weather vane. SM Weather vane is turning. _See_ Weather vane. BSS *Weathercock high on the tower. PS Weatherly. Christmas bells. EL Weave, children, weave. _See_ Reinecke. Weaving song. HR *Weave in, my hardy life. Stucken. TLB *Weave the homespun and strike together. KK Weave the little basket. _See_ Froebel. Basket. MP (Smith. Flower basket. SM) Weaving. Gaynor. SC1 Weaving dance. _See_ Vafva vadmal. FDM Music only Weaving game. HC Weaving song. WS Weaving song. Reinecke. HR Webbe. Epitaph on a parish clerk. TLB Weber. Birdies in the greenwood. HR (Birdie. PS) (Walker. Birdies in the greenwood. WS) ---- Dance, little baby. HR ---- Darling little fingers. HR ---- Hunter's song. RCS ---- On the sea. HR ---- Ring song, no. 1. KC ---- Waltz. HMC2 Music only Wee little star. _See_ Tours. Star. TC Wee maiden dear with eyes of blue. _See_ Brewster. Valentine song. BSS *Wee Willie Winkie. LBS "Weel may the keel row." _See_ Highland schottische. FDM Music only Weevily wheat. OYA Weidig. Boat song. TC (Fanning. Boat song. TC) ---- Pilgrims. TC Weisst du, wie viel Sternlein? _See_ God knows. RCS (Hubbard. Do you know how many stars? MSG) *Welcome, little robin. Smith. SL2 Welcome, little travelers. _See_ Gilchrist. Little travelers. HS Welcome song. Gaynor. SC1 Welcome swallow. Tufts. CL Welcome the gentle spring. _See_ Brewster. Spring song. BSS Welcome the joyous Christmas day. _See_ Christmas carol. KC Welcome the merry time of spring. _See_ Smith. Welcome to spring. LCD Welcome to spring. Smith. LCD Welcome to the new-born year. _See_ Rischart. Now welcome to the newborn year. HR Welcome to the pussy willows. Brown. EL Welcome to you, mother dear. _See_ Gaynor. Mother day. GS Welcome, welcome! How do you do? _See_ Smith. Greeting song. KC Welcome, welcome swallow. _See_ Tufts. Welcome swallow. CL Wenk. Nursery clock. RCS Wer will unter die Soldaten. _See_ Kuecken. Little soldier. RCS Were I a sunbeam. _See_ Chopin. Spring song. EFS (Chopin. Maiden's wish. FS) Were I the sun so high in heaven soaring. _See_ Chopin. Maiden's wish. FS (Chopin. Spring song. EFS) *Wert thou in the cauld blast. Mendelssohn. TLB Wesley. Child's prayer. HR West wind. Barnby. TC Who learned you to dance, Babity, Babity? _See_ Be Ba Babity. JB Whale. Neidlinger. SSS Wharton. When all the world is young. FS What a bird taught. Hubbard. MSG What a little thing am I. _See_ Reinecke. Mamma and the baby. FC What a plague is love. _See_ Marzials. Phillida flouts me. CPP What a pretty black-bird. _See_ Black-bird song. BSS What are little boys made of? _See_ Natural history. CBO What are you saying? _See_ Root. Child and the tree. SV What becomes of all the babies? _See_ Hill. Stages of life. SHS What can you do? Cole. TC What child is this? _See_ Christmas carol. RCS What do birdies dream? Hubbard. MSG What do I see in baby's eyes? _See_ Gilchrist. Good night. StN What do you ever suppose, Mamma? _See_ Meissner. Smelling. ASC What do you say to the snow to-day? _See_ Warren. April snow. StN What do you think came down last night? _See_ Dayre. Snow. EL What do you think mother saw on the hill? _See_ Smith. Going to sleep. LCD What does it mean when the blue bird flies? _See_ Bacon. Signs of the seasons. EL *What does little birdie say? Tennyson. SM (Tennyson. Baby's waking song. SHS) (Tennyson. Cradle song. EL) (Tufts. Little birdie. CL) What does the baker make, we say? _See_ Walker. Baker. WS What does the moon say tonight? _See_ Sheehan. Mother's lullaby. OSM What does the rumbling thunder say? _See_ Neidlinger. Thunder. ES1 What fun it is to be just a tiny girl. _See_ Terhune. Sedan chair. CC What fun, what jolly fun. _See_ Gaynor. Coasting. SC2 What have we here? _See_ Hubbard. Garden gate. MSG "What have you got for dinner, Mrs. Bond?" _See_ Mrs. Bond. CBO What I have. Fischer. HR What is it fills our hearts with cheer? _See_ Sheehan. Spring is here. OSM What is so rare as a day in June? _See_ Schnecker. June. TLB What is this? This is a gate. _See_ Froebel. Barnyard gate. MP (Hubbard. Barnyard. MSG) *What must be must. LBS What plant we in this apple tree? _See_ Roeske. Planting of the apple tree. HS What Robin told. Knowlton. NS (Johnson. What Robin told. BSS) What's this dull town to me? _See_ Robin Adair. EFS What says the book? _See_ Damrosch. In the wood. StN What shall little children bring on Christmas day? _See_ Batchellor. Blessed day. WS What shall we do the long winter thro'? _See_ Cornwell. Ferns. EL What shall we do when we go out? _See_ Holiday. LBS What song does the cricket sing? _See_ Love and mirth. RCS What song shall we sing upon Christmas? _See_ Hill. First Christmas song. HS What sweet tunes can babies play? _See_ Smith. Finger-piano. SL1 What the bells say. Cole. CM What the little things said. Sawyer. WS What twitt'ring in the sparrows' nest. _See_ Berry. Sparrows' nest. KC What, what shall Santa Claus bring Helen? _See_ Reinecke. Santa Claus. SL2 *What's this? Hubbard. MSG (Froebel. Finger play. KC) (Froebel. This little thumb. MP) Whatever the mother fosters. _See_ Froebel. Conclusion. MP Wheatley. Song of the blue-bird. EL Wheel. Wiebe. KC Wheel song. Cushman. EL Wheelbarrow. PS Wheelbarrow. Hubbard. MSG *Wheelbarrow, wheelbarrow, where shall we go. HR Wheelwright. Smith. SM Wheelwright. Froebel. MP (Hubbard. Wheelwright. MSG) *When a child goes marching out. LBS When all the ground with snow is white. _See_ Knowlton. Snow bird. NS *When all the world is young. Wharton. FS *When Bertie goes to the ball. JB When children lay them down to sleep. _See_ Schumann. Guardian angels. FS *When Christ was born. Brown. FS When do birds with weary wing. _See_ Smith. Friendly dark. LCD When early morning's. _See_ Mowers. KC When first I saw sweet Peggy. _See_ Low-backed car. EFS--FS When for my native land I sigh. _See_ Tyrolese and his child. EFS When good King Arthur ruled this land. _See_ King Arthur. CBO (Gaynor. King Arthur. LL) (Reinecke. Good King Arthur. FC) When I am tucked within my bed. _See_ Gaynor. Wishing. LL When I go to sleep at night. _See_ Knowlton. God loves his little children. NS *When I grow to be a man. Neidlinger. SSS When I'm softly sleeping. _See_ Smith, Sunshine song. SL1 When I run about all day. _See_ Stanley. Night and day. StN (Warren. Night and day. StN) (Wiggin. Night and day. KC) When I see my biddy hen. _See_ Sherwood. Baby's calendar. HS When I survey the world around. _See_ Marzials. Leather bottel. CPP When I was a farmer. _See_ Gaynor. 'Twas this way and that way. LL _For variants see_ When I was a lady. *When I was a lady, a lady, a lady. LBS (Variant: Gaynor. 'Twas this way and that way. LL) (Variant: When I was a shoemaker. NG) (Variant: When I was a schoolgirl NEB1) (Variant: When I wore flounces. JB) *When I was a school girl. NEB1 _For variants see_ When I was a lady. *When I was shepherd. FS *When I was a shoemaker. NG _For variants see_ When I was a lady. When I was sick and lay abed. _See_ Stevenson. Land of counterpane. LBS--SS _For composers see_ Stevenson. Land of counterpane. When I wore flounces. JB _For variants see_ When I was a lady. When it dusky grows. _See_ Gaynor. Sandman. LL When it is winter time. _See_ Merry chimes. KK When Jesus came. Martin. MSL *When little birdie bye-bye goes. _See_ Elliott. Lullaby. MG--SM (Lullaby. HR) (Walker. Baby's lullaby. WS) When little birdie goes to sleep. _See_ Neidlinger. Little birdie. SSS *When love is kind. EFS When 'tis bright and pleasant weather. _See_ Rust. Pleasant weather. EL When little Bo-Peep had lost her sheep. _See_ Knowlton. Little Bo-Peep. NS When little Maizey came to town. _See_ Vose. Pop corn. EL When mama does the pigeons call. _See_ Feeding the pigeons. PS When Mr. Toadie wants a coat. _See_ Grove. Mr. Toadie's coat. HS When morning comes the stars will fade. _See_ Story of the day. SHS When mother Pussy mewed "Come here!" _See_ Smith. Minding the mother. LCD When mother was ill. Reinecke. FC When o'er earth is breaking. _See_ Hubbard. Nature's God is there. MSG (Walker. God is there. WS) When our cold hopes show buds again. _See_ Berat. My Normandy. FS When summer floods the earth with light. _See_ Martin. Summer. MSL When Sun the Painter goes to work. _See_ Neidlinger. ES2 When the bell within our tower. _See_ Smith. Tower. SL1 When the bloom is on the rye. _See_ Bishop. My pretty Jane. EFS *When the bright God of day drove to westward his ray. Marzials. CPP When the bright lamp is carried in. _See_ Stevenson. Northwest passage--good night. SF (Ramsay. Northwest passage--goodnight. SF) When the children are safe. _See_ Rieff. Christmas tree march. KC *When the earth wakes up in gladness. Fesca. SL1 When the frosty fall approaches. _See_ Beethoven. Autumn song. HR When the fuzzy pussy willows. _See_ Gaynor. Spring song. SC1 When the golden sun has set. _See_ Zelter. Story of night. SHS When the light of day is fading. _See_ Mueller. Lamplighter. SHS *When the little children sleep. Reinecke. FC--KC *When the morning sun so bright. HR When the night comes on. Cole. CM When the night is gently falling. _See_ Kies. Rest song. MSL When the rain has come down. _See_ Atkinson. Rainbow. GS When the regiment comes marching by. Gaynor. LL *When the snow is on the ground. Elliott. MG--SL1 When the spring is seen. _See_ Sounds of spring. FS When the spring-time comes and the world is gay. _See_ Smith. Play in all seasons. LCD When the summer comes each year. _See_ Kreutzer. Summer song. SHS When the summer days had passed. _See_ Neidlinger. Lost rose seed. ES1 When the sun says "Wake" to buds. _See_ Sheehan. At Eastertide. OSM When the wind blows cold. _See_ Martin. Winter. MSL When the yellow sunbeams come. _See_ Smith. Good weather. LCD When to flow'rs so beautiful the Father gave a name. _See_ Hubbard. Forget-me-not. MSG (Conrade. Forget-me-not. GS) When Tommy Snooks and Bessie Brooks were walking out together. _See_ Smeltzer. Tommy Snooks and Bessie Brooks. SZ When we are all quiet. _See_ Hurd. Ring song. PTS When we wake up we say. _See_ Gaynor. Language lesson. SC2 When we would talk about things to our friends. _See_ Neidlinger. Mr. Period and his friends. ES2 *When we're playing together. WS (Guessing game, no. 32. PS) (Hubbard. Seeing. MSG) (Wiggin. Guessing game. KC) When you're told to do a thing. _See_ Be thorough. HR *When you send a valentine. Hill. HS Whence comes this rush of wings afar. _See_ Quercy. Carol of the birds. TLB *Whenever a little child is born. Allen. StN (Stanley. Whenever a little child is born. StN) Whene'er a snowflake leaves the sky. _See_ Molloy. Snowflakes. StN (Fisher. Snowflakes. StN) (Warren. Snowflakes. StN) Whenever the moon and stars are set. _See_ Stevenson. Windy nights. CGV--SF--SSS _For composers see_ Stevenson. Windy nights. Whenever the sun comes out. _See_ Neidlinger. Shadows. ES2 Where are the merry merry little men? _See_ Roeske. Merry little men. PFP Where are you going, Billy Boy? _See_ Billy Boy. OYA Where are you going, lonely little sparrow? _See_ Swallow. FS "Where are you going to, my pretty maid?" _See_ My pretty maid. CBO--LBS Where are you, my baby? _See_ Haydn. Hide and seek. SM Where are you three foxes going? _See_ London bridge. NEB1 Where did you come from, pretty ball. _See_ Gaynor. Baby's toys. SC1 *Where do all the daisies go? Walker. WS (Conrade. Where they go. GS) Where do you come from, you little drops of rain? _See_ Tufts. Little rain drops. CL Where do you think Wooley Foster can be? _See_ Smeltzer. Wooley Foster and Daffy Down Dilly. SZ Where go the boats? Stevenson. CGV--LBS--SF--SS _For composers see_ Stevenson. Where go the boats. Where has the summer gone? _See_ Conrade. Lost, the summer. GS Where ha' ye been a' the day? _See_ Bonnie laddie, Highland laddie. FS Where is little Boy Blue? _See_ Dugan. Little Boy Blue. WS (Cornwell. Little Boy Blue. EL) Where is Marguerita? _See_ Marguerite. JB Where is my little dog gone? OYA Where loud the mill-wheel roareth. _See_ Glueck. Mill. FS Where 'mid the barley blue flow'rs are found. _See_ Reinecke. Barley-Brownie. FC Where, oh, where do the birdies go? _See_ Cole. When the light comes on. CM Where, oh, where is little Boy Blue? _See_ Cornwell. Little Boy Blue. EL (Dugan. Little Boy Blue. WS) Where, O, where is my little dog gone? _See_ O where is my little dog gone? OYA Where's the milk for baby's supper? _See_ Smith. Milk for supper. LCD Where shall we walk on our way home from school? _See_ Funkhouser. Sidewalk song. FSK Where, tell me where is your Highland laddie gone? _See_ Blue bells of Scotland. FS Where the birdies grow. Cole. CM Where the mountain and the valley meet. _See_ Hares. LBS Where the wild rose spreads its bowers. _See_ Kohl. Bird's nest. SM Where they go. Conrade. GS (Walker. Where do all the daisies go? WS) Where they grow. Cole. CM (Where they grow. BSS) Whether fair, whether foul. _See_ Allen. Clouds and sunshine. StN *Which way does the wind blow? Walker. WS While shepherds watched their flocks by night. Sawyer. EL *While stars of Christmas shine. Hill. HS While the spring is still concealing. _See_ Gaynor. Valentine day, no. 2. GS While we are singing this morning song. _See_ Neidlinger. Voyage. ES2 While we're playing together. _See_ Wiggin. Guessing game. KC (Guessing game, no. 32. PS) (Hubbard. Seeing. MSG) (When we're playing together. WS) While we sing. Hubbard. MSG While we sing the ball will wander. _See_ Kohl. Ball will wander. HR While you sleep. Hadley. TLB Whip-poor-will. Gilchrist. TLB Whirlabout. Smith. LCD Whirr! whirr! whirr! goes the spinning wheel. _See_ Gaynor. Spinning the yarn. SC1 White butterflies, bright butterflies frolic and drift. _See_ Smith. Butterfly dance. LCD White lambkins. HR (Moon and the stars. PS) (Reinecke. Who has the whitest lambkins? FC--KC) *White sand and grey sand. FS--RCS Whiting. Blow, blow thou winter wind. TLB Whitman. O captain! My captain! TLB ---- We two together. TLB ---- Weave in, my hardy life. TLB Whittier. Barefoot boy. TLB ---- Blue bird. MSG--WS ---- Prayers of love. TLB ---- Teacher's hymn, II. KC (Bacon. Mother's hymn. EL) (Hailmann. Teacher's hymn. HR) (Osgood. Mother's hymn. EL) ---- Thanksgiving day. _See_ Over the river and through the woods. ---- Worship. TC Whittier. Gaynor. GS *Whittington for ever. Elliott. MG Who can this little maiden be? _See_ Knowlton. February. NS Who comes along the upland ways? _See_ Johns. Easter song. TLB Who comes here? _See_ Punchinello. HC *Who has the finest lambkins? _See_ Moon and the stars. PS (Reinecke. Who has the whitest lambkins? FC--KC) (White lambkins. HR) *Who has the whitest lambkins? FC--KC (Moon and the stars. PS) (White lambkins. HR) Who is at the meadow bars? _See_ Gaynor. Milking time. SC2 Who is coming? _See_ Smeltzer. Jack and Jill. SZ Who is hiding in the wood? _See_ Riley. Pussy Willow. LL *Who is Silvia? TLB Who is so merry, so merry, heigh-ho! _See_ Reinecke. Fairy. FC *Who is this so late doth come? JB Who killed Cock Robin? _See_ Elliott. Death and burial of Cock Robin. MG *Who liveth so merry in all this land? Marzials. CPP Who'll be the binder? NG Who'll buy caller herrin'? _See_ Caller herrin'. FS Who made the first flag? Betty Ross, Betty Ross. _See_ Atkinson. First Flag. GS *Who's coming over there. LBS Who's the friendly little chap. _See_ Smith. Polite. LCD *Who taught the bird? Schlager. HR (Hubbard. Who taught the little bird? MSG) Who will buy my top? _See_ Toyman. HS Who will come with me, the jolly rover. _See_ Jolly rover. LBS *Who will o'er the down so free. Pearsall. FS Who will take a walk with me? _See_ Hill. Toyman's shop. HS Who would not be glad? Gaynor. LL Who wouldn't be a bounding ball? _See_ Gaynor. Ball. SC2 Who wouldn't be a soldier when the band begins to play? _See_ Gaynor. When the regiment goes marching by. LL Whoever stole my big black dog. _See_ My big black dog. OYA Whom shall I choose for the beautiful band? _See_ Gaynor. Game of the beautiful band. LL Why are red roses red? _See_ Parker. Rose song. TC *Why do bells for Christmas ring? Field. BM--SV (Bingham. Why do bells for Christmas ring? BM) (Root. Christmas song. SV) Why do you come to my apple tree? _See_ Hubbard. What a bird taught. MSG Why do you scratch me? _See_ Dog and cat. RCS Why does the charcoal burner stay? _See_ Bullard. Charcoal burner. SM Why Mr. Gobbler changed his tune. Gaynor. SC2 Why, moon, it strikes me you're looking quite thin. _See_ Conrade. Moon. GS *Widdy-widdy-wurky I call my fat turkey. LBS (Hausegesinde. BB) (Wide-wide-wenne. RCS) Wide o'er the world. _See_ Knowlton. November. NS *Wide-wide-wenne. RCS (Widdy-widdy-wurky. LBS) (Hausegesinde. BB) Wide, wide world. Gaynor. SC1 Wie ist es kalt geworden. _See_ Reinecke. Longing for spring. RCS Wiebe. Ranged in rows. KC ---- Two birds. KC ---- Wheel. KC Wiegenlied. _See_ Brahms. Cradle song. FS Wiesen Bluemchen hab' ich gern. _See_ Taubert. Meadow daisy. RCS *Wigamy, wigamy, waterhen. NEB1 Wiggin. Ball lullaby. KC ---- Ball play. KC (Wiggin. Ball song. KC) ---- Bird game. KC ---- Building song. KC ---- Car driver. KC ---- Christmas carol. KC ---- Christmas hymn. KC ---- Christmas waltz-song. KC ---- Clock game. KC ---- Closing song. KC ---- Everyday politeness. KC ---- Guessing game. KC (Guessing game, No. 32. PS) (Hubbard. Seeing. MSG) (When we're playing together. WS) ---- Family finger play. KC ---- Fish-seller. KC ---- Fishes. KC ---- Flight of the birds. KC ---- Flower game. KC ---- Fruit market. KC ---- God is ever good. KC ---- Good-bye song. KC (Hailmann. Our work is done. HR) (Hubbard. Parting song. MSG) (Walker. Our play is o'er. WS) ---- Good morning. KC ---- Imitation game. KC (Little master of gymnastics. PS) (Smith. Choosing the game. SL1) ---- Just like this. KC ---- Keeping time. KC ---- Kindergartner's funeral hymn. KC ---- Kindergartner's morning greeting. KC ---- Kindergartner's song. KC ---- Little doves. KC ---- Little waiters. KC ---- Merry Christmas has come. KC ---- Morning greeting. KC ---- Morning hymn. KC ---- Morning prayer. KC ---- Night and day. KC ---- Ring song. KC ---- Second gift song. KC ---- Seeing game. KC ---- Slumber song. KC (Tufts. Now the sun is sinking. CL) ---- Slumber song of the birdlings. KC ---- Smelling. KC (Hubbard. Smelling. MSG) (Smith. Smelling. SL2) ---- Spider and the flies. KC ---- Spring birds. KC ---- Spring's call to the flowers. KC ---- Tasting. KC (Hubbard. Tasting. MSG) ---- Touching. KC (Hubbard. Touching. MSG) ---- Trade game, I. KC (Workingman. HR) ---- Trade game, II. KC ---- Village dance. KC ---- Wandering game. KC ---- Window. KC (Froebel. Little window. MP) (Hubbard. Oh, see the light. MSG) Wild boar. Froebel. MP Wild horseman. Schumann. HMC1 Music only Wild rose. _See_ Goethe. Heiden-Roeslein. BSS--FS--RCS _For composers see_ Goethe. Heiden-Roeslein Wild wind. Fisher. StN Wilhelm. Watch on the Rhine. EFS--FS Will o' the wisp. Behr. HMC2 Music only Will winter never be over? _See_ Marston. February. EL Will you attend to my saga old? _See_ Ormen lange. KK Will you buy my sweet lavender? _See_ Maitland. Lavender cry. NEB1 Will you hear a Spanish lady? _See_ Marzials. Spanish lady. CPP Will you surrender? _See_ King of the Barbarees. JB Will you walk into my parlour? _See_ Elliott. Spider and the fly. NG Willcox. Christine's Christmas carol. EL Williams. Trust. TLB Willie, Willie, come to me. _See_ Hailmann. Giving the balls. HR Willow, willow. Marzials. CPP Wills. Autumn fires. EL (Ramsey. Autumn fires. SF) ---- How the wind blows. EL ---- Rock-a-baby. EL (Parry. Rock-a-baby. TC) (Seeboeck. Rock-a-baby. TC) Wilm. Mazurka. HMC2 Music only. Winchester. Train. EL Wind. Allen. EL Wind. Cornwell. EL (Bertini. I am the wind. HR) (Hubbard. I am the wind. MSG) (Sawyer. Wind. EL) Wind. Gaynor. SC1 Wind. Sawyer. EL (Bertini. I am the wind. HR) (Cornwell. Wind. EL) (Hubbard. I am the wind. MSG) Wind. Stevenson. CGV--EL--LBS--SF--SL1--SM--SS _For composers see_ Stevenson. Wind Wind and sea. Cauffman. TLB Wind and the leaves. Dugan. EL Wind blew low, the wind blew high. _See_ Smith. Busy wind. LCD Wind blows high. JB Wind blows high, the wind blows low. _See_ Wills. How the wind blows. EL *Wind blows sweetly. Tufts. CL Wind blows, the sun shines. _See_ Knowlton. It is spring. NS Wind came forth one autumn morn. _See_ Burnett. Song of the wind. HS Wind came howling at our door. _See_ Fisher. Wild wind. StN *Wind, gentle evergreen. Hayes. TLB Wind must blow to turn the mill. _See_ Heerwart. Windmill. KC (Seidell. Windmill. HR) Wind one gusty morning. _See_ Smith. Merry wind. LCD Wind song. Hill. SHS Wind song. Root. SV Wind song. Stevenson. _See_ Stevenson. Wind. CGV--EL--LBS--SF--SM--SL1--SS *Windflower. Roeske. HS Winding the clock. Gaynor. SC1 Windmill. PS--WS (Stangenberger. Windmill. HR) Windmill. Atkinson. GS Windmill. Gaynor. SC1 Windmill. Heerwart. KC (Seidell. Windmill. HR) Windmill. Jensen. HMC1 Music only Windmill. Jensen. SL1--SM Windmill. Nelham. RCS Windmill. Seidell. HR (Heerwart. Windmill. KC) Windmill. Stangenberger. HR (Windmill. PS--WS) Windmill holds its arms so high. _See_ Atkinson. Windmill. GS Windmill is whirling away up so high. _See_ Gaynor. Windmill. SC1 Windmill's fans around they go. _See_ Jensen. Windmill. SL1--SM Window. Froebel. MP Window. Smith. SM Window. Wiggin. KC (Froebel. Little window. MP) (Hubbard. Oh, see the light. MSG) Winds. Neidlinger. ES1 Winds are playing on the branches. _See_ Kjerulf. Spring song. SL1 Windy day. Neidlinger. SSS Windy nights. Stevenson. CGV--SF--SS _For composers see_ Stevenson. Windy nights Winged singers ever keep two and two together. _See_ Lonely bird. PS Winslow. Cradle nest. HS ---- Going to market. HS Winter. HS Winter. PS Winter. Haydn. HR (Hubbard. Old winter. MSG) Winter. Martin. MSL Winter ade! Scheiden thut Weh. _See_ Winter, good-bye. RCS Winter and summer. Allen. StN Winter day! frosty day! God a cloak on all doth lay. _See_ Bacon. Winter hymn. EL Winter days will soon be gone. _See_ Hecker. Spring song. GS Winter fore-thought. SHS *Winter, good-bye, parting is nigh. RCS Winter has come and the songsters are gone. _See_ Winter's advent. PS Winter hymn. Bacon. EL Winter ist kommen. _See_ Cold winter is round us. RCS Winter is over. _See_ Sawyer. Greeting to spring. EL Winter jewels. Tufts. CL (Burdett. Million little diamonds. StN) (Damrosch. Million little diamonds. StN) (Walker. Winter jewels. WS) Winter rose. _See_ Hubbard. Rose bush. MSG Winter song. Schubert. WS Winter sports. Seeboeck. HMC2 Music only Winter winds are blowing. _See_ Reinecke. Christmas at the door. FC--SL1--HR Winter's advent. PS *Wise old owl. Neidlinger. SSS Wiseneder. Railway. HR Wishing. Gaynor. LL With a baa! baa! here, a baa! baa! there. _See_ Jacobs. Barnyard song. HS With a hey-ding-ding. JB With even step. KK *With footsteps firm. Kuecken. SL1 With his bow and arrow. _See_ Weber. Hunter's song. RCS *With my flocks. EFS With shoulders back, and heads up straight. _See_ Reinecke. Marching song. KC With songs and honors sounding loud. _See_ Ellacombe. TLB With sudsy water in the tub. _See_ Sloane. Washing day. HS With the dawn awaking. _See_ Tufts. Morning song. CL With enticing glances. _See_ Castilian bolero. EFS With whistle and shout. _See_ Smith. Autumn wind. LCD With Whoo-whoo! Whoo-whoo! _See_ Smith. Train. LCD With wisps of hay made snug and round. _See_ Gaynor. Continued story. LL Within a mile of Edinboro' town. EFS Within these walls is love abounding. _See_ Marching, No. 27. PS Wolf. Song of summer and winter. SHS Wolf. Froebel. MP Wolf and the lamb. JB *Wollt Ihr wissen wie der Bauer. _See_ Shall I show you how the farmer? RCS Wonderful bag. Reed. TGS Wonderful shell, you sing like a bell. _See_ Meissner. Hearing. ASC Wonderful tree. Schilling. WS Won't you take me to your party? USI Woodland lullaby. Dietrich. TC Woodman. Smith. SL2 Woodman to the forest goes. _See_ Smith. Woodman. SL2 Woodpecker. Gaynor. SC2 Woods are still sleeping. _See_ Smith. Sap has begun to flow. SL2 Wooley Foster, and Daffy Down Dilly. Smeltzer. SZ Wooly sheep, please tell us why. _See_ Hill. Children and the sheep. SHS (Cole. Sheep. CM) (Marie Antoinette. Children and the sheep. HR) Wordsworth. Lines written in early spring. TLB Work. Song of Washington. HS Work of the week. Gaynor. GS Work while you work. _See_ Tufts. One thing at a time. CL Workingman. HR (Wiggin. Trade game, I. KC) World. Roeske. EL World is filled with gladness. _See_ Sawyer. Easter carol. EL World is so full of a number of things. _See_ Stevenson. Happy thought. CGV (Fisher. Happy thought. CGV) (Adaptation: Cole. Beautiful world. CM) World is so full of beautiful things. _See_ Cole. Beautiful world. CM (Adapted from Stevenson. Happy thought. CGV) World wonders. Gaynor. SC2 Worship. Stanford. TC Worship the King all glorious above. _See_ Haydn. O come, let us worship. TLB Worsted ball. Elliott. SL2 Would you know how does the farmer? _See_ Hubbard. Farmer. MSG Would you know the baby's skies? _See_ Marzo. Baby's skies. StN *Wouldn't you like to go? Frazer. BSS Wren and the hen. Bartlett. StN (Molloy. Wren and the hen. StN) Wynken and Blynken and Nod one night. _See_ DeKoven. Dutch lullaby. FSC Xmas day in the morning. CBO *Yankee Doodle's come to town. LBS--OYA Ye holy angels bright. _See_ Barnby. St. Gregory. TLB Ye lads and lassies all arise and speed. _See_ Smith. May song. TLB Ye people, rend your hearts, rend your hearts. _See_ Mendelssohn. If with all your hearts. TLB Ye shepherds arise. _See_ Reinecke. Christmas song. FC Ye sons of France awake to glory. _See_ De L'Isle. Marseillaise. EFS--FS Year's color song. Neidlinger. ES1 Yellow canary is trying his wings. _See_ Smith. Canary. LCD Yeo ho! Our boat is riding. _See_ Guglielmo. Rowing. FS Yes come! dear, dear Christmas. Hill. HS Yes, here I am and how do you do? _See_ Cole. Month of May. CM Yester night as I did stray. _See_ Hunter and hare. RCS Yonder stands a charming creature. _See_ Twenty eighteen. NEB1 You all remember the fairy times. _See_ Neidlinger. Fairies. ES2 You are bright and pretty, too. _See_ Hailmann. You love me and I love you. HR You are not my partner. KK You buttercups yellow. _See_ Gaynor. Buttercups. SC2 You dear little thumb, go to sleep. _See_ Gaynor. Finger's lullaby. SC1 You have a little prisoner. _See_ Pleyel. On guard. GS You have silken clothes to wear. _See_ Meissner. In China. ASC You know I am a Brownie. _See_ Gaynor. Brownie. LL You love me and I love you. Hailmann. HR You may hear us on your window. _See_ Larned. Raindrops. HS *You must be very tired. Hailmann. HR You never would think that old Grandfather Sun. _See_ Neidlinger. Painter Sun. ES1 You pretty sunbeam. _See_ Elliott. Little sunbeam. SL1 You pussy willow. _See_ Sawyer. Pussy willow. WS You spotted snakes with double tongue. _See_ Macfarren. Midsummer night's dream. TLB You think, Oh sun so fair. _See_ Amaryllis. EFS You want to be big and strong, of course. _See_ Funkhouser. Some day you'll be a man. FSK You will hear the birdies singing. _See_ Cole. Scale song, No. 5. CM Young Molly who lived at the foot of the hill. _See_ Lass with the delicate air. EFS Young night thought. Stevenson. SS (Foote. Young night thought. SS) Young recruit. LBS *Young thoughts have music in them. Kroeger. TLB Your little hand, my child, show me. _See_ Wiggin. Ball play. KC (Wiggin. Ball song, no. 2. KC) Your mouth now open. _See_ Hubbard. Tasting. MSG (Wiggin. Tasting. KC) *Youth has gone. FS Yradier. Dove. FS *Yule logs are waiting. JB Zarnack. O Tannenbaum. FS--RCS (Fir and the pine. RCS) (Fir tree. FS) Zelter. Story of night. SHS *Zisch, zisch, zisch. Hubbard. MSG (Froebel. Joiner. MP) (Joiner. PS) (Seidel. Joiner. HR) Zoom! zoom! said a busy little rover. _See_ Meissner. Honey bee and clover. ASC Zoom! zoom! zoom! drones the bumble bee. _See_ Gaynor. Bumble bee. SC1 Zundel. Love divine, all love excelling. TLB Zwei feine Stieflein hab' ich an. _See_ Taubert. Sand man. RCS Zwei Hasen. BB (Two hares. RCS) Zwischen Berg and tiefen, tiefen, Thal. _See_ Two hares. RCS (Zwei Hasen. BB) LISTS OF SONGS FOR SPECIAL DAYS ARBOR DAY. Child and the tree. Root. SV Come, my dolly. Smith. SV Falling leaves. Neidlinger. SSS Fir and the pine. RCS (Fir tree. FS) Fir tree. Burnett. HS How Johnny and Polly shake the apples. Reinecke. FC Journey of the boys. Neidlinger. ES1 Orchard. Jenks. HS Our fir tree. Sherwood. HS Planting of the apple tree. Roeske. HS Song of the trees. Hill. HS Story of the apple. Hill. SHS Tree in winter. Smith. SL2 Trees. Heerwart. KC--HR--SM Tree's friends. Gaynor. SC1 BIRD DAY. All the birds have come again. Smith. SL1 All the little sparrows. Walker. WS Awakening. Gaynor. SC2 Baby's waking song. SHS Bird's duet. FS Bird's nest. HS Blackbird song. BSS Bluebird. WS Bluebird. Neidlinger. SSS Bobolink. Cole. CM Bobolink. Gaynor. SC2 Call of the crow. Knowlton. NS Captive bird. Knowlton. NS Captive wild bird. Bureau. HS Child and the cuckoo. Reinecke. FC Chris-cradle sings. Hubbard. MSG Come here, little Robin. Tufts. CL Cradle nest. Winslow. HS Crow. Gaynor. SC2 Cuckoo. PS Cuckoo. Froebel. MP Cuckoo, cuckoo. PS Death and burial of Cock Robin. Elliott. MG Dove cote. Smith. SL1 Farewell to the birds. Gaynor. SC1 First flying lesson. Neidlinger. SSS Fly little birds. Cornwell. HS--WS Flying song. Hill. SHS George's song. Reinecke. FC Humming bird. Cole. CM Humming bird. Tufts. CL If blue-birds bloomed. Gilchrist. StN Little bird in the cradle. Brewster. BSS Little birdie. Neidlinger. SSS Little birdies. Cole. CM Little brown thrush. Hubbard. MSG Little cock sparrow. FS Little cock sparrow. Elliott. MG Little doves. Wiggin. KC Little red lark. FS Little woodpecker and I. WS Maggie's pet. Elliott. MG Mr. and Mrs. Sparrow. Gaynor. SC2 Nell and her bird. Tufts. CL Nest eggs. Ramsay. SF Nightingale. Alabieff. FS Nineteen birds. Elliott. MG Oriole. Gaynor. SC1 Orioles. FS Pigeon. Gaynor. SC2 Pigeon house. Tufts. CL Pigeon's flight. Saville. HS Polly. Hubbard. MSG Polly. Neidlinger. SSS Poor linnet in the hedge. FC Robin. Tufts. CL Robin redbreast. BSS Robin redbreast. Gaynor. SC1 Robin, Robin redbreast. Mather. WS Robins and pussy willow. Brewster. BSS Robin's song. Neidlinger. SSS Rollicking Robin. Knowlton. NS Sing-away bird. Millard. StN Skylark. Cole. CM Snowbird. Knowlton. NS Song of the robin. Cornell. StN Sparrows' nest. Berry. KC Stork, stork, stander. Reinecke. FC Swallow. FS Swallow. Hubbard. MSG Swallow, good bye. FS Swallow is come. Tufts. CL Three crows. Elliott. MG To the nightingale. Reinecke. FC Two little birds. Fisher. StN Two crows. Neidlinger. SSS Two robin redbreasts. Walker. WS We are red birds. Smith. SL2 Welcome little robin. Smith. SL2 Welcome swallow. Tufts. CL What do birdies dream? Hubbard. MSG What robin told. Johnson. BSS What robin told. Knowlton. NS When the night comes on. Cole. CM Where the birdies grow. Cole. CM Who taught the little bird? Hubbard. MSG Wise old owl. Neidlinger. SSS Woodpecker. Gaynor. SC2 CHRISTMAS Air is filled with the echoes. Morton. WS Blessed day. Batchellor. WS Carol, carol, children. Graeff. HS Carol, children, carol. Walker. WS Carol, oh carol! Dugan. WS Carriage to ride in. Reinecke. FC Children, can you truly tell? Walker. WS Christmas. Reed. HS Christmas. Reed. TGS Christmas at the door. Reinecke. FC--HR--SL1 Christmas bells. Weatherly. EL Christmas carol. Adams. HS Christmas carol. Elliott. SL1 Christmas carol. Gaynor. SC1 Christmas carol. Gaynor. SC2 Christmas carol. Gaynor. LL Christmas carol. Ogden. KC Christmas carol. Smith. SL2 Christmas carol. Terhune. CC Christmas! Glad Christmas. Kendall. HS Christmas greeting. Hubbard. MSG Christmas has come. Wiggin. KC Christmas hymn. Gottschalk. KC Christmas hymn. Reinecke. FC Christmas hymn. Smith. SL1 Christmas is coming. Hubbard. MSG Christmas is here. HR Christmas joys. Gaynor. SC2 Christmas lullaby. Hill. SHS Christmas manger hymn. GS Christmas, merry Christmas. HS Christmas night. Hill. SHS Christmas picture. Morton. HS Christmas secrets. Gaynor. SC2 Christmas song. (Holy night.) Adam. GS Christmas song. Brewster. BSS Christmas song. Cole. BSS Christmas song. Haydn. HR Christmas song. Reinecke. FC Christmas song. Rieff. KC Christmas song. Root. SV Christmas song. Schwartz. BSS Christmas song. Smith. SL2 Christmas star. Hill. SHS Christmas time is coming. Poulsson. LCD Christmas tree march. Rieff. KC Christmas waltz song. Andre. KC Come and join our carol. Story. WS Dear Santa now appear. Hubbard. MSG December. Knowlton. NS First Christmas. Field. EL First Christmas. Morton. HS--WS First Christmas song. Hill. HS First Nowell. FS Good news on Christmas morning. Hatton. StN Happiest day. Hill. HS Hark! the bells are ringing. Hubbard. MSG In the Bethlehem stable. Poulsson. LCD Jolly old Saint Nicholas. HR Joyfully, joyfully. Thayer. WS Legend of the Christmas tree. Gaynor. SC1 Letter to Santa Claus. Gaynor. SC1 Let's go sliding down the hill. Frazer. BSS Little child's gift carol. Chapek. HS Little four-years. Frazer. BSS Manger throne. Steggall. FS Merry Christmas. HS Merry Christmas. Gaynor. SC1 Merry Christmas bells. Hitte. DM Merry Christmas bells. Murray. WS Noël, noël, the Christ is born. Shelly. WS O, thou holy child. RCS Oh, ring glad bells. Herron. WS Old English carol. EL Presentation song. Hill. SHS Ring merry bells. EL Santa Claus. Reinecke. SL2 Santa Claus. Roeske. PFP Shine out, oh blessed star! Dugan. WS Sing, little children, sing. Osgood. WS Song of thanks. Saville. HS Stilly night, starry and bright. Gruber. FS Story of the Christ. Hill. SHS Three Kings of Orient. Hopkins. FS Toyman. HS Toyman's shop. Hill. HS Waken, little children. Ashmall. SL1 We welcome you, dear friends. Hubbard. MSG When Christ was born. Brown. FS While stars of Christmas shine. Hill. HS Why do bells for Christmas ring? Bingham. BM Wonderful tree. Schilling. WS EASTER. At Easter-tide. Sheehan. OSM At Easter time. WS Awake, awake! Houseman. HS Easter. Gaynor. GS Easter. Hadley. TLB Easter. Hubbard. MSG Easter carol. Damrosch. StN Easter carol. Fairlamb. StN Easter carol. Sawyer. EL Easter hymn. Batchellor. WS Easter hymn. Story. WS Easter morning. Chapek. HS Easter morning. Martin. MSL Easter song. Gaynor. SC1 Easter song. Johns. TLB Easter song. Rich. HS Easter song. Smith. SL1 Glad Easter is here. Dugan. HS Lillies sweet. Spohr. HS Merry bells of Easter. Knowlton. NS Nature's Easter song. Hill. SHS Sweetly the birds are singing. Hubbard. MSG Waking flowers. Hill. SHS FLAG DAY. America. Smith. FS--GS--MSG (My country, 'tis of thee. TLB) Battle hymn of the republic. FS Dixie's land. Emmett. FS First flag. Atkinson. GS Flag. Hadley. TLB Flag. Schwartz. BSS Flag song. Root. SV Flag song. Smith. SL2 Flags. Montz. IMS Our flag. Gaynor. SC1 Our flag. Neidlinger. SSS Patriotic hymn. Knowlton. NS Salute to the flag. Gaynor. SC2 Star spangled banner. FS--MSG FROEBEL'S BIRTHDAY. Froebel hymn. KC Froebel's birthday. Hubbard. MSG Froebel's birthday. Reed. HS Froebel's birthday song. Rust. EL Froebel's birthday song. Smith. SL2 Froebel's favorite hymn. Rust. EL Froebel's song. Hubbard. MSG Marching song, for Froebel's birthday. Rockwell. KC On Froebel's birthday. HS INDEPENDENCE DAY. Fourth of July. Kern. HS July. Knowlton. NS Independence day. Schuckburgh. HS MAY DAY. Around the Maypole. Sherwood. HS Cornish maypole dance. FDM Music only It is lovely May. Hubbard. MSG Lovely May. Hubbard. MSG May. PS May-basket. Smith. LCD May dance. FDM Music only May dancing song. Richter. HR May day. Gaynor. GS May day invitation. Sherwood. HS May Queen. Gaynor. GS May song. Strong. HS Maypole dance.--"Bluff King Hal." BFD Maypole song. Hubbard. MSG Maypole style. JB Queen of the May. Gaynor. LL Queen o' May. Stanley. StN Queen o' May. Warren. StN MEMORIAL DAY. Decoration day. BSS Memorial day. Flotow. GS Memorial day. Stetson. HS Memorial hymn. Allen. TLB Our land. Reed. HS Soldiers true. Sherwood. HS NEW YEAR. Ding, dong! Hoffman. StN Ding, dong! Molloy. StN Little New Year. Jenks. WS New Year. Gaynor. SC2 New Year. Gebauer. HS New Year. Seidel. HR New Year greeting. Sherwood. HS New Year's day. Gaynor. SC1 Now welcome to the new-born year. Rischart. HR Old Year and New Year. Hill. HS Old Year and the New. Walker. WS THANKSGIVING. Can a little child like me. Story. WS First Thanksgiving day. Gaynor. SC2 God's blessing on work. Albert. SHS God's care of all things. SHS Harvest hymn. Carey. BSS Harvest song. Smith. SL2 Hymn for a child. Knowlton. NS Hymn for national holiday. Knowlton. NS Morning hymn. Batchellor. WS Morning hymn. Hamburg. HR Morning prayer, no. 1. Wiggin. KC Morning Thanksgiving. Reed. HS On this happiest feast day. HS Patriotic hymn. Knowlton. NS Sleigh ride. HR (Thanksgiving day. Conrade. GS) (Thanksgiving day. Hubbard. MSG) (Thanksgiving song. Morton. WS) Song of thanks. Saville. HS Thanks for constant care. Hill. SHS Thanks for daily blessings. Hill. SHS Thanksgiving. Gaynor. LL Thanksgiving day. Conrade. GS (Thanksgiving day. Hubbard. MSG) (Thanksgiving song. Morton. WS) (Sleigh ride. HR) Thanksgiving day. Hill. HS Thanksgiving for harvest. Sherwood. HS Thanksgiving game. Hurd. PTS Thanksgiving joys. Conrade. GS Thanksgiving song. Bingham. BM Thanksgiving song. Brewster. BSS Thanksgiving song. Gaynor. SC1 Thanksgiving song. Himmel. SHS Thanksgiving song. Jenks. EL Thanksgiving song. Morton. WS (Sleigh ride. WS) (Thanksgiving day. Conrade. GS) (Thanksgiving day. Hubbard. MSG) Thanksgiving song. Rust. EL Thanksgiving song. Sawyer. EL Thanksgiving song. Smith. SL2 We plow the fields. Smith. SL2 We thank Thee. Sherwood. HS Why Mr. Gobbler changed his tune. Gaynor. SC2 VALENTINE'S DAY. February. Knowlton. NS Postman. Reed. HS Recipe for a valentine. Gaynor. SC1 St. Valentine's day. Shedd. HS See the pretty valentines. Hill. HS Valentine. Damrosch. StN (Valentine. Fairlamb. StN) Valentine day, no. 1. Gaynor. GS Valentine song. Brewster. BSS Valentines. Gaynor. SC2 Valentine's message. Hill. HS When you send a Valentine. Hill. HS WASHINGTON'S BIRTHDAY. Song for Washington's birthday. HS Song of Washington. Work. HS Washington's birthday. Hubbard. MSG Washington song. Atkinson. GS 
45762	----	[Illustration: CHILDREN'S GAMES. [_From an old engraving by Van der Venne._]] GAMES AND SONGS OF AMERICAN CHILDREN COLLECTED AND COMPARED BY WILLIAM WELLS NEWELL NEW YORK HARPER & BROTHERS, PUBLISHERS 1884 Entered according to Act of Congress, in the year 1883, by HARPER & BROTHERS, In the Office of the Librarian of Congress, at Washington. _All rights reserved._ EDITOR'S NOTE. The existence of any children's tradition in America, maintained independently of print, has hitherto been scarcely noticed. Yet it appears that, in this minor but curious branch of folk-lore, the vein in the United States is both richer and purer than that so far worked in Great Britain. These games supply material for the elucidation of a subject hitherto obscure: they exhibit the true relation of ancient English lore of this kind to that of the continent of Europe; while the amusements of youth in other languages are often illustrated by American custom, which compares favorably, in respect of compass and antiquity, with that of European countries. Of the two branches into which the lore of the nursery may be divided--the tradition of children and the tradition of nurses--the present collection includes only the former. It is devoted to formulas of play which children have preserved from generation to generation, without the intervention, often without the knowledge, of older minds. Were these--trifling as they often are--merely local and individual, they might be passed over with a smile; but being English and European, they form not the least curious chapter of the history of manners and customs. It has therefore been an essential part of the editor's object to exhibit their correspondences and history; but, unwilling to overcloud with cumbrous research that healthy and bright atmosphere which invests all that really belongs to childhood, he has thought it best to remand to an appendix the necessary references, retaining in the text only so much as may be reasonably supposed of interest to the readers in whom one or another page may awaken early memories. He has to express sincere thanks to the friends, in different parts of the country, whose kind assistance has rendered possible this volume, in which almost every one of the older states is represented; and he will be grateful for such further information as may tend to render the collection more accurate and complete. The melodies which accompany many of the games have been written from the recitation of children by S. Austen Pearce, Mus. Doc. Oxon. CONTENTS. PAGE EDITOR'S NOTE. v INTRODUCTORY. I. THE DIFFUSION AND ORIGIN OF AMERICAN GAME-RHYMES. 1 II. THE BALLAD, THE DANCE, AND THE GAME. 8 III. MAY-GAMES. 13 IV. THE INVENTIVENESS OF CHILDREN. 22 V. THE CONSERVATISM OF CHILDREN. 28 I. LOVE-GAMES. No. 1. KNIGHTS OF SPAIN. 39 2. THREE KINGS. 46 3. HERE COMES A DUKE. 47 4. TREAD, TREAD THE GREEN GRASS. 50 5. I WILL GIVE YOU A PAPER OF PINS. 51 6. THERE SHE STANDS, A LOVELY CREATURE. 55 7. GREEN GROW THE RUSHES, O! 56 8. THE WIDOW WITH DAUGHTERS TO MARRY. 56 9. PHILANDER'S MARCH. 58 10. MARRIAGE. 59 II. HISTORIES. 11. MISS JENNIA JONES. 63 12. DOWN SHE COMES, AS WHITE AS MILK. 67 13. LITTLE SALLY WATERS. 70 14. HERE SITS THE QUEEN OF ENGLAND. 70 15. GREEN GRAVEL. 71 16. UNCLE JOHN. 72 17. KING ARTHUR WAS KING WILLIAM'S SON. 73 18. LITTLE HARRY HUGHES AND THE DUKE'S DAUGHTER. 75 19. BARBARA ALLEN. 78 III. PLAYING AT WORK. 20. VIRGINIA REEL. 80 21. OATS, PEASE, BEANS, AND BARLEY GROWS. 80 22. WHO'LL BE THE BINDER? 84 23. AS WE GO ROUND THE MULBERRY BUSH. 86 24. DO, DO, PITY MY CASE. 87 25. WHEN I WAS A SHOEMAKER. 88 26. HERE WE COME GATHERING NUTS OF MAY. 89 27. HERE I BREW AND HERE I BAKE. 90 28. DRAW A BUCKET OF WATER. 90 29. THREADING THE NEEDLE. 91 IV. HUMOR AND SATIRE. 30. SOLDIER, SOLDIER, WILL YOU MARRY ME? 93 31. QUAKER COURTSHIP. 94 32. LAZY MARY. 96 33. WHISTLE, DAUGHTER, WHISTLE. 96 34. THERE WERE THREE JOLLY WELSHMEN. 97 35. A HALLOWE'EN RHYME. 98 36. THE DOCTOR'S PRESCRIPTION. 99 37. OLD GRIMES. 100 38. THE BAPTIST GAME. 101 39. TRIALS, TROUBLES, AND TRIBULATIONS. 102 40. HAPPY IS THE MILLER. 102 41. THE MILLER OF GOSPORT. 103 V. FLOWER ORACLES, ETC 42. FLOWER ORACLES. 105 43. USE OF FLOWERS IN GAMES. 107 44. COUNTING APPLE-SEEDS. 109 45. ROSE IN THE GARDEN. 110 46. THERE WAS A TREE STOOD IN THE GROUND. 111 47. GREEN! 113 VI. BIRD AND BEAST. 48. MY HOUSEHOLD. 115 49. FROG-POND. 116 50. BLOODY TOM. 117 51. BLUE-BIRDS AND YELLOW-BIRDS. 118 52. DUCKS FLY. 119 VII. HUMAN LIFE. 53. KING AND QUEEN. 120 54. FOLLOW YOUR LEADER. 122 55. TRUTH. 122 56. INITIATION. 122 57. JUDGE AND JURY. 123 58. THREE JOLLY SAILORS. 124 59. MARCHING TO QUEBEC. 125 60. SUDDEN DEPARTURE. 126 61. SCORN. 126 VIII. THE PLEASURES OF MOTION. 62. RING AROUND THE ROSIE. 127 63. GO ROUND AND ROUND THE VALLEY. 128 64. THE FARMER IN THE DELL. 129 65. THE GAME OF RIVERS. 130 66. QUAKER, HOW IS THEE? 130 67. DARBY JIG. 131 68. RIGHT ELBOW IN. 131 69. MY MASTER SENT ME. 131 70. HUMPTY DUMPTY. 132 71. PEASE PORRIDGE HOT. 132 72. RHYMES FOR A RACE. 132 73. TWINE THE GARLAND. 133 74. HOPPING-DANCE. 133 IX. MIRTH AND JEST. 75. CLUB FIST. 134 76. ROBIN'S ALIVE. 135 77. LAUGHTER GAMES. 136 78. BACHELOR'S KITCHEN. 137 79. THE CHURCH AND THE STEEPLE. 138 80. WHAT COLOR? 138 81. BEETLE AND WEDGE. 138 82. PRESENT AND ADVISE. 139 83. GENTEEL LADY. 139 84. BEAST, BIRD, OR FISH. 140 85. WHEEL OF FORTUNE. 140 86. CATCHES. 141 87. INTERY MINTERY. 142 88. REDEEMING FORFEITS. 143 89. OLD MOTHER TIPSY-TOE. 143 90. WHO STOLE THE CARDINAL'S HAT? 145 X. GUESSING-GAMES. 91. ODD OR EVEN. 147 92. HUL GUL. 147 93. HOW MANY FINGERS? 148 94. RIGHT OR LEFT. 149 95. UNDER WHICH FINGER? 149 96. COMES, IT COMES. 150 97. HOLD FAST MY GOLD RING. 150 98. MY LADY QUEEN ANNE. 151 99. THE WANDERING DOLLAR. 151 100. THIMBLE IN SIGHT. 152 XI. GAMES OF CHASE. 101. HOW MANY MILES TO BABYLON? 153 102. HAWK AND CHICKENS. 155 103. TAG. 158 104. DEN. 159 105. I SPY. 160 106. SHEEP AND WOLF. 161 107. BLANK AND LADDER. 161 108. BLIND-MAN'S BUFF. 162 109. WITCH IN THE JAR. 163 110. PRISONER'S BASE. 164 111. DEFENCE OF THE CASTLE. 164 112. LIL LIL. 165 113. CHARLEY BARLEY. 165 114. MILKING-PAILS. 166 115. STEALING GRAPES. 167 116. STEALING STICKS. 168 117. HUNT THE SQUIRREL. 168 XII. CERTAIN GAMES OF VERY LITTLE GIRLS. 118. SAIL THE SHIP. 170 119. THREE AROUND. 170 120. IRON GATES. 170 121. CHARLEY OVER THE WATER. 171 122. FROG IN THE SEA. 171 123. DEFIANCE. 172 124. MY LADY'S WARDROBE. 173 125. HOUSEKEEPING. 173 126. A MARCH. 174 127. RHYMES FOR TICKLING. 174 XIII. BALL, AND SIMILAR SPORTS. 128. THE "TIMES" OF SPORTS. 175 129. CAMPING THE BALL. 177 130. HAND-BALL. 178 131. STOOL-BALL. 179 132. CALL-BALL. 181 133. HALEY-OVER. 181 134. SCHOOL-BALL. 182 135. WICKET. 182 136. HOCKEY. 182 137. ROLL-BALL. 183 138. HAT-BALL. 183 139. CORNER-BALL. 183 140. BASE-BALL. 184 141. MARBLES. 185 142. CAT. 186 143. CHERRY-PITS. 187 144. BUTTONS. 187 145. HOP-SCOTCH. 188 146. DUCK ON A ROCK. 189 147. MUMBLETY-PEG. 189 148. FIVE-STONES. 190 XIV. RHYMES FOR COUNTING OUT. 149. COUNTING RHYMES. 194 XV. MYTHOLOGY. 150. LONDON BRIDGE. 204 151. OPEN THE GATES. 212 152. WEIGHING. 212 153. COLORS. 213 154. OLD WITCH. 215 155. THE OGREE'S COOP. 221 156. TOM TIDLER'S GROUND. 221 157. DIXIE'S LAND. 222 158. GHOST IN THE CELLAR. 223 159. THE ENCHANTED PRINCESS. 223 160. THE SLEEPING BEAUTY. 224 APPENDIX. COLLECTIONS OF CHILDREN'S GAMES. 229 COMPARISONS AND REFERENCES. 232 GAMES AND SONGS OF AMERICAN CHILDREN. INTRODUCTORY. I. _THE DIFFUSION AND ORIGIN OF AMERICAN GAME-RHYMES._ "The hideous Thickets in this place[1] were such that Wolfes and Beares nurst up their young from the eyes of all beholders in those very places where the streets are full of Girles and Boys sporting up and downe, with a continued concourse of people."--"Wonder-working Providence in New England," 1654. "The first settlers came from England, and were of the middle rank, and chiefly Friends. * * * In early times weddings were held as festivals, probably in imitation of such a practice in England. Relations, friends, and neighbors were generally invited, sometimes to the amount of one or two hundred. * * * They frequently met again next day; and being mostly young people, and from under restraint, practised social plays and sports."--Watson's "Account of Buckingham and Solebury" (Pennsylvania; settled about 1682). A majority of the games of children are played with rhymed formulas, which have been handed down from generation to generation. These we have collected in part from the children themselves, in greater part from persons of mature age who remember the usages of their youth; for this collection represents an expiring custom. The vine of oral tradition, of popular poetry, which for a thousand years has twined and bloomed on English soil, in other days enriching with color and fragrance equally the castle and the cottage, is perishing at the roots; its prouder branches have long since been blasted, and children's song, its humble but longest-flowering offshoot, will soon have shared their fate. It proves upon examination that these childish usages of play are almost entirely of old English origin. A few games, it is true, appear to have been lately imported from England or Ireland, or borrowed from the French or the German; but these make up only a small proportion of the whole. Many of the rounds still common in our cities, judging from their incoherence and rudeness, might be supposed inventions of "Arabs of the streets;" but these invariably prove to be mere corruptions of songs long familiar on American soil. The influence of print is here practically nothing; and a rhyme used in the sports of American children almost always varies from the form of the same game in Great Britain, when such now exists. There are quarters of the great city of New York in which one hears the dialect, and meets the faces, of Cork or Tipperary. But the children of these immigrants attend the public school, that mighty engine of equalization; their language has seldom more than a trace of accent, and they adopt from schoolmates local formulas for games, differing more or less from those which their parents used on the other side of the sea. In other parts of the town, a German may live for years, needing and using in business and social intercourse no tongue but his own, and may return to Europe innocent of any knowledge of the English speech. Children of such residents speak German in their homes, and play with each other the games they have brought with them from the Fatherland. But they all speak English also, are familiar with the songs which American children sing, and employ these too in their sports. There is no transference from one tongue to another, unless in a few cases, when the barrier of rhyme does not exist. The English-speaking population, which imposes on all new-comers its language, imposes also its traditions, even the traditions of children. A curious inquirer who should set about forming a collection of these rhymes, would naturally look for differences in the tradition of different parts of the Union, would desire to contrast the characteristic amusements of children in the North and in the South, descendants of Puritan and Quaker. In this he would find his expectations disappointed, and for the reason assigned. This lore belongs, in the main, to the day before such distinctions came into existence; it has been maintained with equal pertinacity, and with small variations, from Canada to the Gulf. Even in districts distinguished by severity of moral doctrines, it does not appear that any attempt was made to interfere with the liberty of youth. Nowhere have the old sports (often, it is true, in crude rustic forms) been more generally maintained than in localities famous for Puritanism. Thus, by a natural law of reversion, something of the music, grace, and gayety of an earlier period of unconscious and natural living has been preserved to sweeten the formality, angularity, and tedium of an otherwise beneficial religious movement. It is only within the century that America has become the land of motion and novelty. During the long colonial period, the quiet towns, less in communication with distant settlements than with the mother-country itself, removed from the currents of thought circulating in Europe, were under those conditions in which tradition is most prized and longest maintained. The old English lore in its higher branches, the ballad and the tale, already belonging to the past at the time of the settlement, was only sparingly existent among the intelligent class from which America was peopled; but such as they did bring with them was retained. Besides, the greater simplicity and freedom of American life caused, as it would seem, these childish amusements to be kept up by intelligent and cultivated families after the corresponding class in England had frowned them down as too promiscuous and informal. But it is among families with the greatest claims to social respectability that our rhymes have, in general, been best preserved. During the time of which we are writing, independent local usages sprang up, so that each town had oftentimes its own formulas and names for children's sports; but these were, after all, only selections from a common stock, one place retaining one part, another, of the old tradition. But in the course of the last two generations (and this is a secondary reason for the uniformity of our games in different parts of the country) the extension of intercourse between the States has tended to diffuse them, so that petty rhymes, lately invented, have sometimes gained currency from Maine to Georgia. We proceed to speak of our games as they exist on the other side of the sea. A comparison with English and Scotch collections shows us very few games mentioned as surviving in Great Britain which we cannot parallel in independent forms. On the other hand, there are numerous instances in which rhymes of this sort, still current in America, do not appear to be now known in the mother-country, though they oftentimes have equivalents on the continent of Europe. In nearly all such cases it is plain that the New World has preserved what the Old World has forgotten; and the amusements of children to-day picture to us the dances which delighted the court as well as the people of the Old England before the settlement of the New.[2] To develop the interest of our subject, however, we must go beyond the limits of the English tongue. The practice of American children enables us to picture to ourselves the sports which pleased the infancy of Froissart and Rabelais.[3] A dramatic action of the Virginia hills preserves the usage of Färöe and Iceland, of Sweden and Venice.[4] We discover that it is an unusual thing to find any remarkable childish sport on the European continent which failed to domesticate itself (though now perhaps forgotten) in England. It is thus vividly and irresistibly forced upon our notice, that the traditions of the principal nations of Europe have differed little more than the dialects of one language, the common tongue, so to speak, of religion, chivalry, and civilization. A different explanation has been given to this coincidence. When only the agreement, in a few cases, of English and German rhymes was noticed, it was assumed that the correspondence was owing to race-migration; to the settlement in England of German tribes, who brought with them national traditions. The present volume would be sufficient to show the untenability of such an hypothesis. The resemblance of children's songs in different countries, like the similarity of popular traditions in general, is owing to their perpetual diffusion from land to land; a diffusion which has been going on in all ages, in all directions, and with all degrees of rapidity. But the interest of their resemblance is hardly diminished by this consideration. The character of some of these parallelisms proves that for the diffusion in Europe of certain games of our collection we must go back to the early Middle Age;[5] while the extent of the identity of our American (that is, of old English) child's lore with the European is a continual surprise.[6] Internal evidence alone would be sufficient to refer many of the sports to a mediæval origin, for we can still trace in them the expression of the life of that period. We comprehend how deeply mediæval religious conceptions affected the life of the time, when we see that allusions to those beliefs are still concealed in the playing of children. We find that the tests which the soul, escaped from the body, had, as it was supposed, to undergo--the scales of St. Michael, the keys of St. Peter, and the perpetual warfare of angels and devils over departed souls--were familiarly represented and dramatized in the sports of infants.[7] Such allusions have, it is true, been excluded from English games; but that these once abounded with them can be made abundantly evident. We see that chivalric warfare, the building and siege of castles, the march and the charge of armies, equally supplied material for childish mimicry. We learn how, in this manner, the social state and habits of half a thousand years ago unconsciously furnish the amusement of youth, when the faith and fashion of the ancient day is no longer intelligible to their elders. It will be obvious that many of the game-rhymes in this collection were not composed by children. They were formerly played, as in many countries they are still played, by young persons of marriageable age, or even by mature men and women. The truth is, that in past centuries all the world, judged by our present standard, seems to have been a little childish. The maids of honor of Queen Elizabeth's day, if we may credit the poets, were devoted to the game of tag,[8] and conceived it a waste of time to pass in idleness hours which might be employed in that pleasure, with which Diana and her nymphs were supposed to amuse themselves. Froissart describes the court of France as amusing itself with sports familiar to his own childhood; and the _Spectator_ speaks of the fashionable ladies of London as occupied with a game which is represented in this series.