mm v* nf\ARCHlNGPLAY5 For Homes, KiNDERSARTens D ry School (i t ft &> *?(( (iigji y-< LIBRARY OF CONGRESS. c hap.ScV Copyright No42.l'' Shelf. JBS>& UNITED STATES OF AMERICA. Digitized by the Internet Archive in 2011 with funding from The Library of Congress http://www.archive.org/details/marchingplaysdesOOburl MAKING READY FOR THE BUTTERFLY PLAY. MARCHING PLAYS DESIGNED FOR LITTLE CHILDREN AT HOME With Suggestions to Mothers for their further use in connection with Stories, Pictures, and Drawing Lessons /By GREY BURLESON Music by FRANK E. SAVILLE and KATE L. BROWN Over a Hundred Helpful Pictures, Vignettes, etc., from Drawings by L. J. BR1DGMAN ■ A 6 t* " BOSTON «1« ALPHA PUBLISHING COMPANY 1896 ,3*4 Copyright, 1896, BY Alpha Publishing Company. All rights reserved. The Pinkham Press, 289 Congress Street, Boston . TO ALL LITTLE CHILDREN AND THEI R MOTHER S AND THEIR TEACHERS AUTHOR'S NOTE. THE author offers these Marching Plays to mothers as a pleasant means of both playing and talking with their little children. The Plays are based on the happy fact that the child during its first years would like to have its mother as its playfellow and companion, and naturally chooses her in preference to all others ; and on that other fact that the young child's favorite diversion is found in well-known little action-plays and make-believes. The capacity for "taking part" develops at a surprisingly early age. All through babyhood the interest continues unabated in the doings of the five little toes that become " five little pigs," in the horseback ride on the knee, " trot, trot, to Boston to buy a loaf of bread," in pat-a-caking the perennial little cake and tossing it into the oven. Where is the mother who does not rely upon these immortal little plays to amuse her baby ? But while in the Marching Plays the primary interest appeals to the playing, im- agining, make-believe faculty, they are designed also to strongly interest the child in animals, their habits and feelings ; for when once little children are convinced that animals have many feelings in common with themselves, there will spring up a sense of kinship which will hold them back from treating dumb creatures unkindly. The interest in a few animals thus awakened may easily be broadened by the mother's talks into a general interest in natural history, and also into a very decided taste for nature- studies. The magazines and photograph dealers and art stores afford excellent pictures, in addition to those given with the Plays, to illustrate the life of the animals, and it is believed that mothers will enjoy making a collection of such pictures for each Play, also collections of good stories about the animals, and descriptions of them. " Famous Pets," by Eleanor Lewis, is a good reference-book for mothers, in connection with the Plays, being a nearly complete guide to the pets celebrated in history and literature. It contains many pictures and stories calculated to interest children, and to serve as subjects for entertaining folks. The fact that the wise and noble and great of all ages have considered animals worthy of their affection and companionship will not be without its good influence upon the child-mind. The larger pictures of the collection made might very advantageously be framed simply and hung low on the walls, in easy range of the children's eyes ; the smaller ones kept loose for the children to take in their hands. A little standing blackboard on which the child can be encouraged to draw the animals will be of service in training the eye and the hand, and afford much entertaining occupation. In going from AUTHOR'S NOTE. " Dobbin-Colt " to a " A Flock of Sheep," the mother should put away all the horse pictures and horse stories, and have about only the sheep stories and sheep pictures ; and so with all the Plays. A Play should be played until the child becomes familiar with it and can take its part with ease. The mother may sing her verses to the music, or she may simply recite them. The spirit of playing and " joining in," will soon impel the children to sing or recite theirs also. The mother should at first sing or recite the children's parts with them, just as she will show them and train them how to " march " aright, and to make the gestures gracefully. Kindergartners and Primary teachers who may wish to vary their usual exercises with games more freely active will find these Marching Plays very pleasing for the purpose, and very popular with the children. Grey Burleson. LIST OF MARCHING PLAYS. I. DOBBIN-COLT. II. A FLOCK OF SHEEP. III. THE LIONS. IV. THE HAPPY HEN. V. THE COUNTRY CATS. VI. THE BIG NIGHT BIRDS. VII. THE HOUSE MOUSE. LIST OF MARCHING PLAYS. VIII. THE WILD HARE. IX. THE SHEPHERD DOG. X. THE ROBINS. XI. THE BUTTERFLIES. XII. THE GOING OF THE SWALLOWS. MARCHING PLAYS. Dobbin-Colt. r %>, SUGGESTIONS FOR PLAYING "DOBBIN-COLT." THE pictures of the Play show in detail the movements of the mother, teacher or leader, as well as those of several children taking part. If there is more than one little Dobhin, the children should be trained to make all gestures, all movements in perfect time. The insistence upon this will not spoil their enjoyment ; on the con- trary, the sense of doing all in order and in concert gives a child pleasure ; by this means too, during the merriest playing the child's mind becomes habituated to direction and to obedience. In connection with the first verse, it will add to the child's comprehension of the Play if there is a previous talk about the food of the horse. Many a town child has never seen a horse out of harness roaming loose in the pasture, and does not know that some horses feed on grass eating it direct from the ground in summer, and that all eat hay in winter ; much less that hay is dried grass. Certainly many town children know nothing of the fascinating scenes of hay-making. The fact that like a little child a little colt likes to stay close beside its mother, and again like a child likes to run off and play, and then, like a child, return to its mother, will lead children to see that the little creature has some of the same feelings that they have themselves ; mother and child, as they look at the pictures, may talk about this before the Play. In the third verse, the gradual rising on tiptoe and raising the hands higher and higher to show stages of growth is a pretty movement to practice, also pretty to see when made in perfect time. This early training to move in unison is not without its importance in after life, as when the cooperation of individuals becomes needful in various undertakings. To give the outward sign of obedience, in the fourth verse, is also valuable to the child. A pretty movement when there is but one Dobbin, is for the child to clasp its hands and the mother to lead