[9] We need not, however, go to remote times or lands for illustration which is supplied by New England country towns of a generation since. In these, dancing, under that name, was little practised; it was confined to one or two balls in the course of the year on such occasions as the Fourth of July, lasting into the morning hours. At other times, the amusement of young people at their gatherings was "playing games." These games generally resulted in forfeits, to be redeemed by kissing, in every possible variety of position and method. Many of these games were _rounds_; but as they were not called dances, and as mankind pays more attention to words than things, the religious conscience of the community, which objected to dancing, took no alarm. Such were the pleasures of young men and women from sixteen to twenty-five years of age. Nor were the participants mere rustics; many of them could boast as good blood, as careful breeding, and as much intelligence, as any in the land. Neither was the morality or sensitiveness of the young women of that day in any respect inferior to what it is at present. Now that our country towns are become mere outlying suburbs of cities, these remarks may be read with a smile at the rude simplicity of old-fashioned American life. But the laugh should be directed, not at our own country, but at the by-gone age.[10] In respectable and cultivated French society, at the time of which we speak, the amusements, not merely of young people, but of their elders as well, were every whit as crude. The suggestion is so contrary to our preconceived ideas, that we hasten to shelter ourselves behind the respectable name of Madame Celnart, who, as a recognized authority on etiquette, must pass for an unimpeachable witness.[11] This writer compiled a very curious "Complete Manual of Games of Society, containing all the games proper for young people of both sexes," which seems to have gained public approbation, since it reached a second edition in 1830. In her preface she recommends the games of which we have been speaking as recreations for _business men_: "Another consideration in favor of games of society: it must be admitted that for persons leading a sedentary life, and occupied all day in writing and reckoning (the case with most men), a game which demands the same attitude, the same tension of mind, is a poor recreation. * * * On the contrary, the varying movement of games of society, their diversity, the gracious and gay ideas which these games inspire, the decorous caresses which they permit--all this combines to give real amusement. These caresses can alarm neither modesty nor prudence, since a kiss in honor given and taken before numerous witnesses is often an act of propriety." She prefers "rounds" to other amusements: "All hands united; all feet in cadence; all mouths repeating the same refrain; the numerous turns, the merry airs, the facile and rapid pantomime, the kisses which usually accompany them--everything combines, in my opinion, to make rounds the exercise of free and lively gayety." We find among the ring-games given by our author, and recommended to men of affairs, several of which English forms exist in our collection, and are familiar to all children.[12] We are thus led to remark an important truth. It is altogether a mistake to suppose that these games (or, indeed, popular lore of any description) originated with peasants, or describe the life of peasants. The tradition, on the contrary, invariably came from above, from the intelligent class. If these usages seem rustic, it is only because the country retained what the city forgot, in consequence of the change of manners to which it was sooner exposed. Such customs were, at no remote date, the pleasures of courts and palaces. Many games of our collection, on the other hand, have, it is true, always belonged to children; but no division-line can be drawn, since out of sports now purely infantine have arisen dances and songs which have for centuries been favorites with young men and women.[13] II. _THE DANCE, THE BALLAD, AND THE GAME._ Entre Paris et Saint-Denis Il s'élève une danse; Toutes les dames de la ville Sont alentour qui dansent. Toutes les dames de la ville Sont alentour qui dansent; Il n'y a que la fille du roi D'un côté qui regarde. _Canadian Round._ Games accompanied by song may be divided into ballads, songs, and games proper. By the term ballad is properly signified a dance-song, or dramatic poem sung and acted in the dance. The very word, derived through the late Latin[14] from the Greek, attests that golden chain of oral tradition which links our modern time, across centuries of invasion and conflict, with the bright life of classic antiquity. Still more pleasantly is a like history contained in another name for the same custom. The usual old English name for the round dance, or its accompanying song, was _carol_, which we now use in the restricted sense of a festival hymn. Chaucer's "Romaunt of the Rose" describes for us the movement of the "karole," danced on the "grene gras" in the spring days. He shows us knights and ladies holding each other by the hand, in a flowery garden where the May music of mavis and nightingale blends with the "clere and ful swete karoling" of the lady who sings for the dancers. This sense of the word continued in classic use till the sixteenth century, and has survived in dialect to the present day. Many of the games of our series are such rounds or carols, "love-dances" in which youths and maidens formerly stood in the ring by couples, holding each other's hands, though our children no longer observe that arrangement. Now the word _carol_ is only a modernized form of _chorus_. Thus childish habit has preserved to the present day the idea and movement of the village ring-dance, the chorus, such as it existed centuries or millenniums before another and religious form of the dance accompanied by song had received that technical name in the Greek drama. Very little was needed to turn the ballad into a dramatic performance, by assigning different parts to different actors. It is natural also for children to act out the stories they hear. We find, accordingly, that ancient ballads have sometimes passed into children's games. But, in the present collection, the majority of the pieces which can be referred to the ballad are of a different character. In these the remainder of the history is reduced to a few lines, or to a single couplet. These _historiettes_ have retained the situation, omitting the narration, of the ancient song. We can understand how youthful or rustic minds, when the popular song had nearly passed out of mind, should have vaguely maintained the upshot of the story: Here sits the Queen of England in her chair; She has lost the true love that she had last year. It is the tragedy told in a line; and what more is needed, since an excuse is already provided for the kiss or the romp?[15] Of lyric song we have scarce anything to offer. The fifteenth and sixteenth centuries gave birth, all over Europe, to popular lyric poesy, modelled on literary antecedents, and replacing in general estimation the ancient dramatic ballad. Shakespeare, who merely refers to the ballad proper, makes frequent use of the popular song of his day. In many countries this taste has penetrated to the people; the power of lyric composition has become general, so that a collection of popular songs will contain many sweet and pleasing pieces. The ballad has thus passed into the _round_. An inconsequent but musical babble, like that of a brook or a child, has replaced the severe accents of the ancient narration. But in English--why, we will not pause to inquire--it is not so. Whatever of this kind once existed has passed away, leaving but little trace. All that is poetical or pretty is the relic of past centuries; and when the ancient treasure is spent, absolute prose succeeds. The modern soil is incapable of giving birth to a single flower. Our rhymes, therefore, belong almost entirely to the third class--the game proper. But though less interesting poetically, and only recorded at a late period, it does not follow that they have not as ancient a history as the oldest ballads; on the contrary, it will abundantly appear that the formulas used in games have an especially persistent life. As the ballad is a dramatic narrative, so the game is a dramatic action, or series of actions; and the latter is as primitive as the former, while both were employed to regulate the dance. Most modern dances, silently performed in couples, are merely lively movements; but in all ancient performances of the sort the idea is as essential as the form. Precisely as the meaningless refrains of many ballads arise from a forgetfulness of intelligible words, dances which are only motion grew out of dances which expressed something. The dance was originally the dramatized expression of any feature of nature or life which excited interest. Every department of human labor--the work of the farmer, weaver, or tradesman; the church, the court, and the army; the habits and movements of the animals which seem so near to man in his simplicity, and in whose life he takes so active an interest; the ways and works of the potent supernatural beings, good or evil, or, rather, beneficent or dangerous, by whom he believes himself surrounded; angel and devil, witch and ogre--representations of all these served, each in turn, for the amusement of an idle hour, when the labor which is the bitterness of the enforced workman is a jest to the free youth, and the introduction of spiritual fears which constitute the terror of darkness only adds an agreeable excitement to the sports of the play-ground. All this was expressed in song shared by the whole company, which was once the invariable attendant of the dance, so that the two made up but one idea, and to "sing a dance" and "dance a song" were identical expressions. The children's rounds of to-day, in which each form of words has its accompanying arrangement of the ring, its significant motion and gesture, thus possess historic interest. For these preserve for us some picture of the conduct of the ballads, dances, and games which were once the amusement of the palace as of the hamlet. The form of the verses used in the games also deserves note. These usually consist either of a rhyming couplet, or of four lines in which the second and fourth rhyme; they are often accompanied by a refrain, which may be a single added line, or may be made up of two lines inserted into the stanza; and in place of exact consonance, any assonance, or similarity of sound, will answer for the rhyme. Above all, they possess the freedom and quaintness, the tendency to vary in detail while preserving the general idea, which distinguish a living oral tradition from the monotonous printed page; in these respects, our rhymes, humble though they be, are marked as the last echo of the ancient popular poetry. There is especial reason why an Englishman, or the descendants of Englishmen, should take pride in the national popular song.[16] European mediæval tradition was, it is true, in a measure a common stock; but, though the themes may often have been thus supplied, the poetic form which was given to that material in each land was determined by the genius of the language and of the people. Now, among all its neighbors, the English popular poesy was the most courtly, the most lyric, the most sweet. So much we can still discern by what time has spared. The English ballad was already born when Canute the Dane coasted the shore of Britain; its golden age was already over when Dante summed up mediæval thought in the "Divina Commedia;" its reproductive period was at an end when Columbus enlarged the horizon of Europe to admit a New World; it was a memory of the past when the American colonies were founded; but even in its last echoes there lingers we know not what mysterious charm of freshness, poetic atmosphere, and eternal youth. Even in these nursery rhymes some grace of the ancient song survives. A girl is a "red rose," a "pretty fair maid," the "finest flower," the "flower of May." The verse itself, simple as it is, often corrupted, is a cry of delight in existence, of satisfaction with nature; its season is the season of bloom and of love; its refrain is "For we are all so gay." It comes to us, in its innocence and freshness, like the breath of a distant and inaccessible garden, tainted now and then by the odors of intervening city streets. But the vulgarity is modern, accidental; the pleasure and poetry are of the original essence. We cannot but look with regret on the threatened disappearance of these childish traditions, which have given so much happiness to so many generations, and which a single age has nearly forgotten. These songs have fulfilled the conditions of healthy amusement, as nothing else can do. The proper performance of the round, or conduct of the sport, was to youthful minds a matter of the most serious concern--a little drama which could be represented over and over for hours, in which self-consciousness was absorbed in the ambition of the actors to set forth properly their parts. The recital had that feature which distinguishes popular tradition in general, and wherein it is so poorly replaced by literature. Here was no repetition by rote; but the mind and heart were active, the spirit of the language appropriated, and a vein of deep though childish poetry nourished sentiment and imagination. It seems a thousand pities that the ancient tree should not continue to blossom; that whatever may have been acrid or tasteless in the fruit cannot be corrected by the ingrafting of a later time. There is something so agreeable in the idea of an inheritance of thought kept up by childhood itself, created for and adapted to its own needs, that it is hard to consent to part with it. The loss cannot be made good by the deliberate invention of older minds. Children's amusement, directed and controlled by grown people, would be neither childish nor amusing. True child's play is a sacred mystery, at which their elders can only obtain glances by stealth through the crevice of the curtain. Children will never adopt as their own tradition the games which may be composed or remodelled, professedly for their amusement, but with the secret purpose of moral direction. We do not mean, however, to sigh over natural changes. These amusements came into existence because they were adapted to the conditions of early life; they pass away because those conditions are altered. The taste of other days sustained them; the taste of our day abandons them. This surrender is only one symptom of a mighty change which has come over the human mind, and which bids fair to cause the recent time, a thousand years hence, to be looked back upon as a dividing-mark in the history of intelligence. If it should turn out that the childhood of the human intellect is passing gradually into the "light of common day"--if the past is to be looked back upon with that affectionate though unreasoning interest with which a grown man remembers his imaginative youth--then every fragment which illustrates that past will possess an attraction independent of its intrinsic value. III. _MAY GAMES._ All lovers' hearts that are in care To their ladies they do repair, In fresh mornings before the day, Before the day; And are in mirth aye more and more, Through gladness of this lovely May, Through gladness of this lovely May. _Old Song._ Children's rhymes and songs have been handed down in two principal ways. First, they have been used for winter amusements, particularly at the Christmas season,[17] as has from time immemorial been the case in northern countries; and, secondly, they have been sung as rounds and dances, especially during summer evenings, upon the village green or city sidewalk. The latter custom is fast becoming extinct, though the circling ring of little girls "on the green grass turning" may now and then be still observed; but a generation since the practice was common with all classes. The proper time for such sports is the early summer; and many of our rounds declare themselves in words, as well as by sentiment, to be the remainder of the ancient May dances. To render this clear, it will be necessary to give some account of the May festival; but we shall confine ourselves to customs of which we can point out relics in our own land. These we can illustrate, without repeating the descriptions of English writers, from Continental usage, which was in most respects identical with old English practice. It was an ancient habit for the young men of a village, on the eve of the holiday, to go into the forests and select the tallest and straightest tree which could be found. This was adorned with ribbons and flowers, brought home with great ceremony, and planted in front of the church, or at the door of some noted person, where it remained permanently to form the centre of sports and dances. The May-pole itself, the songs sung about it, and the maiden who was queen of the feast, were alike called _May_. In the absence of any classic mention, the universality of the practice in mediæval Europe, and the common Latin name, may be taken as proof that similar usages made part of the festival held about the calends of May--the _Floralia_ or _Majuma_. Notwithstanding all that has been said about the license of this festival in the days of the Empire, it is altogether probable that the essential character of the feast of Flora or Maia was not very different from its mediæval or modern survival. The abundance of flowers, the excursions to the mountains, the decoration of houses, and the very name of Flora, prove that, whatever abuses may have introduced themselves, and whatever primitive superstitions may have been intermingled--superstitions to an early time harmless and pure, and only in the decline of faith the source of offence and corruption--the population of ancient Italy shared that natural and innocent delight in the season of blossom which afterwards affected to more conscious expression Chaucer and Milton. This "bringing home of summer and May" was symbolic; the tree, dressed out in garlands, typifying the fertility of the year. As in all such rites, the songs and dances, of a more or less religious character, were supposed to have the power of causing the productiveness which they extolled or represented.[18] These practices, however, were not merely superstitious; mirth and music expressed the delight of the human heart, in its simplicity, at the reappearance of verdure and blossom, and thanksgiving to the generous Bestower, which, so long as man shall exist on earth, will be instinctively awakened by the bright opening of the annual drama. Superstition has been the support about which poetry has twined: it is a common mistake of investigators to be content with pointing out the former, and overlooking the coeval existence of the latter. Thus the natural mirth and merriment of the season blended with the supposed efficacy of the rite; and the primitive character of the ring-dance appears to be the circle about the sacred tree in honor of the period of bloom. A relic, though a trifling one, of the ancient custom, may be seen in some of our cities on the early days of the month. In New York, at least, groups of children may then be observed carrying through the streets a pole painted with gay stripes, ribbons depending from its top, which are held at the end by members of the little company. These proceed, perhaps, to the Central Park, where they conduct their festivities, forming the ring, and playing games which are included in our collection. Within a few years, however, these afternoon expeditions have become rare. The May-pole, as we have described it, belonged to the village; but a like usage was kept up by individuals. It was the duty of every lover to go into the woods on the eve or early morn of May-day, and bring thence boughs and garlands, which he either planted before the door of his mistress, or affixed thereto, according to local custom. The particular tree, or _bush_ (this expression meaning no more than bough), preferred for the purpose was the hawthorn, which is properly the tree of May, as blooming in the month the name of which it has in many countries received. A belief in the protective influence of the _white-thorn_, when attached to the house-door, dates back to Roman times. The May-tree, whatever its species, was often adorned with ribbons and silk, with fruit or birds, sometimes with written poems. The lover brought his offering at early dawn, and it was the duty of his mistress to be present at her window and receive it; thus we have in a song of the fifteenth or sixteenth century from the Netherlands-- Fair maiden, lie you still asleep, And let the morning go? Arise, arise, accept the May, That stands here all a-blow. An English carol alludes to the same practice-- A branch of May I bring to you, Before your door it stands.[19] The custom was so universal as to give rise to proverbial expressions. Thus, in Italy, "to plant a May at every door" meant to be very susceptible; and in France, to "esmayer" a girl was to court her. Some of our readers may be surprised to learn that an offshoot of this usage still exists in the United States; the custom, namely, of hanging "May baskets." A half-century since, in Western Massachusetts, a lad would rise early on May-morning, perhaps at three o'clock, and go into the fields. He gathered the trailing arbutus (the only flower there available at the season), and with his best skill made a "basket," by the aid of "winter-green" and similar verdure. This he cautiously affixed to the door of any girl whom he wished to honor. She was left to guess the giver. The practice is still common in many parts of the country, but in a different form. Both boys and girls make "May baskets," and on May-eve attach them to each other's doors, ringing at the same time the house-bell. A pursuit follows, and whoever can capture the responsible person is entitled to a kiss. We do not venture to assert that the latter usage is entirely a corruption of the former.[20] The term "May-baskets" is no doubt a modernized form of the old English word "May-buskets," employed by Spenser.[21] _Buskets_ are no more than _bushes_--that is, as we have already explained, the flowering branches of hawthorn or other tree, picked early on the May-morn, and used to decorate the house. It seems likely that a misunderstanding of the word changed the fashion of the usage; the American lad, instead of attaching a bough, hung a basket to his sweetheart's door. A French writer pleasantly describes the customs of which we are speaking, as they exist in his own province of Champagne: "The hours have passed; it is midnight; the doors of the young lads open. Each issues noiselessly. He holds in his hand branches and bouquets, garlands and crowns of flowers. Above the gate of his mistress his hand, trembling with love, places his mysterious homage; then, quietly as he came, he retires, saying, 'Perhaps she has seen me.' ... The day dawns. Up! boys and girls! up! it is the first of May! up, and sing! The young men, decked out with ribbons and wild-flowers, go from door to door to sing the month of May and their love." Of the morning song and dance about the "bush," or branches of trees planted as we have described, we have evidence in the words of American rhymes. Thus-- As we go round the _mulberry-bush_, _All on a frosty morning_. In one or two instances, a similar refrain figures in the childish sports of little girls, who have probably got it by imitation; in others, it is the sign of an old May game.[22] An English writer of the sixteenth century alludes to the morning dance in a way which proves that these songs really represent the practice of his time.[23] The playing of May games was by no means confined to the exact date of the festival. The sign of a country tavern in England was a thorn-bush fixed on a pole, and about this "bush" took place the dance of wedding companies who came to the tavern to feast, whence this post was called the _bride's stake_. Whether the thorn-bush was introduced into the "New English" settlements we cannot say; but the dancing at weddings was common, at least among that portion of those communities which was not bound by the religious restraint that controlled the ruling class. There were, as a French refugee wrote home in 1688, "all kinds of life and manners" in the colonies. In the Colony of Massachusetts Bay, 7th May, 1651, the General Court resolved, "Whereas it is observed that there are many abuses and disorders by dauncinge in ordinaryes, whether mixt or unmixt, upon marriage of some persons, this court doth order, that henceforward there shall be no dauncinge upon such occasion, or at other times, in ordinaryes, upon the paine of five shillings, for every person that shall so daunce in ordinaryes." While youth in the cities might be as gay as elsewhere, in many districts the Puritan spirit prevailed, and the very name of dancing was looked on with aversion. But the young people met this emergency with great discretion; they simply called their amusements _playing games_, and under this name kept up many of the rounds which were the time-honored dances of the old country. The French writer whom we have already had occasion to quote goes on to speak of the customs of the younger girls of his province--the _bachelettes_, as they are called. "On the first of May, dressed in white, they put at their head the sweetest and prettiest of their number. They robe her for the occasion: a white veil, a crown of white flowers adorn her head; she carries a candle in her hand; she is their queen, she is the _Trimouzette_. Then, all together, they go from door to door singing the song of the _Trimouzettes_; they ask contributions for adorning the altar of the Virgin, for celebrating, in a joyous repast, the festival of the Queen of Heaven." This May procession, which has been the custom of girls for centuries, from Spain to Denmark, existed, perhaps still exists, in New England. Until very recently, children in all parts of the United States maintained the ancient habit of rising at dawn of May-day, and sallying forth in search of flowers. The writer well remembers his own youthful excursions, sometimes rewarded, even in chilly Massachusetts, by the early blue star of the hepatica, or the pink drooping bell of the anemone. The maids, too, had rites of their own. In those days, troops of young girls might still be seen, bareheaded and dressed in white, their May-queen crowned with a garland of colored paper. But common-sense has prevailed at last over poetic tradition; and as an act of homage to east winds, a hostile force more powerful at that period than the breath of Flora, it has been agreed that summer in New England does not begin until June. These May-day performances, however, were originally no children's custom; in this, as in so many other respects, the children have only proved more conservative of old habit than their elders. There can be no doubt that these are the survivals of the ancient processions of Ceres, Maia, Flora, or by whatever other name the "good goddess," the patroness of the fertile earth, was named, in which she was solemnly borne forth to view and bless the fields. The queen of May herself represents the mistress of Spring; she seems properly only to have overlooked the games in which she took no active part.[24] A writer of the fifteenth century thus describes the European custom of his day: "A girl adorned with precious garments, seated on a chariot filled with leaves and flowers, was called the queen of May; and the girls who accompanied her as her handmaidens, addressing the youths who passed by, demanded money for their queen. This festivity is still preserved in many countries, especially Spain." The usage survives in the dolls which in parts of England children carry round in baskets of flowers on May-day, requesting contributions. Of this custom a very poetical example, not noticed by English collectors, has fallen under our own observation. We will suppose ourselves in Cornwall on May-day; the grassy banks of the sunken lanes are gay with the domestic blooms dear to old poetry; the grass is starry with pink and white daisies; the spreading limbs of the beech are clad in verdure, and among the budding elms of the hedge-rows "birds of every sort" "send forth their notes and make great mirth." A file of children, rosy-faced boys of five or six years, is seen approaching; their leader is discoursing imitative music on a wooden fife, to whose imaginary notes the rest keep time with dancing steps. The second and third of the party carry a miniature ship; its cargo, its rigging, are blooms of the season, bluebells and wall-flowers; the ship is borne from door to door, where stand the smiling farmers and their wives; none is too poor to add a penny to the store. As the company vanishes at the turn of the lane, we feel that the merriment of the children has more poetically rendered the charm of the season than even the song of the birds. There is in America no especial song of the festival, though children at the May parties of which we have spoken still keep up the "springing and leaping" which mediæval writers speak of as practised by them at this occasion. Popular songs are, however, still remembered in Europe, where their burden is, May has come! or, Welcome to May! Pleasing and lyric is the song of the "Trimazos," the lay of the processions of girls to which we have alluded, though its simplicity becomes more formal in our version of the provincial French: It is the merry month of May, Winter has taken flight; I could not keep my heart at home that bounded for delight: And as I went, and as I came, I sang to the season gay, It is the May, the merry May, the merry month of May! E'en as I came the meadows by, the wheat-fields have I seen, The hawthorn branches all a-flower, the oat-fields growing green; O Trimazos! It is the May, the merry May, the merry month of May! Madam, I thank you for your coin, and for your courtesy; It is for Mary and her Babe, and it is not for me: But I will pray the Child for you to whom your gift is given, That he return it you again more royally in heaven. So, in the Vosges, young girls fasten a bough of laurel to the hat of a young man whom they may meet on the way, wishing That God may give him health and joy, And the love that he loves best: Take the May, the lovely May. They ask a gift, but not for themselves: It shall be for the Virgin Mary, So good and so dear: Take the May, the lovely May. Corresponding to the French song from which we have quoted is the English May carol, similarly sung from dwelling to dwelling: Rise up the mistress of this house, with gold along your breast, For the summer springs so fresh, green, and gay; And if your body be asleep, we hope your soul's at rest, Drawing near to the merry month of May. God bless this house and harbor, your riches and your store, For the summer springs so fresh, green, and gay; We hope the Lord will prosper you, both now and evermore, Drawing near to the merry month of May. The frequent allusions of the earlier English poets to "doing May observance," or the "rite of May," show us how all ranks of society, in their time, were still animated by the spirit of those primitive faiths to which we owe much of our sensibility to natural impressions. Milton himself, though a Puritan, appears to approve the usages of the season, and even employs the ancient feminine impersonation of the maternal tenderness and bounty of nature, invoking the month: The flow'ry May, who from her green lap throws The yellow cowslip and the pale primrose. Hail, bounteous May, that dost inspire Mirth and youth, and warm desire; Woods and groves are of thy dressing, Hill and dale doth boast thy blessing. Thus we salute thee with our early song, And welcome thee, and wish thee long. Time, and the changes of taste, have at last proved too strong for the persistency of custom; the practices by which blooming youth expressed its sympathy with the bloom of the year have perished, taking with them much of the poetry of the season, and that inherited sentiment which was formerly the possession of the ignorant as well as of the cultivated class. IV. _THE INVENTIVENESS OF CHILDREN._ In the days of childhood new, When Time had years and ours were few, Here on grassy fields at play, Ran we this, the other way; On this very meadow-ground First violets found, Where the cattle graze to-day. _Minnesinger, 13th Century._ The student of popular traditions is accustomed to recognize the most trifling incidents of a tale, or the phrases of a song, as an adaptation of some ancient or foreign counterpart, perhaps removed by an interval of centuries. It is the same with rhymes of the sort included in this collection, in which formulas of sport, current in our own day and in the New World, will be continually found to be the legacy of other generations and languages. Should we then infer that childhood, devoid of inventive capacity, has no resource but mechanical repetition? We may, on the contrary, affirm that children have an especially lively imagination. Observe a little girl who has attended her mother for an airing in some city park. The older person, quietly seated beside the footpath, is half absorbed in revery; takes little notice of passers-by, or of neighboring sights or sounds, further than to cast an occasional glance which may inform her of the child's security. The other, left to her own devices, wanders contented within the limited scope, incessantly prattling to herself; now climbing an adjoining rock, now flitting like a bird from one side of the pathway to the other. Listen to her monologue, flowing as incessantly and musically as the bubbling of a spring; if you can catch enough to follow her thought, you will find a perpetual romance unfolding itself in her mind. Imaginary personages accompany her footsteps; the properties of a childish theatre exist in her fancy; she sustains a conversation in three or four characters. The roughnesses of the ground, the hasty passage of a squirrel, the chirping of a sparrow, are occasions sufficient to suggest an exchange of impressions between the unreal figures with which her world is peopled. If she ascends, not without a stumble, the artificial rockwork, it is with the expressed solicitude of a mother who guides an infant by the edge of a precipice; if she raises her glance to the waving green overhead, it is with the cry of pleasure exchanged by playmates who trip from home on a sunshiny day. The older person is confined within the barriers of memory and experience; the younger breathes the free air of creative fancy. A little older grown, such a child becomes the inventor of legend. Every house, every hill in the neighborhood, is the locality of an adventure. Every drive includes spots already famous in supposed history, and passes by the abodes of fancied acquaintances. Into a land with few traditions the imagination of six years has introduced a whole cycle of romance. If the family or vicinity contains a group of such minds, fancy takes outward form in dramatic performance. The school history is vitalized into reality; wars are waged and battles performed in a more extended version, while pins and beans signify squadrons and regiments. Romances are acted, tales of adventure represented with distribution of rôles. Thus, in a family of our acquaintance, the children treasured up wood-engravings, especially such as were cut from the illustrated journals: runaway horses, Indian chiefs, and trappers of the wilderness were at an especial premium. These they stored in boxes, encamped in different corners of the room, and performed a whole library of sensational tales. A popular piece set forth the destruction of the villain of the story by a shark, while navigating a _catamaran_. The separated beds of the sleeping-room represented the open planks of the raft; the gentlest and most compliant character personified the malefactor; and the shark swam between the bedsteads. Where sports require or allow such freedom, the ingenuity of children puts to shame the dulness of later years, and many a young lady of twenty would find it impossible to construct the dialogue which eight summers will devise without an effort. It was a favorite amusement of two girls just entering their teens to conduct a boarding-school. The scholars and the teachers of the imaginary school were all named, and these characters were taken in dialogue by the little actors, each sustaining several perfectly well-defined parts. The pupils pursued their pleasures and their studies according to their several tastes; while their progress, their individual accomplishments and offences, were subsequently gravely discussed by the instructors, and the condition, prospects, and management of the institution talked over. Thus, hour after hour, without hesitation or weariness, the conversation proceeded, with the duo of friends for actors and audience! Oftentimes, with young children, an outward support is required for fancy, an object to be mentally transformed. One set of little girls collected in the fall birch-leaves, changed to yellow, out of which alone they created their little nursery. Another party employed pins, which they inserted in a board, and called pin-fairies. By the aid of these, long dramatizations were performed, costumes devised, and palaces decorated, under regulations rigidly observed. Such exercises of imagination are usually conducted in strict privacy, and unremarked, or not understood, by parents; but when the attention of the latter is directed to these performances, they are often astonished by the readiness they disclose, and are apt to mistake for remarkable talent what is only the ease of the winged fancy of youth, which flies lightly to heights where later age must laboriously mount step by step. As infancy begins to speak by the free though unconscious combination of linguistic elements, so childhood retains in language a measure of freedom. A little attention to the jargons invented by children might have been serviceable to certain philologists. Their love of originality finds the tongue of their elders too commonplace; besides, their fondness for mystery requires secret ways of communication. They therefore often create (so to speak) new languages, which are formed by changes in the mother-speech, but sometimes have quite complicated laws of structure, and a considerable arbitrary element. The most common of these, which are classified by young friends under the general name of _gibberish_, goes in New England by the name of "Hog Latin." It consists simply in the addition of the syllable _ery_, preceded by the sound of hard _g_, to every word. Even this is puzzling to older persons, who do not at first perceive that "Wiggery youggery goggery wiggery miggery" means only "Will you go with me!" Children sometimes use this device so perpetually that parents fear lest they may never recover the command of their native English. When it ceases to give pleasure, new dialects are devised. Certain young friends of ours at first changed the termination thus--"Withus yoovus govus withus meevus?" which must be answered, "Ivus withus govus withus yoovus;" the language, seemingly, not admitting a direct affirmative. The next step was to make a more complicated system by prefixing a _u_ (or _oo_) sound with a vowel suffix. Thus, "Will you go with me to lunch?" would be "Uwilla uoa ugoa uwitha umea utoa uluncha?" But this contrivance, adopted by all the children of a neighborhood,[25] was attended with variations incapable of reduction to rule, but dependent on practice and instinct. The speech could be learned, like any other, only by experience; and a little girl assured us that she could not comprehend a single word until, in the course of a month, she had learned it by ear. She added, in regard to a particular dialect, that it was much harder than French, and that her brother had to think a great deal when he used it. The application of euphonic rules was more or less arbitrary. Thus, _understand_ would be _uery-uinste_. The following will answer for a specimen of a conversation between a child and a nurse who has learned the tongue: "Uery uisy uemy uity?" "Up-stairs, on the screen in your room." The child had asked, "Where is my hat?" A group of children living near Boston invented the _cat language_, so called because its object was to admit of free intercourse with cats, to whom it was mostly talked, and by whom it was presumed to be comprehended. In this tongue the cat was naturally the chief subject of nomenclature; all feline positions were observed and named, and the language was rich in such epithets, as Arabic contains a vast number of expressions for _lion_. Euphonic changes were very arbitrary and various, differing for the same termination; but the adverbial ending _ly_ was always _osh_; _terribly_, _tirriblosh_. A certain percentage of words were absolutely independent, or at least of obscure origin. The grammar tended to Chinese or infantine simplicity; _ta_ represented any case of any personal pronoun. A proper name might vary in sound according to the euphonic requirement of the different Christian-names by which it was preceded. There were two dialects, one, however, stigmatized as _provincial_. This invention of language must be very common, since other cases have fallen under our notice in which children have composed dictionaries of such. It would be strange if children who exhibit so much inventive talent did not contrive new games; and we find accordingly that in many families a great part of the amusements of the children are of their own devising. The earliest age of which the writer has authentic record of such ingenuity is two and a half years. Considering the space which our Indian tribes occupy in the imagination of young Americans, it is remarkable that the red man has no place whatever in the familiar and authorized sports. On the other hand, savage life has often furnished material for individual and local amusements. Near the country place of a family within our knowledge was a patch of brushwood containing about forty acres, and furnishing an admirable ground for savage warfare. Accordingly, a regular game was devised. The players were divided into Indians and hunters, the former uttering their war-cry in such dialect as youthful imagination regarded as aboriginal. The players laid ambushes for each other in the forest, and the game ended with the extermination of one party or the other. This warfare was regulated by strict rules, the presentation of a musket at a fixed distance being regarded as equivalent to death. In a town of Massachusetts, some thirty years since, it was customary for the school-girls, during recess, to divide themselves into separate tribes. Shawls spread over tent-poles represented Indian lodges, and a girl always resorted to her allotted habitation. This was kept up for the whole summer, and carried out with such earnestness that girls belonging to hostile tribes, though otherwise perfectly good friends, would often not speak to each other for weeks, in or out of school. In the same town was a community of "Friends," or "Quakers." It was the custom for children of these to play at meeting. Sitting about the room on a "First-day" gathering, one of them would be moved by the spirit, rise, and exhort in the sing-song tone common to the meeting-house. There was a regular formula for this amusement--a speech which the children had somewhere heard and found laughable: "My de-ar friends, I've been a thinking and a thinking and a thinking; I see the blinking and the winking; pennyroyal tea is very good for a cold." A young lady of our acquaintance, as a child, invented a game of pursuit, which she called Spider and Fly. The Flies, sitting on the house-stairs, buzzed in and out of the door, where they were exposed to the surprise of the Spider. The children of the neighborhood still maintain the sport, which is almost the exact equivalent of a world-old game whose formula is given in our collection. We need not go on to illustrate our thesis. But it remains true that the great mass of the sports here presented are not merely old, but have existed in many countries, with formulas which have passed from generation to generation. How are we to reconcile this fact with the quick invention we ascribe to children? The simple reason why the amusements of children are inherited is the same as the reason why language is inherited. It is the necessity of general currency, and the difficulty of obtaining it, which restricts the variation of one and of the other. If a sport is familiar only to one locality or one set of children, it passes away as soon as the youthful fancy of that region grows weary of it. Besides, the old games, which have prevailed and become familiar by a process of natural selection, are usually better adapted to children's taste than any new inventions can be; they are recommended by the quaintness of formulas which come from the remote past, and strike the young imagination as a sort of sacred law. From these causes, the same customs have survived for centuries through all changes of society, until the present age has involved all popular traditions, those of childhood as of maturity, in a general ruin. V. _THE CONSERVATISM OF CHILDREN._ Here, as girl's duty is, Timarete lays down her cymbals, Places the ball that she loved, carries the net of her hair; Maiden, and bride to be, her maids[26] to maid Artemis renders, And with her favorites too offers their various wardrobe. _Greek Anthology._ As the light-footed and devious fancy of childhood, within its assigned limits, easily outstrips the grave progress of mature years, so the obedience of children is far more scrupulous not to overstep the limits of the path. It is a provision of nature, in order to secure the preservation of the race, that each generation should begin with the unquestioning reception of the precepts of that which it follows. No deputy is so literal, no nurse so Rhadamanthine, as one child left in charge of another. The same precision appears in the conduct of sports. The formulas of play are as Scripture, of which no jot or tittle is to be repealed. Even the inconsequent rhymes of the nursery must be recited in the form in which they first became familiar; as many a mother has learned, who has found the versions familiar to her own infancy condemned as inaccurate, and who is herself sufficiently affected by superstition to feel a little shocked, as if a sacred canon had been irreligiously violated. The life of the past never seems so comprehensible, and the historic interval never so insignificant, as when the conduct and demeanor of children are in question. Of all human relations, the most simple and permanent one is that of parent and child. The loyalty which makes a clansman account his own interests as trifling in comparison with those of his chieftain, or subjects consider their own prosperity as included in their sovereign's, belongs to a disappearing society; the affection of the sexes is dependent, for the form of its manifestation, on the varying usages of nations; but the behavior of little children, and of their parents in reference to them, has undergone small change since the beginnings of history. Homer might have taken for his model the nursery of our own day, when, in the words of Achilles' rebuke to the grief of Patroclus, he places before us a Greek mother and her baby-- Patroclus, why dost thou weep, like a child too young to speak plainly, A girl who runs after her mother, and cries in arms to be taken, Catching hold of her garment, and keeping her back from her errand, Looking up to her tearful, until she pauses and lifts her? And the passage is almost too familiar to cite-- Hector the radiant spoke, and reached out his arms for the baby; But the infant cried out, and hid his face in the bosom Of his nurse gayly-girdled, fearing the look of his father, Scared by the gleam of the bronze, and the helmet crested with horse-hair, Dreading to see it wave from the lofty height of the forehead. In the same manner, too, as the feelings and tastes of children have not been changed by time, they are little altered by civilization, so that similar usages may be acceptable both to the cultivated nations of Europe and to the simpler races on their borders. It is natural, therefore, that the common toys of children should be world-old. The tombs of Attica exhibit dolls of classic or ante-classic time, of ivory or terra-cotta, the finer specimens with jointed arms or legs. Even in Greece, as it seems, these favorites of the nursery were often modelled in wax; they were called by a pet name, indicating that their owners stood to them in the relation of mamma to baby; they had their own wardrobes and housekeeping apparatus. The Temple of Olympian Zeus at Elis contained, says Pausanias, the little bed with which Hippodamia had played. But the usage goes much further back. Whoever has seen the wooden slats which served for the cheaper class of the dolls of ancient Egypt, in which a few marks pass for mouth, nose, and eyes, will have no difficulty in imagining that their possessors regarded them with maternal affection, since all the world knows that a little girl will lavish more tenderness on a stuffed figure than on a Paris doll, the return of affection being proportional to the outlay of imagination. When Greek and Roman girls had reached an age supposed to be superior to such amusements, they were expected to offer their toys on the altar of their patroness, to whatever goddess might belong that function, Athene or Artemis, Diana or Venus Libitina. If such an act of devotion was made at the age of seven years, as alleged, one can easily understand that many a child must have wept bitterly over the sacrifice. To this usage refers the charming quatrain, a version of which we have set as the motto of our chapter. Children's rattles have from the most ancient times been an important article of nursery furniture. Hollow balls containing a loose pebble, which served this purpose, belong to the most ancient classic times. These "rattles," however, often had a more artistic form, lyre-shaped with a moving plectrum; or the name was used for little separate metallic figures--"charms," as we now say--strung together so as to jingle, and worn in a necklace. Such were afterwards preserved with great care; in the comic drama they replace the "strawberry mark" by which the father recognizes his long-lost child. Thus, in the "Rudens" of Plautus, Palæstra, who has lost in shipwreck her casket, finds a fisherman in possession of it, and claims her property. Both agree to accept Dæmones, the unknown father of the maiden, as arbiter. Dæmones demands, "Stand off, girl, and tell me, what is in the wallet?" "Playthings."[27] "Right, I see them; what do they look like?" "First, a little golden sword with letters on it." "Tell me, what are the letters?" "My father's name. Then there is a two-edged axe, also of gold, and lettered; my mother's name is on the axe.... Then a silver sickle, and two clasped hands, and a little pig, and a golden heart, which my father gave me on my birthday." "It is she; I can no longer keep myself from embracing her. Hail, my daughter!" In the ancient North, too, children played with figures of animals. The six-year-old Arngrim is described in a saga as generously making a present of his little brass horse to his younger brother Steinolf; it was more suitable to the latter's age, he thought. The weapons of boys still preserve the memory of those used by primitive man. The bow and arrow, the sling, the air-gun, the yet more primeval club or stone, are skilfully handled by them. Their use of the top and ball has varied but little from the Christian era to the present day. It is, therefore, not surprising that many games are nearly the same as when Pollux described them in the second century.[28] Yet it interests us to discover that not only the sports themselves, but also the words of the formulas by which they are conducted, are in certain cases older than the days of Plato and Xenophon.[29] We have already set forth the history contained in certain appellations of the song and dance. If the very name of the _chorus_ has survived in Europe to the present day, so the character of the classic round is perpetuated in the ring games of modern children. Only in a single instance, but that a most curious one, have the words of a Greek children's round been preserved. This is the "tortoise-game," given by Pollux, and we will let his words speak for themselves: "The _tortoise_ is a girl's game, like the _pot_; one sits, and is called _tortoise_. The rest go about asking: "O torti-tortoise, in the ring what doest thou?" She answers: "I twine the wool, and spin the fine Milesian thread." The first again: "Tell us, how was it that thy offspring died?" To which she says: "He plunged in ocean from the backs of horses white." Our author does not tell us how the game ended; but from his comparison to the "pot-game"[30] we conclude that the tortoise immediately dives into the "ocean" (the ring) to catch whom she can. This quaint description shows us that the game-formulas of ancient times were to the full as incoherent and obscure as those of our day frequently are. The alliterative name of the tortoise,[31] too, reminding us of the repetitions of modern nursery tales, speaks volumes for the character of Greek childish song. Kissing games, also, were as familiar in the classic period as in later time; for Pollux quotes the Athenian comic poet Crates as saying of a coquette that she "plays kissing games in rings of boys, preferring the handsome ones." It must be confessed, however, that we can offer nothing so graceful as the cry with which Greek girls challenged each other to the race, an exclamation which we may render, "Now, fairies!"[32]--the maidens assuming for the nonce the character of the light-footed nymphs of forest or stream. Coming down to mediæval time, we find that the poets constantly refer to the life of children, with which they have the deepest sympathy, and which they invest with a bright poetry, putting later writers to shame by comparison. That early period, in its frank enjoyment of life, was not far from the spirit of childhood. Wolfram of Eschenbach represents a little girl as praising her favorite doll: None is so fair As my daughter there. The German proverb still is "Happy as a doll." It has been remarked how, in all times, the different sex and destiny of boys and girls are unconsciously expressed in the choice and conduct of their pleasures. "Women," says a writer of the seventeenth century, "have an especial fondness for children. That is seen in little girls, who, though they know not so much as that they are maids, yet in their childish games carry about dolls made of rags, rock them, cradle them, and care for them; while boys build houses, ride on a hobby-horse, busy themselves with making swords and erecting altars." Like causes have occasioned the simultaneous disappearance of like usages in countries widely separated. In the last generation children still sang in our own towns the ancient summons to the evening sports-- Boys and girls, come out to play, The moon it shines as bright as day; and similarly in Provence, the girls who conducted their ring-dances in the public squares, at the stroke of ten sang: Ten hours said, Maids to bed. But the usage has departed in the quiet cities of Southern France, as in the busy marts of America. It is much, however, to have the pleasant memory of the ancient rules which youth established to direct its own amusement, and to know that our own land, new as by comparison it is, has its legitimate share in the lore of childhood, in considering which we overleap the barriers of time, and are placed in communion with the happy infancy of all ages. Let us illustrate our point, and end these prefatory remarks, with a version of the description of his own youth given by a poet of half a thousand years since--no mean singer, though famous in another field of letters--the chronicler Jean Froissart. He regards all the careless pleasures of infancy as part of the unconscious education of the heart, and the thoughtless joy of childhood as the basis of the happiness of maturity; a deep and true conception, which we have nowhere seen so exquisitely developed, and which he illuminates with a ray of that genuine genius which remains always modern in its universal appropriateness, when, recounting the sports of his own early life,[33] many of which we recognize as still familiar, he writes: In that early childish day I was never tired to play Games that children every one Love until twelve years are done; To dam up a rivulet With a tile, or else to let A small saucer for a boat Down the purling gutter float; Over two bricks, at our will, To erect a water-mill; And in the end wash clean from dirt, In the streamlet, cap and shirt. We gave heart and eye together To see scud a sailing feather; After I was put to school, Where ignorance is brought to rule, _There were girls as young as I_; _These I courted, by-and-by_, _Little trinkets offering-- A pear, an apple, or glass ring_; For their favor to obtain Seemed great prowess to me then, _And, sober earnest, so it is_. And now and then it pleased us well To sift dust through a piercèd shell On our coats; or in time ripe, To cut out a wheaten pipe. In those days for dice and chess Cared we busy children less Than mud pies and buns to make, And heedfully in oven bake Of four bricks; and when came Lent, Out was brought a complement Of river-shells, from secret hold, Estimated above gold, To play away, as I thought meet, With the children of our street; And as they tossed a counter, I Stood and shouted, "Pitch it high!" When the moon was shining bright We would play in summer night _Pince-merine_; and time so passed, I was more eager at the last Than outset, and I thought it shame When I was made to stop my game. More to tell, we practised too The sport entitled _Queue loo loo_,[34] _Hook_, _Trottot Merlot_, _Pebbles_, _Ball_; And when we had assembled all, _Pears_, swiftly running; or were lief To play at _Engerrant the Thief_. Now and then, for a race-course, Of a staff we made a horse, And called him _Gray_; or, in knight's guise, We put our caps on helmet-wise; And many a time, beside a maid, A mimic house of shells I made. Upon occasions we would choose _The one who hit me I accuse_, _Take Colin off_; and by-and-by Selected _King who does not lie_, _Ring_, _Prison-bars_; or were content, When in-doors, with _Astonishment_, _Oats_, _Scorn_, or _Riddles_; nor forget _Replies_, and _Grasses_, _Cligne-musette_, _Retreat_, and _Mule_, and _Hunt the Hare_; _Leaping_ and _Palm-ball_ had their share, _Salt Cowshorn_, and _Charette Michaut_; And oftentimes we chose to throw Pebbles or pence against a stake; Or small pits in the ground would make, And play at nuts, which he who lost, His pleasure bitterly was crossed. To drive a top was my delight From early morning until night; Or to blow, single or double, Through a tube a bright soap-bubble, Or a batch of three or four, To rejoice our eyes the more. Games like these, and more beside, Late and early have I plied. Followed a season of concern; Latin I was made to learn; And if I missed, I was a dunce, And must be beaten for the nonce. So manners changed, as hands severe Trained me to knowledge and to fear. Yet lessons done, when I was free, Quiet I could never be, But fought with my own mates, and thus Was vanquished or victorious; And many a time it was my fate To come home in a ragged state And meet reproof and chastisement; But, after all, 'twas pains misspent; For, let a comrade come in sight, That moment I had taken flight, And none could hinder; in that hour Pleasure unto me was power, Though oft I found, as I find still, The two inadequate to my will. Thus I did the time employ-- So may Heaven give me joy-- That all things tended to my pleasure, Both my labor and my leisure, Being alert and being still; Hours had I at my own will. Then a wreath of violets, To give maids for coronets, Was to me of more account Than the present of a count, Twenty marks, would be to-day; I had a heart content and gay, And a soul more free and light Than the verse may well recite. So, to fashion form and feature, Co-operated Love and Nature: Nature made the body strong, And forces that to Love belong, Soft and generous the heart; Truly, if in every part Of the body soul did live, I should have been sensitive! Not a splendor upon earth I esteemed so seeing-worth As clustered violets, or a bed Of peonies or roses red. When approached the winter-time, And out-of-doors was cold and rime, No loss had I what to do, But read romances old and new, And did prefer, the rest above, Those of which the theme was love, Imagining, as on I went, Everything to my content. Thus, since infantine delight Oft inclines the heart aright, After his own living form Love my spirit did inform, And pleasure into profit turned; For the fortitude I learned, And the soul of high emprise, Hath such merit in my eyes, That its worth and preciousness Words of mine cannot express. FOOTNOTES: [1] Boston. [2] See Nos. 40 and 58. [3] See No. 21. [4] See No. 2. [5] See No. 1. [6] More than three fourths of all children's games in the German collections are paralleled (it may be in widely varying forms) in the present volume. Allowing for the incompleteness of collections, the resemblance of French games is probably nearly as close. The case is not very different in Italy and Sweden, so far at least as concerns games of any dramatic interest. Not till we come to Russia, do we find anything like an independent usage. Taken altogether, our American games are as ancient and characteristic as any, and throw much light on the European system of childish tradition. [7] See Nos. 150-153. [8] Barley-break. See No. 101. [9] No. 90. [10] It must be remembered that in mediæval Europe, and in England till the end of the seventeenth century, a kiss was the usual salutation of a lady to a gentleman whom she wished to honor. The Portuguese ladies who came to England with the Infanta in 1662 were not used to the custom; but, as Pepys says, in ten days they had "learnt to kiss and look freely up and down." Kissing in games was, therefore, a matter of course, in all ranks. [11] Mme. �lisabeth-Félicie Bayle-Mouillard, who wrote under this pseudonym, had in her day a great reputation as a writer on etiquette. Her "Manuel Complet de la Bonne Compagnie" reached six editions in the course of a few years, and was published in America in two different translations--at Boston in 1833, and Philadelphia in 1841. [12] See Nos. 10 and 36. [13] See No. 154, and note. [14] _Ballad_, _ballet_, _ball_, from _ballare_, to dance. [15] See Nos. 12-17. [16] Yet there is no modern English treatise on the history of the ballad possessing critical pretensions. It is to the unselfish labors of an American--Professor Francis J. Child, of Harvard University--that we are soon to owe a complete and comparative edition of English ballads. [17] In the country, in Massachusetts, _Thanksgiving_ evening was the particular occasion for these games. [18] The feast of _Flora_, says Pliny, in order that everything should _flower_. [19] So in Southern France-- "Catherine, ma mie--reveille-toi, s'il vous plaît; Regarde à ta fenêtre le mai et le bouquet." [20] "On May-day eve, young men and women still continue to play each other tricks by placing branches of trees, shrubs, or flowers under each other's windows, or before their doors."--Harland, "Lancashire Folk-lore." [21] The "Shepheards Calender" recites how, in the month of May, Youngthes folke now flocken in every where, To gather _May-buskets_ and smelling brere; And home they hasten the postes to dight, And all the kirk-pillours eare day-light, With hawthorn buds, and sweete eglantine, And girlonds of roses, and soppes in wine. "Sops in wine" are said to be pinks. [22] See Nos. 23, 26, and 160. [23] "In summer season howe doe the moste part of our yong men and maydes in earely rising and getting themselves into the fieldes at dauncing! What foolishe toyes shall not a man see among them!"--"Northbrooke's Treatise," 1577. [24] As I have seen the lady of the May Set in an arbour (on a holy-day) Built by the May-pole. --Wm. Browne. [25] In Cincinnati. [26] The same Greek word, _kora_, signifies _maiden_ and _doll_. [27] _Crepundia_; literally, _rattles_. [28] See Nos. 105 and 108. [29] See Nos. 91, 92, and 93. [30] "The _pot-game_--the one in the middle sits, and is called a _pot_; the rest tweak him, or pinch him, or slap him while running round; and whoever is caught by him while so turning takes his place." We might suppose the disconnected verse of the "tortoise-game" to be imitated, perhaps in jest, from the high-sounding phrases of the drama. [31] "Cheli-chelone," _torti-tortoise_. [32] "Phitta Meliades." [33] Froissart's account of the school he attended reminds us of the American _district school_, and his narration has the same character of charming simplicity as his allusion to playing _with the boys of our street_. [34] For the games here mentioned, compare note in Appendix. GAMES AND SONGS OF AMERICAN CHILDREN I. _LOVE-GAMES._ --Many a faire tourning, Upon the grene gras springyng. _The Romaunt of the Rose._ No. 1. _Knights of Spain._ This ancient and interesting, now nearly forgotten, game was in the last generation a universal favorite in the United States, imported, no doubt, by the early settlers of the country; and was equally familiar, in numerous variations, through England and Scotland. It is not, however, the exclusive property of English-speaking peoples, but current under a score of forms throughout Europe--from Latin France, Italy, and Spain, to Scandinavian Iceland, from the Finns of the Baltic coast to the Slavs of Moravia. Its theme is courtship; but courtship considered according to ancient ideas, as a mercantile negotiation. To "buy" a bride was the old Norse expression for marriage, and in a similar sense is to be understood the word "sold" in our rhyme. The frankly mercenary character of the original transaction ceasing to be considered natural, it was turned into a jest or satire in Sweden and Scotland. The present song assumed all the grace and courtesy characteristic of the mediæval English ballad, while a primitive form survived in Iceland; and a later outgrowth (our No. 3) represented the whole affair as one of coquetry instead of bargaining, substituting, for the head of the house or the mother, the bride herself as the negotiator. Our first version shows the form of the game as played in New York in the early part of the century. * * * * * On a sofa, or row of chairs, a mother, with her daughters on either side, seated. Advance three suitors. "Here come three lords out of Spain, A-courting of your daughter Jane." "My daughter Jane is yet too young, To be ruled by your flattering tongue." "Be she young, or be she old, 'Tis for the price she may be sold. "So fare you well, my lady gay, We must turn another way." "Turn back, turn back, you Spanish knight, And scour your boots and spurs so bright." "My boots and spurs they cost you nought, For in this land they were not bought. "Nor in this land will they be sold, Either for silver or for gold. "So fare you well, my lady gay, We must turn another way." "Turn back, turn back, you Spanish knight, And choose the fairest in your sight." "I'll not take one nor two nor three, But pray, Miss [Lucy], walk with me." The Spanish knight takes the girl named by the hand, and marches off with her. Walking round the room, he returns, saying, "Here comes your daughter safe and sound, In her pocket a thousand pound, "On her finger a gay gold ring-- I bring your daughter home again." In Philadelphia the game had a peculiar ending, which, however, as we shall see, preserved, though in a corrupt form, an ancient trait: "Here comes your daughter safe and sound, In her pocket a thousand pound, "On her finger a gay gold ring: Will you take your daughter in?" "No!" The girl then runs away, the mother pursuing her. The Spanish knight catches her, and brings her back, saying, "Here comes your daughter safe and sound, In her pocket _no_ thousand pound, On her finger _no_ gay gold ring, Will you take your daughter in?" "Yes!" The daughter then once more flies, and the Spanish knight has to catch her. The following is a New England version: "We are three brethren from Spain, Come to court your daughter Jane." "My daughter Jane is yet too young To be courted by your flattering tongue." "Be she young, or be she old, It is for gold she must be sold. Then fare ye well, my lady gay, I must return another day." "Come back, come back, you Spanish knight, Your boots and spurs shine very bright." "My boots and spurs they count you nought, For in this town they were not bought." "Come back, come back, you Spanish knight, And choose the fairest in your sight." "This is too black, and that is too brown, And this is the fairest in the town." The only part of the country, so far as we know, in which the game now survives is the neighborhood of Cincinnati, where it is still played in a reduced but original form: "Here comes a knight, a knight of Spain, To court your daughter, lady Jane." "My lady Jane, she is too young, To be controlled by flattering tongue." "Be she young or be she old, Her beauty's fair, she must be sold." "Go back, go back, you Spanish man, And choose the fairest in the land." "The fairest one that I can see, Is [Annie Hobart] to walk with me." The game now proceeds, "Here come two knights," then with three, four, etc., till all the players are mated.[35] It will be proper to add some account of the comparative history of this curious game. The English and Scotch versions, though generally less well preserved, correspond to our American. But we find a more primitive type in Iceland, where it is, or a few years ago was, an amusement of winter evenings, played not by children, but by men and women, in a form which indicates a high antiquity. The women ask the men, as these advance, what they desire? The latter reply, "a maid," that is, wife. The inquiry now is, what will they give? It is answered, _stone_. This tender is scornfully refused, and the suitors retire in dudgeon, but return to raise their offer, and at last proffer _gold_, which is accepted, and the controversy ends in a dance.[36] Curiously enough, modern Scotland retains this song in nearly all the rude simplicity of the Icelandic just referred to; though the negotiation, instead of being taken as a matter of course, is turned into a satire, being treated as the endeavor of a rich old bachelor to purchase a wife. In the stewartry of Kirkendbright, says Chambers, _Janet jo_ is a dramatic entertainment among young rustics on winter evenings. A youth, disguised as an old bachelor, enters the room bonnet in hand, bowing, and declaring that "he has come to court Janet jo." The goodwife then demands, "What'll ye gie for Janet jo?" He responds, a "peck of siller," but is told, "Gae awa', ye auld carle!" He retires, but soon returns, and increases his offer, which is less scornfully rejected, until he proffers "three pecks of gowd," which is accepted with the words-- "Come ben beside Janet jo, Janet jo, Janet jo, Ye're welcome to Janet jo, Janet, my jo." The affair then ends in kissing. A comparison of details (such as the diminishing scorn of the bargainer, and chagrin of the suitors at each rejection) leaves no doubt that the Icelandic and Scotch forms of the game were once (but many centuries since) identical. The German versions are numerous, but corrupt, and less ancient and characteristic. In one of the most spirited the mother assigns as a reason for refusing the suitor, that Her tresses are not braided, Her wedding-gown not done. Similarly, we find in an English fragment, My mead's not made, my cake's not baked, And you cannot have my daughter Jane. There is a French form, not otherwise especially interesting, which resembles our No. 3.[37] More striking than the preceding, and abounding in singular correspondences with the first three numbers of our own collection, is the Italian version, as played in Venice. In this game, one of the rows is composed of a boy, who represents the head of the house, and five or six girls who stand at his right and left. The other row is formed by the _ambassador_, whose suite consists of boys and girls. These last advance towards the first row, singing, "The ambassador is come," then, retreating, sing a chorus, "Olà, olà, olà." The conversation then proceeds in a rhythmical way between the two rows as follows: "What do you wish?" "A maid." "Which maid?" "The fairest." "Who is the fairest?" "Nineta bella." "What husband will you give her?" "A chimney-sweep." "That will not do." "The king of France." "That will do well." "What dowry will you give her?" "A ducat." "It will not do." "A zechin a day." "That will do well." "Come and take her." "Here I come and take her." The "ambassador" advances and takes the girl by the hand; then, as if changing his mind, rejects her, saying as he returns-- "And now I don't want her!" "Why do you not want her?" "She is too little (or ugly)." "Is that the trouble?" "Yes, that is the trouble." "Come, let us make peace." "Peace is made." The ambassador then takes by the hand the girl, who is presented to him by the head of the house; the two files unite to form a circle, and the bride receives the general congratulations of the company, who clap their hands, courtesy, and sing,[38] as in the pretty English equivalent-- And the bells will ring, and the birds will sing, And we'll all clap hands together. In Spain, the game is known as the "Embassy of the Moorish King." The "King of the Moors" is seated on the ground, with crossed legs, his attendants about him. The "ambassador" makes three steps forward, and demands one of his daughters. The king replies, "If I have them, I have them not to give away; of the bread which I eat, they shall eat as well." The ambassador withdraws angry: "In discontent I go from the king's palace." But the king, repenting, calls after him-- "Turn thee, knight, come, turn thee hither, The most fair I'll give to thee-- The most lovely and the sweetest, Sweetest rose upon the tree." The ambassador crosses hands with one of his train to make a seat, on which the bride is placed in triumph, singing-- "Thus I take her for her marriage, Spouse and wedded wife to be." The king addresses them on departure-- "Listen, knight, I do entreat thee, Use to her all courtesy." And the ambassadors reply-- "She, on throne of splendor seated, Shall be shining to behold, She shall lodge within a palace, She shall dress in pearls and gold." It will thus be seen that the three knights originally represent not suitors, but envoys. If we remember that marriage, in some simple countries, is still conducted through intermediaries, whose duty it is to argue, chaffer, and dispute, before coming to the decision all along intended, we shall see reason to believe that from a form representing more or less literally the usages of primitive society have sprung in the course of time a multitude of confused representations, colored by later tastes and feelings. The spirit and substance of the courteous and chivalric English rhyme cannot be later than the fourteenth century; the identity and primitive rudeness of the song in Iceland, Scotland (and, we shall presently add, Virginia), supposes an earlier date; while even then we have to bridge the gap between these forms and the Italian. We may, therefore, be tolerably sure that the first diffusion of the game in Europe dates far back into the Middle Age. No. 2. _Three Kings._ This antique rhyme, which comes to us from West Virginia, is a rude and remarkable variety of the preceding game, but quite unlike any English version hitherto printed. We find a singular and apparently connected equivalent in the Färöe isles. In the form of the dialogue there in use, as in the present game, the suitor is presented in successively higher characters, as a thrall, smith, and so on, until he is finally accepted as a prince. The Italian song has shown us a similar usage. Thus the surf-beaten rocks of the North Atlantic, with their scanty population of fishermen and shepherds, whose tongue is a dialect of the ancient Norse speech, are linked by the golden chain (or network) of tradition with the fertile vales of the Alleghenies, and the historic lagoons of Venice. The corrupt ending, too, compared with the Philadelphia version already cited, and with the Venetian game, is seen to rest on an ancient basis. The children, having forgotten the happy close, and not understanding the haggling of the suitors, took the "three kings" for bandits. * * * * * On one side of the room a mother with her daughters. On the other three wooers, who advance. "Here come three soldiers three by three, To court your daughter merrily; Can we have a lodging, can we have a lodging, Can we have a lodging here to-night?" "Sleep, my daughter, do not wake-- Here come three soldiers, and they sha'n't take; They sha'n't have a lodging, they sha'n't have a lodging, They sha'n't have a lodging here to-night." "Here come three sailors three by three, To court your daughter merrily; Can we have a lodging," etc. "Sleep, my daughter, do not wake-- Here come three sailors and they sha'n't take; They sha'n't have a lodging," etc. "Here come three tinkers three by three, To court your daughter merrily; Can we have a lodging," etc. "Sleep, my daughter, do not wake-- Here come three tinkers and they sha'n't take; They sha'n't have a lodging," etc. "Here come three kings, three by three, To court your daughter merrily; Can we have a lodging," etc. "Wake, my daughter, do not sleep-- Here come three kings, and they _shall_ take; They _shall_ have a lodging, they shall have a lodging, They shall have a lodging here to-night." (_To the kings_)-- "Here is my daughter safe and sound, And in her pocket five hundred pound, And on her finger a plain gold ring, And she is fit to walk with the king." (The daughter goes with the kings; but they are villains in disguise: they rob her, push her back to her mother, and sing)-- "Here is your daughter _not_ safe and sound, And in her pocket _not_ five hundred pound, And on her finger no plain gold ring, And she's not fit to walk with the king." (The mother pursues the kings, and tries to catch and beat them). _Charlestown, W. Va._ No. 3. _Here Comes a Duke._ This rhyme is only a later development of the same game. The suitor is now made to address himself directly to his mistress, and the mercenary character of the previous transaction is replaced by coquetry. Our New England song loses nothing by comparison with the pretty Scotch. A company of little girls sit in a row. A little girl from the middle of the room goes dancing up to the first one in the row, singing, "Here comes a duke a-roving, Roving, roving, Here comes a duke a-roving, With the ransy, tansy, tea! With the ransy, tansy, tario! With the ransy, tansy, tea! Pretty fair maid, will you come out, Will you come out, will you come out, To join us in our dancing?" Little girl answers, "No." Suitor steps backward, singing, "Naughty girl,[39] she won't come out, She won't come out, she won't come out, To join us in our dancing." Suitor advances as before. The answer now is, "Yes." These two now retire, singing together, "Now we've got the flowers of May, The flowers of May, the flowers of May, To join us in our dancing." They join hands and call out the next one in the row; thus the play goes on until the last is selected, when they form a ring, dance, and sing, "Now we've got the flowers of May, The flowers of May, the flowers of May, To join us in our dancing." _Concord, Mass._ Avulgarized form of the same game is common through the Middle States: _Boys._ "We are three _ducks_ a-roving, (thrice) _With a ransom dansom dee._" _Girls._ "What is your good-will, sir?" etc. _Boys._ "My good-will is to marry," etc. _Girls._ "Which one of us will you have, sir?" etc. _Boys._ "You're all too black and blowzy," etc. _Girls._ "We are as good as you, sir," etc. _Boys._ "Then I will take you, miss," etc. The pretended quarrel between intermediaries has here become a dispute of the principals.[40] Finally, in the streets of New York the dialogue is made unrecognizable-- _The Ring._ "Forty ducks are riding, _My dilsey dulsey officer_; Forty ducks are riding, _My dilsey dulsey day_. Which of the lot do you like best?" _Child in Centre._ "You're all too black and ugly--ugly," etc. _The Ring._ "We're not so black as you are," etc. The child then selects a partner, when the rest sing, "Open the gates and let the bride out," etc.; and the couple pass under lifted hands, circle the ring, and similarly reenter, to the words, "Open the gates and let the bride in," etc. We have thus a curious example of the way in which an apparently meaningless game, which might be supposed the invention of the _gamins_ of the street, is, in fact, a degenerate form of the ancient poetry, which was brimful of grace, courtesy, and the joy of existence. For a purpose presently to be mentioned, we must cite the corresponding Scotch rhyme, given by Chambers: A dis, a dis, a green grass, A dis, a dis, a dis; Come all ye pretty fair maids, And dance along with us. For we are going a-roving, A-roving in this land; We'll take this pretty fair maid, We'll take her by the hand. Ye shall get a duke, my dear, And ye shall get a drake; And ye shall get a young prince, A young prince for your sake. And if this young prince chance to die, Ye shall get another; The bells will ring, and the birds will sing, And we'll all clap hands together. No. 4. _Tread, Tread the Green Grass._ Tread, tread the green grass, Dust, dust, dust; Come all ye pretty fair maids And walk along with us. If you be a fair maid, As I suppose you be, I'll take you by the lily-white hand And lead you across the sea. _Philadelphia._ With this musical call to the dance, it was common, a generation since, for girls in this town to begin the evening dances on the green, singing as they marched in couples. The "dust" of the rhyme is a corruption. Comparing it with the Scotch song previously quoted, we do not doubt that it represents the Scotch (in other words, old English) _adist_, the opposite of _ayont_, meaning _this way_, come hither. We ought probably therefore to read, Tread, tread the green grass, Adist, adist, adist. This song was no mere dance of rustics; the children at least kept up the usage of the day when a pleasing popular poetry was the heritage of all ranks. The spirit of the strain carries us back to that "carolling" of ladies which was, in the time of Chaucer, no less than the gay green of the meadow or the melody of the birds, an accompaniment of summer. No. 5. _I'll Give to You a Paper of Pins._ This pretty and interesting, hitherto imprinted, children's song is more or less familiar throughout the Middle States. We have heard it with many variations from persons of all classes and ages. It may often be listened to in the upper part of the city of New York, as it is sung (with a mere apology for a melody) by three or four girls, walking with arms entwined, or crooned by mere infants seated on the casks which, in the poorer quarters, often encumber the sidewalk. There are also English and Scotch versions, generally inferior as regards poetical merit and antiquity of language. The English form, however, seems to contain the primitive idea, where the wooer appears as a prince, who by splendid presents overcomes the objections of a lady. This mercenary character being repugnant to modern taste, the Scotch rhyme represents the suitor as the Evil One in person; while in the United States the hero is, in his turn, made to cast off the avaricious fair, or else the lady to demand only love for love. The numerous couplets of the American rhyme are completely in the ballad style. A "paper of pins" is substituted for a "pennorth of pins." The "easy-chair" is modern, but the verse itself ancient, combing golden hair being a world-old occupation of beauties. The gown "trimmed with golden thread," or "set off with a golden crown," refers to the attire of olden times. The mediæval bride wore a crown on the head and flowing hair; a costume also mentioned in old ballads as the usual dress of a demoiselle of rank arrayed for the dance. "I'll give to you a paper of pins, And that's the way my love begins; If you will marry me, me, me, If you will marry me." "I don't accept your paper of pins, If that's the way your love begins; For I won't marry you, you, you, For I won't marry you." "I'll give to you an easy-chair, To sit in and comb your golden hair. "I'll give to you a silver spoon, To feed your babe in the afternoon. "I'll give to you a dress of green, To make you look like any queen.[41] "I'll give to you the key of my heart, For you to lock and never to part. "I'll give to you the key of my chest, For you to have money at your request." "I _do_ accept the key of your chest, For me to have money at my request; And I will marry you, you, you, And I will marry you." "Ha, ha, ha, money is all, And I won't marry you at all; For I won't marry you, you, you, For I won't marry you." This is from a New York child; our next version is from Connecticut: [Illustration] "Oh, miss, I'll give you a paper of pins, If you will tell me how love begins: If you will marry, marry, marry, If you will marry me." "I'll not accept your paper of pins, And I won't tell you how love begins; For I won't marry, marry, marry, For I won't marry you." "O miss, I'll give you a coach and six, Every horse as black as pitch. "O miss, I'll give you a red silk gown, With gold and laces hanging round. "O miss, I'll give you a little gold bell, To ring for the waiter[42] when you are not well. "O miss, I'll give you the key to my heart, That we may lock and never part. "O miss, I'll give you the key to my chest, That you may have money at your request." "I will accept the key of your chest, That I may have money at my request." "Ah, I see, money is all, Woman's love is none at all; And I won't marry, marry, marry, And I won't marry you." Finally, we have a variation with a more tender conclusion: "Will you have a paper of pins? For that's the way my love begins-- And will you marry me, me, me, And will you marry me?" "No, I'll not have a paper of pins, If that's the way your love begins." "Will you have a little lap-dog, Who may follow you abroad? "Will you have a coach and four, Footman behind and footman before? "Will you have a dress of red, All trimmed round with golden thread? "Will you have a satin gown, All set off with a golden crown? "Will you have the key to my chest, To draw out gold at your request? "Will you have the key to my heart, That we may love and never part?" "Yes, I will have the key to your heart, That we may love and never part, And I will marry you, you, you, And I will marry you." The same idea is contained in a song originally Scotch, but which comes to us (through an Irish medium) from Pennsylvania: "Will you come to the Highland braes, _Bonny lassie, Highland lassie_? Will you come to the Highland braes, _My bonny Highland lassie_?" The reply is, "Na, na, it will not dee, bonnie laddie," etc.: when the wooer gradually increases his offers: "I will give you a golden comb, If you will be mine and never roam;" and finally inquires, "Will you go to the kirk with me, There to be my wedded wife?" which is eagerly accepted: "_And them's the words away to town_, And I will get my wedding-gown." No. 6. _There She Stands, a Lovely Creature._ This pretty song has been recited to us by informants of the most cultivated class, and, on the other hand, we have seen it played as a round by the very "Arabs of the street," in words identically the same. It is an old English song, which has been fitted for a ring-game by the composition of an additional verse, to allow the selection of a partner. [Illustration] "There she stands, a lovely creature, Who she is, I do not know; I have caught her for her beauty,-- Let her answer, yes or no. "Madam, I have gold and silver, Lady, I have houses and lands, Lady, I have ships on the ocean, All I have is at thy command." "What care I for your gold and silver, What care I for your houses and lands, What care I for your ships on the ocean-- _All I want is a nice young man._" _New York._ No. 7. _Green Grow the Rushes, O!_ In former times, the amusements of young people at their winter-evening gatherings consisted almost entirely of "playing games." On such occasions the following rhyme was used (in eastern Massachusetts) about the beginning of the century, to select partners for the ring. Chairs were placed in a circle, and the players of one sex seated, so as to leave alternate vacant places, for which they chose occupants, singing-- "Green grow the rushes, O! Green grow the rushes, O! He who will my true love be, Come and sit by the side of me." Those waiting to be selected sang, "Pick and choose, but choose not me, Choose the fairest you can see." This dialogue was repeated for each player until all were taken in, which, if the party was numerous, of necessity took a long time. No. 8. _The Widow with Daughters to Marry._ A child, representing a mother, is followed by a file of daughters, each grasping the frock of the girl in front. There comes a poor widow from Barbary-land,[43] With all her children in her hand; One can brew, and one can bake, And one can make a wedding-cake; Pray take one, Pray take two, Pray take one that pleases you.[44] _Philadelphia._ The "poor widow" is also represented as having only one daughter left. Sister, O Phoebe, how happy we be, As we go under the juniper-tree! We'll put on our night-caps to keep our heads warm, And two or three kisses will do us no harm-- Will do us no harm, Io! I am a poor widow, a-marching around, And all of my daughters are married but one; So rise up my daughter, and kiss whom you please, And kiss whom you please, Io! _Philadelphia._ Another old version of this round: I am a rich widow, I live all alone, I have but one daughter, and she is my own; Go, daughter, go choose, go choose your one, Go choose a good one, or else choose you none. _New York._ Finally, we have the modern corruption of the street, which, however, shows us the manner of playing: A child stands in the ring, as the mother. The daughter reclines as if asleep, her head resting on her hands, till the words, _rise up_. Here _stands_ a poor widow a-walking around, Io! Io! Io! So put on the night-cap to keep her head warm, To keep her head warm, Io! So rise up my daughter, and kiss whom you please, And kiss whom you please, Io! _New York._ The widow with daughters to marry is a European celebrity. The titles _rich_ and _poor_, moreover, in this and the last number, are not meaningless, but show that two independent characters have been united in one. In the original European game, which we have not encountered in an English form, there is both a _rich_ and a _poor_ mother; the latter begs away, one by one, the daughters of the former, until she has secured all. The present round and the preceding are only reductions, or adaptations to the dance, of this more ancient and dramatic game. Once more, the game of the rich and poor mothers, though centuries old, and existing in many European tongues, is itself but an outgrowth of a still more ancient childish drama, which has given birth to innumerable sports, dances, and songs, exhibiting very different external characteristics all over Europe, but of which primitive and complete versions at present seem to exist only in America.[45] No. 9. _Philander's March._ This rhyme has been familiar throughout the New England States. Some of our older readers will remember how the doors of all the apartments of an old-fashioned mansion, with its great chimney in the centre, would be thrown open at an evening party, and the children march through the house, and up and down the staircase, singing the familiar air-- Come, Philanders,[46] let's be a-marching, Every one choose from his heartstrings;[47] Choose your true love now or never, And be sure you choose no other. O, my dear----, how I do love you! Nothing on earth do I prize above you! With a kiss now let me greet you, And I will never, never leave you. _Plymouth, Mass._ (about 1800). Another version: Come, Philander, let us be a-marching, From the ranks there's no deserting, Choose your own, your own true lover, See that you don't choose any other; Now farewell, dear love, farewell, We're all a-marching, so farewell. _Deerfield, Mass._ Why, of all the names of the Damon and Sylvia class, _Philander_,[48] which, according to derivation, should mean fondness for the male sex, came to be a proverbial expression for an amorous person, and contributed to the English language a verb (to philander) we cannot say. Children's intelligence made wild work of the word. A New England variation was, "Come, _Lysanders_;" and in Pennsylvania, on the Maryland border, the first line has been ingeniously distorted into "_Cumberland city-town-boys_" marching! Cumberland being a town in the latter state. No. 10. _Marriage._ (1.) By this name was known in Massachusetts, at the beginning of the century, an elaborate dance (for such, though practised in a Puritan community, it really was) which has a very decided local flavor. Partners having been chosen, the girl says-- "Come, my dearest partner, and join both heart and hand; You want you a wife, and I want me a man. So married we will be, if we can agree, We'll march down together, so happy are we." The partners now separate, the lad saying-- "Now I must part, and leave you alone, So fare you well, my true love, till I return." The maid replies-- "I mourn, I mourn, for that is the cry, I'm left all alone, and I'm sure I shall die." But, after walking round, rejoins her partner, who welcomes her-- "Oh, here comes my love, and how do you do? And how have you been since I parted with you?" The pair then address the row-- "There is a scene secure from all harm, Please to give us joy by the raising of the arm." The other players, who stand each lad opposite his lass, raise arms, and the couple walk down under the arch so formed, pausing at the foot-- "Now we are married, and never more to part, Please to give a kiss from the bottom of the heart." And the game proceeds with the next couple. _Scituate, Mass._ (about 1800). (2.) No better as respects poetry, but with more evidence of old English origin, is the following game, in which couples circle in a ring about two chairs, from time to time changing partners. We have not been clearly informed of the way of playing, but presume that at the time of the change the youth or girl in the ring must select a mate. "On the green carpet here we stand, Take your true love in your hand; Take the one whom you profess To be the one whom you love best." A change of partners. "Very well done, said Johnny Brown, Is this the way to London town? Stand ye here, stand ye there, Till your true love doth appear." A mate is finally chosen, and the ring sings-- "Oh, what a beautiful choice you've made! Don't you wish you'd longer stayed? [Give her a kiss, and send her away, And tell her she can no longer stay."[49]] _Salem, Mass._ The "green carpet" is, of course, the grass, on which the village dance proceeds in the summer-time,[50] and the remains of an ancient "carol" appear in the corrupt rhyme. (3.) To the game of _Marriage_, as played in France and Italy, the following closely corresponds: A boy and girl having been chosen by singing our No. 17, and standing in the centre of the ring, the game proceeds, with imitative motion and gesture-- "Row the boat! Row the boat! Let the boat stand! I think ---- ---- is a handsome young man; I think ---- ---- is as handsome as he, And they shall be married, if they can agree."[51] Such short rhymes are not used independently, but joined to some fragment of a ballad, which they serve to turn into a game, as may be seen in our No. 12. (4.) We take this opportunity to give one or two other familiar examples of kissing rounds: Had I as many eyes as the stars in the skies, And were I as old as Adam, I'd fall on my knees, and kiss whom I please, Your humble servant, madam. In Boston, half a century since, this ran-- As many _wives as the stars in the skies_, And each _as old as Adam_, etc. In Georgia, at the present day-- Many, many stars are in the skies, And _each as old as Adam_, etc. (5.) The following is yet more inane, yet it furnishes a curious example of correspondence-- "---- ---- languishes." "For whom?" "For ---- ----." This is not much more crude than the French equivalent.[52] (6.) We may add that the familiar American game, known as "Pillow," or "Pillows and Keys" (why _keys_?), in which a player kneels on a _pillow_ and solicits a kiss, is no doubt a descendant of the "Cushion Dance," alluded to by old dramatists. FOOTNOTES: [35] The game, half a century since, was played by boys as well as girls. New England variations are numerous; thus for the last line of verse 4, "I'll turn my face another way." For verse 7, "Go through the kitchen and through the hall, and choose the fairest one of all." A New York variety puts the last words into the mouth of the bride: "I'm so happy that I could sing." [36] So in an English variety: "I will give you pots and pans, I will give you brass, I will give you anything for a pretty lass." "No." "I will give you gold and silver, I will give you pearl, I will give you anything for a pretty girl." "Take one, take one, the fairest you may see." Halliwell, "Nursery Rhymes." [37] The ending is like ours-- "Prenez la plus jolie de toutes." "Voilà la plus jolie de toutes." [38] Eco la Nina al campo--fra tanti suoni e canti; Eco la Nina al campo--olà, olà, olà. Faciamo un bel' inchino--profondo al suo rispeto; Faciamo un bel' inchino--olà, olà, olà. [39] A New Hampshire fragment has here, "The _scornful maid_, she won't come out," which seems more genuine. [40] An English variety, printed a century since in "Gammer Gurton's Garland," has as the first line of the refrain, _My-a-dildin, my-a-daldin_; and as the alternate line, _Lily white and shine-a_. The last phrase comes to us as the fragment of a game in Massachusetts, about 1800. We are reminded of the songs of Autolycus in "A Winter's Tale," "with such delicate burdens of _dildos_ and fadings." [41] Here verses may be improvised at pleasure; for instance, said the little reciter, "I'll give to you a dress of black, A green silk apron and a white cap, If you will marry," etc. [42] In the English version "to ring up _your maidens_." [43] Variation: "Here comes an old woman from Sunderland," or "Cumberland." [44] In Canada the game goes: J'ai tant d'enfants à marier! J'ai tant d'enfants à marier! Grand Dieu! je n' sais comment Pouvoir en marier tant. Mademoiselle, on parle à vous; On dit que vous aimez beaucoup; Si c'est vrai que vous aimez, Entrez dans la danse, entrez! [45] See Note; also No. 154, and Note. [46] Usually plural. [47] Or, dialectically, "every one his true lover _sarching_." [48] "Were his men like him, he'd command a regiment of Damons and _Philanders_."--"Two Faces under One Hood," by Thomas Dibdin. [49] From another version. [50] As Lodge has it-- Footing it featlie on the grassie ground, These damsels circling with their brightsome faires-- [51] Fifty years ago the corresponding French game was still played as a "game of society"-- Eh! qui marirons-nous? Mademoiselle, ce sera vous: Entrez dans la danse; J'aimerai qui m'aimera, j'aimerai qui m'aime. The round then proceeds-- Eh! qui lui donnerons-nous? Mon beau monsieur, ce sera vous. Amans, embrassez-vous, etc. [52] "Qui est-ce qui languira?" "Ce sera ---- ---- qui languira." "---- ---- la guerira." _French game in Cambrai_. II. _HISTORIES._ A fresh wreath of crimson roses Round my forehead twine will I; I will wear them for a garland, Wear them till the day I die. I desire that in my coffin May be room enough for three; For my father, for my mother, And my love to lie with me. Afterwards above the coffin We will let a flower grow; In the morning we will plant it, In the evening it will blow. Wayfarers will pause demanding, "Whose may be the flower there?" "'Tis the flower of Rosetina, She who died of love's despair." _Round of Girls in Venice._ No. 11. _Miss Jennia Jones._ This childish drama has been familiar in the Middle States since the memory of the oldest inhabitant. The Scotch equivalent shows that the heroine's name was originally _Jenny jo_. "Jo" is an old English word for sweetheart, probably a corruption of _joy_, French _joie_, used as a term of endearment. _Jenny my joy_ has thus been modernized into Miss Jennia (commonly understood to be a contraction for Virginia) Jones! The story is originally a love-tale. The young lady, like Rosetina in the Venetian song (a part of which we have translated above) dies of blighted affection and the prohibition of cruel parents. The suitor, in America, is represented by feminine friends. Yet the drama has lived; a proof that in singing and playing love-tales the children rather imitated their elders than followed a necessity of their own nature. From various versions we select the following: A mother, seated. Miss Jennia Jones stands behind her chair, or reclines on her lap as if lying sick. A dancer advances from the ring. "I've come to see Miss Jennia Jones, Miss Jennia Jones, Miss Jennia Jones-- I've come to see Miss Jennia Jones, And how is she to-day?" "She's up-stairs washing, Washing, washing-- She's up-stairs washing, You cannot see her to-day." The questions are repeated to the same air for every day of the week, and the reply is that Miss Jennia Jones is ironing, baking, or scrubbing. She is then represented as sick, as worse, and finally as dead, which announcement is received with signs of deep grief. The dancers of the ring then discuss the costume in which she shall be buried: "What shall we dress her in, Dress her in, dress her in; What shall we dress her in-- Shall it be blue?" "Blue is for sailors, So that will never do." "What shall we dress her in, Shall it be red?" "Red is for firemen, So that will never do." "Pink is for babies, So that will never do." "Green is forsaken, So that will never do." "Black is for mourners, So that will never do." "White is for dead people, So that will just do." "Where shall we bury her? Under the apple-tree." After the ceremonies of burial have been completed, the ghost of Miss Jennia Jones suddenly arises-- "I dreamt I saw a ghost last night, Ghost last night, ghost last night-- I dreamt I saw a ghost last night, Under the apple-tree!" The ring breaks up, and flies with shrieks, and the one caught is to represent Miss Jennia Jones. An interesting feature of our game is the symbolism of color. "Each of these colors," says an informant, "which denoted a profession, also typified a feeling. Thus, blue, which is said to be for _sailors_, suggested _constancy_." In one version of the game, which comes to us from an Irish source, _green_ is for _grief, red_ for _joy, black_ for _mourning_, and _white_ for _death_. In another such version, _white_ is for _angels_, and is the chosen color; a reading we would willingly adopt, as probably more ancient, and as expressing the original seriousness of the whole, and the feeling which the color of white symbolized. In more common Irish phrase, _green_ is for _Irish_, _yellow_ for _Orangemen_. In Cincinnati, _purple_ is for _kings_ and _queens_, _gray_ for _Quakers_. In a Connecticut variation, _yellow_ is for _glad folks_. An English saying corresponds closely to the significance of colors in our game: Blue is true, yellow is jealous, Green is forsaken, red is brazen, White is love, and black is death. A variation from West Virginia makes the question apply to the dress of the mourners, not of the deceased: "What shall we dress in?" "In our red, in our blue," etc., are rejected, and the decision is, "In our white." Such imitations of burial ceremonies are not merely imaginative. It was once the custom for the girls of a village to take an active part in the interment of one of their number. In a Flemish town, a generation since, when a young girl died, her body was carried to the church, thence to the cemetery, by her former companions. "The religious ceremony over, and the coffin deposited in the earth, all the young girls, holding in one hand the mortuary cloth, returned to the church, chanting the _maiden's dance_ with a spirit and rhythm scarcely conceivable by one who has not heard it. The pall which they carried to the church was of sky-blue silk, having in the middle a great cross of white silk, on which were set three crowns of silver." The following is a rendering of the "Maiden's Dance:" In heaven is a dance; Alleluia! There dance all the maids; Benedicamus Domino-- Alleluia! It is for Amelia; Alleluia! We dance like the maids; Benedicamus Domino-- Alleluia! Such touching customs show the profound original earnestness underlying the modern child's play, as well as the primitive religious significance of the dance. In England, too, it was the practice for the bearers of a virgin to be maids, as a ballad recites: A garland fresh and faire Of lilies there was made, In signe of her virginity, And on her coffin laid. Six maidens, all in white, Did beare her to the grave. No. 12. _Down She Comes as White as Milk._ This round is remarkable for being introduced, wherever it occurs, by a stanza with a different melody, whereby the ballad is turned into a game. By this introduction the hero and heroine of the action are selected. "Little Sally Waters," or "Uncle John," having been first played, the round proceeds about the couple standing in the ring: He knocks at the door, and picks up a pin, And asks if Miss ---- is in. She neither is in, she neither is out, She's in the garret a-walking about. Down she comes as white as milk, A rose in her bosom, as soft as silk. She takes off her gloves, and shows me a ring; To-morrow, to-morrow, the wedding begins.[53] _Concord, Mass._ (_before 1800_). The version now played in New York streets is corrupt, but has a spirited melody: [Illustration] Wa-ter, wa-ter, wild-flowers, grow-ing up so high; We are all young la-dies, And we are sure to die, Ex-cept-ing Su-sie Al-len, She is the fin-est flow-er. Fie, fie, fie for shame; Turn about and tell your beau's name. The girl complying, the ballad proceeds-- [Illustration] Mr. _Nobody_ is a nice young man, He comes to the door with his hat in his hand. Down she comes, all dressed in silk, A rose in her bosom, as white as milk. She takes off her gloves, she shows me her ring, To-morrow, to-morrow, the wedding begins. The song before us furnishes a good example of the persistency of childish tradition. Not only is it still current in New England and the Middle States, with words closely corresponding to those given in our version of almost a century since, but these words are also nearly identical with the language of the round as we are told it is sung at the present day in Ireland. Of a type similar to the foregoing is an ancient and curious, but unpublished, nursery song,[54] the first lines of which, at least, will be familiar to some of our readers: Sing, sparrow, sing! What shall I sing? All the boys in our town have gone courting; All but little Charley, And he stays at home, And he says he'll have Mary, Or else he'll have none. Row, boat, row! Where shall I row? Up to little Mary's door. Out jumps little Charley in his boots and spurs, And goes to the door, and pulls at the string-- "Where's little Mary? Is she within?" "Miss Mary's up-stairs, a-making a cap." Then down comes Miss Mary, as white as the milk, All dressed in pink posies and sweet pretty silk, And goes to the cupboard, and takes up the can, And drinks to little Charley, a pretty little man. He takes her in his lap, and pares her nails,[55] And gives her a posy of peacock's tails, And rings and jewels fit for her hand, And tells little Mary he'll come again. The mention in this rhyme of the cupboard and the can carries us to a time not so remote indeed in years, but far removed in customs. At the beginning of the century, in the old colonial towns, tumblers were unknown; the silver can stood on the table, and was passed from hand to hand at the meal, the elders drinking first. This usage was accompanied with much ceremony. An informant (born in Salem, Mass.), whose memory goes back almost to the beginning of the century, recollects how, when it came to be his turn to drink, he was obliged to rise and wipe his lips (the use of the same vessel by a whole family made this habit proper), and repeat the words, while parents and friends laid down knives and forks and looked on, "Duty to Sir and Ma'am, respects to aunt, love to brother and sister, and health to myself." Sometimes, he said, sensitive children would rather "go dry" than endure this ordeal. No. 13. _Little Sally Waters._ A girl in the centre of the ring, seated, and covering her face with her hands. At the word "rise," she chooses and salutes any one whom she pleases. Little Sally Waters, Sitting in the sun, Crying and weeping, For a young man. Rise, Sally, rise, Dry your weeping eyes, Fly to the East, Fly to the West, Fly to the one you love best. In the north of England the heroine's name is _Sally Walker_: Sally Walker, Sally Walker, Come spring-time and love-- She's lamenting, she's lamenting, All for her young man. A ballad situation has been united with a dance-rhyme. No. 14. _Here Sits the Queen of England._ Here sits the Queen of England in her chair, She has lost the true love that she had last year; So rise upon your feet, and kiss the first you meet, For there's many around your chair. _Georgia._ No. 15. _Green Gravel._ A girl sits in the ring, and turns her head gravely as a messenger advances, while the rest sing to a pleasing air-- [Illustration] Green gravel, green gravel, the grass is so green, And all the free _masons_ (maidens) are _ashamed_ (arrayed?) to "be seen;"[56] O Mary, O Mary, your true love is dead, The king sends you a letter to turn back your head.[57] There are only two lines left of the ballad, or rather reminiscence of one. A French round begins similarly: "Ah, the bringer of letters! What news is this? Ah, it is news that you must change your love.[58] Must I change my love, I prefer to die; he is not here, nor in France; he is in England, where he serves the gracious king." To this fragment belong the ancient verses which we have set as the motto of Chapter II. of our Introduction. All the other ladies of Paris are at the dance; the king's daughter alone "regarde à coté," "turns her head," looking at a messenger who is approaching; he brings news of her love's unfaithfulness; a rival skilled in magic arts has enchanted him, in the far country where he is warring. There is no more left of the ancient ballad, which, we presume, went on to describe her departure in man's costume, and rescue of her lover. We cannot prove the identity of our fragment, but we see how the child's game may have arisen. No. 16. _Uncle John._ A ring of dancers who circle and sing-- Uncle John is very sick, what shall we send him? A piece of pie, a piece of cake, a piece of apple-dumpling.[59] What shall we send it in? In a piece of paper. Paper is not fine[60] enough; in a golden saucer. Who shall we send it by? By the governor's[61] daughter. Take her by the lily-white hand, and lead her over the water. After the words "governor's daughter" all the dancers fall down, and the last down stands apart, selects her confidential friend, and imparts with great mystery the _initials_ of some boy in whom she takes an interest. She then returns, and takes her place in the ring with face reversed, while the friend announces the initials, and the dancers sing, using the letters given-- A. B., so they say, Goes a-courting night and day, Sword and pistol by his side, And ---- ---- to be his bride; Takes her by the lily-white hand, And leads her o'er the water-- Here's a kiss, and there's a kiss For Mr. ----'s daughter. If the person representing "Uncle John" be a boy, his full name comes first in this rhyme, and the initials of the girl are used. The choice of the confidante is said to require as much deliberation as the selection of an ambassador of state. _Hartford, Conn._ This is one of the most familiar of all children's rounds in our country. It is, we see, a love-history; and, thrice vulgarized as it is, bears traces of ancient origin, and may perhaps be the last echo of the mediæval song in which an imprisoned knight is saved from approaching death by the daughter of the king, or soldan, who keeps him in confinement.[62] No. 17. _King Arthur was King William's Son._ A row of hats of various sizes, and belonging to both sexes, are placed on the floor. The leader picks up the first hat, and puts it on his own head, marching and singing the verse. He then takes up the next hat, and places it on the head of any one he pleases; the person chosen stands behind him, and they once more march, singing. The process is continued, until all the company are arranged in line: King Arthur was King William's son, And when the battle he had won, Upon his breast he wore a star, And it was called the sign of war. _Orange, New Jersey._ The following rhyme is exceedingly familiar, throughout the Middle and Southern States, as a kissing-round: King William was King James's son, And all the roy-al race he run; Upon his breast he wore a star, And it was called the sign of war. King William was King James's son,[63] And all the royal race he run; Upon his head he wore a star. Star of the East, Star of the West, Star of the one you love the best. If she's not here don't take her part, But choose another with all your heart. Down on the carpet you must kneel, As the grass grows on the field, Salute your bride, and kiss her sweet, And rise again upon your feet. The round is also familiar in Ireland. We learn from an informant that in her town it was formerly played in a peculiar manner. Over the head of a girl, who stood in the centre of a ring, was held a shawl, sustained by four others grasping the corners. The game then proceeded as follows: King William was King George's son-- _From the Bay of Biscay, O!_ Upon his breast he wore a star-- _Find your way to English schools._ Then followed the game-rhyme, repeated with each stanza, "Go choose you East," etc. King William is then supposed to enter-- The first girl that I loved so dear, Can it be she's gone from me? If she's not here when the night comes on, Will none of you tell me where she is gone? He recognizes the disguised girl-- There's heart beneath the willow-tree, There's no one here but my love and me. "He had gone to the war, and promised to marry her when he came back. She wrapped a shawl about her head, to see if he would recognize her." This was all the reciter could recollect; the lines of the ballad were sung by an old woman, the ring answering with the game-rhyme. _Waterford, Ireland._ The round now in use in the town whence this comes, but where the ballad is not at present known, begins: King William was King George's son-- _From the Bay of Biscay, O!_ Upon his breast he wore a star-- _Point your way across the sea._ In the year 1287, Folke Algotson, a high-born Swedish youth, carried off to Norway (at that time the refuge of such boldness) Ingrid, a daughter of the "law-man" or judge of East Gothland, who was betrothed to a Danish noble. Popular ballads attached themselves to the occurrence, which are still preserved. The substance of that version of the story with which we are concerned is as follows: A youth loves a maid, who returns his affection, but in his absence her friends have "given" her to another. He rides to the wedding ceremony with a troop of followers. The bride, seeing him approach, and wishing to test his affection, calls on her maidens to "take off her gold crown, and coif her in linen white." But the hero at once recognizes his love, mounts with her on horseback, and flees to Norway. We cannot believe the resemblance to be accidental, and look upon our rhymes as a branch from the same ancient--but not historical--root. No. 18. _Little Harry Hughes and the Duke's Daughter._ The writer was not a little surprised to hear from a group of colored children, in the streets of New York city (though in a more incoherent form) the following ballad. He traced the song to a little girl living in one of the cabins near Central Park, from whom he obtained this version. The hut, rude as the habitation of a recent squatter on the plains, was perched on a rock still projecting above the excavations which had been made on either side, preparatory to the erection of the conventional "brown-stone fronts" of a New York street. Rocks flung by carelessly managed explosions flew over the roof, and clouds of dust were blown by every wind into the unswept hovel. In this unlikely spot lingered the relics of old English folk-song, amid all the stir of the busiest of cities. The mother of the family had herself been born in New York, of Irish parentage, but had learned from her own mother, and handed down to her children, such legends of the past as the ballad we cite. A pretty melody gave popularity to the verse, and so the thirteenth-century tradition, extinct perhaps in its native soil, had taken a new lease of existence as a song of negro children in New York. Under the thin disguise of the heading will be recognized the ballad of "Hugh of Lincoln and the Jew's Daughter," the occasion of which is referred by Matthew Paris to the year 1255. Chaucer, in exquisite verse, has made his Prioress recount the same story: how the child, This gemme of chastitè, this emeraude, And eek of martirdom the ruby bright, has his throat cut by "false Jewes," and, cast into a pit, still sings his chant in honor of This welle of mercy, Christes moder sweet; and, when discovered, cannot be buried in peace till the magic grain is removed which "that blissful maiden fre" has laid under his tongue. The conclusion is, in our version, only implied. In that given by Jamieson the murdered child, speaking from the well, bids his mother prepare the winding-sheet, for he will meet her in the morn "at the back of merry Lincoln;" and the funeral service is performed by angels. [Illustration] It was on a May, on a midsummer's day, When it rained, it did rain small; And little Harry Hughes and his playfellows all Went out to play the ball. He knocked it up, and he knocked it down, He knocked it o'er and o'er; The very first kick little Harry gave the ball, He broke the duke's windows all. She came down, the youngest duke's daughter, She was dressed in green; "Come back, come back, my pretty little boy, And play the ball again." "I won't come back, and I daren't come back, Without my playfellows all; And if my mother she should come in, She'd make it the bloody ball."[64] She took an apple out of her pocket, And rolled it along the plain; Little Harry Hughes picked up the apple, And sorely rued the day. She takes him by the lily-white hand, And leads him from hall to hall, Until she came to a little dark room, That none could hear him call. She sat herself on a golden chair, Him on another close by; And there's where she pulled out her little penknife That was both sharp and fine. Little Harry Hughes had to pray for his soul, For his days were at an end; She stuck her penknife in little Harry's heart, And first the blood came very thick, and then came very thin.[65] She rolled him in a quire of tin, That was in so many a fold; She rolled him from that to a little draw-well That was fifty fathoms deep. "Lie there, lie there, little Harry," she cried, "And God forbid you to swim, If you be a disgrace to me, Or to any of my friends." The day passed by, and the night came on, And every scholar was home, And every mother had her own child, But poor Harry's mother had none.[66] She walked up and down the street, With a little sally-rod[67] in her hand; And God directed her to the little draw-well, That was fifty fathoms deep. "If you be there, little Harry," she said, "And God forbid you to be, Speak one word to your own dear mother, That is looking all over for thee." "This I am, dear mother," he cried, "And lying in great pain, With a little penknife lying close to my heart, And the duke's daughter she has me slain. "Give my blessing to my schoolfellows all, And tell them to be at the church, And make my grave both large and deep, And my coffin of hazel and green birch. "Put my Bible at my head, My busker[68] (?) at my feet, My little prayer-book at my right side, And sound will be my sleep." No. 19. _Barbara Allen._ In the first quarter of the century, this celebrated ballad was still used in New England as a children's game or dance at evening parties. We have here, perhaps, the latest English survival, in cultivated society, of a practice which had once been universal. It is noteworthy that while, in the town of which we speak,[69] the establishment, at the period alluded to, of a children's dancing-school was bitterly opposed, and the children of "church members" were hardly permitted to attend, no such prohibition applied to amusements like this, which were shared in irrespective of sectarian prejudice, by boys as well as by girls. Our informant describes the performers as standing in couples, consisting each of a boy and a girl, facing each other. An elderly lady, who was in particular request at children's parties on account of her extensive stock of lore of the sort, sang the ballad, to which the dancers kept time with a slow metrical movement, balancing without any considerable change of place. At the final words, "Barbara Allen," which end every stanza, a courtesy took the place of the usual refrain. The whole performance is described as exceedingly pretty, stately, and decorous. It cannot be doubted that the version of the ballad sung was traditional, but we have not been able to secure it. FOOTNOTES: [53] The song exhibits numerous marks of antiquity. "Picks up a pin" was originally, no doubt, "pulls at the pin." The word "garret" here appears to correspond to the Scandinavian "high-loft," the upper part and living-room of an ancient house. The third verse is a very ancient ballad commonplace-- Shee's as soft as any silk, And as white as any milk. "Ballad of Kinge Adler," in the Percy MS. Instead of "Water, water, wild-flowers," as printed on the next page, we find in Philadelphia, "_Lily, lily, white-flower_," which may have been the original, and reminds us of the refrains of certain ballads. In Yorkshire, England, "_Willy, willy, wall-flower_." A specimen of the quintessence of absurdity is the following street-song: Swallow, swallow, weeping About a willow tree, All the boys in Fiftieth Street Are dying down below; Excepting ---- ---- His love he can't deny, For he loves ---- ---- And she loves him beside, etc. Notwithstanding the vulgarity of these stanzas, and of others which are employed for the same purpose, the practice which they illustrate--namely, the adaptation of a ballad to the dance by uniting with it a game-rhyme--is no doubt ancient. We have other examples in the numbers which follow. [54] "Lines told to Lydia Jackson (now Mrs. R. W. Emerson, of Concord, Mass.) by her aunt, Joanna Cotton, in 1806-7-8, in Plymouth." [55] Observe how the nursery song differs from the children's dance. The nurse wishes to persuade the little child in her lap that _paring nails_ is a mark of great regard and affection, as, while performing that office, she chants the ballad to amuse her charge. [56] "It is on a summer's tide, when ladies' hearts are free and gay, when they go arrayed in ermine and silk. The hart strikes his horn against the linden, and the fish leaps in the stream."--_Icelandic Ballad._ [57] Some little friends, feeling the unsatisfactoriness of the fragment, added a couplet to the dance-- O Mary, O Mary, your true love's not slain, The king sends you a letter _to turn round again_. [58] Eh! la _clinquet_ (?) de lettres, que nouvelle est celle-ci? Eh! ce sont des nouvelles qu'il faut changer d'ami. [59] Or, "Three gold wishes, three good kisses, and a slice of _ginger_!" [60] Or, "strong." [61] Or, "king's daughter," "queen's daughter." [62] See French ballad referred to in the Appendix. [63] Or, "King _George's_ son." For convenience sake, the last couplet of the first version is printed with the melody. [64] For if my mother should chance to know, She'd make my blood to fall.--_Version of Sir Egerton Brydges._ [65] And first came out the thick, thick blood, And syne came out the thin; And syne came out the bonny heart's blood, There was nae mair within. _Jamieson._ [66] When bells were rung, and mass was sung, And a' the bairns came hame, When every lady gat hame her son, The lady Maisry gat nane. _Jamieson._ [67] Sallow; willow. [68] In other versions it is "Testament" or "Catechism." [69] Keene, New Hampshire. III. _PLAYING AT WORK._ "The king (George III.) danced all night, and finished with the _Hemp-dressers_, that lasted two hours."--_Memoir of Mrs. Delany._ No. 20. _Virginia Reel._ This dance, which we will not here attempt to describe, is no doubt well known to our readers; but we doubt if any of them has reflected on its significance. It is, in fact, an imitation of _weaving_. The first movements represent the shooting of the shuttle from side to side, and the passage of the woof over and under the threads of the warp; the last movements indicate the tightening of the threads, and bringing together of the cloth.[70] There is a very similar Swedish dance, called "Weaving Woollen," in which the words sung are-- Weave the woollen and bind it together, Let the shuttle go round! The originally imitative character of the dance is thus well illustrated. The "Hemp-dressers' Dance," in which George III. figured, seems to have resembled this, according to the description quoted in the memoir referred to in the heading of this chapter. No. 21. _Oats, Pease, Beans, and Barley Grows._ This round, although very familiar to all American children, seems, strangely enough, to be unknown in Great Britain; yet it is still a favorite in France, Provence, Spain, Italy, Sicily, Germany, and Sweden; it was played by Froissart (born 1337), and Rabelais (born 1483); while the general resemblance of the song in European countries proves that in the five centuries through which we thus trace it, even the words have undergone little change. Like the first game of our collection, it is properly a dance rather of young people than of children; and a comparative examination of versions inclines us to the belief that it is of Romance descent. The lines of the French refrain,[71] and the general form of the dance, suggest that the song may probably have had (perhaps in remote classic time) a religious and symbolic meaning, and formed part of rustic festivities designed to promote the fertility of the fields; an object which undoubtedly formed the original purpose of the May festival. So much for conjecture; but, in any case, it is pleasant to think of the many generations of children, in so many widely separated lands, who have rejoiced in the pretty game. The ring circles, singing, about a child in the centre-- [Illustration] Oats, pease, beans, and barley grows, Oats, pease, beans, and barley grows; How you, nor I, nor nobody knows, Oats, pease, beans, and barley grows. The children now pause, and sing with appropriate gestures-- Thus the farmer sows his seed, Stands erect and takes his ease, Stamps his foot, and claps his hands, And turns about to view his lands. [Illustration] Waiting for a partner, Waiting for a partner, Open the ring and take her in, And kiss her when you get her in. The boy selects a girl, and the two kneel in the ring, and salute-- Now you're married, you must obey, You must be true to all you say, You must be kind, you must be good, _And make your husband chop the wood_. What we have said of the permanency of the words applies only to the action, the essential part, of the game. The _amatory chorus_, by which the song is made to serve the purpose of love-making, is very variable. Thus we have the quaint conclusion of the last line at greater length: And now you're married in Hymen's band, You must obey your wife's command; You must obey your constant good, And keep your wife in hickory wood-- Split the wood and carry it in, [_twice_] And then she'll let you kiss her again. "Splitting the wood" was a very troublesome part of the New England farmer's ménage. More commonplace are the choruses: You must be good, you must be true, And do as you see others do. Or-- And live together all your life, And I pronounce you man and wife. Or again-- And love each other like sister and brother, And now kneel down and kiss each other.[72] In place of "sister and brother," the malicious wit of little girls substituted "cats and dogs."[73] In the early part of the century the essential stanza went thus in New Hampshire: Thus my father sows his seed, Stands erect and takes his ease, Stamps his foot, and claps his hands, Whirls about, and thus he stands. The Swedish quatrain is nearly the same: I had a father, he sowed this way, And when he had done, he stood this way; He stamped with his foot, he clapped with his hand, He turned about, he was so glad. The French rhyme, by its exact correspondence, proves the great antiquity of the formula.[74] The German game, as is often the case with German children's games and ballads in general, is more modernized than in the other tongues, and has become a coarse jest. It is represented how the farmer sows his oats, cuts it, binds it, carries it home, stores it, threshes it, takes it to market, sells it, spends the money in carousal, comes home drunk, and quarrels with his wife, because she has cooked him no supper! Verily, a satire from the lips of children! Fauriel, in his history of Provençal literature, alludes to this song, which it seems he had seen danced in Provence, and considers to be derived from, and to represent, choral dances of Greek rustics. "The words of the song," he says, speaking of these ancient dances, "described an action, a succession of different situations, which the dancers reproduced by their gestures. The song was divided into many stanzas, and terminated by a refrain alike for all. The dancers acted or gesticulated only to imitate the action or situation described in each stanza; at the refrain they took each other by the hand and danced a round, with a movement more or less lively. There are everywhere popular dances derived from these, which more or less resemble them.... I remember to have seen in Provence some of these dances, of which the theme seems to be very ancient--one, among the rest, imitating successively the habitual actions of a poor laborer, working in his field, sowing his wheat or oats, mowing, and so on to the end. Each of the numerous couplets of the song was sung with a slow and dragging motion, as if to imitate the fatigue and the sullen air of the poor laborer; and the refrain was of a very lively movement, the dancers then giving way to all their gayety."[75] The French, Italian, and Spanish versions of this game also represent a series of actions, sowing, reaping, etc., of which our own rhyme has retained only one stanza. There is a whole class of similar rounds, which describe the labors of the farmer, vine-dresser, etc. That such a song, danced in sowing-time, and representing the progress and abundance of the crop, should be supposed to bring a blessing on the labors of the year, is quite in conformity with what we know of popular belief, ancient and modern. When a French savant asked the peasants of La Châtre why they performed the dance of "Threading the Needle" (see No. 29), the answer was, "To make the hemp grow." It is not in the least unlikely that the original of the present chant was sung, with a like object, by Italian rustics in the days of Virgil. No. 22. _Who'll Be the Binder?_ Couples circle in a ring about a single player-- It rains, it hails, it's cold stormy weather, In comes the farmer drinking all the cider; You be the reaping-boy and I'll be the binder; I've lost my true love, and don't know where to find her. Each girl then lets go of her partner's arm, and takes the arm of the one in advance, and the solitary player endeavors meanwhile to slip into the line. The following is a variation: It snows and it blows, and it's cold frosty weather, Here comes the farmer drinking all his cider; I'll be the reaper, who'll be the binder? I've lost my true love, where shall I find her? It is played by children in New York city as a kissing-game in the ring, as follows: [Illustration] In comes the farmer, drinking all the cider; I have a true love and don't know where to find her. Go round the ring, and see if you can find her; If you cannot find her, go and choose another one. We meet our game once more in North Germany. But its prettiest form is among the Fins of the Baltic coast, where it is extremely pleasing and pastoral: Reap we the oat harvest, Who will come and bind it? Ah, perhaps his darling, Treasure of his bosom. Where have I last seen her? Yesterday at evening, Yesterday at morning! When will she come hither, With her little household, With her gentle escort, People of her village? Who has not a partner, Let him pay a forfeit! It is a remarkable fact that, even where this simple people have borrowed the dramatic idea of an amusement from their more civilized neighbors, they have developed it with a sweetness and grace which put the latter to shame. No. 23. _As We Go Round the Mulberry Bush._ [Illustration] As we go round the mulberry bush, The mulberry bush, the mulberry bush; As we go round the mulberry bush, So early in the morning. This is the way we wash our clothes, All of a Monday morning. This is the way we iron our clothes, All of a Tuesday morning. This is the way we scrub our floor, All of a Wednesday morning. This is the way we mend our clothes, All of a Thursday morning. This is the way we sweep the house, All of a Friday morning. This is the way we bake our bread, All of a Saturday morning. This is the way we go to church, All of a Sunday morning. In Massachusetts the song goes-- Here we go round the _barberry bush_, So early in the morning. A variation makes the last line-- All on a frosty morning. No. 24. _Do, Do, Pity my Case._ Do, do, pity my case, In some lady's garden; My clothes to wash when I get home, In some lady's garden. Do, do, pity my case, In some lady's garden; My clothes to iron when I get home, In some lady's garden. And so on, the performers lamenting the duty which lies upon them of scrubbing their floors, baking their bread, etc. _Louisiana._ This pretty dance, with its idiomatic English, which comes to us from the extreme South, is obviously not modern. The chorus refers, not to the place of the labor, but to the locality of the dance: it may have been originally _in my lady's garden_. Our informant remembers the game as danced by negro children, their scanty garments flying as the ring spun about the trunk of some large tree; but (though the naive appeal to pity may seem characteristic of Southern indolence) this is evidently no negro song. No. 25. _When I Was a Shoemaker._ [Illustration] A ROUND. When I was a shoemaker, And a shoemaker was I, This way,[76] and this way, And this way went I. When I was a gentleman, And a gentleman was I, This way, and this way, And this way went I. When I was a lady, And a lady was I, This way, and this way, And this way went I. So on, indefinitely. The gentleman places his hands in his waistcoat pockets, and promenades up and down; the lady gathers her skirts haughtily together; the fireman makes a sound in imitation of the horns which firemen formerly blew; the shoemaker and hair-dresser are represented by appropriate motions, etc. _New York streets._ As with most street-games, further inquiry has shown us that the song is old in America. Not merely the substance (which is identical with our last two numbers), but also the expression, is paralleled in France and Italy, and even on the extreme limits of European Russia. The well-known French name of this game "The Bridge of Avignon,"[77] indicates a high antiquity. This bridge, which figures in French nursery-lore as London Bridge does in our own, was built in 1177. Bridges, in the Middle Age, were the most important structures in the land, places of festivity and solemnity, dances, trials, and executions. No. 26. _Here We Come Gathering Nuts of May._ Two opposite rows of girls. One side advances and sings, the other side replying: "Here we come gathering nuts of May, [_thrice_] On a May morning early." "Whom will you gather for nuts of May, On a May morning early?" "We'll gather [naming a girl] for nuts of May, On a May morning early." "Whom will you send to fetch her away, On a May morning early?" "We'll send [naming a strong girl] to pull her away, On a May morning early." The game is continued until all players are brought to one side. _Charlestown, W. Va._ This game is probably a recent importation from England, where it is very well known. It seems likely that the imitative dance really belongs to the season of nut-gathering,[78] and that the phrase, "Nuts of _May_," and the refrain, have crept in from its later use as a May-game. No. 27. _Here I Brew, and Here I Bake._ A ring of children clasp hands by clenching fingers; a single child within the circle repeats the rhyme, making appropriate gestures over successive pairs of hands; at the last words he (or she) throws himself (or herself) against what is thought the most penetrable point. Here I brew and here I bake, And here I make my wedding-cake, And here I must break through. The following is a different version: Here I bake and here I brew, And here I lay my wedding-shoe, And here I must and shall break through. If the first attempt is not successful, the player within the ring runs to attack some other point. After the ring is broken, the child on his right continues the game. In New York, a violent form of the same sport goes by the name of "Bull in the Ring." No. 28. _Draw a Bucket of Water._ Four girls cross hands, and pull in rhythmical movement against each other while singing, one pair changing the position of their hands from above to below that of the other pair at the words, "Here we go under," etc. Draw a bucket of water For my lady's daughter. One in a rush, Two in a rush, Here we go under the mulberry bush. _New York._ In Massachusetts this was a ring game: Draw a pail of water For my lady's daughter. Give her a ring and a silver pin, And pay for my lady's pop under. At the last words the girl within the ring endeavors to pass under the hands of one of the couples. No. 29. _Threading the Needle._ A boy and a girl, standing each on a stool, make an arch of their hands, under which an endless chain passes, until the hands are dropped, and one of the players is enclosed. The needle's eve That doth supply The thread that runs so true; Ah! many a lass Have I let pass Because I wanted you. Or-- The needle's eye You can't pass by, The thread it runs so true; It has caught many a seemly lass, And now it has caught you. _Massachusetts._ In the following more complicated form of the game, in use half a century ago, both a boy and a girl were caught by the players who raised their arms: The needle's eye None can surpass But those who travel through; It hath caught many a smiling lass, But now it hath caught you. There's none so sweet That is dressed so neat;[79] I do intend, Before I end, To make this couple meet. The pair then kissed, and the game proceeded as in "London Bridge," ending with a tug-of-war. The name, "Threading the Needle," is still applied, in a district of central France, to a dance in which many hundred persons take part, in which from time to time the pair who form the head of the row raise their arms to allow the line to pass through, coiling and winding like a great serpent. FOOTNOTES: [70] An acquaintance says, that in the interior of New York State the men and girls stand in the row by sevens; an arrangement which she suggests may imitate the different colors of strands. [71] Oats, oats, oats, May the good God prosper you! [72] These choruses, which may be paralleled from Great Britain, do not in themselves belong to any particular game. [73] We find the same benevolent wish, under like circumstances, in a Swedish game. Is the correspondence accident or tradition? [74] Qui veut ouir, qui veut savoir, Comment on sème l'aveine? Mon père la sèmait ainsi, Puis il se reposait à demi; Frappe du pied, puis de la main, Un petit tour pour ton voisin; Aveine, aveine, aveine, Que le Bon Dieu t'amène! [75] Fauriel supposed the present round to be derived from Massiliot Greeks; but he was unacquainted with its diffusion in Europe. [76] Sung "_a this a way_." [77] Sur le Pont d'Avignon, Les messieurs font ça, Et puis encore ça. Then come "les dames," "les cordonniers," etc. In the corresponding Russian game, a single player mimics the walk of old men, priests, or the habits of any trade or person in the company. [78] Nous sommes à trois fillettes, Pour aller cueillir noisettes; Quand les noisettes sont cueillies, Nous sommes mises à danser. [79] "We considered this a personal compliment. I remember we used to feel very much pleased--children are so sensitive!"--_Informant._ IV. _HUMOR AND SATIRE._ _Andante._ Perrette est bien malade, En danger de mourir. _Presto._ Son ami la va voire; Te laira' tu mourir? _Andante._ Non, non, répondit-elle, Je ne veux pas mourir. _Canadian Song._ No. 30. _Soldier, Soldier, Will You Marry Me?_ [Illustration] _First voice._-- "Soldier, soldier, will you marry me, With a knapsack, fife, and drum?" "Oh no, my pretty maiden, I cannot marry you, For I have no coat to put on." [Illustration] _Second voice._-- Then away she ran to the tailor's shop, As fast as legs could run; And bought him one of the very best, And the soldier put it on. The question is then repeated, the soldier pleading his want of shoes gloves, etc., which the confiding fair procures, until at last-- "Soldier, soldier, will you marry me, With your knapsack, fife, and drum?" "Oh no, my pretty maiden, I cannot marry you, For I have--a good wife--at home!" This piece and the following are more or less familiar as children's songs through the United States. Our version was sung by children of from five to eight years of age, and made a favorite amusement at the afternoon gatherings. When one couple had finished, another pair would begin, and so on for hours at a time. The object was to provide for the soldier the most varied wardrobe possible; while the maiden put the question with spirit, laying her hand on her heart, respecting which the prevailing opinion was that it was under the left arm. No. 31. _Quaker Courtship._ In this piece, two children (in costume or otherwise) impersonate a Quaker paying his addresses to a young lady of the world. [Illustration] "Madam, I am come a-courting-- _Hum, hum, heigho hum!_ 'Tis for pleasure, not for sporting-- _Hum, hum, heigho hum!_" "Sir, it suits me to retire, _Teedle link tum, teedle tum a tee_; You may sit and court the fire, _Teedle link tum, teedle tum a tee_." "Madam, here's a ring worth forty shilling, Thou may'st have it if thou art willing." "What care I for rings or money? I'll have a man who will call me honey." "Madam, thou art tall and slender; Madam, I know thy heart is tender." "Sir, I see you are a flatterer, And I never loved a Quaker." "Must I give up my religion? Must I be a Presbyterian?" "Cheer up, cheer up, loving brother, If you can't catch one fish, catch another." _Hartford, Conn._ No. 32. _Lazy Mary._ A mother and daughter in the centre of a ring, the daughter kneeling with closed eyes. Mother advances-- [Illustration] "Lazy Mary, will you get up, Will you get up, will you get up, Will you get up to-day?" "What will you give me for my breakfast, If I get up, if I get up, If I get up to-day?" The reply is, "A slice of bread and a cup of tea," whereon Mary answers, "No, mother, I won't get up," and responds similarly to the call to dinner; but for supper the mother offers "a nice young man with rosy cheeks," which is accepted with the words, "Yes, mother, I will get up," whereon the ring clap their hands. The round is familiar in New York streets. There is a corresponding English song, with a tragic ending. No. 33. _Whistle, Daughter, Whistle._ "Whistle, daughter, whistle, And I'll give you a sheep." [_After an interval._] "Mother, I'm asleep." "Whistle, daughter, whistle, And I'll give you a cow." [_A faint attempt._] "Mother, I don't know how." "Whistle, daughter, whistle, And I'll give you a man." [_A loud and clear whistle._] "Mother, now I can!" _New York._ The subject of this and the preceding number has furnished endless mirth to popular poetry. The present song is ancient; for it is identical with a German, Flemish, and French round of the fifteenth or sixteenth century, in which a _nun_ (or monk) is tempted to _dance_ by similar offers. The spirit of the latter piece seems to be rather light-hearted ridicule than puritanic satire, and the allusion does not show that the piece is subsequent to the Reformation. No. 34. _There were Three Jolly Welshmen._ There were three jolly Welshmen, And I have heard them say, That they would go a-hunting Upon St. David's day-- _Look--a--there--now!_ They hunted, they hunted, And nothing could they find, But a woman in the road, And her they left behind-- _Look--a--there--now!_ One said it was a woman, The other said nay; One said it was an angel With the wings blowed away-- _Look--a--there--now!_ We have obtained only three verses of the song, which was a favorite with little children as they sat on the door-step of a summer's evening. Another version of the ancient jest comes to us as sung by college students: (_Slow and mournful, in C minor._) And so they went along, To see what they could see, And soon they saw a frog A-sitting under a tree. (_Recit._) So--they--did. One said it was a frog, But the other said nay-- One said it was a canary-bird With the feathers blown away. (_Recit._) So--it--was. And so they went along, To see what they could see, And soon they saw a barn A-standing by a tree. One said it was a barn, But the other said nay, One said it was a meeting-house With the steeple blown away. And so they went along, To see what they could see, And soon they saw an owl, A-sitting on a tree. One said it was an owl, But the other said nay, One said it was the Evil One! And they all ran away. No. 35. _A Hallowe'en Rhyme._ A ROUND. Oh, dear doctor, don't you cry! Your true love will come by-and-by. If she comes all dressed in green, That's a sign she's to be seen. If she comes all dressed in white, That's a sign she'll cry all night. If she comes all dressed in gray, That's a sign that she's away. If she comes all dressed in blue, That's a sign she'll marry you. _New York._ A variation: Oh, Miss Betsy, don't you cry! For your true love will come _by'm-bye_; When he comes he'll dress in blue-- Then he'll bring you, something new. _Massachusetts._ These corrupt rhymes are only interesting as illustrating the permanence of Hallowe'en customs, even in America. The Scotch rhyme of Chambers goes-- This knot, this knot, this knot I knit, To see the thing I ne'er saw yet-- To see my love in his array, And what he walks in every day; And what his occupation be, This night I in my sleep may see. And if my love be clad in green, His love for me is well seen; And if my love be clad in gray, His love for me is far away; But if my love be clad in blue, His love for me is very true. After repeating these words, the girl puts her knotted garter beneath her pillow, and sleeps on it, when her future husband will appear to her in a dream. No. 36. _The Doctor's Prescription._ A ROUND. Oh, dear doctor, can you tell, What will make poor ---- well? She is sick and like to die, And that will make poor ---- cry. A kiss was the prescription. We insert this silly little round, chiefly because, according to Madame Celnart, a French equivalent was in favor, not with infants, but ladies and gentlemen in polite society, only half a century since. Our authority says: "The master or the mistress of this round is called _doctor_. This doctor takes the arm of the person seated on his right, regards him or her with an eye of compassion, feels his pulse, and then gives his order, which everybody repeats, singing, 'Give me your arm that I may cure you, for you seem to me to look ill.'[80] Then, designating by a glance some person of the other sex, he says, 'Embrace monsieur (or madame) to cure you; it is an excellent remedy.' All the persons in the ring are submitted to this treatment, which the physician knows how to render piquant by the choice of the panacea which he recommends to his patient; when everybody is cured, the doctor passes over his science and dignity to the last person who has tested the efficacy of his prescription, and in his turn falls sick, to make trial of the pleasing remedy." The general theme of our vulgarized round is more agreeably expressed in the quaint and ancient Canadian song which we have cited as the motto of the present chapter. No. 37. _Old Grimes._ Old Grimes is dead and in his grave laid, In his grave, in his grave, in his grave laid-- _O aye O!_ There grew up an apple-tree over his head-- The apples were ripe and ready to fall-- Then came an old woman a-picking them up-- Old Grimes got up and gave her a kick-- And made her go hobbledy, hobbledy, hip-- The bridles and saddles they hang on the shelf-- And if you want any more you must sing it yourself-- _O aye O!_ _New York streets._ A friend informs us that he has often heard the words of this unintelligible round sung as a "shanty," or song used by sailors at their work, with the chorus, _yeo heave-ho_! In Cambridge, Mass., the name of the deceased was "Old Cromwell." We have also a version of half a century since, beginning, Jemmy and Nancy went up to Whitehall, Jemmy fell sick among them all. No. 38. _The Baptist Game._ Such is the peculiar title of this amusement in Virginia, where it is said to be enjoyed by pious people who will not dance. There is a row of couples, with an odd player at the head. At the sudden close of the song occurs a grand rush and change of partners. [Illustration] Come, all ye young men, in your evil ways, And sow your wild oats in your youthful days; You shall be happy, You shall be happy, When you grow old. The night is far spent, and the day's coming on, So give us your arm, and we'll jog along, You shall be happy, You shall be happy, When you grow old. _Albemarle Co., Va._ This game, with verbal identity (save the title), was a few years since an amusement of well-bred girls in New York city. It has also been familiar in Massachusetts, with the exception of one line-- Come all ye _old maids_ in your sinful ways! No. 39. _Trials, Troubles, and Tribulations._ All participating are blindfolded, and, joining hands, march forward, singing-- Here we go through the Jewish nation, Trials, troubles, and tribulation. The fun consists in bringing up against a door, or in causing a general downfall by tripping over some obstacle. _New York._ No. 40. _Happy is the Miller._ An odd number of players, of whom the one not paired stands in the centre of the ring. The others march in couples, each consisting of a girl and a boy, till the sudden end of the song, when each boy grasps the girl in front of him. Happy is the miller, who lives by himself, All the bread and cheese he piles upon the shelf, One hand in the hopper, and the other in the bag, The wheel turns around, and he cries out, Grab! _Western New York._ Another version: Happy is the miller that lives in the mill; While the mill goes round, he works with a will; One hand in the hopper, and one in the bag, The mill goes around, and he cries out, Grab! _Cincinnati._ The miller, whose pay used to be taken in a proportion of corn ground, was a common object of popular satire. In Germany the mill-wheel, as it slowly revolves, is said to exclaim-- There is--a thief--in the mill! Then, moving more quickly-- Who is he? who is he? who is he? And at last answers very fast, and without pausing-- The miller! the miller! the miller! "Round and Round, the Mill Goes Round," is mentioned as an English dance at the end of the seventeenth century. A song of "The Happy Miller" is printed in "Pills to Purge Melancholy" (1707), of which the first verse is-- How happy is the mortal that lives by his mill! That depends on his own, not on Fortune's wheel; By the sleight of his hand, and the strength of his back, How merrily his mill goes, clack, clack, clack! This song was doubtless founded on the popular game; but the modern children's sport has preserved the idea, if not the elegance, of the old dance better than the printed words of a hundred and seventy years since. A variation of the same game is still familiar in Canada and Sweden.[81] No. 41. _The Miller of Gosport._ That the prejudice against the honesty of the miller was not confined to the Old World will appear from the following ballad: There was an old miller in Gosport did dwell: He had three sons whom he loved full well; He called them to him, one--by--one, Saying, "My--life--is--al--most--done!"[82] He called to him his eldest son, Saying, "My life is almost done, And if I to you the mill shall make, Pray, say what toll you mean to take?" "Father," says he, "my name is Dick, And aout of each bushel I'll take one peck-- Of every bushel--that--I--grind, I'll take one peck to ease my mind." "Thou foolish son," the old man said, "Thou hasn't but one half larnt thy trade! The mill to you I'll never give, For by such toll no man can thrive." He called to him his second son, Saying, "My life is almost done, And if I to you the mill shall make, Pray, say what toll you mean to take?" "Father," says he, "my name is Ralph, And aout of each bushel I'll take one half-- Of every bushel that I grind, I'll take one half to ease my mind." "Thou foolish son," the old man said, "Thou hasn't but one half larnt thy trade; The mill to you I'll never give, For by such toll no man can thrive." He called to him his youngest son, Saying, "My life is almost done; And if I to you the mill shall make, Pray, say what toll you mean to take?" "Father," says he, "I _am_ your boy, And in taking of toll shall be all my joy; That an honest living I ne'er may lack, I'll take the whole, and steal the sack." "Thou _art_ my son," the old man said; "Thou'st larnt thy good--old--fayther's trade; The mill to you I do--betide"-- And--so--he--closed--his eyes--and--died. Another version finds its way to us from the West, and ends with an uncomplimentary opinion as to the habitation of the miller in the other world. FOOTNOTES: [80] Donne-moi ton bras que je te guérisse, Car tu m'as l'air malade, Loula, Car tu m'as l'air malade! [81] The Canadian words are, "J'entends le moulin, tique, tique, tique." Probably the old English dance ended, "How merrily the mill goes, clack, clack, clack!" after which, as now in Canada, partners were changed, and the odd player in the centre had an opportunity to secure a place, or to find a mate. [82] The pauses lengthen as the patient grows weaker. V. _FLOWER ORACLES, ETC._ A spire of grass hath made me gay; It saith, I shall find mercy mild. I measured in the selfsame way I have seen practised by a child. Come look and listen if she really does: She does, does not, she does, does not, she does. Each time I try, the end so augureth. That comforts me--'tis right that we have faith. _Walther von der Vogelweide_ [A.D. 1170-1230]. No. 42. _Flower Oracles._ Plucking one by one the petals of the ox-eye daisy (_Leucanthemum vulgare_), children ask: Rich man, poor man, beggar-man, thief, Doctor, lawyer, Indian chief.[83] Girls then take a second flower, and, getting some one else to name it, proceed, in order to determine where they are to live: Big house, little house, pigsty, barn. And in like manner use a third to discover in what dress they are to be married: Silk, satin, calico, rags. Finally, they consult a fourth, to find out what the bridal equipage is to be: Coach, wagon, wheelbarrow, chaise. Another version gives for the second line of the first formula: Doctor, lawyer, merchant, chief. In Switzerland, girls in like manner say, as they pick off the flower-leaves of the common daisy (_Bellis perennis_): Be single, marry, or go into the cloister? And boys-- Rich, poor, moderate? The marguerite (_Doronicum bellidiastrum_) is asked in the same country: Heaven, hell, purgatory, paradise? And in Styria is called "Love's Measure," because it determines the return of affection according to the well-known formula, "He loves me, he loves me not," for which a French equivalent is: Je t'aime, un peu, beaucoup, Tendrement, pas du tout. But in Switzerland again the questions for the marguerite exactly match ours: Nobleman, beggar-man, farmer, soldier, student, Emperor, king, gentleman. The verse is similar in Italy. It is curious to see the precise correspondence of English and Continental forms. Mediæval writers do not mention this use of flower-petals, but frequently allude to the custom of drawing spires of grass, to secure the longer (or shorter, as might be agreed). Thus lads might draw grasses, for the purpose of deciding to which of the two a maiden might belong as a partner. This was so usual a way of deciding a controversy that it was even recognized in law, where the parties to a suit drew straws from a thatch or sheaf. Children still resort to a like arbitrament, where one holds the straws in the hand, and the other draws, the shorter straw winning. To our surprise, we find that girls in Massachusetts still keep up the mediæval usage; they draw stalks of grass in the field, and match them, to decide who shall begin a game--be "it."[84] We have seen that the formula "Loves me, loves me not," was used in the Middle Age with grasses. In Italy the oracle is consulted by means of the branch of a tree. A twig is taken having alternate leaves, and they are detached one by one, the consulter always turning the head as the words of the oracle are spoken. The formulas for this purpose closely resemble our own: thus, "This year, another year, soon, never," which is exactly identical with the English "This year, next year, some time, never;" or, "He loves me, longs for me, desires me, wishes me well; wishes me ill, does not care;" or, as in the Swiss form given, "Paradise, Purgatory, _Caldron_" (that is, Inferno). No. 43. _Use of Flowers in Games._ Flowers are gathered and loved by children as they have always been, and are used by them in all sorts of imaginative exercises of their own invention, as, for instance, by girls in their imitative housekeeping; but there is singularly little employment of them in any definite games. Formerly it was otherwise; but the deep sympathy which blooming youth once felt and expressed for the bloom of the year seems to have almost disappeared. In the Middle Age, as in classic antiquity, flowers were much in use for dances. Great attention was paid to the significance of particular blooms. "What flowers will you give me for a garland? What flowers are proper for adornment?" are mentioned as names of sports. It was a practice for the lover to approach his mistress with a flower or fruit which he offered for her acceptance. If the girl accepted the gift, the youth led her out, and the dance began. Another ancient practice was to throw to a girl some bloom, at the same time pronouncing a couplet which rhymed with the name of the flower. The ball, too, with which youths and maids played, was sometimes made of flowers. Almost the only relic of ancient usage of this sort, with us, is the employment little girls make of dandelions, with which (in some parts of the country) they make long garlands, cutting off the heads and stringing them together. This use of the dandelion is very old, from which it derives one of its many German names, the _chain-flower_ or _ring-flower_. On account of its early bloom and golden hue it is especially the flower of spring, and seems to have had a religious and symbolic meaning. In Switzerland these garlands are used in the dance, the children holding a long wreath of the flowers so as to form a circle within the ring; and whoever breaks the chain pays forfeit. The plant is said to be of healing virtue, gives happiness to the lover, and, if plucked on particular days, will heal troubles of the eye. It has these qualities on account of its brightness, which causes it to be associated with the victorious power of light. There are other ways of using this flower. A dandelion in seed is held to the lips; if the seeds can all be blown off in three attempts, it is a sign of successful love, of marriage within the year; or, with little girls, that "my mother wants me." Little girls also split the stalks of the flower, and, dipping them in cold water, produce "curls," with which they adorn themselves. This usage, too, is German. We may speak of the trifling lore of one or two other flowers. A buttercup is held against one child's chin by another, and a bright reflection is supposed (prosaically enough) to indicate a fondness for butter! It was formerly said in New England that the heart's-ease (_Viola tricolor_) represented a "step-mother sitting on two chairs." The petals being turned up, the step-mother is seen to have two chairs, her children one each, and her step-children only one between them. That this flower represents an unkind step-mother is stated in a Low-German rhyme of the fifteenth century; and step-mother is also an English name for the heart's-ease. There is another reason for the title besides that we have given. In Switzerland the flower is considered a type of malice, because the older the flower is the more yellow and "jealous" it becomes. Thus we have another striking example of the original similarity of English and German usage. Boys in the spring are fond of blowing on the fresh blades of grass, with which they can make a loud but harsh trumpeting. This practice, in Germany, is mentioned at the beginning of the thirteenth century. It is the custom still for boys to make whistles in the spring from the loosened bark of the willow; but they do not guess that this was originally a superstitious rite, the pipe cut from a tree which grows in the water being supposed to have the power of causing rain. The Swiss children, though unconsciously, still invoke the water-spirit as they separate the bark from the wood: Franz, Franz, Lend me your pipe. No. 44. _Counting Apple-seeds._ The following rhyme, used in New England at the beginning of the present century, remains unchanged in a single word, except the omission of the last three lines. Apples formerly were an essential part of every entertainment in the country; in the winter season, a dish of such always stood on the sideboard. As the hours went by, a foaming dish of eggnog would be brought in, always with a red-hot poker inserted, for the purpose of keeping up the proper temperature. It was then that the apple, having been properly named, with a fillip of the finger was divided, to decide the fate of the person concerned according to its number of seeds. One, I love, Two, I love, Three, I love, I say, Four, I love with all my heart, And five, I cast away; Six, he loves, Seven, she loves, Eight, they both love; Nine, he comes, Ten, he tarries, Eleven, he courts, Twelve, he marries; Thirteen wishes, Fourteen kisses, All the rest little witches. No. 45. _Rose in the Garden._ We insert here, on account of the allusions to nature which they contain, several pieces which might also have found a place elsewhere in our collection; the present, for instance, being eminently a "love-game." A single player stands in the centre of the ring, which circles and sings: There's a rose in the garden for you, fair man, There's a rose in the garden for you, fair maid; There's a rose in the garden, pluck it if you can, Be sure you don't choose a false-hearted one. The youth or girl in the centre chooses a partner, and the ring sings: It's a bargain, it's a bargain, for you, fair man, It's a bargain, it's a bargain, for you, fair maid. Now follows a fragment of romance, which in our version is unhappily corrupt: You promised to marry me six months ago, I hold you to your bargain, "_you old rogue you_." After a kiss, the first player takes his or her place in the ring, and the partner selected is left to continue the game. _Deerfield, Mass._ (about 1810). To the same game, perhaps, belongs the following fragment: Here stands a red rose in the ring-- Promised to marry a long time ago. The comparison of a youth or maid to a rose is not uncommon in dances. We have a pretty French example in the Canadian round cited below;[85] and another English instance in our No. 62. No. 46. _There was a Tree Stood in the Ground._ [Illustration] There was a tree stood in the ground, The prettiest tree you ever did see; The tree in the wood, and the wood in the ground; And the green grass growing all round, round, round, And the green grass growing all round. And on this tree there was a limb, The prettiest limb you ever did see; The limb on the tree, and the tree in the wood, The tree in the wood, and the wood in the ground, And the green grass growing all round, round, round, And the green grass growing all round. And on this limb there was a bough, The prettiest bough you ever did see; The bough on the limb, and the limb on the tree, etc. And on this bough there was a twig, The prettiest twig you ever did see; The twig on the bough, and the bough on the limb, etc. And on this twig there was a nest, The prettiest nest you ever did see; The nest on the twig, and the twig on the bough, etc. And in this nest there were some eggs,[86] The prettiest eggs you ever did see; The eggs in the nest, and the nest on the twig, etc. And in the eggs there was a bird, The prettiest bird you ever did see; The bird in the eggs, and the eggs in the nest, etc. And on the bird there was a wing, The prettiest wing you ever did see; The wing on the bird, and the bird in the eggs, etc. And on the wing there was a feather, The prettiest feather you ever did see; The feather on the wing, and the wing on the bird, etc. And on the feather there was some down, The prettiest down you ever did see; The down on the feather, and the feather on the wing, The feather on the wing, and the wing on the bird, The wing on the bird, and the bird in the eggs, The bird in the eggs, and the eggs in the nest, The eggs in the nest, and the nest on the twig, The nest on the twig, and the twig on the bough, The twig on the bough, and the bough on the limb, The bough on the limb, and the limb on the tree, The limb on the tree, and the tree in the wood, The tree in the wood, and the wood in the ground, And the green grass growing all round, round, round, And the green grass growing all round. _Savannah, Georgia._ This song is not known in the North, and it is equally unrecorded in English nursery-lore, but is very familiar in France (as well as Germany, Denmark, etc.). We are inclined to look on it as an adaptation from the French, made by the children of _émigrés_, like the curious game which makes our next number.[87] No. 47. _+Green!+_ In parts of Georgia and South Carolina, as soon as a group of girls are fairly out of the house for a morning's play, one suddenly points the finger at a companion with the exclamation, "Green!" The child so accosted must then produce some fragment of verdure, the leaf of a tree, a blade of grass, etc., from the apparel, or else pay forfeit to the first after the manner of "philopoena." It is rarely, therefore, that a child will go abroad without a bit of "green," the practice almost amounting to a superstition. The object of each is to make the rest believe that the required piece of verdure has been forgotten, and yet to keep it at hand. Sometimes it is drawn from the shoe, or carried in the brooch, or in the garter. Nurses find in the pockets, or in the lining of garments, all manner of fragments which have served this purpose. This curious practice is not known elsewhere in America; but it is mentioned by Rabelais, under the name by which it is still played in parts of Central France, "Je vous prends sans vert"--"I catch you without green." The game, however, is not merely a children's sport, and is played differently from our description. At Châtillon-sur-Inde it is during Lent, and only after the singing of the _Angelus_, that "green" is played. If any lady accost you and shows you her bough, you must immediately exhibit yours. If you have not such a one, or if your green is of a shade less rich than your adversary's, you lose a point; in case of doubt, the matter is referred to an umpire. The game was much in vogue from the thirteenth to the fourteenth century, and is described as a May-game. "During the first days of May, every one took care to carry on his person a little green bough, and those who were not so provided were liable to hear themselves addressed, _I catch you without green_, and to receive, at the same instant, a pail of water on the head. This amusement, however, was in use only among the members of certain societies, who took the name of _Sans-vert_. Those who belonged to these had a right to visit each other at any hour of the day, and administer the bath whenever they found each other unprovided. In addition, the members so surprised were condemned to a pecuniary fine, and the income of these fines was devoted to merry repasts which, at certain seasons of the year, united all the comrades of the _Sans-vert_."[88] The practice has given to the French language a proverb: _to take any one without green_, to take him unawares. Our child's game was doubtless imported by Huguenot immigrants, who established themselves in the states referred to two centuries since, where they long preserved their language and customs, and from whom many well-known families are descended. FOOTNOTES: [83] Played also on buttons. A friend informs us that, as a child, he had his buttons altered, in order that the oracle might return an agreeable response. [84] In Cambridge, Mass. [85] Dans ma main droite je tiens rosier, Qui fleurira, qui fleurira, Qui fleurira au mois de Mai. Entrez en danse, joli rosier, Et embrassez qui vous plaira. --_Canadian Round._ [86] So recited. [87] A French version: Au dedans Paris, Vous ne savez ce qu'il y a? Il y a-t-un bois, C'est le plus beau bois Parmi tous les bois; Le bois est dans Paris. Ah! le joli bois, Madame; Ah! le joli bois! * * * * * Il y a-t-une plume, C'est la plus belle plume De toutes les plumes; La plume est sur l'oiseau, L'oiseau est dans l'oeuf, L'oeuf est dans le nid, Le nid est sur la feuille, La feuille est sur la branche, L'arbre est dans le bois. Ah! le joli bois, Madame; Ah! le joli bois! [88] The custom has been supposed to be derived from the ancient Roman usage of gathering _green_ on the calends of May, with which to decorate the house. VI. _BIRD AND BEAST._ "My brother, the hare,... my sisters, the doves...." _St. Francis of Assisi._ No. 48. _My Household._ The names of animals being distributed among children, one, in the centre of the ring, sings the words; at the proper point the child who represents the animal must imitate its cry; and as at each verse the animals who have already figured join in, the game becomes rather noisy. I had a little rooster, and my rooster pleased me, I fed my rooster beneath that tree; My rooster went--Cookery-cooery! Other folks feed their rooster, I feed my rooster too. I had a little lamb, and my lamb pleased me, I fed my lamb beneath that tree; My lamb went--Ma--a--a! Other folks feed their lamb, I feed my lamb too. And so on with the names of other beasts. _Georgia._ In another version, it is under the "green bay-tree" (_Magnolia glauca_) that the animals are stabled. * * * * * This is another of the games which have been widely distributed through Europe, and date back to a remote past. At present, with us it is a child's jest, the noisy imitation of animal cries; but, as in all such cases, sense preceded sound. Comparing German versions, we see that our game is properly a song, the idea of which consists in the enumeration by significant and comical names of the members and possessions of a family. "When I was a poor woman, I went over the Rhine: my goose was called _Wag-tail_, my maid _So he said_, my pig _Lard-pot_, my flea _Hop-i'-straw_" etc. A more courtly version gives us a pleasing pilgrim's song: "Whence come you?--From sunset. Whither will you?--To sunrise. To what country?--Home. Where is it?--A hundred miles away. What is your name?--The world names me _Leap a-field_, my sword is _Honor worth_, my wife _Pastime_, her maid _Lie-a-bed_, my child _Rush-about_," etc. Thus we see the ancient earnestness appearing behind the modern mirth. It is likely that the origin of the song would take us back to those lists of mythical titles which were regarded as conveying real knowledge of the relations of things, at a time when a large part of learning consisted in the knowledge of the significant names which were given to objects. No. 49. _Frog-pond._ A party of children, who represent frogs by a hopping motion. At the word "kough," they imitate the croaking of the frog. [Illustration] Come, neighbors, the moon is up, It's pleasant out here on the bank. Come, stick your heads out of the tank, And let us, before we sup, Go kough, kough, kough. And let us, before we sup, Go kough, kough, kough. Enter child in character of duck-- Hush, yonder is the waddling duck, He's coming, I don't mean to stay. We'd better by half hop our way, If we don't he will gobble us up, With a kough, kough, kough. If we don't he will gobble us up, With a kough, kough, kough. Every frog hops to his separate den, while pursued by the duck, the game after the duck's advent being extremely animated. _Georgia._ No. 50. _Bloody Tom._ Within the ring is the shepherd; the wolf approaches from without. A dialogue ensues: "Who comes here?" "Bloody Tom." "What do you want?" "My sheep." "Take the worst, and leave the best, And never come back to trouble the rest." _Salem, Mass._ A New Hampshire version makes the game represent a fox, who carries off chickens, thus: "Who comes here this dark night?" "Who but bloody Tom!--Which you druther be, picked or scalded?" The Esthonian Fins have a characteristic children's game, based on the same idea, which may be quoted, to show how much imagination and spirit enter into the sports of a simple people. A watchman on duty at the sheepfold announces his office in a soliloquy: Thus I guard my mother's lambkins, Guard the flocks of my good mother, Here before God's holy temple, Here behind Maria's cloister, Near the halls of our Creator. At the house the mother, knitting, Shapes the stockings of blue woollen, Woollen stockings seamed with scarlet, Jackets of the snow-white worsted. I build hedges, stakes I sharpen, Mould the brazen gratings strongly, That the thieves come in and steal not, Take not from the flock its sheep-dog, Nor the wolf steal in and plunder, Seize my mother's tender lambkins, Rob the young lambs of my father. A girl entices away the shepherd, while a boy as wolf carries off part of the herd, and another as dog barks. The mother of the family hastens up, beats the traitor, and the herdsmen go with staves to seek the lost lamb. The garland it wore is found and identified. With shouts of, "Lamb, lamb," it is found at last, caressed, and its bruises examined. No. 51. _Blue-birds and Yellow-birds._ A ring of girls with their hands clasped and lifted. A girl, called (according to the color of her dress) blue-bird, black-bird, yellow-bird, etc., enters, and passes into the ring under an arch formed by a pair of lifted hands, singing to any suitable tune: Here comes a blue-bird through the window, Here comes a blue-bird through the window, Here comes a blue-bird through the window, High diddle dum day! She seizes a child, and waltzes off with her, singing: Take a little dance and a hop-i'-the-corner,[89] Take a little dance and a hop-i'-the-corner, Take a little dance and a hop-i'-the-corner, High diddle dum day! After the dance the chosen partner leads, named, as before, according to the color of her costume. The child, as she enters, must imitate by her raised arms the flight of a bird, making a very pretty dance. _Cincinnati._ No. 52. _Ducks Fly._ A girl, speaking the words "Ducks fly," raises her hand to imitate the flight of the bird; so on with robins, eagles, etc., while all the rest must imitate her example; but she finally says "Cats fly," or some similar expression, when any child who is incautious enough to raise the hand (or thumb) must pay forfeit. _New York._ Trifling as the catch is, it has been popular in Europe. In some countries, instead of birds who fly, the question is of beasts who have or do not have horns. FOOTNOTES: [89] Pronounced _hop-sie-corner_. VII. _HUMAN LIFE._ Lilies are white, rosemary's green; When you are king, I will be queen. Roses are red, lavender's blue; If you will have me, I will have you. _Gammer Gurton's Garland._ No. 53. _King and Queen._ This game is now a mere jest. A row of chairs is so arranged as to leave a vacant space, which is concealed by shawls or other coverings, and represents a throne. The courtiers having taken their places, the newly elected monarch is ceremoniously seated by the side of his consort, and the fun consists in witnessing his downfall. By Strutt's description, it appears that in the beginning of the century this was in use as a species of "hazing" in English girls' schools: "In some great boarding-schools for the fair sex it is customary, upon the introduction of a novice, for the scholars to receive her with much pretended solemnity, and decorate a throne in which she is to be installed, in order to hear a set speech, addressed to her by one of the young ladies in the name of the rest. The throne is wide enough for three persons to sit conveniently, and is made with two stools, having a tub nearly filled with water between them, and the whole is covered with a counterpane or blanket, ornamented with ribands and other trifling fineries, and drawn very tightly over the two stools, upon each of which a lady is seated to keep the blanket from giving way when the new scholar takes her place; and these are called her maids of honor. The speech consists of high-flown compliments calculated to flatter the vanity of the stranger; and as soon as it is concluded, the maids of honor rising suddenly together, the counterpane of course gives way, and poor miss is unexpectedly immerged in the water." In Austria the same game is called "conferring knighthood." All present are dressed as knights, in paper helmets, great mustachios, sticks for lances, wooden swords, etc. Two, who represent the oldest knights, are seated on the two stools, between which is a vacant space, while the rest form a half-circle about the _Grand Master_, who wears a mask and wig, and holds a great roll of paper. Meanwhile the candidate, in a separate room, is prepared by two knights for the ceremony; these instruct him in his behavior, until the embassy arrives to lead him before the Grand Master. The latter delivers a solemn address, and from the document in his hands reads the rule of the order--silence, courage, truth, etc. Then follows the vow, the delivery of the knightly costume, and the solemn bestowal of the stroke which dubs the victim a knight. He is finally invited to take his seat in the circle, with the result described in our own jest. The name, "King and Queen," recalls a game as old as history, that of electing a king, who proceeded to confer offices of state, and assign duties. Herodotus tells us how the child Cyrus showed his royal birth by the severity with which he punished his disobedient subjects. In Switzerland, the children still choose, by "counting out," a king and an executioner. The king proceeds to impose tasks. Geiler of Kaisersberg, in a sermon, A.D. 1507, gives the formula then in use in the game: "Sir king, I wish to serve you." "And what is your service?" "What you command me, I would execute." "I bid you do an honor to the king." For this game, as still played in Switzerland, a queen is also chosen; after a time, the king exclaims, "I make a journey," when the whole company, in couples, follow him through the chambers of the house or streets of the town on his royal progress. The old English game of "Questions and Commands" seems to have been the same. A writer in the _Gentlemen's Magazine_, February, 1738, gives its formula: "King I am," says one boy; another answers, "I am your man." Then his majesty demands what service will he do him; to which the obsequious courtier replies, "The best, and worst, and all I can." No. 54. _Follow Your Leader._ In this game, the leader having been chosen by "speaking first," or "counting out," the rest must do whatever he does. It is usually played out-of-doors, and the children "follow their leader" in a row, across roads, fences, and ditches, jumping from heights, and creeping under barriers.[90] We are told that the game is played in a peculiarly reckless fashion in the South, where the leader will sometimes go under a horse's legs or between the wheels of a wagon, whereupon the driver, knowing what to expect, will stop for the rest. No doubt this sport, now a mere exhibition of daring, has an ancient origin and history. Perhaps it was a development of the _king game_, already referred to. The technical word for challenge among children in America is "stump." One boy "stumps" another to do a thing. Whence derived? No. 55. _Truth._ The game of "Truth," as played in Massachusetts, is described by Miss Alcott in her "Little Women," chapter xii. The players are there said to pile up their hands, choose a number, and draw out in turn, and the person who draws his or her hand from the pile at the number selected has to answer truly any questions put by the rest. We have heard of a party of young people who met regularly to play this game, but have been assured that it proved prolific of quarrels. No. 56. _Initiation._ We have seen that the imitation of the ceremony of knighthood is still a form of childish amusement in Europe. Here follows a jesting New England formula for such a purpose, though not a game of children, but belonging to an older age: "You must promise to obey three rules: first, never to do to-day what you can put off till to-morrow; secondly, never to eat brown bread when you can get white; thirdly, never to kiss the maid when you can kiss the mistress, unless the maid is prettier than the mistress." These vows having been taken, it is then said, "Now I dub you knight of the whistle." Meantime a whistle having been attached to the back of the candidate, the fun consists in his attempts to discover the person who blew it. No. 57. _Judge and Jury._ A child is chosen to be judge, two others for jurors (or, to speak with our little informant, _juries_), who sit at his right and left hand. Each child must ask the permission of the judge before taking any step. A platter is brought in, and a child, rising, asks the judge, "May I go into the middle of the room?" "May I turn the platter?" "On which side shall it fall?" If the platter falls on the wrong side, forfeit must be paid. _Cambridge, Mass._ The nursery, we see, does not understand republicanism. The fairy tale has never got beyond the period in which the monarch orders the wicked witch to immediate execution. In the ancient world, however, where the courts were a place of resort, and law was not a specialized profession, the case was different. Maximus of Tyre tells us that the children had their laws and tribunals; condemnation extended to the forfeiture of toys. Cato the Younger, according to Plutarch, had his detestation of tyranny first awakened by the punishment inflicted on a playmate by such a tribunal. One of the younger boys had been sentenced to imprisonment; the doom was duly carried into effect, but Cato, moved by his cries, rescued him. In a German game there is a king, a judge, an executioner, an accuser, and a thief. The parts are assigned by drawing lots, but the accuser does not know the name of the thief, and, if he makes an error, has to undergo the penalty in his stead. The judge finally addresses the king, inquiring if his majesty approves of his decision; and the king replies, "Yes, your sentence entitles you to my favor;" or, "No, your sentence entitles you to so many blows." Thus we see how modern child's play respects the dignity of the king as the fountain of law. In a Swiss sport the thief flies, and is chased over stock and stone until caught, when he is made to kneel down, his cap pushed over his brows, and his head immediately struck off with the edge of a board. So is preserved the memory of the severity of ancient criminal law. No. 58. _Three Jolly Sailors._ Here comes a set of jolly sailor-boys, Who lately came on shore; They spend their time in drinking of the wine, As they have done before. As we go round, and around and around, As we go round once more. _New York streets._ At the second verse, the little girls by whom this round is danced turn so as to follow each other in an endless chain, each grasping the skirts of the child in front, while they move faster and faster to the lively tune. Some of our readers may think this song not a very creditable specimen of modern invention; but it is no doubt a relic of antiquity. A similar round, given in "Deuteromelia," 1609 (as cited by Chappell), begins: We be three poor mariners, newly come from the seas; We spend our lives in jeopardy, while others live at ease. The children of the poorer class, therefore, who still keep up in the streets of our cities the present ring-dance, are only maintaining the customs which belonged to courtiers and noble ladies in the time of Shakespeare. No. 59. _Marching to Quebec._ This piece of doggerel may be of revolutionary origin, as it can be traced to near the beginning of the present century. It is unusual for political or military events to be alluded to in children's games. As we were marching to Quebec, The drums were loudly beating; The Americans have won the day, The British are retreating. March! march! march! march! So the game was played in Philadelphia in the childhood of a lady born at the end of the last century. In Massachusetts and Maine it continued to be popular until within a few years, as follows: We were marching to Quebec, The drums were loudly beating; America has gained the day, The British are retreating. The war is o'er, and they are turned back, For evermore departed; So open the ring, and take one in, For they are broken-hearted. Oh, you're the one that I love best, I praise you high and dearly; My heart you'll get, my hand I'll give, The kiss is most sincerely. _Worcester, Mass._ That the population of Dutch extraction in New York had no deep sympathy with the patriotic sentiments of revolutionary times seems to be indicated in a satirical stanza, which has come to us from an informant who learned it in youth of her aged grandmother, and which appears also to have been originally a dance-song. We hope that errors in spelling American Dutch may be forgiven: Loope, Junger, de roier kome-- Spann de wagen voor de Paarde! That is, Run, lads, the king's men are coming; Harness the wagons before the horses! in jesting allusion to the speed with which the patriots were supposed to make off. The refrain is in part unintelligible to us, but seems to belong to a dance. No. 60. _Sudden Departure._ A visitor approaches the ring from without, and pleads: It snows and it blows, and it cuts off my nose, So pray, little girl, let me in; I'll light my pipe, and warm my toes, And then I'll be gone again. He is admitted into the circle, and proceeds to perform the designated actions. Having "lighted his pipe and warmed his toes," he suddenly attempts to make his exit from the ring (all the members of which have clasped hands in expectation of his onset), throwing himself with that object against a pair of linked arms. No. 61. _Scorn._ Such was, and perhaps still is, the name of an amusement of a not very agreeable nature, familiar at children's parties in New England. A girl was seated on a chair in the middle of the room, and one child after another was led to her throne. She would turn away with an expression of contempt, until some one approached that pleased her, who, after a kiss, took her place. "Derision" is the name of a game mentioned by Froissart as an amusement of his childhood. It is not at all unlikely that the present sport represents the old French pastime. Speaking of representations of the passions, we may say that we have heard of a game formerly played in New York, called "Hatred and Revenge;" but have not succeeded in obtaining it. FOOTNOTES: [90] A friend recollects how he "followed his leader" over the roofs of houses in Boston. VIII. _THE PLEASURES OF MOTION._ He asked a shepherd who stood near: "Why do these lads make merry here, Why is their round so gay?" "They dance about a violet sweet, a lad hath found to-day." The drum, the harp, and fife, resounded round their play, All were of heart elate, Each dancing with his mate. I, Nithart, led the row, Once and again, around the violet to and fro. _Minnesinger, 13th century._ No. 62. _Ring Around the Rosie._ This little round, universally familiar in America, meets us again in Germany and Provence. After the transit of various languages, and thousands of miles, the song retains the same essential characteristics. [Illustration] Ring a ring a rosie, A bottle full of posie, All the girls in our town, Ring for little Josie. _New Bedford, Mass._ (about 1790). Another version: Round the ring of roses, Pots full of posies, The one who stoops last Shall tell whom she loves best. At the end of the words the children suddenly stoop, and the last to get down undergoes some penalty, or has to take the place of the child in the centre, who represents the "rosie" (rose-tree; French, _rosier_). Vulgarized forms of the round are common: Ring around the rosie, Squat among the posies. Ring around the roses, Pocket full of posies, One, two, three--squat! And finally it is deformed past recognition: A ring, a ring, a ransy, Buttermilk and tansy, Flower here and flower there, And all--squat! This last corruption was in use some forty years since in Connecticut. No. 63. _Go Round and Round the Valley._ A ring of dancers with clasped hands. A girl circles about the outside of the rest, who join in singing-- [Illustration] Go round and round the valley, As we are all so gay. The players now let go hands, and she winds in and out of the circle, singing-- Go in and out of the windows, As we are all so gay. She now stands facing one of the children, who sing-- Go back, and face your lover, As we are all so gay. Taking the hand of one of the children, she salutes her-- Such love have I to show you, As we are all so gay. The child selected then takes her place. _New York streets._ No. 64. _The Farmer in the Dell._ [Illustration] The farmer in the dell, The farmer in the dell, _Heigh ho! for Rowley O!_ The farmer in the dell. The first child chooses and places beside himself a second, then a third, and so on, while the rest sing to the same tune: The farmer takes the wife-- The wife takes the child-- The child takes the nurse-- The nurse takes the dog-- The dog takes the cat-- The cat takes the rat-- The rat takes the cheese-- The cheese stands alone. The "cheese" is "clapped out," and must begin again as the "farmer." _New York streets._ No. 65. _The Game of Rivers._ A girl is chosen to be the _Ocean_. The rest represent _rivers_. The rivers, by very devious courses (around school-desks, etc.), flow into the Ocean. Not unfrequently in their course to the sea, the rivers encounter somewhat violently. _New York._ No. 66. _Quaker, How is Thee?_ "Quaker, Quaker, how is thee?" "Very well, I thank thee." "How's thy neighbor, next to thee?" "I don't know, but I'll go see." The question is accompanied by a rapid movement of the right hand. The second child in the ring inquires in the same manner of the third; and so all round. Then the same question is asked with a like gesture of the left hand, and, after this has gone round, with both hands, left foot, right foot, both feet, and finally by uniting all the motions at once. "A nice long game," as our little informant said. _New York, Philadelphia, etc._ No. 67. _Darby Jig._ This absurd little rhyme was formerly used to accompany an animated dance, in which the arms were placed behind the waist, and the hands rested on the hips, with alternate motion. Darby, darby, jig, jig, jig, I've been to bed with a big, big wig! I went to France to learn to dance-- Darby, darby, jig, jig, jig! _Philadelphia; Massachusetts_. No. 68. _Right Elbow In._ Put your right elbow in, Put your right elbow out, Shake yourselves a little, And turn yourselves about. Put your left elbow in, Put your left elbow out, Shake yourselves a little, And turn yourselves about. Then followed _right ear_ and _left ear_, _right foot_ and _left foot_, etc. The words we give were in use some sixty years since, when the game was danced deliberately and decorously, as old fashion was, with slow rhythmical motion. Now it has been turned into a romp, under various names (in Boston, "Ugly Mug"). The English name is "Hinkumbooby." No. 69. _My Master Sent Me._ "My master sent me to you, sir." "For what, sir?" "To do with one as I do, sir." The person who gives orders beats time with one foot, then both feet, one hand and both feet, two hands and both feet, etc. The game, like the preceding, is performed with a dancing motion. _New York._ No. 70. _Humpty Dumpty._ This game is for girls only. All present sit in a circle, then each girl gathers her skirts tightly, so as to enclose her feet. The leader begins some rhyme; all join in, and at a word previously agreed on, keeping the skirt tightly grasped, throw themselves over backward. The object now is to recover the former position without letting go the skirt. _New York._ No. 71. _Pease Porridge Hot._ This familiar little rhyme is accompanied by two players with alternate striking of the hands together and against the knees, in a way easier to practise than to describe. School-girls often use it to warm their hands on cold winter mornings. Pease porridge hot, Pease porridge cold, Pease porridge in the pot, Nine days old. No. 72. _Rhymes for a Race._ Up the street, down the street, Here's the way we go. Forty horses standing in a row; [Dolly] on the white one, [Harry] on the black one, Riding to Harrisburg _five_ miles away. _Philadelphia._ We suppose the above formula to be a rhyme for starting in a race. The common schoolboy verse-- One to make ready, Two to prepare, Three to _go slambang_, Right--down--there, appears to be a parody of the older English rhyme, One to make ready, And two to prepare, Good luck to the rider, And away goes the mare. No. 73. _Twine the Garland._ We find mentioned in the "Girls' Own Book," Boston, 1856, a dance of girls which has the characteristics of an old game. Girls take hold of hands, one standing still; the rest twist about her until they form a knot. They then untwist in the same manner, singing, "Twine the garland, girls!" and, "Untwine the garland, girls!" No. 74. _Hopping-dance._ This name was formerly given in New England to a dance similar to that known in Scotland as _Curcuddie_. The hands were clasped under the knees, and the children slowly and solemnly described squares and triangles on the floor. We may add here an unnamed amusement for school-girls, which consists in joining hands behind the back (giving the right hand to the left hand of a partner), and then turning, while retaining the hold, so as to stand facing each other. This movement is then repeated until the couple whirl about with considerable rapidity. IX. _MIRTH AND JEST._ --fulle stuffed a male Of disportes and newe pleyes. _Chaucer's Dreme._ No. 75. +_Club Fist._+ A child lays on a table his clenched fist, with the thumb elevated; another grasps the raised thumb with his own fist, and so on until a pile of fists is built up. A player, who remains apart from the group, then addresses the child whose hand is at the top: "What's that?" "A pear." "Take it off or I'll knock it off." The same conversation is repeated with the next child, and so on; the fist being withdrawn as speedily as possible, to escape a rap from the questioner. When only one is left, the following dialogue ensues: "What have you got there?" "Bread and cheese." "Where's my share?" "Cat's got it." "Where's the cat?" "In the woods." "Where's the woods?" "Fire burned it." "Where's the fire?" "Water quenched it." "Where's the water?" "Ox drank it." "Where's the ox?" "Butcher killed it." "Where's the butcher?" "Rope hung him." "Where's the rope?" "Rat gnawed it." "Where's the rat?" "Cat caught it." "Where's the cat?" "Behind the church-door. The first who laughs, or grins, or shows the teeth has three pinches and three knocks." Then follows a general scattering; for some child is sure to laugh, and if he does not do so of his own accord, his neighbors will certainly tweak him, poke him, or otherwise excite his risibility. _Georgia._ In Pennsylvania the conversation ends: "Where's the butcher?" "He's behind the door cracking nuts, and whoever speaks first I'll slap his fingers, Because I am the keeper of the keys, And I do whatever I please." This dialogue, based on a well-known nursery tale, has maintained itself with remarkable persistence, and even verbal identity, in several European languages. We meet it in Germany and Denmark, as well as England. No. 76. _Robin's Alive._ This celebrated game was formerly much played in New England during the winter evenings. A stick was lighted, and passed from hand to hand. It was an object to transfer it as quickly as possible; but each player, before handing it to his neighbor, must repeat the rhyme-- The bird is alive, and alive like to be, If it dies in my hand you may back-saddle me. Or else, "Robin's alive," etc. The "back-saddling" consisted in depositing the person, in whose hand the light went out, upon the back on the floor, and afterwards piling upon him (or her) chairs and other furniture. Another formula is given in the "Girls' Own Book:" "Robin's alive, and alive he shall be; if he dies in my hand, my mouth shall be bridled, my back shall be saddled, and I be sent home to the king's Whitehall." When the light expired it was said: "Robin is dead, and dead he shall be; he has died in your hand, and your mouth shall be bridled, your back shall be saddled, to send you home to the king's Whitehall." This game is played all over Europe with similar formulas; but we are not aware that the "back-saddling" feature has been practised out of England and America. The person in whose possession the light is extinguished usually pays forfeit. It has been suggested, with plausibility, that the sport is connected with an ancient rite: namely, the races of torch-bearers, which formed part of certain festal ceremonies, and in which the courier in whose hands the torch went out was a loser. Such contests are repeatedly alluded to by classic writers; but their exact conduct is involved in some obscurity. In such a race, at Athens, the torch was kindled on the altar of Prometheus, and handed to the runner, whose duty it was to pass it, while still alight, to a second, and so on. This ceremony has suggested a celebrated line to Lucretius, who compares the flying ages to "runners who pass from one to another the torch of life." No. 77. _Laughter Games._ There is a whole class of games of which the object is to excite to laughter by means of some ridiculous action. Such games are sometimes played with a lighted candle. The players approach each other from opposite sides of the room, and sustain a dialogue in solemn tones, while they must keep a grave countenance on penalty of paying forfeit. For example: "The king of Turkey is dead." "What did he die of?" "Doing so" (some ridiculous gesture). A more characteristic version (in Nantucket, Mass.) had it: "The royal Russian princess, Husty Fusty, is defunct." To which it was necessary to answer soberly--"I'm very sorry to hear it; even the cats bewail her loss." A game which was formerly popular with children in Massachusetts was to lean a staff in the corner, while a player was seated in the centre of the ring. Another child now entered, took up the staff, approached and addressed the one sitting, and a rhymed dialogue ensued: "My father sent me here with a staff, To speak to you, and not to laugh." "Methinks you smile." "Methinks I don't. I smooth my face with ease and grace, And set my staff in its proper place." If the staff-bearer laughed, he or she must take the chair; otherwise the next player continued the game. A third amusement is for girls to excite one another to laugh by gently pinching in succession the ears, nose, lips, etc., while making use of some ridiculous expression. This usage is alluded to more than three centuries ago by Rabelais. In a Swiss game, this performance is complicated by a jest. Each child pinches his neighbor's ear; but by agreement the players blacken their fingers, keeping two of the party in ignorance. Each of the two victims imagines it to be the other who is the object of the uproarious mirth of the company. No. 78. _Bachelor's Kitchen._ The children sit in a row, with the exception of one, who goes in succession to each child, and asks him what he will give to the bachelor's kitchen. Each answers what he pleases, as a saucepan, a mousetrap, etc. When all have replied, the questioner returns to the first child, and puts all sorts of questions, which must be answered by the article which he before gave to the kitchen, and by no other word. For instance, he asks, "What do you wear on your head?" "Mousetrap." The object is to make the answerer laugh, and he is asked a number of questions, until he either laughs or is given up as a hard subject. The questioner then passes to the next child, and so on through the whole row. Those who laugh, or add any other word to their answer, must pay a forfeit, which is redeemed in the same way as in other games. _Cambridge, Mass._ No. 79. _The Church and the Steeple._ Little girls, with appropriate motions of the closed fist, or of the inverted hand with raised fingers, say, Here is the church, Here is the steeple, Here is the parson, And all the people. An Italian finger-game well exhibits the different mental state of children in the two countries. The words are: "This is the Inferno, and this the Paradiso." The fingers of the two hands, crossed within, represent the disturbed world of wretchedness; the back of the hands, turned, where all is calm, typify Paradise. No. 80. _What Color?_ A tumbler of water and a thimble are required. One child is sent out of the room, and to each of the others a different color is allotted. The first is then expected to name the color of some child. If she succeeds in her guess, a thimbleful of water is thrown in her face. The guessing is continued till this takes place, when the thrower becomes the guesser for the next turn. _Cincinnati._ No. 81. _Beetle and Wedge._ There are games in which the guesser has only _Scogan's choice_[91] between two sorts of disaster. Thus, a party of boys pitch on two who are unacquainted with the game, and ask them if they would not like to play "Beetle and Wedge." "The fun is to be the Beetle and the Wedge," they explain. The victims consenting, the Beetle is then driven against the Wedge, back to back, with a force that "sends him flying." This amusement belongs to Connecticut. In Philadelphia a boy is asked whether he prefers _mustard_ or _pepper_; in either case receiving corresponding personal inflictions. So in the English game of "Trades" a boy is made to guess the trade of the questioner, and is _hammered_, _planed_, or _rasped_, accordingly. No. 82. _Present and Advise._ All the children, except two, are seated in a row. One of these whispers in the ear of each child, "I present you with this." The second, in like manner, adds, "I advise you what to do with it." Another old whispering-game, belonging, like the preceding, to New York, is called "Sentiment." Each child tells his neighbor on the right the name of a person, and repeats to the one on the left a verse of poetry, usually of a sentimental character. The name and verse are then to be repeated together as in the former game. No. 83. _Genteel Lady._ "I, genteel lady, always genteel, come from the genteel lady, always genteel, beg leave to inform you that my ship has just come in from China laden with apricots." The next player has to repeat, adding some object beginning with _b_, such as biscuit; the next player one beginning with _c_, and so down the alphabet. If any one hesitates, or makes a mistake, a lighted "lamp-lighter" (New England, _spill_) is stuck in her hair, and she is the "one-horned," instead of the "genteel" lady; and for two mistakes the "two-horned" lady, and so on. This juxtaposition of curls and "lamp-lighters" is by no means always safe. _Georgia._ Of this game we observe that, like several amusements familiar in this State, it is of French origin.[92] No. 84. _Beast, Bird, or Fish._ A member of the party throws to another a knotted handkerchief, saying one of the above words, and counting up to ten. The catcher must answer in the given time the name of some animal of the kind required, not already cited by some other player. Whoever fails to reply while the counting is going on, is out of the game. After the names of commoner animals are exhausted, the game becomes a test of quickness and memory. No. 85. _Wheel of Fortune._ A picture of a wheel is drawn upon the slate, and a number written between each of its spokes. The eyes being then closed, the child whose turn it is raises a pencil in the air, twirling it, and saying, Tit for tat, Butter for fat, If you kill my dog I'll kill your cat. At the last word the pencil is brought down; if the point of the pencil falls on a space, the number there written is scored; if on a line, or outside the circle, or on a number previously secured (and erased by a line), the turn is forfeited. The game is continued until a certain number has been scored by the winning player. _Georgia._ No. 86. _Catches._ "I went up one pair of stairs." "Just like me." "There was a monkey." "Just like me." "I one'd it." "I two'd it," etc. "I ate [eight] it." This (to children) exquisitely witty dialogue has its German counterpart.--"I went into the wood." "So did I." "I took an axe." "So did I." "I made a trough." "So did I." "Seven pigs ate of it." "So did I."[93] Equally well known is the jest, "I am a gold lock," "I am a gold key," etc.--ending "I am a monk-lock," "I am a mon-key." We may mention also a familiar catch, "Say my cat, my cat, and not my dog." "My dog" must not be spoken. Of a different character are the following jests: The lights being extinguished, a knife is passed round the circle of players, and the following conversation ensues, each phrase being continued from left to right of the ring: "What's this?" "A dagger." "Where did you get it?" "Stole it." "What was done with it?" All of the company who understand the jest shriek aloud, which accomplishes the object of terrifying the rest. Somewhat similar (in New York) is the following: "Neighbor, I've got a hatchet to sell." "Did you buy it?" "No." "Did you steal it?" "Sh--" In the following conversation, one sentence at a time is repeated in a whisper to the left-hand neighbor, and so passed round the circle, the fun consisting in the imitation of crowing at the end. "Hath she feathers?" "Feathers she hath." "Doth she crow?" "Crow she doth." "How doth she crow?" (An imitation of crowing follows.) No. 87. _Intery Mintery._ An evening amusement formerly common in Massachusetts. All present laid their hands with fingers resting on the knees. The speaker then told off the words of the rhyme, one for each finger. The rhyme being thus recited, that finger to which the last syllable fell must be quickly withdrawn, on penalty of being sharply rapped by the hand of the leader. After all had been counted out but one person, he or she was liable to the same risk for every word of the rhyme--the result of which situation is alluded to by the epithet "black finger." Intery mintery cutery corn, Apple-seed and apple-thorn, Wire, briar, limber lock, Twelve geese in a flock; Sit and sing by a spring, O-u-t spells out, and in again. Over yonder steep hills, Where my father he dwells, He has jewels, he has rings, And very many pretty things. Strike Jack, lick Tom, Blow the bellows, Black finger--out-of-the-game. No. 88. _Redeeming Forfeits._ The girl who is to assign the penalty by which the forfeit must be redeemed lays her head on the lap of another who sits on a chair, while a third, standing behind, holds the article over her head and asks: "Here is a forfeit, a very fine forfeit; what shall be done to redeem it?" "Is it fine or superfine?" (_i.e._, does it belong to a gentleman or to a lady). The sentence is then declared. Another formula, used in the Middle and Southern States, is: "Heavy, heavy, what hangs over you?" The German usage is nearly the same, the question being "Lord judge, what is your sentence, what shall he do whose pledge I have in my hand?" The following are examples of old penalties, which usually involved kissing, with infinite variety of method: _To go to Rome._ To kiss every girl in the room. _Flat-irons._ The lad and lass lay their hands on the wall and kiss. _Measuring yards of tape, and cutting it off._ To kiss with the arms extended. "_I'm in the well._" "How many fathoms deep?" (Any number is answered.) "Whom will you have to take you out?" (Some one of the company is named.) Each fathom represents a kiss. No. 89. _Old Mother Tipsy-toe._ This is a very popular game with girls in various parts of the United States. The children sit in a row, with the exception of the mother, who comes up and asks each child in turn, "How did you tear your dress?" After hearing their various excuses, she again traverses the row, indicating the part of the dress to be mended, and saying: I give you so much work to do, Use thimble, thread, and needle too; If you don't get it done before I come back, I'll give you a slap across your back. She slaps her children on the shoulder and goes out, forbidding them to follow her. As soon as her back is turned, they all jump up and run after her, shouting, "Old mother Tipsy-toe,"[94] or, as in a variation from New York: Old mother Tippety-toe, old mother Tippety-toe, I'll follow my mother wherever she go. The mother now goes into a shop, and orders various articles, the children repeating after her whatever she says. For instance, the mother says, "I want two pounds of butter." "I want two pounds of butter," shout the children in chorus. Finally she says, "And I want a stick to whip my children with," upon which she turns to leave the shop, while the children rush before her, and scramble back to their seats before their mother comes home. The latter then goes to each child in turn, saying, "Let me see how well you have mended your dress." The children all hold the hem of their dresses as firmly as they can, with their hands somewhat apart. The mother strikes with her hand the part of the dress that is between their hands; and if they let it go, she scolds and beats them for their bad mending. _Cambridge, Mass._ In another way of playing, which makes the game one of chase, "Old mammy Tipsy-toe" addresses her children: I give you this much work to do, Use thread and needle, thimble too; If you don't have it done By the time that I come home, You'll be beaten black and blue With my old shoe. She then makes preparations to depart: I'm going to Lady Washington's, To get a cup of tea, And five loaves of gingerbread, So don't you follow me. The children, of course, pursue her with shouts of defiance, upon which she turns and chases them, while they rush to their places. She comes back, and demands of the children: "Have you been out to-day?" "No." "You have. Where have you been?" "To grandmother's." "What did you get?" "A slice of cake." "Where is my share?" "In the band-box." "But I might break my neck getting it." "I wish you would." On this, she chases the children, who fly and scatter. Any child she catches is out of the game, which is continued until all are captured. _Philadelphia._ No. 90. _Who Stole the Cardinal's Hat?_ The children being seated in a circle, a child, who does not take part in the game, whispers to each of the rest a name representing some color, as "Red-cap," "Blue-cap," "Yellow-cap," etc. Two players are excepted, one of whom is called "My man John," and one represents the cardinal. The latter now leaves the room, first placing in the hands of "John" a little billet of wood, bidding him take care of the Cardinal's hat, which at the same time he declares to be of some particular color, as green. "John" conceals this somewhere in the room. The child who went out then enters, armed with a cane, and demands the Cardinal's hat. "John" affects to have forgotten all about it, and asks, "What color was it? green?" and so on until he guesses the color. Being thus reminded, he declares that some one of the group, as, for example, "Red-cap," has stolen it. "Red-cap" is now asked by the questioner, "Red-cap, did you steal the Cardinal's hat?" He also must pass on the charge, saying, "No, it was White-cap" (or any other color). If he omits to do so, or names a color not included among the players, he must pay forfeit. Meanwhile the questioner becomes indignant at the numerous denials, and proceeds to extort confession by torture, rapping with his cane the fingers of those whom he addresses. If he succeeds in obliging any child to confess, the latter must pay forfeit. At last "My man John" owns the theft, produces the hat, and the game is begun again, until a sufficient number of forfeits have been collected. _Saratoga, New York._ This game is also played in Switzerland. The name of a color having been given to each child, a ball is stealthily passed about the circle. The "Abbot of St. Gall" enters, and exclaims, "The Abbot of St. Gall has lost his night-cap; they say White stole it." The player whose color is named, if he has the ball, must pass it behind his back to another, saying, "Not White, Red has it." Whoever is caught in passing the ball, or names a color not in the game, or fails to answer when his name is called, must pay forfeit, or have his face marked with burned cork. It will be seen that the Swiss game corresponds to the American, except that in the latter the ball is concealed instead of being passed round; but we think it likely that the memory of our informant (a child) may have been at fault in this respect. The _Gentleman's Magazine_, February, 1738, mentions a game called "The Parson hath lost his Fuddling Cap." _The Spectator_, No. 268, also refers to this sport: "I desire to know in your next if the merry game of 'The Parson has lost his Cloak,' is not mightily in vogue amongst the fine ladies this Christmas, because I see they wear hoods of all colours, which I suppose is for that purpose." From this last extract it appears that the names "Red-cap," etc., are a reminiscence of the variously colored hoods once employed in the game. FOOTNOTES: [91] _Scogan's choice_ is equivalent to _Hobson's choice_; both are heroes of old jest-books. [92] The game is called "Le Chevalier Gentil," and proceeds thus: "Bon jour, chevalier gentil, toujours gentil; moi chevalier gentil, toujours gentil, je viens de la part du chevalier gentil, toujours gentil (so designating the left-hand neighbor) vous dire qu'il y a un aigle à bec d'or, à pattes d'argent," etc. A player who misses receives "un petit cornet de papier," and is known as "chevalier cornu, biscornu," etc., or "damoiselle cornette à tant de cornes." [93] A French catch: "J'ai monté un escalier." "Comme moi." "Je suis entré dans la chambre." "Comme moi." "J'ai vu une petite boîte." "Comme moi." "Je l'ai ouverte." "Comme moi." "Il y avait une grosse bête." "Comme moi." [94] Or, as played by the children from whom this version was obtained, _Old mother Cripsy-crops_. The name "Tipsy-toe" is derived from the limping gait supposed to belong to witches. See No. 154, C. X. _GUESSING-GAMES._ "As boys, when they play at 'how many,' hold out their hands in such a way that, having few, they pretend to have many, and having many, they make believe to have few."--XENOPHON, _Treatise on the Duties of a Cavalry Officer_. No. 91. _Odd or Even._ A small number of beans or other counters are held in the hand, and the question is, Odd or Even? If the guess is even, and the true number odd, it is said "Give me one to make it odd," and _vice versâ_. The game is continued until all the counters belong to one or other of the two players. This amusement was familiar in ancient Greece and Rome, as it is in modern Europe. In the classic game the player gained or lost as many as he held in his hand. No. 92. _Hul Gul._ This game is played by three, four, or more, who stand in a circle. A child then addresses his left-hand neighbor, and the dialogue is: "Hul Gul." "Hands full." "Parcel how many?" The second player then guesses the number, two guesses being sometimes allowed. If, for example, the guess is five, and the real number seven, the first responds, "Give me two to make it seven," and so on until all the counters have been gained by one player. The number allowed to be taken is often limited, by agreement, to six or ten. The counters are beans, grains of corn, marbles, nuts, and, in the South, _chinquapins_.[95] A childish trick is to expand the hand as if unable to hold the number of counters, when in fact they are but one or two. Oddly enough, this same device is alluded to by Xenophon as in use in his day in the game of "How many?"--the classic equivalent of our game, in which the question was, "How many have I in the hand?" just as we say, "Parcel how many?" So, in these sports, the interval of two thousand years vanishes. No. 93. _How many Fingers?_ A child hides his head on another's lap, and guesses the number of fingers raised. We find a rhyme for this given in the "Girls' Own Book." "Mingledy, mingledy, clap, clap, clap, How many fingers do I hold up?" "Three." "Three you said, and two it was," etc. Another form of this game consists in schoolboys mounting on each other's back and raising fingers, of which the number is to be guessed. The English formula for this purpose is given by Tylor thus, "Buck, buck, how many horns do I hold up?" We are not aware that the practice continues to exist in this country. In the famous finger-game of "Morra," the sum of the fingers raised by the two players is counted. The game is played with such rapidity, and the calling is so rapid, that conjecture plays a larger part in the game than eyesight. "Morra" has been a favorite for nearly four thousand years, for it is represented on early Egyptian monuments, where the players are depicted as using the right hand, and scoring with the left, very much as is done in the south of Europe at the present day. It is very likely, however, that the nursery usage we are now concerned with is as old. Petronius Arbiter, in the time of Nero, describes Trimalchio as so playing with a boy. The latter, mounting as on horseback, smote his shoulders with the open hand, and laughing said, "Bucca, bucca, how many?"[96] We will not undertake to decide whether the reported coincidence of the Latin and English formulas is a genuine example of transmission. The game, however, and the question, "How many?" have certainly endured for two thousand years, and very likely existed as long before the days of Petronius, or from a time as remote as that to which can be traced the more complicated game of "Morra." No. 94. _Right or Left._ A common way of deciding a dispute, selecting players, or determining who shall begin a game, is to take a pebble or other object in the closed fist, and make a comrade guess in which hand it is contained. The old-fashioned way of holding the hands, both in England and Germany, was to place one fist on top of the other; and a like usage formerly prevailed in New England, though we have not met with the English rhyme: Handy-dandy riddledy ro, Which will you have, high or low? No. 95. _Under which Finger?_ A child takes a bean in the hand, closes it, and asks a companion to guess under which finger it lies; if the latter fails, he must pay a bean. No. 96. _Comes, it Comes._ A simple guessing-game, familiar to children in New England. One child of the party says to another, "It comes, it comes." The player addressed replies, "What do you come by?" The first replies by naming the initial letter of some object in the room; if, for instance, it is the table he has in mind, he says, "I come by T." The rest must now guess what thing, beginning with this letter, is meant. No. 97. _Hold Fast My Gold Ring._ The children sit in a circle, with hands closed; one takes the ring, and goes around with it, tapping the closed fists of the players as if inserting the ring, and saying: Biddy, biddy, hold fast my gold ring, Till I go to London, and come back again. Each child, in turn, is then required to guess who has the ring, and, if successful, takes the leader's place; if unsuccessful, he pays forfeit. _Georgia._ This is known in Massachusetts as, Button, button, who's got the button? Another form of the question is, "Fox, fox, who's got the box?" In England the game goes, My lady's lost her diamond ring, I pitch on you to find it. No. 98. _My Lady Queen Anne._ A ball is concealed with some one of the children who form the circle. A girl is placed in the centre, and a dialogue ensues; the ring singing: "My lady Queen Anne, She sits in the sun, As fair as a lily, As brown as a bun. The king sends you three letters, and bids you read one." The girl answers: "I cannot read one unless I read all, So pray, Mr. [or Miss] ----, deliver the ball." If the person named has the ball, he or she takes her place; if not, she continues as before. In England, a rhyme is given for the latter case: "The ball is mine, and none of thine, So you, proud queen, may sit on your throne, While we, your messengers, go and come." No. 99. _The Wandering Dollar._ A coin is passed about the circle, and the central player is to guess who has it. The dollar is held in the palm, then passed about the ring by each player alternately clapping his hands together, and then extending his arms so as to touch the hands of his neighbor. For this purpose the right hand should be held downward, and the left turned upward, as the arms are extended. The coin is to be _palmed_ from hand to hand, and the rhythmical motions being accompanied with song (to almost any tune) make a very pretty game, but one which requires much practice to master. The verse sung is, Dollar, dollar, how you wander, From the one unto the other! Is it fair, is it fair, To leave Miss [Anna] so long without a chair? _Cincinnati._ The game is a modern translation from the German, presumably by the children themselves. No. 100. _Thimble in Sight._ Among games of search may be mentioned the present, in which, the greater part of the company being sent out of the room, a thimble must be placed so as to escape notice, and yet in such a position as to be visible when the attention is once directed to it. As each of the party discovers the thimble, he indicates his success by saying "Rorum torum corum," or some such formula, and then takes his seat. In other games, in which some small object is hidden, there are various ways of assisting the seeker when at fault; thus, it is said you _freeze_, you are _cold_, you are _warm_, you _burn_, according as the object is approached; or the search is directed by _magical music_, which grows louder as the person comes nearer to his object. These usages belong also to other countries. More original is a practice, common in Massachusetts, according to which the height of the concealed object above the floor of the room is indicated by the words "So high water," addressed by one of the company to the person who has been sent out, as he enters and begins his search. FOOTNOTES: [95] "Chinquapin (_Castanea primula_), an ovoid, pointed, sweet nut, half the size of a common chestnut." [96] "Bucca, bucca, quot sunt hic?" XI. _GAMES OF CHASE_. The spring clade all in gladness Doth laugh at winter's sadness, And to the bag-pipes round, The maids tread out their ground. Fy, then, why are we musing, Youth's sweet delight refusing? Say, dainty nymph, and speak, Shall we play Barley Break? _Old Song._ No. 101. _How many Miles to Babylon?_ A party of young people stand at each end of a space, such as a portico, a field, etc., and a single player is stationed in the middle. The former address the latter: "Marlow, marlow, marlow bright, How many miles to Babylon?" "Threescore and ten." "Can I get there by candlelight?" "Yes, if your legs are as long as light, But take care of the old gray witch by the road-side." The players at the ends of the field then run from side to side, and must be caught by the central player, whom they then assist to catch the rest. _Georgia._ This sport, which has been universally familiar in America, is a form of the old English game of "Barley Break," and probably the "marlow bright" of our version is a corruption of that name. The Scotch variety given by Chambers has a very chivalric turn, which may give an idea of the song which must have accompanied the game in the time of Queen Elizabeth: "King and queen of Cantelon, How many miles to Babylon?" "Eight and eight, and other eight." "Will I get there by candlelight?" "If your horse be good and your spurs be bright." "How many men have ye?" "Mae nor ye daur come and see." The poets of the Elizabethan age fully describe the game of "Barley Break," and seem to think it the most delightful of youthful amusements. They represent Diana and her nymphs as amusing themselves with this sport. It appears from Sidney's description that the game was played by three couples, each of a youth and a maid, one couple standing at each end of the area, and the third remaining in the centre. The mating was determined by lot, and the last pair mated were obliged to take the central position, and saluted each other by a kiss. This pair were required to pursue with joined hands, while the others were at liberty to separate. Any maid caught replaced the maid, and any youth the youth, of the central couple. Notwithstanding the courtly nature of the sport, that its fundamental idea is the same as that of our game appears by the name of the central space, as Sidney gives it in the "Arcadia:" Then couples three be streight allotted there, They of both ends the middle two do flie, The two that in mid-place Hell called were, Must strive with waiting foot and watching eye To catch of them, and them to Hell to bear, That they, as well as they, Hell may supplie. A New England variation introduces blindfolding, thus adapting the game to a chamber. Two children are made to kneel on stools, their eyes bandaged, and the rest must run between. The dialogue is: "How many miles to Barbary-cross?" "Fourscore." "Are there any bears in the way?" "Yes, a great many; take care they don't catch you!" No. 102. _Hawk and Chickens._ A hen with her brood. A child represents the "Old Buzzard," about whom the rest circle. The hen addresses the latter: "Chickany, chickany, crany, crow. Down in the gutter To get the hog's supper-- What o'clock is it, old buzzard?" The Buzzard, meanwhile, is busied in building up a fire with sticks, and abruptly names any hour, when the question and answer are repeated for each child of the ring, until twelve o'clock, thus-- "Half-past ten." "What o'clock is it, old buzzard?" "Half-past eleven." "What o'clock is it, old buzzard?" "Twelve o'clock." The ring now halts, and the dialogue proceeds: "Old buzzard, old buzzard, what are you doing?" "Picking up sticks." "What do you want the sticks for?" "To build a fire." "What are you building a fire for?" "To broil a chicken." "Where are you going to get the chicken?" "Out of your flock." The Buzzard gives chase and captures a child. He brings him back, lays him down, and proceeds to dress him for dinner. All the rest stand round in admiring silence. The Buzzard asks, "Will you be picked or scraped?" According to the choice he proceeds as if picking the feathers of a bird or scaling a fish, and continues, with appropriate action, "Will you be pickled or salted?" "Will you be roasted or stewed?" He drags the victim into one or another corner of the room, according to the reply, and the game proceeds as before.[97] _New England._ In the Southern States a witch takes the place of the bird of prey, and the rhyme is, "Chickamy, chickamy, crany, crow, I went to the well to wash my toe, And when I came back my chicken was gone; What o'clock, old witch?" The witch names any hour, and questions and answers are repeated as before, up to twelve: "What are you doing, old witch?" "I am making a fire to cook a chicken." "Where are you going to get it?" "Out of your coop." "I've got the lock." "I've got the key." "Well, we'll see who will have it." The witch tries to get past the hen, and seize the last of the line; the mother, spreading out her arms, bars the passage. The witch cries, "I must have a chick." "You sha'n't have a chick." Each child caught drops out, and as the line grows shorter the struggle becomes desperate. _Georgia._ This latter way of playing is the older form of the game, and is also familiar, though without words, in the North, where it is known as "Fox and Chickens." This game is one of the most widely diffused, and the dialogue is marvellously identical, from Russia to Italy. In Schleswig-Holstein the conversation runs thus: "Hawk, what are you lighting?" "A fire." "What is the fire for?" "To make ashes." "What are the ashes for?" "To sharpen a knife." "What is the knife for?" "To cut off chickens' heads." "What have the chickens done?" "Gone into my master's corn." In our own country, among the Pennsylvania Germans, or, to use their own agreeable idiom, "De Pennsylfaunisch Deitsch," this game enjoys the distinction of being almost the only child's game which is accompanied by words, and is played as follows: A boy who is digging in the earth is accosted by a second, who carries a handful of sticks, the longest of which represents the needle: "Woy, woy, was grawbst?" "Meine Moder hat erne silberne Nodel verloren." "Is sie des?" "Ne." "Is sie des?" "Ne." "Is sie des?" "Yaw."[98] The stooping child now rises and pursues the rest. A similar dialogue is used for a game of chase in New York: "Old mother, what are you looking for?" "A needle." "What do you want a needle for?" "To sew my bag with." "What do you want your bag for?" "To keep my steel in." "What do you want your steel for?" "To sharpen my knife to cut off your head." In the same spirit, the Venetian game has: "Sister, what are you looking for?" "A knife to kill you with." Whereupon she pursues the questioners. In this version we find also the inquiry about the hour, the putting of the pot on the fire, the searching for the knife, and final scattering. The Finns on the Baltic coast, too, have the game in the form of a long song, beginning, Close together! see the hawk yon! Close together! see his talons? Which exactly corresponds to the Scotch, Keep in, keep in, wherever ye be-- The greedy gled is seeking ye! No. 103. _Tag._ In this game a child, usually selected by "counting out," pursues his comrades till he has caught one who must replace him. There is generally some asylum of refuge, where the pursued are safe. The original form of this game seems to have been "Iron Tag," or "Tag on Iron," once universal in the United States, and still here and there played. In Germany and Italy, also, this is the usual form of the sport. In this game the pursued party is safe whenever touching iron in any shape, as the ring of a post, horse-shoe, etc.[99] A writer in the _Gentleman's Magazine_, February, 1738, speaking of this amusement, says that "the lad saves himself by the touching of cold iron," and that "in later times this play has been altered amongst children of quality, by touching of gold instead of iron." In like manner, owing to the occasional scarcity of iron objects, _wood-tag_ and _stone-tag_ have been varieties of the sport in America. This form of the game exhibits its original meaning. As in several other games of chase, the pursuer represents an evil spirit, from whose attack, according to ancient superstition, iron was a protection. Hence the challenge, in Silesia and Switzerland, is, "Father, I have no iron, hit me."[100] The chaser, it seems, was conceived as the aged but powerful dwarf, of malignant character. Thus we get a vivid idea of the extent to which such representations once affected the lives even of children, and see that an amusement which is now a mere pleasurable muscular exercise followed the direction imposed by belief. There are numerous varieties of this game. In _cross-tag_, the pursuer must follow whoever comes between him and the pursued. In _squat-tag_, the fugitive is safe while in that position, or is allowed a given number of "squats," during which he cannot be touched. A peculiar variety (in Philadelphia) is "Tag, tag, tell a body." In this game every child is forbidden to tell who is "it," on penalty of replacing him. Sometimes the name of the pursuer is kept secret until revealed by his actions, or the child who has been tagged deceives the rest by keeping up his speed. On the other hand, the catcher is sometimes bound to turn his cap inside out, whence the game is called _turn-cap_. "Pickadill" is a kind of tag played in Massachusetts during the winter. A large circle is made in the snow, with quartering paths; if there are many players, two circles are made. There is one tagger, and the centre is the place of safety. "London Loo" is a particular species of the game (in Philadelphia) in which the following: formula is used: "1, 2, 3, 4, 5, 6, 7, 8, 9, 10--London!" "Loo!" "I'll try to catch one of you." No. 104. _Den._ This is an out-of-doors game. Each boy represents a wild beast, and has a separate tree, which represents his "den." Any player who leaves his den is liable to be tagged by any who has started out at a later moment. The best runner usually ventures first, a second pursues him, and so on, until all may be out at once. If a player can tag any one whom he has a right to capture, he takes him home to his own den, and the latter must help him to take the rest. The pursuer cannot be tagged while bringing home his prisoner. _Cambridge, Mass._ No. 105. _I Spy._[101] This game is world-old and world-wide. To judge by the description of Pollux (in the second century), it was then played exactly as American children play it to-day. "One of the party places himself in the middle of his comrades, and closes his eyes, unless some other covers them for him. The players run away and scatter. Then the pursuer opens his eyes and proceeds to look for them. It is each player's object to reach that one's[102] ground before him." An ancient painting represents this game. Cupids are playing together. One of these, with his face turned away, has his hands before his eyes, and appears to be counting. Another is running to a place of concealment, while a third peeps from behind the door. Children, with us, usually count a hundred before beginning the search; but there is an abbreviated method, not accounted fair-- Ten, ten, and double ten, Forty-five and fifteen. The "home" is usually a tree. When the seeker catches sight of any of the players, he (or she) runs to the tree, and touches it thrice, saying, "One, two, three, for----" (naming the child). On the other hand, if the latter can reach the tree first, he touches it, saying, "One, two, three, for myself."[103] In a variety of the game, a stick is set up against a tree. One of the players seizes it, and throws it as far as possible. The children hide, while the one who happens to be "it" gets and replaces the stick, after which he proceeds to look for the rest. Those whom he discovers he captures as above described, until all are taken. If any of the hiders can reach the tree and throw down the stick, all prisoners are released, and the seeker must begin over again. A similar game, in New York, is called "Yards off." "Hide and Seek" differs only in this, that there is no home to be touched, but the game is ended when the concealment is discovered. When the players are hidden they announce it by "whooping." No. 106. _Sheep and Wolf._ This is a very ancient hiding-game. A wolf is chosen by "counting out" or otherwise, who conceals himself, and then indicates that he is ready by howling. The rest of the party, who are supposed to be sheep, walk round the corner in a casual way, until one calls out, "I spy a wolf," whereupon all immediately take to their heels. Whoever is caught by the wolf before reaching home must take his place for the next turn. This game is nearly identical in most European countries. _New York._ No. 107. _Blank and Ladder._ A boy is selected by the following peculiar counting rhyme: In came a little man with a white hat; If you want a pretty girl, pray take that; Take your choice of one, two, or three, If you want a pretty girl, pray take she. Lad after lad being successively excluded, the last remaining is "it," and has to hide himself, when he calls out, Blank and ladder! The searcher may summon the fugitive to indicate his whereabouts: Halloo if you're far off, whistle if you're nigh. _Salem, Mass._ In Portland, Me., the shout of the concealed party is, "Blank, blank, Cornelia!" and in the western part of the State of New York, "Blancalilo!" The searcher, on discovering one of the hidden players, calls "Hi spy!" and tries to touch the latter before he can reach goal, the rule being that Elbow and knee Always go free. No. 108. _Blind-man's Buff._ A blindfolded player is led into the centre of a room, taken by the shoulders, and turned about three times, after which he must catch somebody to replace him. For this initiation there is in the Middle States a rhyme: "How many horses have you in your father's stable?" "Three; black, white, and gray." "Turn about, and turn about, and catch whom you may."[104] The English name, "Hoodman-blind," is derived from the manner of blindfolding formerly in use. When caps were worn which could be drawn at will over the face, the caps, reversed so as to cover the countenance, formed the mask. This game belongs to all ages and most countries, and is known by many different names, frequently taken from animals, for example: "Blind Cow" in Germany; "Blind Goat" in Sweden; "Blind Mouse" in South Germany and Servia; "Blind Hen" in Spain; "Blind Fly," or "Blind Cat," in Italy. To the English name, "Blind-man's Buff," correspond the Polish "Blind Old Man," and the Norwegian "Blind Thief." In these titles a mythologic allusion is probably contained, which is quite clear in the Scotch "Belly-blind,"[105] the latter name representing a malicious demon. Thus again appears the conception of a supernatural adversary so common in games of pursuit. A familiar variation makes this a ring-game. The blindfolded person stands in the centre, with a staff, while the ring circles about him. When he strikes the floor three times, the ring must pause. The person in whose direction he points must grasp the staff, and utter some sound, disguising the voice as much as possible. The first must then guess the name from the sound. In New York this form of the game is called "Peggy in the Ring," and the request is "to squeak." In Cincinnati the game is also played in a dark room, without bandaging the eyes, and is then called "Devil in the Dark." Another variety, also commonly played without blindfolding, goes by the name of "Still Pond," or "Still Palm." The child who is "it," counting up to ten, says, Still proving, No moving. All now keep their places. The catcher must guess by the touch the name of his captive. The game of which we write is described by Pollux, as played seventeen hundred years since in various forms, all of which are still familiar: "The game of 'Muinda,' when any one, closing his eyes, cries, 'Look out!' and whomsoever he catches he makes him close his eyes instead; or when, keeping his eyes shut, he seeks after the children who have hidden until he catches them; or else he closes his eyes while the others touch him, and if anybody gives a clue himself, he speaks out and guesses till he gets it right." When a bandage was used, the game was called the "Brazen Fly" (we may suppose a gaudy species of insect, from the zigzag motion, as boys run when chasing butterflies), and is thus described by the same author: "The eyes of a boy having been bound with a bandage, he goes round, saying, 'I shall chase the _brazen fly_;' but the others, answering, 'You will chase him but not catch him,' hit him with whips of papyrus, till he catches one of them." These papyrus whips were the equivalent of our knotted handkerchiefs. No. 109. _Witch in the Jar._ One of the children is selected for a witch, and each of the others chooses some tree or post for a goal. The witch then marks out on the ground with a stick as many circles as there are players, which she calls "jars." The children run out from their homes, and are pursued by the witch. Whenever she catches one, she puts him in one of her jars, from which he cannot escape unless some one else chooses to free him by touching. Once freed, he cannot be recaught until he has reached his home, and ventures out once more. The freer, however, can be caught, and as the witch keeps guard over her prisoners, it is a dangerous task for a player to attempt to set his companions free. When all are caught, a new witch is chosen. No. 110. _Prisoner's Base._ This game is also called "Prisoner's Bars;" but the first name, mentioned in "Cymbeline," seems the older, from which the latter has arisen by misunderstanding. The game, which is also popular in Europe, is originally an imitation of warfare. The two armies stand facing each other, and have their _bases_ each on a line parallel with that of the adversary. But in the United States the game has been changed, so that the two parties stand on the same line, and the bases are placed diagonally opposite at a distance of some thirty yards, so that each base is nearer to the enemy's forces than to those of the side to which it belongs. The game is opened by a challenge given by one leader to the other; each player can tag any one of the opponents who has quitted his line before he has left his own. Any player tagged must go to his base. Any player who can reach his base in safety may release a prisoner. As it often happens that a half-dozen runners may be pursuing a single fugitive, who is cut off from his friends, the chase may be prolonged far from the point of departure, through streets of the town or fields of the country. No. 111. _Defence of the Castle._ After the battle of Dunbar, Oliver Cromwell sent Colonel Fenwick with two regiments to reduce Hume Castle. The governor, Cockburn, when ordered to surrender, replied by quoting the following lines, which must have belonged to a boys' game of his day: I, William of the Wastle, Am now in my castle, And a' the dogs in the town Winna gae me gang down. The rhyme, with small change, is still familiar in Scotland, and the game well known in Pennsylvania, where the defiance runs, less chivalrously, Hally, hally, hastle, Come into my new castle! Or, with a change of usage, Hally, hally, hastle, Get off of my new castle! In the first case the defender maintains his post against assailants; in the latter, he endeavors to capture one of a group who have established themselves in his castle, represented usually by a cellar-door. No. 112. +_Lil Lil._+ This game is played in an open field. A boy stands in the centre of the field, and the other players at the sides. With the cry "Lil lil!" they run across. The tagger must touch a runner three times on the back, and whoever is so caught must assist him. There is a rhyme for this game-- Lil, lil, Over the hill, Wash my lady's dishes, Hang them on the bushes, etc. "Lil lil!" is also a cry (in Boston) of children "coasting," when the track is to be cleared. No. 113. _Charley Barley._ Charley, barley, buck and rye, What's the way the Frenchmen fly? Some fly east, and some fly west, And some fly over the cuckoo's nest. _Portland, Me._ We have not obtained information as to the manner in which this game was played, but it is evidently identical with the Scotch rhyme: Hickety, bickety, pease, scone, Where shall this poor Scotchman gang? Will he gang east, or will he gang west, Or will he gang to the craw's nest? In the Scotch game, a boy, whose eyes are bandaged, rests his head against a wall, while the rest come up and lay their hands upon his back. He sends them to different places, according to the rhyme, and calls out, "Hickety, bickety!" till they have returned, when the last in must take his place. The "crow's nest" is close beside the blindfolded boy, and is a coveted position. This game is also played in Switzerland. Each of the children receives the name of some animal, as Goat, Wolf, Snake, Frog, etc. To the swifter and more dangerous beasts are assigned the more distant positions. The keeper then shouts out that supper is ready, whereupon all rush home, each animal uttering his own peculiar cry. The last in is punished. No. 114. _Milking-pails._ All the players join hands in a row, except one, who stands facing them at a distance of a few feet. The row slowly advances towards the solitary child, and then retreats, singing, "Will you buy me a pair of milking-pails, Oh, mother! Oh, mother? Will you buy me a pair of milking-pails, Oh, gentle mother of mine?" The mother, advancing and retreating in her turn, sings, "Where is the money to come from, Oh, daughter! Oh, daughter? Where is the money to come from, Oh, gentle daughter of mine?" The dialogue then continues to the same air, "Where shall your father sleep?" "Sleep in the servant's bed." "Where shall the servant sleep?" "Sleep in the stable." "Where shall the pigs sleep?" "In the wash-tub." "Where shall we wash the clothes?" "Wash them in the river." "What if they should swim away?" "You can jump in and go after them." On this the indignant mother chases her daughters, and whoever is first caught must take the mother's place. This game does not appear to be established in America, though we have heard of it as played in West Virginia. Our present version is from children lately arrived from England, where it seems to be a favorite. No. 115. _Stealing Grapes._ A circle of children with arms raised. Enter keeper of garden: "What are you doing in my vineyard?" "Stealing grapes." "What will you do if the black man comes?" "Rush through if I can." _New York._ This game is probably a recent translation from the German. It is also played in Italy in a more humorous form. The thief exclaims, as he picks each, "A delicious grape!" The guardian demands, "What did you pick that grape for?" "Because it's first-rate." "What would you do if I took a stick and chased you?" "Pick a bunch and run." Which he accordingly does. No. 116. _Stealing Sticks._ A company of players divide, each having the same number of sticks, which they deposit on each side of a line; whoever crosses the line may seize a stick, but if caught is confined in a prison, marked out for the purpose. This is the game of "Scots and English," and may be classed among sports originating in border warfare. No. 117. _Hunt the Squirrel._ A ring of players is formed, about the outside of which circles a child who carries a knotted handkerchief, with which he finally taps another on the shoulder, and starts to run round the ring. The child touched must pick up the handkerchief, and run in the opposite direction from the first. The two players, when they meet, must courtesy three times. The toucher endeavors to secure the other's place in the ring, failing which, he must begin again. As he goes about the circle, he recites the words: Hunt the squirrel through the wood, I lost him, I found him; I have a little dog at home, He won't bite you, He won't bite you, And he _will_ bite you. _Cambridge, Mass._ In Philadelphia, a corresponding rhyme begins: I carried water in my glove, I sent a letter to my love. A variation from New York: [Illustration] I tis-ket, I tas-ket, A green and yel-low bas-ket. I sent a let-ter to my love, And on the way I dropp'd it. The name of the game in England is "Drop-glove." Another and apparently older way of playing "Hunt the Squirrel" is a game in which the child touched follows the toucher until he has caught him, pursuing him both in and out of the ring, being obliged to enter and leave the circle at the same point as the latter. A kissing-game, in which the player who makes the circuit taps another on the shoulder, and then takes flight, while the person touched is entitled to a kiss if he can capture the fugitive before the latter has made the tour of the circle and gained the vacant place, is a favorite among the "Pennsylvania Dutch," under the name of "Hen-slauch" (Hand-slag), that is, striking with the hand. The game is there called "Ring," and has inspired certain verses of Harbach, the nearest approach to a poet which that unimaginative race has produced.[106] In a similar game, formerly played in Massachusetts, the leader of the game touches one of the party on the shoulder, and asks, "Have you seen my sheep?" The first replies, "How was it dressed?" The toucher now describes the costume of some player, who, as soon as he recognizes the description of himself, must take flight, and endeavor to regain his place in safety. FOOTNOTES: [97] The first lines, "Chickany," etc., are from one old version, the rest from another. In the first the bird of prey was called the "Blind Buzzard," and the game ended as Blind-man's Buff. [98] That is: "Hawk, hawk, what are you digging for?" "My mother has lost a silver needle." "Is it this?" "No." "Is it this?" "No." "Is it this?" "Yes." [99] "So-and-so had a nail driven into his shoe, and insisted that he could not be touched while standing on iron."--_A Bostonian informant._ [100] The French name in Berry is _Tu l'as_; elsewhere _La caye_; in Limousin, _Cabé_, which may have been derived from _hoc habe_. [101] Pronounced _Hie_ Spy. [102] He who is "it." [103] The identical words in Switzerland--"eis, zwei, drü für mich;" or, "eis, zwei, drü für den oder den." [104] The formula of German children in New York, translated, runs: "Blind cow, we lead thee." "Where?" "To the stable." "What to do there?" "To eat soup." "I have no spoon." "Go get one." The "blind cow" then seeks her "spoon." [105] Professor F. J. Child has shown that _Billie Blin_, which occurs in English ballads, is originally a name of Odin, expressing the _gracious_ side (German _billig_) of the blind deity. But it seems to have passed into a bad use, as a murderous dwarf or fairy. [106] See his "Schulhaus an dem Krik." XII. _CERTAIN GAMES OF VERY LITTLE GIRLS._ Dans mon coeur il n'y a pas d'amour, Mais il y en aura quelque jour. _French Round._ No. 118. _Sail the Ship._ Two little girls, clinching fingers, and bracing their feet against each other, whirl rapidly round, a movement which they call "Sailing the ship." No. 119. _Three Around._ Three little girls join hands and swing about, being the simplest form of motion without song, to which they give the name of "Three Around." No. 120. _Iron Gates._ Two little girls clasp hands tightly, singing, Iron gates, Never break, While a third throws herself against them, and endeavors to break through. No. 121. _Charley Over the Water._ Children sing, as they dance with clasped hands about one who stands in the centre of the ring: [Illustration] Charley over the water, Charley over the sea, Charley catch a black-bird, Can't catch _me_! At the last word all stoop, and if the child in the centre can catch any other before assuming that position, the latter must replace him. Almost any summer evening, in certain streets of New York, children may be seen playing this round, which they sing on one note, with a shriek to conclude. No. 122. +_Frog in the Sea._+ Frog in the sea, Can't catch me? Played like the preceding. _Philadelphia._ No. 123. +_Defiance._+ A mother and children: "Mother, can I pick a rose?" "Yes, my dearest daughter, if you don't tear your clothes, But remember, to-morrow is your sister's wedding-day." The children now retire to a safe distance, and sing: "I picked a rose. I tore my clothes!" "Come home!" "I don't hear you." "I'll send your father after you." "I don't hear you." "I'll send your brother after you." "I don't hear you." "I'll send the dog after you." "I don't hear you." "I'll send myself after you." "Sen' 'em along!" A chase follows, and the child caught must replace the mother. The dialogue (which belongs to Georgia) is also extended by the mother's threatening to send the _cow_, or the _trees_, after the children. This game is differently played by little girls in Philadelphia, thus: "Oh, mother, mother, may I go out to play?" "No, no, no, it's a very cold day." "Yes, yes, yes, it's a very warm day, So take three steps, and away, away, away." "Where's your manners?" "I haven't any." The indignant mother now pursues the disobedient children. No. 124. _My Lady's Wardrobe._ The children sit in a ring, and are named according to the articles of a lady's wardrobe. The child in the centre of the circle of players names some article, as, "My lady wants her brush, brush, brush." She who has received that name must answer before the third utterance or pay forfeit. The speaker naturally pronounces the word as fast as possible. No. 125. _Housekeeping._ (A ROUND.) [Illustration] Kittie put the kettle on, Kettle on, kettle on, Kittie put the kettle on, We'll all have tea. To this familiar little round, girls five or six years of age, in New York, sometimes prefix a fragment of some ballad-- Here stands a red rose in the ring-- Promised to marry a long time ago. No. 126. +_A March._+ March, march, two by two, Dressed in yellow, pink, and blue. _Philadelphia._ No. 127. _Rhymes for Tickling._ 1. Tickle'e, tickle'e on the knee; if you laugh, you don't love me. _Philadelphia._ 2. If you're a little lady, as I take you for to be, You will neither laugh nor smile when I tickle your knee. _Georgia._ 3. Old maid, old maid, you'll surely be, If you laugh or you smile while I tickle your knee. _Massachusetts._ XIII. _BALL, AND SIMILAR SPORTS._ I call, I call; who doe ye call? The maids to catch this cowslip ball; But since these cowslips fading be, Troth, leave the flowers, and maids take me. Yet, if but neither you will doe, Speak but the word, and I'll take you. _Herrick._ No. 128. _The "Times" of Sports._ In an account of boys' sports, it would not be proper to omit some allusion to the custom of having a certain "time" of the year devoted to each amusement. These "times" succeeded each other almost as regularly as the flowers of summer, the children dropping one and taking up another every year at the same season. This succession, which the children themselves could hardly explain beforehand, but remembered when the occasion came, has impressed itself on observers as almost a matter of instinct. There was, however, a considerable degree of variation in the succession of sports in different parts of the country, and as the practice, though by no means obsolete, is now less strictly observed than formerly, we cannot give any very exact details on this head. It seems, however, that this succession was only partly dependent on the climate, and in part inherited from the mother country. Thus, in all the states from Maine to Georgia, the first "time" was _marble-time_. In New England, the snow had hardly disappeared, when boys began to make the necessary holes in the ground, kneeling for that purpose on the night-frozen soil, from which the moisture was just oozing out, to the great detriment of their pantaloons. A friend, indeed, asserts that this was the _object_ of the choice of seasons. But at the same time boys in Georgia (and, indeed, in England and Germany) were playing the same game. The subsequent succession of sports in New York is indicated by the adage, "Top-time's gone, kite-time's come, and April Fool's day will soon be here." In Georgia the succession was, kites, tops, and hoops. In that region the season for popguns is when the _China-berries_[107] ripen. It is a provision of Providence, a clear case of design, thinks a friend, that just at that season the elder pith is ripe enough to be pushed out, and so leave the stalks empty to form the barrel of the weapon. Ball is especially a holiday game. In Boston, _Fast-day_ (the first Thursday of April) was particularly devoted to this sport. In England, the playing of ball at Easter-tide seems to have been a custom of the festival, inherited probably from pre-Christian ages. Foot-ball was a regular amusement on the afternoon of a New England Thanksgiving. The invariable succession of children's sports has been also remarked in other countries. A Swiss writer says, "The principal games of boys belong to the first third of the year, return always in a like order, and replace each other after an equal interval, as if it were in the natural course of events, and without the individual child being able to say who had given the sign and made the beginning." We may remark that another American usage has been remarked in other countries. In the last generation the boys of different towns, or of different quarters of the same town, waged regular and constant war. In Boston, for example, there was a well-defined line, beyond which no "North-ender" dared be seen. Any luckless lad obliged to go into the hostile district took good care to keep his eyes open, to dodge cautiously about the corners, and to be ready for instant flight in case of detection. So in France and Switzerland, where this warfare is a sort of game, a relic, no doubt, of the ancient separatism, which made every community in a measure an independent state. The chief weapons are stones, as they were formerly in the United States. In the old town of Marblehead boys were accustomed to "rock" any stranger, and no unknown driver dared to enter its limits with a vehicle. No. 129. _Camping the Ball._ In the vocabulary of a Massachusetts schoolboy, to "camp" a foot-ball is to kick it, while held between the hands, from one side of the field to the other. In England, country-folk speak of the "camp-game" of ball, of the "camping-ground." In this amusement there are lines which mark the rear limit of the respective sides, while the ball is placed in the middle, and the object of either party is to drive it, with foot or hand, over the enemy's line. Similar, in the United States, is the old-fashioned game of foot-ball, in which, to use the expression of the play-ground, two captains "choose up" sides, selecting alternately from those present, and first play is determined by lot. This description of foot-ball, or the English "camp-game," will answer very well for a translation of the account which Pollux, writing in Greek in the second century, gave of the "common ball," or "ball battle,"[108] of his day. Almost exactly the same was the ancient Norse game, except that the resemblance to warfare was closer; the players were matched by age, and played against each other in the order of choice. The balls were heavy, sometimes made of horn, so that we read of men killed and wounded in the encounter. In like manner, up to a very recent time, in Lower Germany, villages contended against each other, hurling wooden balls loaded with lead, man against man. Thus the game was really "kemping" (_Kemp_, a warrior, champion), and the field a kemping-ground. It was natural that, while the men contended, the boys also should have their mimic sports, in all respects similar; and we read in a Saga how the seven-year-old Egil slew with an axe his antagonist Grim, who had very properly knocked him down for breaking a bat over Grim's head. In those days such feats were held to presage an honorable career. The Persians and Turks still practise a different sort of game, which is played on horseback, the riders using a racket to strike with. Five or six horsemen circle about, and strike the ball at each other; if it drops on the ground, a slave picks it up. The ball is heavy, covered with hard leather, and capable of doing serious harm. This game is, in fact, an imitation of warfare, a modification of casting the "jered," or javelin. The "Arabian Nights" recite how, while the Caliph Haroun Al-Raschid was playing, a spy aimed a ball at him from behind, with the intent of assassination. The Byzantine court adopted from the East the playing on horseback and the racket, but introduced these into a game resembling the ancient "ball-battle." The historian Cinnamus describes the Emperor Manuel, in the twelfth century, as fond of this species of polo. From Eastern custom we get our tennis, while most of our games with bat and ball seem to have come down to us from the ancient North. The history of the change from actual to imitative warfare, from the latter to a harmless and courtly amusement or to a rustic pastime, from this last again in our own days to a scientific sport, may supply material for serious reflection. No. 130. _Hand-ball._ No doubt our Saxon ancestors had, besides the half-military exercise referred to, other sports with the ball, better adapted to girls and children, though no description of such has come down to us. We know, however, that the Roman games with the ball were essentially the same as our own. Girls still strike, as then, balls with the palm of the hand to keep up their bouncing, or fling them against the wall to drive them back on the return, or pass the ball from hand to hand in the ring or row. Boys in those days, standing on the corners of a triangle, sent back the ball on the fly or the bounce, giving with one hand and taking with the other, much as they do to-day. The ball itself was very much the same in the time of the early empire as now, soft or hard, plain or covered with painted or embroidered cloth, a large hollow balloon, or a small light sphere. Children's balls were made with a rattle inside, and divided into gaudy divisions like the lobes of an orange, then as at present. The oldest mention of a girls' game of ball is in the "Odyssey." It is a grand washing-day in the palace of Alcinous, and Nausicaa, daughter of the house, is to preside over the operation. So the "shining" but soiled raiment is brought out of a storeroom, loaded on a mule-wagon, with food, wine, and dainties, not forgetting a flask of oil for use after the bath. When the clothes have been scoured in pits along the river-side, and spread out to dry on the rocks by the shore, the maidens bathe, anoint themselves, and lunch. Afterwards the ball is brought out; the game is accompanied with song, in which the princess leads, and far excels the rest. The party is on the point of returning, the mules have been harnessed, and the clothes folded, when Nausicaa has a fancy for a romp; she throws the ball at one of her damsels, but misses her aim, and the ball falls into the eddying river, while the maidens shriek out loudly. Misson (about 1700) mentions "the throwing at one another of tennis-balls by girls" in England, as a practice of a particular season of the year. The German poets of the Middle Ages abound in allusions to the game, which is described with the same fresh poetical feeling that inspires the whole period. It was the first sport of summer. "When I saw the girls on the street throwing the ball, then came to our ears the song of the birds," says Walter von der Vogelweide. A common way of playing was for youths and maids to contend for the ball, which the possessor then threw to the one he or she "loved the best." A minnesinger pleasantly depicts the eager girls calling to some skilful and favorite lad, as he is about to throw, holding out their hands, "Thou art mine, cousin--throw it here, this way!" No. 131. _Stool-Ball._ William Bradford, the second Governor of Massachusetts, records, under date of the second Christmas-day of the colony: "The day called Christmas-Day, ye Gov.r caled them out to worke (as was used), but ye most of this new company excused themselves, and said it wente against their consciences to work on ye day. So ye Gov.r tould them that if they made it mater of conscience, he would spare them till they were better informed. So he led away ye rest, and left them; but when they came home at noone from their worke, he found them in ye streete at play openly, some pitching ye bar, and some at stoole-ball and such like sports. So he went to them, and took away their implements, and tould them that it was against his conscience, that they should play and others work. If they would make ye keeping of it mater of devotion, let them keep their houses, but there should be no gameing or revelling in ye streets. Since which time nothing hath been attempted that way, at least openly." Stool-ball was so named from the setting-up of a stool to be bowled at. The ball was struck with the hand by the player at the stool. If the ball struck the stool, the players changed places. In another form of the game, which seems to be that referred to here, there were several stools, men at each, and a bowler outside. When the ball was hit (with the hand) the players must change places, and the bowler was at liberty to hit with the ball any player while between the stools, and so put him out. Bradford, as a Puritan, had perhaps some reason for his aversion to hand-ball on holidays, seeing that it appears to be connected with ancient religious usage. "Stool-ball" was especially an Easter-game, played by ladies for small stakes, particularly a _tansy_ or Easter-cake;[109] thus we have the name in a pretty rhyme of the seventeenth century-- At stool-ball, Lucia, let us play, For sugar, cakes, or wine; Or for a tansey let us pay, The loss be mine or thine. If thou, my dear, a winner be, At trundling of the ball, The wager thou shalt have, and me, And my misfortunes all. According to a curious extract from a manuscript given by Ducange, of the diocese of Auxerre, it was an ancient custom to play in the church, on Easter Monday, a solemn game of ball, while singing anthems proper to the season. "The ball having been received from a proselyte, the dean, or another in his stead, he and the rest wearing the _almutia_, sang the antiphonal which begins, "_Victimæ Paschali laudes_;" then seizing the ball with his left hand, he led the dance, the others, taking hold of hands, variously inflecting the chorus, while the ball was delivered or thrown by the dean to one or more of the choristers alternately, so as to weave a garland, as it were. The game and motions were conducted according to the numbers of the prose. The dancing having been finished, the chorus after the dance hastened to the banquet." This dance was not merely a local custom, but practised in other towns. At Vienne it was conducted by the archbishop in his palace. No doubt we have here a survival of the ancient games of the spring festival, in a day when mirth and the exhibition of physical prowess were considered acceptable to deity, and elevated into religious exercises. No. 132. _Call-Ball._ This game (commonly called Callie-ball, or Ballie-callie), was formerly a common sport of schoolboys in New England. The ball was thrown against a house, and at the same time a name called. The lad named must strike back the ball on its rebound. We are not well informed as to the sequence, but the game in Austria, where it is well known, goes on as follows: If the player, whose name is called, drops the ball, he must pick it up as quickly as possible, while the rest scatter. He then calls "Stand!" upon which the players halt, and he flings it at whom he pleases. If he misses his aim, he must place himself in a bent position with his hands against a wall, until every player has taken a shot at him. The delightful lines of Herrick, cited as the motto of the present chapter, show us youths and maids playing at "call-ball;" but the game here appears to consist simply in calling out the name of the person of the opposite sex who is to catch the ball, as in the mediæval sport referred to in No. 130. No. 133. _Haley-Over._ The players are divided into equal parties, who take position on different sides of a building, out of sight of each other. A lad then throws the ball over the roof of the house, to any height or in any direction he pleases. It is the object of the opposite side to catch the ball on its descent; and if any player succeed in doing so, he immediately darts round the corner, and attempts to hit with the ball some player of the other side, who scatter in all directions. To this end, he may either throw the ball from a distance, or chase any antagonist till he has come up with him, and has an easier mark. If he succeed in hitting a boy, the latter must follow the former back to his own side, to which he henceforward belongs. The game is continued until all players have been brought over to one side. The party from which the ball has been thrown have no means of knowing whether it has been caught or not, until its return, and must be prepared to see an adversary suddenly appear, ball in hand, and ready to throw. Hence the excitement of the game, which belongs to Connecticut. No. 134. _School-Ball._ In this amusement of New England school-girls, the ball is tossed by the _teacher_ to the head of the class, and, after being returned by the latter, sent to the next of the row, and so on. If any girl misses, she must go to the foot, and if the _teacher_ misses, the _first scholar_ takes her place. No. 135. _Wicket._ This exercise is an old-fashioned game resembling cricket. A peculiar, long, shovel-shaped bat is used, flat, straight on one side and spoon-shaped on the other. The ball is bowled at the wicket, which is defended by the player. When the ball is struck, a run must be made to the base of the bowler, and return. No. 136. _Hockey._ This sport is also called _Shinny_. The ball is struck on the ground with a bent stick, the object being to drive it over the enemy's line. The game is much played on the ice, as has been the case from the oldest times in the North; for this is doubtless a descendant of the games with bat and ball described in Icelandic Sagas. The name of "Bat and Ball," also given to this sport, indicates that in many districts this was the usual way of playing ball with the bat. No. 137. _Roll-Ball._ A row of holes large enough to contain the ball is made, one for each boy. The player to whom is allotted the last hole takes the ball, stands off, and rolls it in such a way as to stop in one of the holes. The boy into whose place the ball has rolled seizes it, while the rest scatter, and throws it at some one of the group; if he succeeds in hitting him, a stone is placed in the hole of that boy; if not, the thrower must put a stone in his own. The rolling of the ball is then repeated. When five stones (called _babies_[110]) are lodged in any hole, that boy is out of the game. This New England game is exactly paralleled in Switzerland and Austria. No. 138. _Hat-Ball._ This is the same game as the preceding, played (among the Pennsylvania Germans) with _hats_ instead of _holes_. The ball is tossed into the hat of the player who is to begin. The first to get five stones in his hat loses, and must undergo the punishment of being "paddled," passing under the legs of the row of players for that purpose. No. 139. _Corner-Ball._ This is also an old game kept up by the Pennsylvania Germans--Pennsylvania Dutch,[111] as they are commonly called. Four players stand on the four angles of a square, and the four adversaries in the centre. The ball is passed from one to another of the players in the corners, and finally thrown at the central players. For this purpose the following rhyme (which our readers may translate if they can) is used by the boy who aims the ball at the players in the centre. These last, if they can catch the ball, may fling it back. Bola we Sols, Butar we Schmols, Pef'r gat uf, War fongt schmeist druf. If the player in the corner hits a central player, the latter is out, and _vice versâ_. The last player of the losing party has to stand with his head against a wall till every antagonist has flung the ball at him. No. 140. _Base-ball._ It is only within a few years that Base-ball has become the "national sport" of America. The present scientific game, which we naturally do not intend to describe, was known in Massachusetts, twenty years ago, as the "New York game." A ruder form of Base-ball has been played in some Massachusetts towns for a century; while in other parts of New England no game with the ball was formerly known except "Hockey." There was great local variety in these sports. We may refer to some features of the old-fashioned game which possess interest. The first duty, in games with the bat, is "to choose up." The two best players, or any two selected, toss the bat from one to another; the tosser places his right hand above the hand of the catcher, who in turn follows with his own left, and so on.[112] He who can get the last hold has first choice; but the hold must be proved by ability to whirl the bat three times round the head, and throw it. Another test of a sufficient grasp is for a player to hammer with a second bat on the hand which is uppermost. In this last case, therefore, the grasp must be low enough for the wood of the bat to be struck by the blow. In this game there were three "bases" besides the "home" base, at about the same distance as at present; but the number of players was indeterminate. The pitcher threw the ball, and the catcher stood close behind the striker. When the batsman struck the ball, a run must be made; and the ball was not, as at present, thrown _to_ the base, but _at_ the runner, usually with all the force possible. If he was hit, he was out; and each member of the side had to be put out separately. There were, moreover, ways in which a side could recover its lost players. When all were out but one, who was on one of the bases, the pitcher and catcher, approaching to within some thirty feet, tossed the ball to and fro, and the runner must "steal" his next base, while the two former watched his movements, ready to throw to the nearest fielder of their side, who in turn would hurl the ball at the remaining player. If under these circumstances he could reach home untouched, he might "put in" any player of his side. As there was never any umpire in these games, the field for controversy was unlimited. One way, as we recollect, of settling disputes was as follows: All proceeding to the spot of the doubtful catch, the best player on one side hurled the ball with all his force upwards; if it was caught by the designated player of the other party, the point was given in the latter's favor, and _vice versâ_. We need only mention the game of "Old Cat," in which there are two goals--the striker's and the pitcher's--and the run is made from the former to the latter and return. The game is then named from the number of batters, "One Old Cat," or "Two Old Cat." No. 141. _Marbles._ We do not intend to describe the various games of marbles, which might probably fill a small volume. Of these there are two principal types. One consists in striking the marbles out of a ring, by shooting from a line, or _taw_, drawn as a limit; the other, in making the tour of a series of holes made for the purpose. Whoever first gets back to the starting-point, or taw, wins. The first of these games may be descended from a sport of Roman children, mentioned by Ovid, and still in existence, in which nuts are rolled down an inclined plane, with the object of striking the nut of the adversary. The second seems to be the childish reduction of a game with the ball, similar to "Golf." Extensive is the lore of marbles. When a lad wishes to change his position, so that, while preserving the same distance from his mark, he may have a more favorable position, he exclaims, "Roundings." If, however, his antagonist is quick enough, he will cry "Fen [defend] roundings." The game, when played to win the marbles of the opponent, is said to be "in earnest." If any accident happens, and the opponent's play is to be checked, a Georgia lad will say "King's excuse." That this is an ancient phrase is shown by the corruption of the same cry in Pennsylvania, "King's scruse." Under certain circumstances a boy who puts down a second marble is said to "dub" (double) a marble, or to play "dubs."[113] No. 142. _Cat._ The "cat" is a little billet of wood, about four inches long, and pointed at the ends, which is to be struck with a light stick. A player stands at a little distance, and endeavors to throw this missile into a hole or circle previously made. Another stands over the circle, and defends it with his stick. If the cat falls in the circle, the batter is out. If, on the other hand, it falls out of the circle, he has the right of making a stroke. Placing the cat within the circle, he hits it on one end with his bat; and, as it bounds upwards, endeavors to strike it as far away as possible. If the cat is caught, he is out; otherwise, he is entitled to score a number, proportioned to the distance which the cat has been struck, estimated in jumps or foot-lengths. This score, however, is subject to a peculiar negotiation. The pitcher offers the batter a certain number of points--as, for example, five. If this is not accepted, he raises his bid to eight, ten, or as high as he thinks proper; but if his final offer is refused, the pitcher measures the distance (in jumps or lengths of the foot), and if he can accomplish it in a less number than that offered, the striker or his side lose that number of points; otherwise, the number measured is scored. The game is an agreed number of hundreds. This game is now played in Hindostan, as well as in Italy and Germany. No. 143. _Cherry-pits._ Cherry-pits are referred to as used in boys' games as early as A.D. 1522, and are still so used in the streets of New York. The pits are thrown over the palm by the boy whose turn it is to play; they must fall so far apart that the finger can be passed between them. Then the player with a fillip of the thumb makes his pit strike the enemy's, and wins both. If he misses, the next takes his place. This game, like the rest, has its regular season, at which all the boys in the neighborhood may be seen playing it.[114] No. 144. _Buttons._ Buttons are in extensive use in the sports of German children, with whom they form a sort of coinage, each sort having a stipulated exchangeable value. Traces of similar usage exist in the United States. A common New York game consists in throwing buttons. A line is drawn, and a hole made about twelve feet off. The players toss their buttons, and whoever comes nearest the hole has the first shot. He endeavors to drive the buttons of the rest into the hole, striking them with the extended thumb by a movement of the whole hand, which is kept flat and stiff. When he misses the next takes his turn, and so on. Whoever drives the adversary's button into the hole wins it. Another game, for two players, is called "Spans." The buttons are cast against the wall, and if a player's button falls within a span of the adversary's, he may aim at it and win it by striking as before. No. 145. _Hop-Scotch._ A figure of about twelve feet in length, similar to that represented in the diagram, is described on the ground, and selection made of a small flat stone, having sharp edges. From a line drawn at a distance of a few paces, a stone is tossed into No. 1, after which the boy or girl hops on one foot into No. 1, and kicks out the stone, which is then thrown into No. 2. The player now hops into No. 1, and jumps into No. 2, in such a way that one foot is in the division 2, and one foot in 1. The stone is kicked into 1, and then out, and so on. In passing through divisions 1 and 2, 4 and 5, 8 and 9, a straddle must be made, one foot being placed in each; in the others a hop only mast be taken. A failure to throw the stone into the right place, or to kick it into the right division, or leaving it on any line, or touching the raised foot, or stepping on a line, puts out, and the next takes his or her turn. [Illustration] In other localities, no straddling step is taken, but the player, in certain divisions, is allowed to place the stone on his foot, and so expel it from the figure at a single kick; the compartments also vary in number and arrangement. This is one of the universal games, common from England to Hindostan. Everywhere the game consists in describing on the soil an oblong figure with several divisions, and in tossing a flat stone or potsherd into them, and then kicking it out with a hopping motion; the arrangement of the divisions differs. From the shape of the last compartment, the game is called in Italy "The Bell," and in Austria "The Temple." In Italy the three last divisions are the _Inferno_, _Purgatorio_, and _Paradiso_. In New York the last is called _Pot_. No. 146. _Duck on a Rock._ We will suppose a party of boys to be debating what game to play. "What shall we play?" "Duck on a Rock," suggests one. The idea is instantly taken up. "My one duck," cries some boy. "My duck," shouts a second, seizing a stone. The last to "speak" gets no duck, and has to guard the "drake." The drake is a good-sized stone, which is placed on an elevated position, or boulder, if such be at hand. The "ducks" are stones about the size of the fist. The object is to knock the drake off the rock. After each player has thrown his duck, and missed, he must recover it. The guardian stands by the "rock," but cannot tag a player until the latter has touched his own duck, when he must replace the keeper. Meanwhile, if the drake is knocked off the rock, the keeper must replace it before he can tag any one, and this is therefore the signal for a rush to recover the thrown ducks. The game is not without a spice of danger from these missiles. No. 147. _Mumblety-peg._ In this game of boys and girls, a knife is cast to the earth, on a piece of turf, with the point downwards, and must remain sticking there; there are several successive positions of throwing, as follows: (1) the knife is held in the palm, first of the right and afterwards of the left hand, point outward, and thrown so as to revolve towards the player; (2) it is rested successively on the right and left fist, with the point uppermost, and thrown sideways; (3) the knife is pressed with the point resting on each finger and thumb of both hands in succession, and cast outwards; after this it is held by the point, and _flipped_ (4) from the breast, nose, and each eye; (5) from each ear, crossing arms, and taking hold of the opposite ear with the free hand; (6) over the head backwards. If the knife does not "stick," the next player takes his turn; the first to conclude the series wins. The winner is allowed to drive a peg into the ground with three blows of the knife, which the other must extract with his teeth, whence the name, "Mumblety-peg." Another title is "Stick-knife." No. 148. _Five-stones._ Such was the title of the common game in a New England town (Salem, Mass.).[115] The same amusement, under the same name, was popular in Greece more than two thousand years ago, being mentioned as a girls' game by Aristophanes. It is thus described by Pollux: "The game of 'five-stones;' little stones, pebbles, or bones are thrown up, so as to catch them on the back of the turned hand, or if not all are caught, the rest must be picked up with the fingers, while the others remain on the hand." A pleasing painting in the Museum of Naples represents goddesses playing at "Five-stones." Aglaë is looking on; three of her bones lie on the ground, one is pressed by her thumb, the fifth is hidden by her garments. Hileæra has just thrown; she has caught three, the other two are falling to the ground. Niobe, Latona, and Phoebe are standing behind. One of the movements of the Spanish game is still exactly the same as that described by the Greek writers of the second century. The game in America, as played in the childhood of the writer, also began with catching the stones on the back of the hand, at first one only out of the five tossed up, then two, three, four, and, finally, the whole five. The game now consists of an indefinite number of figures, of which the names and arrangements vary in different localities. In all those described below, a single stone is tossed up, to be caught in the palm, and while this is in the air the others must be taken into the hand, or certain motions made. _Ones, twos, threes, fours._--The stones are rolled on the table or floor, either directly from the right hand, or over the back of the left hand resting on the table. A single stone being selected and tossed in the air, as above mentioned, the rest must be picked up; in the first figure one at a time, in the second by groups of two, in the third by three and one, and finally the whole four together. In case of an error, the next takes his turn. _Jumping the Ditch._--The four stones remaining, after one has been chosen, are placed in a line; the first and third of the row are then to be caught up together, and afterwards the second and fourth. _Knock at the Door_, _Strike the Match_, _Wash the Clothes_, etc.--A selected stone being thrown up, motions corresponding to the title are to be made on the floor while it is in the air. _Set the Table._--Four stones are placed in a heap, as if to represent a pile of plates. One of these is taken from the heap, in the usual manner. It is then held between the thumb and palm of the right hand, and, with a second toss of the chosen stone, is deposited on the floor at the corner of an imaginary square. The square having been completed by four stones, motions are made to indicate the arrangement of the glasses, etc. _Clear the Table_ is the reverse movement, in which the stones are again brought to the centre. _The Well._--The left hand is laid on the table with the thumb and index finger joined. Into the opening so formed the four stones are pushed, by a fillip of the finger. The hand is then removed from the table, and the stones must be caught up together as they lie. The figures vary, according as the thumb and index are made to form an arch or circle, are laid on the table or floor horizontally, or in an upright position, or, finally, as the hand is raised above the table in the form of a cup. These varieties receive the names of _Peas in the Pod_, _Doves in the Cot_, etc. _Horses in the Stall._--The left hand is laid on the table with the fingers extended, and four stones placed in front of the openings, representing stalls. A stone being thrown up as usual, the four others are filliped into the openings, and afterwards must be picked up together from the positions in which they lie. In _Horses out of the Stall_ the stones are brought out from between the fingers, and then caught up. Other movements are _Feeding the Elephant_, _Spinning the Wheel_, _Going up the Ladder_, etc., to the number of thirty or more. Failing to catch the stone thrown up, or not succeeding in the required motion, or touching a stone unnecessarily, constitute errors, in which case it is often required to go back to the very beginning of the game. Instead of pebbles, little double tripods of iron, probably representing the more ancient _bones_, are generally in use; and the fifth stone, or "jack," is often replaced by a ball or marble, the latter being allowed to bound before it is caught. This usage seems to be of German origin. Sometimes marbles are used, the "jack" being of a different color from the rest, and school-girls take pride in the beauty of the agates they employ for this purpose. About Boston a similar game is much played under the name of "Otadama," or "Japanese jacks." Seven little silk bags are filled with rice, one, of a different color from the rest, being called the "jack." The game consists of four parts. In the first figure, the silk bags being placed on the floor, the "jack" is thrown up, and the other six picked up one by one, being so deposited as to keep them together in groups of twos, so that two at a time may be caught up, which is the next thing to be done. Then come groups of three, four and two, and five and one, next the six together, the bags, after being caught, being so dropped as to prepare for the following movements. The next motion is "tattoo," which consists in throwing up the "jack" and catching it on the back of the hand, then throwing it up again from the back of the hand and catching it in the fingers, without turning over the palm. The second figure contains "second ones," "second twos," "second threes," "second fours," "second fives," "second sixes." These are the same as in the first figure, except that in each case the bags caught, instead of being merely dropped from the hand, as before, are tossed up together with the "jack," which last must be caught again before falling. In the second and third figures "tattoo" follows every movement. The third figure begins with "third sixes," in which, the six bags being caught up and held tightly, the "jack" is again tossed, the six slapped on the floor, and the "jack" caught on the back of the hand. The second motion is "fourth sixes," which resembles second sixes, except that the "jack" is now caught on the back of the hand. Next comes "touch." The six bags are caught up, thrown with the "jack" into the air, and the floor is touched with the middle finger, before catching the "jack." After this follows "fours and threes," in which, the six bags having been caught up, the palm is turned uppermost with the seven bags (including the "jack"), and it is required to throw off first four at a time, and afterwards the other three. "Pack up" is the next motion. The six bags are caught up, compactly arranged in the palm of the hand, and must be thrown up and caught on the back of the hand. Two chances are allowed. The bags dropped the first time may be tried by themselves. Then "third ones," which is the same as "second ones," except that, the bags being placed in a row with the "jack" at the left, the "jack" is constantly exchanged for each bag that is caught up. "Tattoo" follows each of these movements. The fourth and last figure is done with the left hand. The palm is turned towards the floor, upon which all the bags lie in a row, the "jack" at the right; a bag is then picked up by the thumb and forefinger, keeping the other fingers extended, and is tossed on the back of the hand. It must remain there while the second bag is picked up, and is tossed off the hand when the second is tossed on. This motion is repeated with the other five, ending with the "jack," and the game is finished with "tattoo." The game is played by two or more. In case of an error, the next plays; but an error in the last figure requires the player to go back to the beginning of the game. The "jack" is often made square and somewhat flat, while the other bags are drawn up at two ends, and have a rounder shape. It is necessary that they should be soft and flexible. This game is of Japanese origin, "Tedama"[116]--that is, "Hand-balls"--being its proper name. As the specimen given shows, it closely resembles the ancient game of "Five-stones." We are informed, on Japanese authority, that stones are habitually used by boys in playing, and that the number of these varies. There can be no doubt that the two forms of this amusement are branches of the same root; and we thus have an example of a game which, having preserved its essential characteristics for thousands of years, has fairly circumnavigated the globe, so that the two currents of tradition, westward and eastward, from Europe and Asia, have met in America. FOOTNOTES: [107] "Do you like best to stay at father's or grandma's?" "There's the most berries at grandma's--I'll rather be there." _Georgia Boy._ [108] Sphaeromachia. [109] Made, according to Johnson, with the leaves of newly sprung herbs. [110] The identical name in Austria, "Kinder." [111] They are descendants of emigrants from the Upper Rhine, and speak a dialect resembling that of the Palatinate, but mixed with English words. [112] The like method in Austria, where the general idea of the game, and many particulars, are the same. There are, however, only two bases. The same way, even to the ability to throw the bat with two fingers, which is the test of a doubtful hold, is used in Switzerland to determine choice of sides in the game answering to No. 139. These coincidences seem to point to a remote antiquity of usage. [113] "Fen burnings!" "Roundings!" "Dubs!" "Knuckle down tight where you lay!" "Burnings" signifies breathing on a marble, and thereby getting certain advantages. The lads whom we quote never used the word marbles, but _mibs_. "Let's play mibs." [114] "Cherry-pits are in now; buttons won't be in for a fortnight."--_New York boy._ [115] Communicated by the late Mr. George Nichols, of Cambridge, Mass., formerly of Salem. The common name, _Jack-stones_, seems to be a corruption for _Chuck-stones_, small stones which can be chucked or thrown. "Chuckie-stanes," in Scotland, means small pebbles. "Checkstones, small pebbles with which children play."--_Dialect of Craven._ [116] O-tédama (pronounce as in Italian) is, we learn, compounded of _O_, the, _te_, hand, and _tama_, balls. It is played with song, which consists in chanting the titles of the several movements; thus, in the first figure, (1) O Hito, (2) O Fu, (3) O Mi, (4) O Yo, (5) O Itzu, (6) O Mu. The second figure, in which begins _Tonkiri_ ("tattoo"), is called Zakara (a meaningless word); and the chant is, (1) O Hito Zakara, (2) O Fu Zakara, (3) O Mi Zakara, etc. These numbers are children's numeration, of which there are two sorts; the present series continues, (7) Nana, (8) Ya, (9) Kono, (10) To. We have varying forms from a friend in Hartford, Conn., where the song has been borrowed from Japanese students. Probably provincial usages in Japan differ. We give the above terms (not the game, which is current in the United States), as written by a Japanese gentleman. It is noteworthy that this childish system has no connection with the regular table. XIV. _RHYMES FOR COUNTING OUT._ Petite fille de Paris, Prête-moi tes souliers gris, Pour aller en Paradis. Nous irons un à un, Dans le chemin des Saints; Deux à deux, Sur le chemin des cieux. _French Counting Rhyme._ No. 149. _Counting Rhymes._ There are various ways in which children decide who shall begin in a game, or, as the phrase is, be "it."[117] When this position is an advantage, it is often determined by the simple process of "speaking first." So far as can be determined when all are shouting at once, the first speaker is then entitled to the best place. Otherwise it is the practice to draw straws, the shortest gaining; to "toss up" a coin, "heads or tails;" or to choose between the two hands, one of which holds a pebble. The most interesting way of decision, however, is by employing the rhymes for "counting out." A child tells off with his finger one word of the rhyme for each of the group, and he on whom the last word falls is "out."[118] This process of exclusion is continued until one only is left, who has the usually unpleasant duty of leading in the sport. All European nations possess such rhymes, and apply them in a like manner. These have the common peculiarity of having very little sense, being often mere jargons of unmeaning sounds. This does not prevent them from being very ancient. People of advanced years often wonder to find their grandchildren using the same formulas, without the change of a word. The identity between American and English usage establishes the currency of some such for three centuries, since they must have been in common use at the time of the settlement of this country. We may be tolerably sure that Shakespeare and Sidney directed their childish sports by the very same rhymes which are still employed for the purpose. Furthermore, German and other languages, while they rarely exhibit the identical phrases, present us with types which resemble our own, and obviously have a common origin. Such a relation implies a very great antiquity; and it becomes a matter of no little curiosity to determine the origin of a practice which must have been consecrated by the childish usage of all the great names of modern history. This origin is by no means clear; but we may make remarks which will at least clear away misconceptions. We begin with that class of formulas which we have marked from 1 to 13 inclusive. Respecting these rhymes, we observe, in the first place, that they are meaningless. We might suppose that they were originally otherwise; for example, we might presume that the first of the formulas given below had once been an imitation or parody of some list of saints, or of some charm or prayer. A wider view, however, shows that the rhymes are in fact a mere jargon of sound, and that such significance, where it appears to exist, has been interpreted into the lines. We observe further, that, in despite of the antiquity of some of these formulas, their liability to variation is so great that phrases totally different in sound and apparent sense may at any time be developed out of them. These variations are effected chiefly in two ways--rhyme and alliteration. A change in the termination of a sound has often involved the introduction of a whole line to correspond; and in this manner a fragment of nursery song may be inserted which totally alters the character of the verse. Again, the desire for a quaint alliterative effect has similarly changed the initial letters of the words of the formulas, according as the whim of the moment suggested. From the fact that neither rhyme nor alliteration is any guide to the relations of these formulas, but seem arbitrarily introduced, we might conclude that the original type had neither one nor the other of these characteristics. This view is confirmed by European forms in which they appear as mere lists of unconnected words, possessing some equality of tone. Rhythm is a more permanent quality in them than termination or initial. From these considerations it appears likely that the original form of the rhymes of which we speak was that of a comparatively brief list of dissyllabic or trisyllabic words. Now, when we observe that the first word of all the rhymes of this class is obviously a form of the number _one_; that the second word appears to be _two_, or a euphonic modification of _two_, and that numbers are perpetually introducing themselves into the series, it is natural to suppose that these formulas may have arisen from simple numeration. This supposition is made more probable by a related and very curious system of counting up to twenty (of which examples will be found below), first brought into notice by Mr. Alexander J. Ellis, vice-president of the Philological Society of Great Britain, and called by him the "Anglo-Cymric Score." Dr. J. Hammond Trumbull, of Hartford, Conn., noticing the correspondence of Mr. Ellis's score with numerals attributed to a tribe of Indians in Maine (the Wawenocs), was led to make inquiries, which have resulted in showing that the method of counting in question was really employed by Indians in dealing with the colonists, having been remembered in Rhode Island, Connecticut, Massachusetts, New Hampshire, and Ohio (where it passed for genuine Indian numeration), and in this way handed down to the present generation as a curiosity. Mr. Ellis has found this score to be still in use in parts of England--principally in Cumberland, Westmoreland, and Yorkshire, where it is employed by shepherds to count their sheep, by old women to enumerate the stitches of their knitting, by boys and girls for "counting out," or by nurses to amuse children. It is, therefore, apparent that this singular method of numeration must have been tolerably familiar in the mother-country in the seventeenth century, since the Indians evidently learned it from the early settlers of New England. It appears, indeed, that not only the score itself, but also its chief variations, must have been established at that time. Mr. Ellis, however, who has shown that the basis of these formulas is Welsh, is disposed "to regard them as a comparatively recent importation" into England. Be that as it may, we see that the elements of change we have described, alliteration and rhyme, have been busy with the series. While the score has preserved its identity as a list of numerals, the successive pairs of numbers have been altered beyond all recognition, and with perfect arbitrariness. It is plain that our counting rhymes cannot have been formed from the "Anglo-Cymric score," since the latter is only in use in parts of England, while the former are common to many European nations. Nothing, however, prevents the supposition that they owe their origin to a similar root. All that can be said is, that no modern language is responsible for the practice, which can hardly be supposed to have originated within the last thousand years. Turning now to other types of formulas for counting, we see that any game-rhyme or nursery verse may do duty for such. Of lines used solely for this purpose, we find forms which have analogies on the continent of Europe. Some of the childish verses so used, like the French rhyme we have set at the head of our chapter, contain allusions which stamp them as ancient. On the other hand, it seems that, in our own country, little American inventions of the sort, recommended by some attractive quaintness, have gained currency, unwritten as of course they are, from Canada to the Gulf. It appears, from foreign usage, that it was formerly common for each game to have its own especial formula for "counting out," a practice of which we have an example in No. 107. (1.) Onery, uery, hickory, Ann, Fillison, follason, Nicholas John, Queevy, quavy, Virgin Mary, Singalum, sangalum, buck. --_Philadelphia._ (2.) Onery, uery, ickory, Ann, Filisy, folasy, Nicholas John, Queevy, quavy, Irish Mary, Stingalum, stangalum, buck.[119] --_New England._ (3.) Onery, uery, ickory, Ann, Fillison, follason, Nicholas John, Queevy, quavy, English navy, Stinkalum, stankalum, John Buck. =B-u-c-k= spells buck. --_Cincinnati_ (1880). (4.) Onery, uery, ickory, a, Hallibone, crackabone, ninery-lay, Whisko, bango, poker my stick, Mejoliky one leg! --_Scituate, Mass._ (about 1800). (5.) Onery, uery, hickory, able, Hallowbone, crackabone, Timothy, ladle, * * * * * --_Salem, Mass._[120] (6.) One's all, zuzall, titterall, tann, Bobtailed vinegar, little Paul ran, Harum scarum, merchant marum, Nigger, turnpike, toll-house, out. --_Salem, Mass._[121] (7.) One-amy, uery, hickory, seven, Hallibone, crackabone, ten and eleven, Peep--O, it must be done, Twiggle, twaggle, twenty-one. --_Georgia._[122] (8.) Onery, uery, ickery, see, Huckabone, crackabone, tillibonee; Ram pang, muski dan, Striddledum, straddledum, twenty-one.[123] --_Connecticut._ (9.) Eny, meny, mony, my, Tusca, leina, bona, stry, Kay bell, broken well, We, wo, wack.[124] --_Massachusetts._ (10.) Eny, meny, mony, mine, Hasdy, pasky, daily, ine, Agy, dagy, walk. --_Connecticut._ (11.) Eny, meny, mony, mite, Butter, lather, bony strike, Hair cut, froth neck, Halico balico, We, wo, wack. --_Philadelphia._ (12.) Ena, mena, mona, my, Panalona, bona, stry, Ee wee, fowl's neck, Hallibone, crackabone, ten and eleven, O-u-t spells out. (13.) Intery, mintery, cutery corn, Apple-seed and apple-thorn, Wire, briar, limber lock, Five mice in a flock; Catch him Jack, Hold him Tom, Blow the bellows, Old man out. --_Massachusetts._ (14.) Ikkamy, dukkamy, alligar, mole, Dick slew alligar slum, Hukka pukka, Peter's gum, Francis. --_Massachusetts._ (15.) 1. ane. 2. tane. 3. tother. 4. feather. 5. fip. 6. sother. 7. lother. 8. co. 9. deffrey. 10. dick. 11. een dick. 12. teen dick. 13. tother dick. 14. feather dick. 15. bumfrey. 16. een bumfrey. 17. teen bumfrey. 18. tother bumfrey. 19. feather bumfrey. 20. gig it. (16.) 1. een. 2. teen. 3. tuther. 4. futher. 5. fip. 6. sother. 7. lother. 8. porter. 9. dubber. 10. dick. 11. een dick. 12. teen dick. 13. tuther dick. 14. futher dick. 15. bumpit. 16. een bumpit. 17. teen bumpit. 18. tuther bumpit. 19. futher bumpit. 20. gig it.[125] (17.) Stick, stock, stone dead, Set him up, Set him down, Set him in the old man's crown. --_Philadelphia._ (18.) Apples and oranges, two for a penny, Takes a good scholar to count as many; O-u-t, out goes she. --_Philadelphia._ (19.) a, b, c, d, e, f, g, h, i, j, k, l, m, n, o, p, q, r, s, t, u are out. --_Cincinnati._ (20.) 1, 2, 3, 4, Mary at the kitchen-door, 5, 6, 7, 8, Mary at the garden-gate. --_Massachusetts_ (1820). (21.) 1, 2, 3, 4, Lily at the kitchen-door, Eating grapes off the plate, 5, 6, 7, 8. --_Philadelphia_ (1880). (22.) 1, 2, 3, 4, 5, 6, 7, 8, Mary sat at the garden-gate, Eating plums off a plate, 1, 2, 3, 4, 5, 6, 7, 8. (23.) 1, 2, 3, 4, 5, 6, 7, All good children go to heaven. --_Massachusetts to Pennsylvania._ (24.) 1, 2, 3, 4, 5, 6, 7, 8, All bad children have to wait. --_Massachusetts._ (25.) Monkey, monkey, bottle of beer, How many monkeys are there here? 1, 2, 3, You are he (she). --_Massachusetts to Georgia._ (26.) Linnet, linnet, Come this minute, Here's a house with something in it; This was built for me, I know. --_Philadelphia._ (27.) School's up, school's down, School's all around the town. (28.) Three potatoes in a pot, Take one out and leave it hot. --_Philadelphia._ (29.) Mittie Mattie had a hen, She laid eggs for gentlemen, Sometimes nine and sometimes ten. --_Georgia._ (30.) William a Trimbletoe, He's a good fisherman, Catch his hands, put them in pens, Some fly East, some fly West, Some fly over the cuckoo's nest-- O-u-t spells out and be gone. --_Georgia._ (31.) Red, white, and blue, All out but you. --_Philadelphia._ (32.) Engine No. 9, Out goes she. --_Philadelphia._ (33.) As I went up the apple-tree, All the apples fell on me; Bake a pudding, bake a pie, Did you ever tell a lie? Yes, you did, you know you did, You broke your mother's teapot-lid-- L-i-d, that spells lid. --_Cincinnati._ (34.) Little man, driving cattle, Don't you hear his money rattle? One, two, three, Out goes he (she). --_Massachusetts._ (35.) Monday's child is fair of face, Tuesday's child is full of grace, Wednesday's child is sour and sad, Thursday's child is merry and glad, Friday's child is full of sin, Saturday's child is pure within; The child that is born on the Sabbath day, To heaven its steps shall tend alway.[126] --_Georgia._ FOOTNOTES: [117] The French expression is the same, _l'être_ or _en être_. The Germans do not use an equivalent, but say to be _in_, to be _out_; _sein daran, sein daraus_. [118] An old way of arranging this is for each of the group to put a finger inside a hat, in order that the words may be told off on the fingers. [119] English _onery_, _twoery_, etc. The forms we give date back to about 1820, before the publication of the "Nursery Rhymes of England." There are numerous small variations. "_Virgin_ Mary" we have from informants in the Middle States; "_Irish_ Mary" was the common New England phrase. [120] This rhyme was used only by _girls_. Boys employed No. 2, and would have been laughed at for counting like girls. [121] Used by _boys_ in the western part of the town, where were the toll-house and negro settlement. [122] English rhymes: Oneery, twoery, ziccary, zan, Hollowbone, crackabone, ninery, ten--etc. [123] This class of formulas (Nos. 1 to 8) appear to be mere variations of the same type, a fact which does not prevent individual forms from exhibiting a wonderful permanence. We consider as identical a class of German formulas, very wide-spread and variable, thus: (_a._) Unichi, dunichi, tipel-te! Tibel, tabel, domine. (_b._) Eckati peckati zuchati me, Avi schavi domine. (_c._) Aeniga mäniga tumpel-ti, Tifel, tafel numine. (_d._) Anigl panigl subtrahi! Tivi tavi, domini. (_e._) Endeli bändeli deffendé, Gloria tibi domine. A rhyme quoted by Mr. Ellis from the _Millhill Magazine_ (a school paper), and credited to America, is similar: (_f._) Eeney, meeny, tipty te, Teena, Dinah, Domine. The following formulas from Transylvania are of a simpler type; the first is said to imitate the _Gipsy_, the second the _Magyar_, speech: (_g._) Unemi, dunemi, tronemi, ronemi, donemi, ronza, konza, jewla, dewla, tschok! (_h._) Aketum, täketum, tinum, tanum, ärsak, märsak, etc. We take the latter type to be a nearer approach to the original form. All sorts of intermediate stages can be observed from between these lists and the more complicated examples; but we find no signs of numbers above ten, as in the "Anglo-Cymric score." The Russian and Finnish tongues present similar rhymed lists, while many Italian rhymes are of like origin, though disguised and extended. [124] In North Germany: Ene tene mone mei, Paster Lone bone, strei, Ene fune herke berke, Wer? wie? wo? was? As this is but one case of identity out of many hundreds, we suppose the rhyme borrowed from the English. There are many German rhymes beginning "Ene mene mu," or similarly; but the variation of the first sounds is endless: ene dene, ene tene, ene mene, ente twente, entele mentele, ane tane, unig tunig, oringa loringa, etc.; by association or rhyme, any nursery song may be introduced, or the first words may be dropped. [125] These examples of the "Anglo-Cymric score" (see page 196) were obtained, No. 15 from Mrs. Ellis Allen of West Newton, now ninety years of age, who was born at Scituate, Mass., where she learned the formula; and No. 16 of her daughter, who learned it from an Indian woman, _Mary Wolsomog_, of Natick. Though mother and daughter, neither had ever heard the other's version of the score. To illustrate the relation of this score with Welsh numerals, we add two examples from Mr. Ellis's paper ("reprinted for private circulation from the Transactions of the Philological Society for 1877-8-9," pp. 316-372), selected from his fifty-three versions; the first is from England, the second from Ireland: 1. aina. 2. peina. 3. para. 4. peddera. 5. pimp. 6. ithy. 7. mithy. 8. owera. 9. lowera. 10. dig. 11. ain-a-dig. 12. pein-a-dig. 13. par-a-dig. 14. pedder-a-dig. 15. bumfit. 16. ain-a-bumfit. 17. pein-a-bumfit. 18. par-a-bumfit. 19. pedder-a-bumfit. 20. giggy. 1. eina. 2. mina. 3. pera. 4. peppera. 5. pinn. 6. chester. 7. nester. 8. nera. 9. dickera. 10. nin. 11. eina dickera. 12. mina dickera. 13. pera dickera. 14. peppera dickera. 15. pumpi. 16. eina pumpi. 17. mina pumpi. 18. pera pumpi. 19. peppera pumpi. 20. ticket. The modern Welsh numerals, as given by Mr. Ellis: 1. un. 2. dau. 3. tri. 4. pedwar. 5. pump. 6. chwech. 7. saith. 8. wyth. 9. nau. 10. deg. 11. un ar deg. 12. deuddeg. 13. tri ar deg. 14. pedwar ar deg. 15. pymtheg. 16. un ar bymtheg. 17. dau ar bymtheg. 18. tri ar bymtheg. 19. pedwar ar bymtheg. 20. ugain. The numbers 4, 5, 15, and combinations 1+15, 2+15, 3+15, 4+15, seem to make the connection unmistakable; but 2, 3, 6, 7, 8, 9 appear to have been arbitrarily affected by rhyme and alliteration. [126] This verse is used as a counting rhyme by children in the state mentioned. XV. _MYTHOLOGY._ In the olde dayes of the Kyng Arthour, Of which that Britouns speken gret honour, Al was this land fulfilled of fayrye. _The Wife of Baths Tale._ No. 150. _London Bridge._ No game has been more popular with children than this, and any summer evening, in the poorer quarters of the cities, it may still be seen how six years instructs three years in the proper way of conducting it. Two players, by their uplifted hands, form an arch, representing the bridge, under which passes the train of children, each clinging to the garments of the predecessor, and hurrying to get safely by. The last of the train is caught by the lowered arms of the guardians of the bridge, and asked, "Will you have a diamond necklace or a gold pin?" "a rose or a cabbage?" or some equivalent question. The keepers have already privately agreed which of the two each of these objects shall represent, and, according to the prisoner's choice, he is placed behind one or the other. When all are caught, the game ends with a "Tug of War," the two sides pulling against each other; and the child who lets go, and breaks the line, is pointed at and derided. The words of the rhyme sung while the row passes under the bridge are now reduced to two lines, London Bridge is falling down, My fair lady! Readers may wonder why this well-known game should be classed as _mythological_; but such a character appears in the European versions. Thus, in Suabia, the two keepers of the "Golden Bridge" are called respectively the "Devil" and the "Angel," and the object is to decide who shall be devils and who angels. In France the game is known as "Heaven and Hell." The children who have made a good choice, after the selection is finished, pursue the devils, making the sign of horns with fingers extended from the forehead. In Italy, the name of the sport is "Open the Gates." The gates are those of the Inferno and of Paradise; _St. Peter_ is the keeper of one, _St. Paul_ of the other. The children choose between _wine_ and _water_; but when the destiny of the last child is decided, the two girls who represent the keepers of the bridge break their arch of lifted hands and move in different directions, followed by their subjects, "while the cries and shrieks of the players condemned to the Inferno contrast with the pathetic songs and sweet cadences of those destined to the happiness of Paradise." The game is mentioned by Rabelais (about A.D. 1533) under the name of the "Fallen Bridge." In German versions, the keepers are called "Devil and Angel," "King and Emperor," or "Sun and Moon." In this latter form the game has been one of the few kept up by the Germans of Pennsylvania, who call it the "Bridge of Holland."[127] Connected with this game in Massachusetts is a curious piece of local lore. A lady[128] recollects that, in the first years of the century, a pedler came to her father's house in Plymouth, Mass., and, in default of three cents change, left a "chap-book" or pamphlet of that value, called "Mother Goose's Melodies." In this pamphlet (the first authentic mention of a publication of that title) the song was included, in the familiar words; but, instead of _London_ bridge, _Charlestown_ bridge was substituted in the rhyme. In that form only the verses were familiar to herself and her companions. Charlestown Bridge, over Charles River, connected Boston with Cambridge and other suburban towns, before that time only accessible by ferry or a long detour. The bridge was "dedicated" July 17, 1786; and was, in the eyes of the rustic population of Massachusetts, quite as important a structure as the London erection of the thirteenth century. The project was undertaken after a long incubation of sixty years, and not without many apprehensions lest the vast masses of ice rushing down the river in winter should sweep it away. The cost was fifteen thousand pounds. At the celebration, a salute of thirteen guns was fired from Fort Hill, "almost every person of respectable character in private and public life walked in the procession," and eight hundred persons sat down to dinner. No wonder that its fame superseded, locally at least, that of the celebrated structure which was so long the wonder of London, and so sacred in nursery lore. We may thus form an idea of the importance of bridges in earlier times--which importance, and the superstitions consequent, were the root of our game--and also of the tendency of each town to localize its traditions, even those of the nursery. With the exception of the name, the words of the song, in the chap-book referred to, were identical with those of the familiar English version. We learn from another informant that these same words (this time, however, under the proper title of London Bridge) were often used as a dance-song at children's parties about the beginning of the century. The dancers sat in a circle, a boy next a girl; as each verse was sung, the lad whose turn it was led out his partner and promenaded, suiting action to meaning. The exact verbal correspondence, and absence of the original mode of playing, show that this version of the song, and consequently the rhymes of the pamphlet called "Mother Goose's Melodies," were not taken from the lips of Americans, but reprinted from English sources. The version repeatedly printed in books for children is not truly popular. It has been remodelled by the recorder, and so the original idea has been disguised. We have, however, the pleasure of offering a genuine English version. We add fragments of American forms, and finally a curious text, for which Ireland is ultimately responsible. From these, taken together, the character of the old English game can be made out. * * * * * A.--Song of Charlestown Bridge, as printed (probably about 1786) in the chap-book, "Mother Goose's Melodies:" Charlestown Bridge is broken down, Dance o'er my lady Lee; Charlestown Bridge is broken down, With a gay lady. How shall we build it up again? Dance o'er my lady Lee, etc. Build it up with silver and gold, Dance o'er my lady Lee, etc. Silver and gold will be stole away, Dance o'er my lady Lee, etc. Build it up with iron and steel, Dance o'er my lady Lee, etc. Iron and steel will bend and bow, Dance o'er my lady Lee, etc. Build it up with wood and clay, Dance o'er my lady Lee, etc. Wood and clay will wash away, Dance o'er my lady Lee, etc. Build it up with stone so strong, Dance o'er my lady Lee, Huzza! 'twill last for ages long, With a gay lady. B.-- London Bridge is broken down, Dance over my lady Lee; London Bridge is broken down, With the gay lady. How shall we mend it up again? Dance over my lady Lee; How shall we mend it up again For the gay lady? We will mend it up with gravel and sand, Dance over my lady Lee; We will mend it up with gravel and sand For the gay lady. But gravel and sand will wash away, Dance over my lady Lee; Gravel and sand will wash away From the gay lady. We will mend it up with iron and steel, Dance over my lady Lee; We will mend it up with iron and steel For the gay lady. But iron and steel will bend and break, Dance over my lady Lee; Iron and steel will bend and break, With the gay lady. We will mend it up with silver and gold, Dance over my lady Lee; We will mend it up with silver and gold For the gay lady. Silver and gold will be stolen away, Dance over my lady Lee; Silver and gold will be stolen away From the gay lady. We will put a man to watch all night, Dance over my lady Lee; We will put a man to watch all night For the gay lady. Suppose the man should fall asleep? Dance over my lady Lee; Suppose the man should fall asleep? My gay lady! We will put a pipe into his mouth, Dance over my lady Lee; We will put a pipe into his mouth, For the gay lady.[129] C.-- London Bridge is falling down, Falling down, falling down, London Bridge is falling down, My fair lady! You've stole my watch and kept my keys, My fair lady! Off to prison she must go, My fair lady! Take the key and lock her up, My fair lady![130] --_Boston, Mass._ [Illustration] D.-- London Bridge is falling down, My fair lady! What did the robber do to you? My fair lady! He broke my watch and stole my keys, My fair lady! Then off to prison he must go, My fair lady! --_Savannah, Ga._ E.--Our last version is from the convent-school of Savannah, and, although recited by a girl of American birth, is of Irish origin: London Bridge is falling down, etc. _My fair lady!_ How shall we build it up again?-- Build it up with lime and stone.-- Stone and lime would wash away.-- Build it up with iron bars.-- Iron bars would bend and break.-- Build it up with gold and silver.-- Gold and silver would be stole away.-- Get a watch to watch all night.-- Suppose the watch should fall asleep?-- Get him a pipe to smoke all night.-- Suppose the pipe should fall and break?-- Get a dog to bark all night.-- Suppose the dog should get a bone?-- Get a cock to crow all night.-- Suppose the cock should fly away?-- What has this poor prisoner done?-- He's broke my box and stole my keys.-- A hundred pounds will set him free.-- A hundred pounds he has not got.-- Off to prison he must go, _My fair lady!_[131] As to the origin of this remarkable game, our citations have already made clear that one of its features consists in a representation of the antagonism of celestial and infernal powers, and the final decision by which each soul is assigned a place on the one side or the other. It was universally believed in the Middle Ages, that the soul, separated from the body, had to cross a dangerous bridge, and subsequently undergo a literal weighing in the balance, according to the result of which its destiny was decided. It is in the nature of things that children, conversant with these ideas, should have dramatized them in their sports. We see no reason, with the German writers, to go back to ancient Northern mythology; nor do we find any ground for believing that our game is more likely to be of Teutonic than Romance descent. We suspect, however, that that part of the sport which relates to the warfare of good and evil powers does not belong to the original idea, but that a still more primitive game has taken on an ending which was common to many amusements in the Middle Ages. The central point of the whole is the repeated downfall of the structure. Now there is a distinct mythologic reason for such a representation. In early times no edifice was so important as a bridge, which renders intercourse possible between districts heretofore separated. Hence the sanctity attributed in mediæval times to the architects of bridges. The Devil, or (in more ancient guise) the elemental spirit of the land, who detests any interference with the solitude he loves, has an especial antipathy to bridges. His repeated and successful attempts to interfere with such a structure, until he is bought off with an offering like that of Iphigenia, are recorded in legends which attach to numerous bridges in Europe. It is on such supernatural opposition that the English form of the game appears to turn. The structure, which is erected in the daytime, is ruined at night; every form of material--wood, stone, and gold--is tried in vain; the vigilance of the watchman, or of the cock and the dog--guardian animals of the darkness--is insufficient to protect the edifice from the attack of the offended spirits. The child arrested seems to be originally regarded as the price paid for allowing the structure to stand. In times when all men's thoughts were concerned about the final judgment, a different turn was given to the sport--namely, whether the prisoner should belong to the devils or to the angels, who wage perpetual warfare, and dispute with each other the possession of departed souls. Finally, in quite recent days, religious allusions were excluded, and the captive, now accused of mere theft, was sentenced to be locked up, not in the Inferno, but in a commonplace jail. No. 151. _Open the Gates._ This game is a variation of the last, and is played similarly, ending with a "tug of war," as described on page 204. Open the gates as high as the sky, And let the King of Spain pass by; Choose one, Choose two, Choose a pretty little girl like you. More usual is a shorter rhyme, thus: Open the gates as high as the sky, And let King George and his troops[132] pass by. No. 152. _Weighing._ Two children, linking hands, form a "basket" (each grasping with the left hand the right wrist of the other, and with the right hand his left wrist), in which another child is lifted, who embraces with his arms the necks of his bearers. He is then swung to and fro, and finally made to strike the wall. If he lets go his hold, he is called "Rotten egg," which is regarded as a highly ignominious name. This title is also applied to the child who lets go in the "tug of war" in "London Bridge." A similar lifting in a basket (as we have been told by one who remembered so playing in youth) formed, in Philadelphia, part of the same game. The original meaning of this exercise is made clear by an Italian counterpart, in which it is called "Weighing." The child after being lifted is made to jump over one of the lowered arms of his bearers, and if he escapes from their grasp is destined for _Paradise_, otherwise for the _Inferno_. The French usage is the same.[133] Weighing, to decide whether the child should be angel or devil, sometimes forms part, also, of the German game corresponding to "London Bridge." Another English game shows us a relic of this practice--namely, that called "Honey-pots," from which, as usual in children's sports, the original religious idea has disappeared. A child is lifted and swung until the hold is relaxed, when the _pot_ is said to weigh so many pounds.[134] Other tests used in German games to decide whether a child shall be an angel or not, are--tickling, in which a sober face must be kept; jumping over a cord, or measuring the height. These customs of play are surviving forms of usages once equally common in English sports. No. 153. _Colors._ A.--A row of children, on the doorsteps of a house, or against a chamber wall. Opposite each other stand two girls, representing, one the good, the other the bad, angel. Every child selects a color. The mother stands at the foot of the steps. The "Good Angel" knocks at the door (_i.e._, the side of the flight of house-steps), and is answered by the mother: "Who's knocking at the door?" "The Angel with the Golden Star." "What do you want?" "Blue" (or any color). The "Good Angel" names a color. If this color is represented among the children, the angel takes the child, but if the application is unsuccessful, must retire, whereon the "Bad Angel," or the "Angel with the Pitchfork," comes forward in like manner. When all the children are divided, a "tug of war" ensues, as in "London Bridge." This form of the game is probably a recent translation from the German, by New York children.[135] B.--In the convent-school of Savannah, Ga., as we learn from a former pupil, birds instead of colors represented the children, and the formula was, "Barn, barn,[136] who comes here?" It was replied, "Good angel," or "Bad angel." The angels then "fought and tried to get the child." C.--In Philadelphia there is a game in which the children, having received birds' names, are pursued by the mother, and, if captured, are put into the slop-bowl; otherwise, into the sugar-bowl. Similarly, in a Swiss game, we have the mother and a bird-catcher. The latter endeavors to guess the titles of the children, who are called after birds or colors. When the name of a child is guessed, she takes flight, and if she can escape, returns to the mother; if caught, she belongs to the pursuer, and the game ends with a "tug of war." Corresponding is the French game of "Animals." The devil and a purchaser are first chosen. The seller names the animals, and shuts them up in an enclosure. The devil, who has not heard the naming, comes up[137] and guesses the title of the beast. If he guesses right, the seller says "Go!" while the animal makes a circuit to return to his den. The devil must first buy (with so many taps on the palm of the hand of the dealer) the beast, before he can pursue. If he catches the latter, he marks him with three blows on the head and tail, and the animal becomes the devil's dog. The game finishes when all the animals have been so captured. The conflict which ends this game is curious. In Switzerland, the angel who obtains a child carries it in his arms within his limit, and the devil similarly. After all the children are divided, a struggle begins, the devils defending themselves with claws, the angels with wings. In Austria the boundary between Heaven and Hell is marked out by a piece of wood, called "Fire." Each child grasps the waist of his predecessor with both arms, the leaders join hands over the "Fire," and the contest lasts until all are pulled to one side or the other. These battles between opposing supernatural forces rest on a basis older than Christianity. The "Game of the Shell" is thus described by Pollux: "The shell-game; where the boys draw a line on the ground and choose sides, one side selecting the outside of a shell, the other the inside. One who stands on the line having thrown up the shell, whichever face comes uppermost, those who belong to that give chase, and the other party turn and fly. Any fugitive who gets caught is called the _ass_. He who pitches the shell says, 'Night, day;' for the outside is smeared with pitch, and signifies night; whence this boys' game is also called the 'turning of the shell.'" The word _ass_ here means that the boy caught had to carry home his pursuer on his back. Plato alludes to this game in the "Republic," saying of the efforts of the soul to pass from the realm of darkness to that of light, "it does not depend on the turn of a shell." We thus see the successive mental conceptions of antiquity, the Middle Ages, and modern time reflected in the changes of children's sports. No. 154. _Old Witch._ A.--Ten girls, a mother, a witch, and eight children--namely, Sunday, Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, and the eldest daughter Sue. The mother, preparing to go out, addresses her children: Now all you children stay at home, And be good girls while I am gone; Let no one in[138] * * * * * Especially you, my daughter Sue, Or else I'll beat you black and blue.[139] The witch knocks at the door, and is refused entrance by the children. She beguiles them by promises to admit her, which they finally do. She then holds out her pipe (a bit of stick), which she carries between her teeth, saying to Sue, "Light my pipe!" Sue refusing, she makes the same demand to each child, in the order of the days of the week, in which they are ranged. All refuse till she reaches the last, who consents and touches her pipe, whereupon the witch seizes her hand, and drags her out of the house to her "den." The mother then returns, counts the children, and Sue is questioned and punished. This is played over until each child is taken, Sue last. When the mother has lost all her children, the witch calls, and invites her to dinner. Upon going to the witch's door, she finds a table set for the meal, and the witch asks her to order a dish to suit her taste. She does so, whereupon the witch produces Sunday, and lays her upon the table, with considerable assistance from Sunday. A very amusing dialogue now ensues between the witch and the mother. The former urges the mother to eat, with many blandishments, and the mother (recognizing her child) declines, with such excuses as any ingenious child can devise. The mother, upon pretence of inability to eat the food, calls for another dish, and, when the witch leaves the room, hurries the child from the table and places her behind the chair. When the witch returns, she says that she found the dish so good that she ate it all, and calls for another. Each child is produced in turn, with the same result. When all are arranged behind their mother, she calls for another dish, and when the witch leaves the room to get it, runs home with all her children. _Hartford, Conn._ * * * * * Our second version (B) is from the lips of a little girl in New York city. The persons represented are the same, except that a servant instead of one of the daughters is left to take care of the children. Scene, the doorsteps, or "stoop," of a New York dwelling-house. _Mother_ [_sings_]. Chickany, chickany, crany, crow. Went to the well to wash her great toe, And when she came back her chicken was dead.[140] [_To Servant_]. I am going out, and let nobody come in. [_Exit. Enter presently, Witch._ _Witch_ [_to Servant_]. Give me a match to light my pipe. _Servant._ I haven't any. _Witch._ Your kettle's boiling over. _Servant._ No. _Witch._ Your kettle is boiling over. _Servant_ [_goes to look_]. _Witch seizes a child and carries her off._ [_Re-enter Mother._ _Mother_ [_to servant_]. Where's my Monday? _Servant._ Under the table. _Mother_ [_calls_]. Monday! _Servant._ Up in the band-box![141] _Mother._ How to get up? _Servant._ Put two broken chairs on a broken table. _Mother._ Suppose I should fall and break my neck? _Servant._ Good enough for you. Mother beats servant, but recovering from her loss, goes out again. Witch enters as before, and carries off successively all the children, and at last the servant. Witch then puts the children in a row, cooks them, and makes them into pies, naming them apple-pie, peach-pie, etc. Mother goes out to buy pies. _Mother_ [_to Witch_]. Have you any pies? _Witch_. Yes, some very nice apple-pies, which you will like. _Mother_ [_tastes_]. This tastes like my Monday. [_Re-animates Monday_.] Monday, who brought you here? [_Beats her, and sends her home._] The mother proceeds in the same manner, and brings to life the other children. C.--The name of the witch in this variation is "Old Mother Cripsy-crops," and the game begins by playing No. 89. When the mother goes out, the children call after her, "Old mother, the kettle boils." She answers, "Take a spoon and stir it." "We haven't got any." "Buy one." "We have no money." "Borrow," says the mother. "People won't lend," reply the children. The witch comes in, and entices Sunday away by fine promises. When the mother comes back, she inquires, "Where's my Sunday?" The children make some excuse, as, "Perhaps he has gone down cellar," etc. She tells Tuesday to take care of Monday, as she had previously placed Monday in charge of Sunday, and goes out again, when the same scene is repeated, until all the children have been carried off. The mother now calls at the witch's house, and asks to be let in. The witch refuses, saying, "No, your shoes are too dirty." "But I will take off my shoes." "Your stockings are too dirty." "Then I will take off my stockings." "Your feet are too dirty." "I will cut off my feet." "That would make the carpet all bloody." "But I must see my children, and you have got them." "What should I know about your children? But if you like you may call to-morrow at twelve." The mother departs, and as soon as she is gone the witch goes to the children and renames them all. One she calls Mustard, another Pepper, another Salt, another Vinegar, etc. Then she turns their faces to the wall, and tells them to give these names if they are asked who they are. The mother calls again at the house of the witch, and this time is admitted. She asks the children what their names are, and they all answer as they were instructed by the witch. She then asks the first child to let her feel his toe. He puts up his foot, and when the mother feels it she says, "This is my Sunday! let your big toe carry you home;" whereupon he runs off. The same process is gone through with all the other children. D.--To the mother (this time present), in the midst of her children, approaches the witch, who comes limping, leaning on a cane. The dialogue is between mother and witch. "There's old mother Hippletyhop; I wonder what she wants to-day?" "I want one of your children." "Which one do you want?" The witch names any child of the row. "What will you give her to eat?" "Plum-cake" (a different delicacy for each child). The witch carries off the child, and observes: "Walk as I do, or else I'll kill you." She takes the child home and kills her, then returns for another. When all are gone the mother goes out to look for her children. She goes to the witch's house, and finds all the children (presumed to be dead) against the wall, making the most horrible faces. She points to a child, and asks, "What did [Mary] die of?" "She died of sucking her thumbs" (naming the child's gesture). Suddenly all the children come to themselves, and cry out, "Oh, mother, we are not dead!" _Portsmouth, N. H._ E.--In a fifth version, which we have failed to obtain in full, the witch changed the children into birds; and the mother, in order to recover them, must guess the name of the bird. Colors, instead of birds, were also used to represent the children. F.--We have already spoken of the old English game of "Honey-pots" as an imitation of "Weighing." This trait, however, as might be supposed from its insignificant character, is a mere fragment of the original. In London (as we learn from an informant of the laboring class, who remembers taking part in the amusement), a child as market-woman arranges the rest in a row to indicate honey-pots, each with its specific flavor. While she is busy at one end of the row, a thief comes in and steals a pot from the other end. This process is repeated, until all the pots are taken. The dealer then goes out to buy honey-pots, and recognizes her own by the flavor, so recovering the stolen goods. * * * * * This game without doubt is the most curious of our collection, both on account of its own quaintness, and because of the extraordinary relation in which it stands to the child's lore of Europe. We have, in a note, endeavored to show that our American versions give the most ancient and adequate representation now existing of a childish drama which has diverged into numerous branches, and of which almost every trait has set up for itself as an independent game. Several of these offshoots are centuries old, and exist in many European tongues; while, so far as appears, their original has best maintained itself in the childish tradition of the New World. Among a great number of German forms, only one (from Suabia) nearly corresponds to ours, with the exception of a corrupted ending. In this childish drama a mother has many children, who sleep. In her absence comes "Old Urschel" with her two daughters, the "Night-maidens" (a sort of fairies), who steal three children, and carry them off to their cave (hiding them behind their extended dresses). The mother visits Urschel's abode to complain of the theft, but the "Night-maidens," with deprecating gestures, deny any knowledge of the lost. The action is then repeated, the eldest daughter (who plays the same part as in our first version) being taken last. When the mother's complaints are useless, she becomes a witch. The next day Urschel takes her stolen family for a walk. The mother comes up and pulls the dress of a child; by her magic art all feel it at the same time, and cry to Urschel, "Oh, mother, somebody is pulling my gown!" The latter replies, "It must be a dog." The mother then asks and obtains leave to join the party, but endeavors to bewitch (or disenchant) her children, who cry, "The Witch of London!" and scatter, but are captured by the latter and turned into witches.[142] In Sweden the mother is called "Lady Sun." An old woman enters, propped on a cane, goes to Lady Sun's house and knocks. "Who is that knocking at my door?" "An old woman, halt and blind, asks the way to Lady Sun; is she at home?" "Yes." The old woman points out a child, and asks, "Dear Lady Sun, may I have a chicken?" She is refused at first, but by piteous entreaties obtains her wish, and returns, until all the "chickens" are carried off. "She was not so lame as she made believe," says Lady Sun, looking after her. The antiquity of our game is sufficiently attested by the wide diffusion of many of its comparatively recent variations. We remark, further, that the idea of the child-eating demon, so prominently brought forward in our American versions, is a world-old nursery conception. The ancients were well acquainted with such feminine supernatural beings. "More fond of children than Gello," says Sappho, referring to an imaginary creature of the sort. The most ancient view of this passion for stealing children was, that it was prompted by the appetite. Tales of ogres and ogresses, who carried off and devoured young children, must have been as familiar in the Roman nursery as in our own. The trait of _limping_, characteristic of "witches" in games, is equally ancient. That such demons are defective in one foot is expressed by the ancient Greek name "Empusa" (literally One-foot), to whom was attributed an ass's hoof, a representation which contributed to the mediæval idea of the devil. A child's game, in which a boy, armed with a knotted handkerchief, pursues his comrades, hopping on one foot, is known in France as "The Limping Devil."[143] This game existed also in ancient Greece. The reanimation and recovery of the children, with which the American performance closes, is a familiar trait of ancient nursery tales. No. 155. _The Ogree's Coop._ Half a century since, in eastern Massachusetts, it was a pastime of boys and girls for one of the number to impersonate an _Ogree_[144] (as the word was pronounced), who caught his playmates, put them in a coop, and fattened them for domestic consumption. From time to time the Ogree felt his captives to ascertain if they were fat enough to be cooked. Now and then a little boy would thrust from between the bars of his cage a stick instead of a finger, whereupon the ogree would be satisfied of his leanness. No. 156. _Tom Tidler's Ground._ A boundary line marks out "Tom Tidler's Ground," on which stands a player. The rest intrude on the forbidden precinct, but if touched must take his place. The words of the challenge are-- I'm on Tommy Tidler's ground, Picking up gold and silver. Or, dialectically, "_Tickler's_ not at home." This Eldorado has many different local names--_Van Diemen's land_ in Connecticut; _Dixie's land_ in New York, an expression which antedates the war; _Judge Jeffrey's land_, in Devonshire, England; _Golden Pavement_, in Philadelphia. In the Southern States, "Tommy Tidler's Ground" is the name of the spot where the rainbow rests, and where it is supposed by children that a pot of gold is buried. A highly intelligent Georgian assures us that as a boy he has often searched for the treasure, but could never find the spot where the rainbow touched the ground. "Tommy Tidler" represents the jealous fairy or dwarf who attacks any who approach his treasure. No. 157. _Dixie's Land._ This is a variety of the last game, in which a monarch instead of a fairy is the owner of the ground trespassed upon. A line having been drawn, to bound "Dixie's Land," the players cross the frontier with the challenge: On Dixie's land I'll take my stand, And live and die in Dixie. The king of Dixie's Land endeavors to seize an invader, whom he must hold long enough to repeat the words, Ten times one are ten, You are one of my men. All so captured must assist the king in taking the rest. The word "man" seems to be used in the ancient sense of subject, as in the Scotch formula, where one boy takes another by the forelock (a reminiscence of serfdom), saying, Tappie, tappie, tousie, will you be my man? The game is played in much the same manner in Germany, with a rhyme which may be translated: King, I'm standing on your land, I steal your gold and silver-sand. No. 158. _Ghost in the Cellar._ One of the children represents a ghost, and conceals himself in the cellar. Another takes the part of a mother, who is addressed by one of her numerous family: "Mother, I see a ghost." "It was only your father's coat hanging up." Mother goes down with a match. Ghost appears. Terror and flight. Whoever is caught becomes the ghost for the next turn. A similar game is played in London, called (we are told) "Ghost in the Copper." The original of the "ghost" appears in the corresponding German game, where we find in his stead the "evil spirit," who haunts the garden. No. 159. _The Enchanted Princess._ This interesting European game, though never naturalized in this country, has been occasionally played as a literal translation from the printed French. A little girl raises above her head her frock, which is sustained by her companions, who thus represent the tower in which she is supposed to be confined. The "enemy" comes up, and asks, "Where is pretty Margaret?" The answer is, "She is shut up in her tower." The "enemy" carries off one by one the stones of the tower (leads away, that is, the girls who personate stones), until one only is left, who drops the frock, and flies, pursued by Margaret, who must catch some one to replace her. The celebrated French song begins, "Where is fair Margaret, Ogier, noble knight?"[145] "Ogier" is none other than Olger the Dane, hero of mediæval romance. The childish drama is one form of the world-old history of a maiden who is delivered by a champion from the enchanted castle. In the territory of Cambrai, she who is shut up in the tower is said to be "the fair one with the golden locks." We consider the following number to be a variation of the same theme. No. 160. _The Sleeping Beauty._ About fifty years since, in a town of Massachusetts (Wrentham), the young people were in the habit of playing an exceedingly rustic kissing-game. A girl in the centre of the ring simulated sleep, and the words were-- There was a young lady sat down to sleep; She wants a young gentleman to wake her up; Mr. ---- ---- shall be his name. The awakening was then effected by a kiss. The same game comes to us as a negro sport from Galveston, Texas, but in a form which shows it to be the corruption of an old English round: Here we go round the _strawberry bush_, This cold and frosty morning. Here's a young lady sat down to sleep, This cold and frosty morning. She wants a young gentleman to wake her up, This cold and frosty morning. Write his name and send it by me, This cold and frosty morning. Mr. ---- his name is called, This cold and frosty morning. Arise, arise, upon your feet, This cold and frosty morning. Some unintelligible negro rhymes follow. The refrain of the last version indicates that it is of old English origin, and was used as a May-game. It would appear, from the character of the round, that various names are proposed to the sleeping girl, which she rejects until a satisfactory one is presented. At all events, this is the case in a Provençal game which we take to be of the same origin as ours. In this game it is explained that the girl is not asleep, but counterfeiting death. "Alas! what shall we give our sister? N. N. to be her husband." A favorite French round describes the maiden as asleep "in the tower." The pretty song represents her as awakened by the rose her lover has left upon her breast. Though there is no very close resemblance between this and the Provençal game, the same idea of deliverance from enchantment appears to underlie both. We infer, therefore, that the game, apparently so natural an invention, originally represented some form of the world-wide story of the "Sleeping Beauty." If this be so, to explain its history would lead us to write of Northern lay and mediæval legend; we should have to examine the natural symbolism of primitive religions, and the loves of ancient gods. The kissing-romp of a New England village would be connected with the poetry and romance of half the world. In any case, this interlinking of the New World with all countries and ages, by the golden network of oral tradition, may supply the moral of our collection. FOOTNOTES: [127] Die Holländisch' Brück'. [128] Mrs. R. W. Emerson, of Concord, Mass. [129] From Prof. G. J. Webb, now of New York, who learned it from his mother, in the Isle of Wight, his birthplace. [130] As the last verse is sung, the raised arms of the two directors of the game descend, and enclose the child who happens to be passing at the time. The prisoner is then led, still confined by the arms of her captors, to the corner which represents the prison. After this she must choose as described on page 204, and the two sides finally pull against each other. Our informant well remembers how seriously the matter was taken, and how disturbed and disgraced she felt when arrested and imprisoned. [131] We have obtained a nearly identical, but more fragmentary version from Waterford, Ireland, with a refrain that seems a corruption of that belonging to the ordinary English song; thus-- London Bridge is broken down, _Fair lady!_ How shall we build it up again? _Grand says the little dear._ We have also, from an Irish domestic, a most curious account of the use of the latter version in the town named. Agreeing, as it does, in essential respects with the character which the European game now possesses, and which the English game once evidently possessed, we do not doubt its general correctness; but we have had no opportunity to verify the statement of the somewhat inconsequent informant. An actual bridge was built up with sticks and boards, and surrounded by the ring of players, dressed in costume; without stood the Devil. Little girls in variously colored dresses represented the angels. The repeated fall and rebuilding of the bridge was acted out, as described in the verses of the song; this fall was ascribed to the malice of the Devil, who ruined it _during the night_ (watching it, said the narrator, from the top of an ash-tree during the day). The imprisonment of the child enclosed by the arms of the leaders was acted out as described in the note on page 208, but in a noteworthy fashion. A chain was taken, and wrapped round the child, in the form of a serpent (for the Devil _is_ a serpent, said the reciter); the captive was taken to a hut (representing apparently the entrance to the Inferno) built by the sea. Meantime, the rest of the train called on their leader for help; but he answered, "the Devil has five feet, and thirteen eyes, and is stronger than I!" The performance lasted five hours; and the name of the edifice was the Devil's Bridge. In this Irish game, tests were employed to determine whether the captive should belong to the Devil or not. One of these was the ability to walk on a straight line drawn on the ground. On the windows of French mediæval churches devils may be seen surrounding the condemned with a great chain, which they use to drag them into their clutches. [132] Or, his _wife_. [133] � l'épayelle (that is, in the _basket_) Tout du long de ciel, Tout du long du paradis, Saut'! Saut'! Saut souris! [134] See No. 154, E, and note. [135] Game of New York German children: "Wer ist daraus?" "Der Engel mit dem goldenen Strauss." "Was will er?" "Eine Farbe." "Was für eine?" "Blau," etc. Then "Der Engel mit dem Feuerhaken" comes forward, and so on, "bis alle Farben fort sind." [136] An imitation of knocking. Italian, Din-din; French, pan! pan! etc. [137] The dialogue is: "Pan! pan!" "Qui est-ce qui est la?" "C'est le diable avec sa fourche." "Que veut-il?" "Un animal." "Entrez." [138] A line and a half are wanting. [139] "I charge my daughters every one, To keep good house while I am gone. _You_ and _you_ [points] but specially _Sue_, Or else I'll beat you black and blue." From "Nursery Rhymes of England," where it is said to be a game of the Gypsy, who "during the mother's absence comes in, entices a child away, and hides her. This process is repeated till all the children are hidden, when the mother has to find them." [140] This verse is borrowed from another game, No. 102. The drama opens with a foreboding. The prophetic soul of the mother uses the lament of a hen who has lost one of her brood. [141] Or any elevated position. Also, _in heaven_. [142] This Urschel is a mythologic character. When the children of Pfüllingen climb the Urschelberg, where she lives, each child deposits on a certain stone two or three horn buttons as an offering. On returning, they observe whether she has not taken them away; and, even if the buttons remain, they are sure that she has taken pleasure in them. When they pass a certain slope they roll down perforated stones (called "suns"), and the child whose "sun" rolls farthest says with pride, "Urschel liked my present best." Urschel passes for an enchanted maiden, whose original name was Prisca. Every four centuries she plants a beech-tree for the cradle of the youth whose love is at last to release her. The chosen shepherd sees her sitting by the road-side, in the shape of an old woman, dressed in green gown and red stockings. But none has ever dared to wed her for the sake of the castle and treasure she offers. [143] "Le Diable Boîteux." [144] "An Ogree is a giant with long teeth and claws, with a Raw Head and Bloody Bones, and runs away with naughty boys and girls, and eats them all up."--Story of the "Sleeping Beauty," as given in an old chap-book. [145] Où est la belle Marguerite, Ogier, beau chevalier? APPENDIX COLLECTIONS OF CHILDREN'S GAMES. The following is a list of collections of popular games of children, or collections containing such, consulted in preparing the present volume, and referred to in the notes by the names of the editors: BRAND, J. Popular Antiquities of Great Britain. With corrections and additions by W. Carew Hazlitt. (Lond. 1870, 3 vols.) The same, arranged and revised by Henry Ellis. (Lond. 1813, 2 vols.; new ed. 1849.) CHAMBERS, R. Popular Rhymes of Scotland. (New ed. Edinb. 1870; 1st ed. 1842.) HALLIWELL [PHILLIPS], J. O. The Nursery Rhymes of England. (6th ed. Lond. 1860; 1st ed. 1842; 2d ed. 1843.) Popular Rhymes and Nursery Tales. (Lond. 1849.) STRUTT, J. The Sports and Pastimes of the People of England. (Lond. 1801.) * * * * * BEL�ZE, G. Jeux des Adolescents. (Paris, 1873.) BUJEAUD, J. Chants et Chansons Populaires des Provinces de l'Ouest. (Niort, 1866, 2 vols.) CELNART, MADAME. Manuel Complet des Jeux de Société. (2d ed. Paris, 1830.) CHABREUL, MADAME DE. Jeux et Exercises des Jeunes Filles. (2d ed. Paris, 1860.) DUMERSAN, M. Chansons et Rondes Enfantines. (Paris, 1858.) DURIEUX, A., and BRUYELLE, A. Chants et Chansons Pop. du Cambresis. (Cambrai, 1864-68, 2 vols.) GAGNON, E. Chansons Pop. du Canada. (Quebec, 1880.) GAIDOZ, H., and ROLLAND, E. Mélusine. Recueil de Myth., Lit Pop., Trad., et Usages. (Paris, 1878.) KUHFF, P. Les Enfantines du Bon Pays de France. (Paris, 1878.) PUYMAIGRE, T. J. B. DE. Chants Pop. Rec. dans le Pays Messin. (Paris, 1865; 2d ed. 1881.) TARB�, P. Romancero de Champagne. (Reims, 1843, 5 vols.) * * * * * ARBAUD, D. Chants Pop. de la Provence. (Aix, 1862. 2 vols.) MONTEL, A., and LAMBERT, L. Chants Pop. du Languedoc. (Paris, 1880.) * * * * * COELHO, F. A. Romances Pop. e Rimas Infantís Portuguezes. (Zeit. f. Rom. Phil. vol. iii. 1879.) MARIN, F. R. Cantos Pop. Españoles, Tomo 1. Rimas Infantiles. (Sevilla, 1882.) MASPONS Y LABR�S, F. Jochs de la Infancia. (Barcelona, 1874.) VILLABRILLE, F. Los Juegos de la Infancia. (Madrid, 1847.) Contains little of a popular character. * * * * * BERNONI, G. Guiochi Pop. Veneziani. (Venezia, 1874.) CORAZZINI, F. I Componimenti Minori della Letteratura Pop. Ital. (Benevento, 1877.) DALMEDICO A. Ninne-nanne e Guiochi Infantili Veneziani. (Venezia, 1871.) FERRARO, G. Canti Pop. di Ferrara, etc. (Ferrara, 1877.) Cinquanta Guiochi Fanciulleschi Monferrini. In Archivio per lo Studio delle Trad. Pop. G. Pitrè, S. Salomone-Mario. Fasc. I., II. (Palermo, 1882.) GIANANDREA, A. S. Saggio di Guiochi e Canti fanciulleschi delle Marche. In Vol. I. of Rivista di Letteratura Pop., G. Pitrè, F. Sabatini. (Roma, 1877.) IMBRIANI, V. Canti Pop. Avellinesi. (Bologna, 1874.) Canzonetti Infantili Pomiglianesi. In Vol. X. of Il Propugnatore. (Bologna, 1877.) IVE, A. Canti Pop. Istriani. In Vol. V. of Canti e Racconti del Pop. Ital., D. Comparetti and A. D'Ancona. (Torino, 1877.) PITR�, G. Canti Pop. Siciliani. (Palermo, 1870-71, 2 vols.) * * * * * COUSSEMAKER, C. E. DE. Chants Pop. des Flamands de France. (Gand, 1856.) HOFFMANN VON FALLERSLEBEN, A. H. Horae Belgicae. (2d Aus. Hannover, 1866.) LOOTENS, A., and FEYS, J. Chants Pop. Flamands rec. à Bruges. (Bruges, 1879.) WILLEMS, J. F. Oude Vlaemsche Liederen. (Gent, 1848.) * * * * * Aus dem Kinderleben, Spiele, Reime, Räthsel. (Oldenburg, 1851.) Baslerische Kinder-und Volks-Reime. (Basel, 187-.) BIRLINGER, A. Nimm mich mit! Kinderbüchlein. (Freiburg, 1871.) DUNGER, H. Kinderlieder und Kinderspiele aus dem Vogtlande. (Plauen, 1874.) FEIFALIK, J. Kinderreime und Kinderspiele aus Mähren. (Zeit. f. deutsch Myth., Vol. IV.) FIEDLER, E. Volksreime und Volkslieder in Anhalt Dessau. (Dessau, 1847.) FRISCHBIER, H. Preussische Volksreime und Volksspiele. (Berlin, 1867.) HANDELMANN, H. Volks-und Kinder-Spiele aus Schleswig-Holstein. (Kiel, 1874.) KEHREIN, J. Volkssprache und Volkssitte im Herzogthum Nassau. (Weilburg, 1862, 2 vols.) MANNHARDT, W. Germanische Mythen. (Berlin, 1858.) MEIER, E. Deutsche Kinderreime und Kinderspiele aus Schwaben. (Tübingen, 1851.) MULLENHOFF, K. Sagen, Märchen, und Lieder d. Herzogthümer Schleswig-Holstein und Lauenburg. (Kiel, 1845.) PETER, A. Volkstümliches aus �sterreichisch-Schlesien. (Troppau, 1867, 2 vols.) ROCHHOLZ, E. L. Alemannisches Kinderlied und Kinderspiel. (Leipzig, 1857.) SCHUSTER, F. W. Siebenbürgisch-Sächsische Volkslieder. (Herrmannstadt, 1865.) SIMROCK, K. Das deutsche Kinderbuch. (Frankfurt am Main, 1857.) STOEBER, A. Elsässisches Volksbüchlein. (Strasburg, 1842.) VERNALEBEN, T., and BRANKY, F. Spiele und Reime der Kinder in Oesterreich. (Wien, 1873.) Wiegenlieder, Ammenreime und Kinderstuben-Scherze in plattdeutscher Mundart. (Bremen, 1859.) Zeitschrift für deutsche Myth. und Sittenkunde, I.-IV. (Göttingen, 1853-59.) ZINGERLE, J. V. Das deutsche Kinderspiel im Mittelalter. (2d ed. Innsbruck, 1873.) * * * * * ARWIDDSON, A. I. Svenska Fornsånger. (Stockholm, 1842, 3 vols.) DJURKLOU, G. Ur Nerike's Folkspråk och Folklif. (�rebro, 1860.) DYBECK, R. Runa, En Skrift för fädernes-landets fornvänner. (Stockholm, 1842-49.) GRUNDTVIG SVEND. Gamle Danske Minder i Folkemunde. (Copenhagen, 1854. New Series, 1857.) Danske Folkeminder. (Copenhagen, 1861.) HAMMERSHAIMB, V. U. Faeröiske Skikke og Lege. (Antiquarisk Tidsskrift, Copenhagen 1849-51.) THIELE, J. M. Danske Folkesagn. (Copenhagen, 1820-23, 4 vols.) WIGSTROM, EVA. Folkdiktning. (Copenhagen, 1880.) * * * * * BEZSONOFF, A. Dyetskia Pyesni. Songs of (Russian) Children. (Moscow, 1868.) MOZAROWSKI, A. Svyatochnoia Pyesni. Christmas Games of the Government of Kazan (Kazan, 1873.) VRCEVIC, V. Sprske Narodne Igre. Servian Popular Games (Belgrade, 1868.) * * * * * NEUS, H. Ehstnische Volkslieder. (Reval, 1850.) COMPARISONS AND REFERENCES. The object of the following notes is to exhibit, in a clear manner, the extent of the correspondence between the games of American children and those belonging to children in other countries. This volume is not intended to include all games of children, but (with some exceptions in favor of certain amusements which possess interest as folk-lore) only such as are played with words or quaint formulas. Of games of this class, we find in the collections very few known to children in Great Britain, and possessing European diffusion, which are not represented in this series by independent American versions (see No. 160, note, end). With these exceptions, the British game-formulas to which American usage does not offer equivalents are local and of trifling interest. The references given below may, therefore, be considered as a comparative account of English children's games in general. The coincidence which this comparison shows to exist between English and German games is very close. Taking three German collections--belonging respectively to Switzerland (Rochholz), to Suabia (Meier), and to Schleswig-Holstein (Handelmann)--and leaving out of account songs and ballads, we have about eighty games played with rhymes or formulas. Of this number, considering only cases of obvious identity, we estimate that forty-five have equivalents in the present series, and thirty-three are not so paralleled. But of the latter class, six are known to have been played in Great Britain, while thirteen others appear to be variations of types represented in this collection. Of the small number remaining, few seem to be ancient, it being impossible to point out more than three or four really curious games which are not played also in an English form. This agreement cannot be explained by inheritance from a common stock, a theory which research has also discredited in other branches of folk-lore. The relationship is only a degree less near in other countries; thus, in a collection of Spanish games belonging to Catalonia (Maspons y Labrós), we find that, out of thirty-eight games, twenty-five have English equivalents. NOTES TO INTRODUCTION. CAROL, p. 9. Middle Latin _Choraula_, from _choreola_. The word _coraula_ is still used to denote the ring-dance in Switzerland; also _coreihi_, to leap (choreare), Rochholz, p. 371. Russian _chorom_, a round of children, Bezsonoff, p. 190. MAY-GAMES, pp. 16-19. Tarbé, "Romancero de Champagne," ii. 61. Puymaigre, p. 201, "Trimazos." A. Rivinus, "De Majumis," etc., in Graevius, Syntagma (Utrecht, 1702). GAMES CITED BY FROISSART (pp. 34, 35).--The passage here rendered (with the omission of two or three obscure names of amusements) is from "L'Espinette Amoureuse," l. 143-338, 35-47. Many of the games mentioned cannot now be recognized from the titles given. Others, however, can be identified; thus, _Queue loo loo_ (keuve leu leu) is No. 106 of the present collection; _Oats_ (avainne), No. 21; _Scorn or Derision_ (risées), perhaps No. 61; _King who does not lie_, perhaps No. 55; _Grasses_ (erbelette), No. 42; _Cligne-musette_ (Cluignette), No. 105; _Pince-merine_, according to Menagier de Paris, lxxvii., the same as _Pince-sans-rire_, No. 77, C. _Playing with nuts_, No. 144; _Throwing pence_, etc., No. 144, B. _Pebbles_ (pierettes), No. 137, or No. 148. _Hook_ (havot), perhaps _Hockey_, No. 136. _Mule_, a kind of leapfrog, still played in Italy, _Salta-muletta_, Gianandrea, No. 30. A species of this game in Philadelphia is now called _Saults_. Replies (réponniaux), a sort of _Hide and seek_, No. 105, in which the concealed person indicates his whereabouts in answer to a call; see same poem, l. 2653. _Astonishment_ (esbahi), a game which consisted in imitating that emotion; thus, when the horses of a party have given out unexpectedly--"I should think we were playing at Astonishment," says one of the cavaliers, looking at the faces of the rest (Dict. of La Curne de Sainte-Palaye, art. "Esbahi"). On the whole, the impression which the catalogue gives us, is that the sports of a child in the Middle Ages were very similar to those of to-day, or, perhaps we should rather say, of yesterday. LOVE-GAMES (p. 39).--This is an old name for games representing or offering opportunity for courtship, as "love-songs" is for ballads. We have heard both expressions in New England, from the lips of aged persons, in whose youth they were current. See the Gentleman's Magazine, Feb. 1738. NOTES TO GAMES. No. 1. English versions are numerous. Halliwell, Nurs. Rh. (6th ed.), Nos. 332, 333. Pop. Rh., pp. 123, 124. Chambers, p. 143; p. 141, "Janet jo." Notes and Queries, 1st ser. VI. 241; 5th ser. IV. 51, 157.--_German_, Meier, p. 107 (cited), 109: Handelmann, p. 62. Vernaleken, p. 55, etc.--_Swedish_, Arwiddson, iii. 175 f.--_Icelandic_, Arwiddson, iii. 182. Lyngbye, Faeröiske Quaeder, p. 37, introd. note.--_Faroese_, Antiq. Tids., 1849-51, p. 310, "Princes riding," compare No. 3.--_Italian_, Bernoni, p. 43, "L'Imbasciatore." Gianandrea, No. 23, "Il bel Castello."--_Spanish_ (Catalan), Maspons y Labrós, p. 47, "La Conversa del rey Moro."--_French_, Ch. du Cambresis, i. 80. 2. A variety of No. 1. Corresponding is the _Faroese_ version referred to, in which the suitors, after rejection as thralls, smiths, etc., are finally accepted as princes, with the expression "tak vid" (literally "take with"), be welcome, which may explain the peculiar use of the word "take" in our rhyme. 3. Also a variety of No. 1. Folk-lore Record, iii. 170. Chambers, p. 139 (cited). "I am a lusty wooer" (the version referred to, p. 49, note) is said to have been played by Charles II. See the Gentleman's Magazine, Feb. 1738; Nurs. Rh., No. 491. 4. Henderson, Folk-lore of the Northern Counties (Lond. 1879), p. 27. Compare French round in Celnart, p. 24. 5. Nurs. Rh., No. 479. Compare No. 31. 6. Nurs. Rh., No. 466, "The Keys of Canterbury." Chambers, p. 61, "The Tempted Lady." 7. _French_, Celnart, p. 15, sixth round, presents verbal correspondence. 8. These versions belong to a game, widely diffused through Europe, in which a "rich" mother begs away, one by one, the daughters of a "poor" mother, until she has secured them all.--_German_, Frischbier, No. 657.--_French_, Chabreul, p. 175, "Riche et Pauvre." Celnart, p. 382, "Olivé Beauvé et la voisine." Ch. du Camb., i. 77, "La Boiteuse." The celebrated song "Giroflé Giroflà" is of the same origin. In the Canadian round (Gagnon, p. 149), and in the English rhyme, for the sake of the dance, the mother whose daughters are begged away or stolen is turned into a mother whose object is to marry her many daughters; so the _Swedish_ (Arwiddson, iii. 203), which presents verbal correspondence to the English song of our collection. Arwiddson, iii. 167, game of "Rich and Poor Birds." The first comes in limping, leaning on a cane, and with piteous gestures begs the train of the other. By comparing No. 154, and note, it will be seen that all the above games make up a single branch of the numerous outgrowths of a primitive root, which is responsible for no small part of the amusements of youth in Europe. Compare Nurs. Rh., No. 343. 10. Connected is a European game representing courtship--meeting, saluting, parting, etc.--_German_, Frischbier, No. 674.--_Swedish_, Arwiddson, iii. 257.--_Flemish_, Looten and Feys, No. 113. A different but related game is _French_, Celnart, p. 14 (cited). Chabreul, p. 157. Gagnon, p. 151.--_Italian_, Corazzini, p. 84.--The words "Rowe the boat" begin a waterman's roundel, A.D. 1453; see Chappell's Pop. Music of the Olden Time, p. 482.--(4.) _French_, Ch. du Camb., i. 221 (cited). 11. Chambers, p. 140, "Janet jo." Folk-lore Record, iii. 171, "Jenny Jones." See Coussemaker, p. 100, Flemish "Maiden's Dance."--Bernoni, Cant. Pop. Venez. xi. 2, "Rosetina."--Roxburghe Coll. i. 186-189, Ballad of "The Bride's Buriall." 12. Compare N. and Q., 3d ser. VII. 353. 13. Halliwell, Pop. Rh., p. 133. Henderson, Folk-lore, p. 26. 15. N. and Q., 5th ser. III. 482.--French round cited, Ch. du Camb., ii. 58. Gagnon, p. 303 (cited, p. 8). Bugeaud, i. 202. 16. Chambers, p. 118.--_French_, Ch. du Camb., ii. 42. 17. _Danish_ and _Swedish_ ballads, Sv. Grundtvig, Danmarks Gamle Folkeviser, Nos. 180, 181. 18. Child, Eng. and Scot. Ballads, 1857, iii. 136. 19. Child, ii. 154. 20. _Swedish_, Arwiddson, iii. 196. 21. _French_, Celnart, p. 21, etc.--_Provençal_, see Fauriel, Hist. de la Poésie Prov., ii. 87.--_Spanish_ (Catalan), Mila y Fontanals, Romanc. Cat., p. 173.--_Italian_, Bernoni, p. 37. (Sicily) Pitrè, ii. 33.--_German_, Meier, pp. 136, 137.--_Swedish_, Arwiddson, iii. 326.--Rounds of a similar type, Chabreul, p. 146, "Salade." Bugeaud, i. 48, "Plantons la Vigne." 22. _German_, Dunger, pp. 184-186. Mullenhoff, p. 484, No. 2. "Aus dem Kinderleben," p. 33.--_Finnish_, Neus, p. 387. 23. Halliwell, Pop. Rh., p. 127. Chambers, p. 134. 25. A variation of 23, 24. Halliwell, Pop. Rh., p. 130. Chambers, p. 135.--_French_, Gagnon, p. 99. Chabreul, p. 141, etc.--_Spanish_, Marin, i. 96, "Thus do the Shoemakers." 26. Folk-lore Rec., iii. 170. Compare French game, Ch. du Camb., i. 223. 28. Nurs. Rh., No. 287. 29. Folk-lore Rec., iii. 169. For French game referred to, see Laisnel de la Salle, ii. 151.--_French_, Celnart, p. 53, "L'Anguille Enfilée." 30. Compare Provençal nurse-songs, in Chants Pop. du Languedoc, "Chants énumeratifs," especially p. 432. 31. Compare No. 5. 32. Halliwell, Pop. Rh., p. 119, "Mary Brown." N. and Q., 6th ser. II. 248.--_Swedish_, Arwiddson, iii. 233.--_Finnish_, Neus, p. 388.--_Italian_, Comparetti, iv. 263.--_French_, Mélusine, p. 542. 33. Chambers, p. 25. N. and Q., 4th ser. II. 274.--_Flemish_, _Dutch_, _German_, Hor. Belg., ii., Nos. 143, 145.--_French_ (Canada), Gagnon, p. 129. 34. Nurs. Rh., No. 290. To this class of jests belongs the German tale, Grimm, No. 119, "Die sieben Schwaben." 35. Chambers, p. 344. Halliwell, Pop. Rh., p. 218, quotes the first lines of this rhyme from Aubrey's Miscellanies, ed. 1696. 36. Compare Chambers, p. 137, "A Courtship Dance."--_French_, Celnart, p. 19.--Canadian song of Perrette, Gagnon, p. 286. 38. For way of playing, compare No. 22. 40. Chappell, Pop. Music of the Olden Time, p. 589.--_French_ (Canada), Gagnon, p. 223.--_Swedish_, Arwiddson, iii. 369. 42. _German_ usages, Rochholz, pp. 172-174. Meier, p. 93.--In Middle Ages, Zingerle, pp. 32, 33.--_Italian_, Corazzini, pp. 93, 94.--Drawing lots by spires of grass is probably the "Erbelette" of Froissart; see Celnart, p. 105, "L'Herbette Joliette."--_Spanish_, Marin, i. 123. 43. _German_ usages, Rochholz, pp. 174-183. 45. Compare French of Gagnon, p. 147. 46. _French_, Ch. du Camb., i. 119, etc.--_German_, Peter, p. 49, etc.--_Flemish_, Willems, p. 522.--_Breton_, Mélusine, p. 462. 47. _French_, Rabelais, Gargantua, ch. xxii. Laisnel de la Salle, ii. 156. 48. Halliwell, Pop. Rh., pp. 263-265. Chambers, p. 31.--_German_, Rochholz, pp. 156-170; he refers to the Rigsmál of the poetic Edda. Schuster, p. 364, etc.--_Provençal_, Ch. Pop. du Languedoc, p. 517, "Las Bestios." 50. Nurs. Rh., No. 278. Compare Finnish game, Neus, p. 417. 52. _German_, Vernaleken, p. 94. Meier, p. 135.--_French_, Chabreul, p. 183.--_Swedish_, Arwiddson, iii. 400. 53. Strutt, p. 294. Brand, ii. 287.--_German_, Vernaleken, p. 86, "Ritterschlagen." Rochholz, p. 435.--_French_, "Les Ambassadeurs," Celnart, p. 131. Old English game of "Questions and Commands," Gent.'s Mag., Feb. 1738; Rochholz, p. 413. 55. Perhaps the "Roi qui ne ment" of Froissart, which he mentions as a game of his childhood (see p. 34), and also as played by great personages. 56. _French_, Celnart, p. 125. 57. Similarly, in a French game, "Le Roi Dépouillé" (Celnart, p. 139), the player must say "Oserais-je?" at every movement. 58. See the round in Chappell, Pop. Mus., p. 77. 60. Perhaps connected with No. 154. Compare German, Vernaleken, p. 52, No. 8. 61. Very likely the "Derision" (Risées) of Froissart. 62. _German_, Rochholz, p. 183. Vernaleken, p. 47, etc.--_Provençal_, "Lou brandet de Roso," Ch. Pop. du Languedoc, p. 577. 64. _German_, Dunger, p. 176, played also in New York. The rhyme in the text seems a recent translation. 68. Nurs. Rh., No. 352. Chambers, p. 137.--_French_, Celnart, p. 19.--_Spanish_, Maspons y Labrós, p. 100, "Jan petit." 71. Nurs. Rh., No. 218. 74. Chambers, p. 139, "Curcuddie."--_French_, Celnart, p. 353, "Les Jarcotons."--Among games of motion might have been mentioned the familiar "Puss in the Corner," Gent.'s Mag., Feb. 1738.--_French_, Celnart, p. 57, "Les Quatre Coins," etc. 75. Halliwell, Pop. Rh., p. 128.--_Danish_, Grundtvig, Dansk. Folk., 2d ser. p. 142.--_Italian_, Bernoni, p. 19, No. 18.--_Spanish_, Marin, I. 52, No. 84. 76. Halliwell, Pop. Rh., p. 112.--_French_, Chabreul, p. 8, "Petit bonhomme vist encore, car il n'est pas mort."--_German_, Handelmann, p. 31, "Little man still lives."--The _High-German_ formula is, "Stirbt der Fuchs, so gilt der Balg." Like the English phrase is a Danish game, "Do not let my master's bird die", Syv, "Adagia Danica," p. xlvii.--_Russian_ (Kazan), Mozarowski, p. 88, "Kurilka lives, she is not dead." 77. (a) _German_, Vernaleken, p. 89.--_French_, Celnart, p. 307--(b) Nurs. Rh., No. 282.--_German_, Vernaleken, p. 88, "Vater Eberhard."--(c) _German_, Rochholz, p. 430, No. 50.--_French_, Rabelais, Gargantua, ch. xxii. Celnart, p. 124, "Pince-sans-rire." 79. Compare finger-game in Chambers, p. 116. Italian finger-game referred to, Bernoni, p. 22, No. 25. 81. Strutt, p. 290, "Hammer and Block." 83. _French_.--Celnart, p. 162, "Le Chevalier Gentil." 86. Nurs. Rh., Nos. 297, 307.--_German_, Meier, p. 138; Handelmann, p. 40.--_French_, Mélusine, p. 198. 87. _Italian_ (the game, not the rhyme), Ferraro, G. Monfer., No. 10.--_Spanish_, Marin, i. 48, No. 71. Compare Nurs. Rh., No. 293; Chambers, p. 159. 88. Celnart (2d ed., A.D. 1830) gives sixty kinds of "pénitences," consisting in kissing, as then usual in French society (see p. 6).--_French_, Celnart, p. 302, "Les Aunes d'Amour," the same as "Measuring yards of tape."--_German_, Frischbier, p. 201, "Aus dem Brunnen erretten," equivalent to "I'm in the well." "Redeeming forfeits in Germany," Frischbier, p. 199. 89. With the dialogue at the end of the second version, compare No. 154, B. An Italian game, Corazzini, p. 104, has a similar theme. 90. Spectator, No. 268.--_German_, Rochholz, p. 440. 91. Strutt, p. 386. "Even or Odd." A universal game.--_Ancient Egyptian_, Wilkinson, ii. 416.--_Ancient Greek_, Aristotle, Rhet. iii. 5. The formula is #artia ê perissa#--_Latin_, "par impar."--_German_, "grad oder ungrad," or "effen oder uneffen."--_Spanish_, Marin, i. 51, "Pares ó Nones" ("par est, non est"). 92. The similar _Italian_ game begins, "Galota, galota," whence, no doubt, our "_Hulgul_," Gianandrea, No. 20.--_Ancient Greek_, Scholiast to Aristophanes, Plut. 1057, #posa en chersin echô#; "How many have I in my hands?" Suidas (10th century), Lexicon, under #paidia#, writes: "There is a game of the following character among the Athenians: Having taken up a number of nuts and holding out his hand, one asks, 'How many have I?' And if [the other] guesses the number, he takes as many as he has in his hand; but if he fails to guess, he loses as many as the asker holds in his hand."--_Latin_, given by Helenius Acron (4th century), "quot in sunt?" See Marin, note to preceding game.--_German_, Meier, p. 123, "Wie viel sollen Kerner in meiner Hand sein?" Handelmann, p. 35, etc. 93. A child rests his head in the lap of another, while a third claps the back of the first, keeping time to the words of the rhyme, and finally raises a certain number of fingers; if the kneeling child can guess the number, he takes the other's place.--_Spanish_, Marin, i. 51, No. 81. The rhyme closely resembles the English given in the text.--_Italian_, Imbriani, No. 30, where the question is, "How many horns do I hold up?"--_German_, Meier, pp. 135, 136, where it is asked, "Wie viel Hörner hat der Bock?" This allusion to the goat (as a leaping animal) refers to the usual practice of riding on the back of the stooping child while putting the question.--_German_, Rochholz, p. 434.--_Dutch_, Hor. Belg., vi. 182. The formulas differ. Tylor, Primitive Culture, i. 67. The Latin formula of Petronius is curiously translated by F. Nodot, A.D. 1694: "�tant à cheval sur luy, il luy donna plusieurs coups du plat de la main sur les épaules, disant tout haut en riant, Quatre cornes dans un sac, combien font-ils? ce jeu fini," etc. Nodot remarks of his free translation, that it is still a boys' game in France. 94. Halliwell, Pop. Rh., p. 116, "Handy-Dandy."--_German_ (Austria), Vernaleken, p. 41. The formula is the exact counterpart of the English: "Windle, wandle, in welchen Handle, oben oder unt?" Handelmann, p. 35 (Schleswig-Holstein), "Where dwells the smith? Above or below?"--_Spanish_, Marin, p. 50, No. 77. 95. _German_, Meier, p. 124, "Under which finger sits the hare?" 97. Halliwell, Pop. Rh., p. 125, "My Lady's lost her diamond ring."--_Low-German_ formulas exactly correspond to our "Hold fast what I give you." Thus the North Frisian, "Biwari wel, wat ik di du," Handelmann, p. 38. Corresponding to "Button, button, who's got the button?" is the _Italian_ "Anello, anello, chi ha mi anello?" Gianandrea, No. 14.--_Spanish_, Maspons y Labrós, p. 86. 98. Halliwell, Pop. Rh., p. 133. 99. _German_, Frischbier, p. 195. 100. A universal game. 101. Halliwell, Nurs. Rh., Nos. 328, 357; Pop. Rh., p. 118; Chambers, p. 123, "The King and Queen of Cantelon."--_German_, Rochholz, p. 414, No. 32. 102. Halliwell, Pop. Rh., p. 132, "The Old Dame," like our B. The Scotch of Chambers, p. 130, "Gled Wylie" (wily hawk) corresponds to our first version.--_German_, Mullenhoff, p. 488; Handelmann, p. 76, etc.--_Swedish_, Arwiddson, iii. 164.--_Italian_, Bernoni, p. 34, No. 40, here a game of a witch like our second version.--_Finnish_, Neus, p. 418, begins like the Scotch.--_Russian_, Bezsonoff, p. 195, probably borrowed from the German. 103. The name, "Tag," in Gent.'s Mag., Feb. 1738.--_German_, Handelmann, p. 66, "Eisen anfassen;" "Eisenzech" in Berlin; "Eisenziggi" in Switzerland.--_Italian_, Bernoni, p. 62, "Toca fero."--"Squat-tag" is also _Spanish_, Maspons y Labrós, p. 81. 105. _Ancient Greek_, Pollux, ix. 117, #Apodidraskinda#, "Game of Running Away."--_German_, Vernaleken, p. 89, "Verstecherlspiel," "Einschauen."--_Italian_, Bernoni, p. 61, "Chi se vede, eh!"--_French_, Celnart, p. 55, "Cligne-musette" or "Cache-cache." 106. _French_, Chabreul, p. 1, "La Queue Leuleu," mentioned by Froissart.--_German_, Rochholz, p. 408, etc.; Schuster, p. 392, a game of wolf and geese; so _Russian_, Bezsonoff, p. 205. 107. _Spanish_, Marin, i. 169. The seeker must wait until the hiders, who go off one by one as they are counted out, cry "Jilo bianco, jilo negro," etc. Hence, probably, the cry "Blancalilo," etc., of the English game. The rest proceeds like No. 105. In the Spanish sport, a player reaching goal must spit three times; this seems to have been originally a conjuration against the Evil Spirit, whom the seeker represented. 108. _Ancient Greek_, Pollux, ix. 113, 123. The game is universal. See Handelmann, p. 71. Child, Eng. and Scot. Pop. Bal., 1882, i. 67. 109. _German_, Handelmann, p. 65, "Die Hexe." The games are identical; yet the children, from whom the version in the text was learned, imagined that they had "made it up!" 110. Strutt, p. 61.--_German_, Vernaleken, p. 63, "Das Barlaufen."--_French_, Celnart, p. 58, "Les Barres."--_Italian_, Bernoni, p. 87. The French word _barres_ is probably only a false interpretation of an older word _bar_, a form of our base, meaning goal; so Swiss "Bahre," Basle. Kindr., p. 30.--_Flemish_, in Hor. Belg., vi. 181. 111. N. and Q., 2d ser. VIII. pp. 70, 132. Brand, ii. 316.--_German_, Handelmann, p. 81, "Die Katzen von dem Berge." The phrase is "Cat, cat, off my hill!"--_French_, Belèze, p. 42, "Le Roi Détroné." 113. Chambers, p. 122, "Hickety Bickety."--_German_, Aus dem Kinderleben, p. 24. Rochholz, p. 442. 114. Folk-lore Rec., iii. 169; Chambers, p. 36. See No. 89. 115. _German_, Vernaleken, p. 74, "Weinbeer-Schneiden."--_Italian_, Bernoni, p. 50. This is a variation of No. 156; compare Frischbier, p. 186. 116. Chambers, p. 127, "Scots and English." 117. This number includes the remains of two ancient games: (a) _Ancient Greek_, #schoinophilinda#, Pollux, ix. 115, in which a player must be whipped round the ring with the cord he has dropped at the back of another.--_German_, in 14th century, Mone, Anzeiger, 1839, p. 395.--_Spanish_, Maspons y Labrós, p. 22.--_French_, Celnart, p. 55. (b) Strutt, p. 285, "Cat and Mouse, or Kiss in the Ring," where a player pursues another round and through the circle.--_French_, Celnart, p. 39, "Le Chat et la Souris."--_Italian_, Gianandrea, No. 6.--_German_, Handelmann, p. 78. 122. Variation of No. 121. The name connects it with the old English game of "Frog in the Middle," Strutt, p. 293; the ancient Greek, #chytrinda#," pot-game," see p. 31, note. 123. _German_, Vernaleken, p. 75. Handelmann, p. 80. Meier, p. 105. See No. 89. 124. _French_, Chabreul, p. 22, "La Toilette de Madame." 125. Nurs. Rh., No. 131. 127. _German_, Rochholz, p. 430, No. 50. See Nos. 77, 152, 153. 128. "Marble-day" in Sussex is Good Friday, N. and Q., 5th ser. XII. 18. "Times" of German sports, Basle. Kindr., p. 30. Meier, p. 92, 8. 129. Brand, ii. 302, "Camp." Strutt, p. 78.--_Ancient Greek_, Pollux, ix. 104.--_Icelandic_ and _Low-German_, Weinhold, Altnord. Leben, p. 292. Egils Saga, ch. 40. 130. Games of ball played with the hand are, of course, universal. 131. Strutt, p. 381 (new ed.). Strutt, p. 76. Bradford's History of Plymouth (ed. by Ch. Deane, Boston, 1856), p. 112. Ducange, under Pelota. Wirt Sikes, British Goblins, p. 272. 132. _German_ (Austria), Vernaleken, p. 2. (Schleswig-Holstein), Handelmann, p. 88, "Stehball." (Switzerland), Rochholz, p. 388. 136. Jamieson gives Scotch name as "Shinty."--_Italian_, Ferraro, G. Monfer., No. 38. 137. _German_, Vernaleken, p. 9.--_French_, Celnart, p. 69.--_Italian_, Ferraro, G. Monfer., No. 23, "Le Pietruzze." 138. _German_, Vernaleken, p. 10. Rochholz, p. 389. 139. _German_, Vernaleken, p. 11. Rochholz, p. 399. 140. _German_, Vernaleken, p. 15.--The American word "Cat" ("one old cat," "two old cat," etc.) is explained by the Flemish "Caetsen, Ketsen," the common name of the game of ball in the Netherlands, Hor. Belg., vi. 177. 141. _German_, names of "marbles." "Schnell-Kügelchen" (15th century), "Schusser," "Löper," also "Marmeln," the latter when made of marble. A MS. of the 15th century mentions "the yellow glass used for the little yellow balls with which schoolboys play, and which are very cheap," Rochholz, p. 421.--Playing marbles (_kluckern_) in the streets was forbidden on pain of torture, by the Reformers in Zurich, A.D. 1530.--The general name in North Friesland is "Rollkugle," "rollballs."--_French_ name, "_billes;_" see Celnart and Belèze for description of games. The game of Roman boys with nuts, from which marbles is probably derived, is still played in the Netherlands, Hor. Belg., vi. 182. Nuts are also used instead of marbles in Italy, Gianandrea, No. 20. 142. Strutt, p. 86, "Tip-cat." Brand, ii. 303, "Kit-cat." The game, which is played in _Hindostan_, N. and Q., 4th ser. IV. 93, may probably have made its way into Europe from the East.--_German_, Handelmann, p. 89, "Kipseln." Vernaleken, p. 29, "Titschkerln."--_Italian_, Bernoni, p. 81; p. 82, "Chiba e Cheba." 143. Brand, ii. 305. 144. (a) _German_, Rochholz, p. 426. Vernaleken, p. 25.--_French_, Celnart, p. 379, "La Fossette aux Noyaux," played with cherry-stones or plum-stones. The fillip given to the stone is called _poguer_, poke. Froissart appears to allude to this game, (b) Also ancient.--_Italian_, Gianandrea, No. 20, "Battemuro." 145. _German_, Handelmann, p. 92, "Kaak."--_Italian_, Gianandrea, No. 17, "La Checca." 146. Strutt, p. 266. Brand, ii. 330, "Scotch-hoppers" mentioned A.D. 1677.--_German_, Vernaleken, p. 38, "Tempelhupfen."--_Italian_, Bernoni, p. 84, "El Campanon."--_French_, Celnart, p. 379, "La Marelle."--_Hindostan_, N. and Q., 4th ser. IV. 93. 147. _German_, Handelmann, p. 96, "Stickmest." 148. Though played in Great Britain, the game is not (so far as we know) mentioned by writers.--_French_, Celnart, p. 375 f., "Les Osselets."--_Spanish_, Marin, pp. 80-95, 150-159, "Juego de las Chinas," "Game of the Stones."--_German_, Meier, p. 145.--_Japanese_, Tedama, "Hand-balls." 149. Rhymes for counting out are used throughout Europe, and examples could be cited of types corresponding to most of the English forms, and sometimes evidently related. Peculiar is the usage in Spain, where the syllables are told off alternately on the closed hands of a player, who holds a pebble; if the last syllable falls on the hand containing the stone, the lad proving his fortune is free, and so on until only one child remains. The custom has given a proverb to the language. Marin, i. 117. A like usage (without the rhymes) we have found to be the usual way of selection in a town of Pennsylvania (Bethlehem). 150. First printed in Ritson's "Gammer Gurton's Garland." Other original versions: (1) Gent.'s Mag., Sept. 1823; (2), (3) The Critic, Jan. 15, 1857, and (4) Feb. 2, 1857. The last mentioned is nearly identical with our B. The communicator of (1) refers it, through an aged informant, to a lady born in the reign of Charles II.; it has several more verses than the last, generally agreeing with our E, but lacks the ending. The rhyme, in England, appears at present to be known as a song only. The European rhyme is properly a dialogue, the verses being sung alternately by the warders and the approaching party; the former, whose joined and lowered arms represent the fallen bridge, do not elevate them until the negotiations are concluded. The game is, no doubt, that mentioned under the name of "Coda Romana," by G. Villani, Istorie Fiorent., A.D. 1328, ch. xcvi., as played by the boys of Florence, in which the question put to the imprisoned player is said to have been, "Guelf or Ghibelline?"--_German_, Meier, p. 101 (cited), etc. Mannhardt in Zeitschr. f. d. Myth., iv. 301-320, gives twenty-seven versions, including _Slavic_, _Hungarian_, _Scandinavian_.--_Swedish_, Arwiddson, iii. 250.--_French_, Chabreul, p. 117, "Le Ciel et l'Enfer." Celnart, p. 52, 'Le Pontlevis.'--_Italian_, Bernoni, p. 46, "Le Porte." Corazzini, pp. 90-93; p. 87 (a mixed form with No. 154).--_Spanish_, A. de Ledesma, A.D. 1605, beginning "Fallen is the bridge." See Marin, i. 166-168.--For the English rhyme, see also N. and Q., 1st Ser. II. p. 338. The name "Lady Lee" in the song may imply a legend. We read in Nature, June 15, 1871, p. 118: "It is not, for example, many years since the present Lord Leigh was accused of having built an obnoxious person--one account, if we remember right, said eight obnoxious persons--into the foundation of a bridge at Stoneleigh." The communicator of version (2) (The Critic, Jan. 15, 1857) spelt the name _Leigh_, and took "the Lady Leigh of the song to be the wife of Sir Thomas Leigh, who was Lord Mayor of London in 1558, ... ancestor of the noble family of Leigh of Stoneleigh, Warwickshire." Compare the ballad of "The Bridge of Arta," Passow, Pop. Carmina Græciæ Recent., No. 511; Tommaseo, Cant. Pop. Toscani, iii. 174 f.; F. Liebrecht, Zur Volkskunde, 1879, p. 284. 151. A variation of No. 150.--_Italian_, Corazzini, pp. 91-93, beginning, "Open, open the gates." Gianandrea, No. 3, "Le Porte del Paradiso." The dialogue ends, "Let the King of France with all his soldiers pass." 152. _Italian_, Bernoni, p. 54.--_French_, Ch. du Camb. i. 133.--_German_, Vernaleken, p. 55. 153. _German_, Meier, p, 117, "Farben aufgeben," etc.--_Italian_, Bernoni, p. 51, "I colori." This version is identical with the German and our A, as is also the _Spanish_ (or Catalan), Maspons y Labrós, p. 91. The game of "Los Colores" is mentioned by A. de Ledesma, A.D. 1605.--_French_, Belèze, p. 40 (cited). Intermediate between this number and the following are games of _selling birds_, Frischbier, p. 184; of _catching birds_, Rochholz, p. 449. Greek game of the shell, #Ostrakinda#, Pollux, ix. 111. 154. The following is our classification of the numerous games (not before noticed as connected) belonging to this cycle of childish tradition: (1.) Versions preserving the original idea of the child-stealing witch (as in our A, B, and C).--Halliwell, Pop. Rh., p. 131 (cited).--_German_, Meier, p. 117 (cited).--_Italian_, Corazzini, p. 110, a fragment. (2.) Versions in which (as in our D) the mother is represented as present, and the game becomes one of _begging_ instead of _stealing_ children. This is the case in most _German_ versions. The tests described in No. 152 are introduced and become the leading feature of the game.--_German_, Frischbier, p. 183. Rochholz, p. 436, and p. 444, where the mother is called "Maria, mother of God," and the game "Getting Angels." Mullenhoff, p. 486, No. 7.--_Swedish_, Arwiddson, iii. p. 437 (cited). Mannhardt, Germanische Mythologie, pp. 273-321, gives fourteen versions, with a long discussion of this game, and concludes (p. 297) that the last girl of the row (who in our A is the eldest daughter, but here represents the "Mother Rose") "personates the goddess Freya cherishing in or behind the clouds the souls of the dead, who, renewed through the heavenly waters (the fountain of youth), are destined to return to earth at new birth as the souls of children!" It is very curious to observe that several Prussian versions contain traits only explained by the American games, the form of which they thus imply as more original. Thus the mother is _invited to a meal_ by the witch, Frischbier, p. 182, and the person invited sends _excuses_ (see our A). (3.) The mother and children are represented in childish fashion as a hen and her brood (see our B, and No. 101). Hence the game of the "Rich and Poor Birds;" see references in No. 8, note.--_Italian_, Corazzini, pp. 86-88. Gianandrea, No. 19, "Madonna Pollinara." (4.) The children are denoted by the names of leaves or flowers.--_German_, Vernaleken, p. 58, "Die Grossmutter." The visitor begs for a leaf as balsam to heal her injury, and the girls are gathered under the name of leaves. So Frischbier, p. 181. Feifalik, No. 81.--_Spanish_, Maspons y Labrós, pp. 87-89, game of "Pulling Leeks." (5.) The game has become a representation of selling pottery.--_German_, Frischbier, p. 183. Mannhardt, p. 284.--_Swedish_, Arwiddson, iii. 169, "Selling Pots," a dance, has become a mere mercenary transaction.--The English game of "Honey-pots" is a version of this, where the weighing feature is to be explained as in No. 152.--_Italian_, Bernoni, p. 57, "I Piteri," where the original idea reappears. The purchaser advances _limping_ (a characteristic of witches), and the game is one of stealing and recovery (like our London version E).--_Italian_, Gianandrea, No. 19. The first part of the game is played as in (3). The "pots" are weighed, as in the English game mentioned. Ferraro, G. Monfer., No. 43, where the purchaser is the devil, and the game thus passes over into the form of No. 153.--_Spanish_, Maspons y Labrós, p. 87, "Las Gerras." (6.) A game of stealing or measuring cloth.--_German_, Rochholz, p. 437, "Tuch anmessen." In this game, mentioned by the mother of Goethe (Düntzer, Frauenbilder aus Goethe's Jugendzeit, p. 506), the children are arranged against the wall to represent cloth, which the dealer measures and names by the color of the stockings of the children. A thief steals the cloth bit by bit, which the dealer must recover by guessing the color, a task of some difficulty, the stockings having been taken off in the interval. A very curious Low-German version, Brem. Wiegenlieder, p. 61, removes any doubt as to the relation of the amusement to the original game. In this version the colored cloths are only names for children. There are verbal coincidences with forms given in the text, the dialogue beginning "Mother, the broth is boiling over!" (as in our version B), put (as in our version C) into the mouth of the watcher left in charge by the absent mother; so Aus dem Kinderleben, p. 39, "Leinendieb." The remainder of the first paragraph of C will be found almost word for word in Handelmann, p. 57, No. 80, "Frau Rosen," a version of the form (2).--_Italian_, Bernoni, p. 55, "I Brazzi de Tela," "the measures of cloth." The thief advances _limping_, the owner having departed, steals the cloth, but is pursued, and the goods recovered, as in the game of pots described above. Ferraro, G. Monfer., No. 3.--_French_, Celnart, p. 43, "La Toile," has become a kissing romp of grown people. (7.) Finally, to the same root belong various rounds and dances which represent a mother who wishes to marry her many daughters, or of a poor widow who has but one daughter; see our No. 8, and note. 155. _German_, Grimm, No. 15, "Hansel und Grethel." 156. Gent.'s Mag., Feb. 1738, "Fryar's Ground."--_Spanish_, Maspons y Labrós, p. 92.--_French_, Celnart, p. 53, "Chateau du Corbeau;" "Je suis dans ton château, corbeau, et j'y serai toujours."--_German_, Meier, p. 98, "Ist der Kukuk zu Haus?" see No. 115, note. German games based on this idea are numerous. Vernaleken, p. 77, "The Black Man;" p. 62, "Dead man, arise;" p. 73, "Wassermannspiel." The child representing the Water-spirit lies in the dry bed of a brook and pretends to sleep. The rest approach to tease him, when he endeavors to seize one without leaving the brook or pit. The first so caught must assist him to capture the rest. The superstition about a treasure buried at the foot of the rainbow is also Swiss, see Lütolf, Sagen, etc., Von Lutzern, p. 384. 157. A variation of 156.--_German_, Meier, p. 121. Rochholz, p. 415. 158. _German_, Meier, p. 102, "Der Böse Geist." 159. _French_, Celnart, p. 365, etc.--_German_, Vernaleken, p. 52, etc. See Mannhardt, Germ. Myth., pp. 492-511, who gives twenty-three versions, including a Spanish (Catalan) one. He imagines, as usual, a good deal of mythology in the game. The mythologic character belongs, not to the details of the children's rounds, but to the cycle of traditions on which these are founded. The name in Suabia is "Prinzessin erlösen," "to disenchant the princess." 160. _Provençal_, Arbaud, ii. 207.--_French_, Puymaigre, p. 334. Bugeaud, i. 126. Tarbé, ii. 178. Of the following games played in Great Britain, and possessing European equivalents, we have not obtained American versions: (1.) Halliwell, Pop. Rh., p. 131, "Game of the Fox."--_German_, Rochholz, p. 44, "Fuchs aus dem Loche." Handelmann, p. 74.--_French_, Belèze, p. 27, "La Mère Garuche," also "Le Diable boiteux."--_Ancient Greek_, Pollux, ix. 121. (2.) Halliwell, Pop. Rh., p. 126, "The Poor Soldier."--_Spanish_, Maspons y Labrós, p. 86, mentioned A.D. 1605, Marin, i. 177. (3.) "The Wadds," Chambers, p. 124.--_German_, Rochholz, p. 432, No. 52. (4.) Chambers, p. 128, "The Craw."--_German_, Rochholz, p. 445, "Der Teufel an der Kette." (5.) Nurs. Rh., No. 323, "This is the Key of the Kingdom."--_German_, Handelmann, p. 39.--_French_, Celnart, p. 181.--_Spanish_, Marin, i. 88. Transcriber's Notes: Simple spelling, grammar, and typographical errors were corrected. Punctuation normalized. Anachronistic and non-standard spellings retained as printed. Italics markup is enclosed in _underscores_. Bold markup is enclosed in =equals=. Gesperrt markup is enclosed in +plus signs+. Greek text is transliterated and enclosed in #number signs#. Beginning with p. 236 several numbers were skipped in the original.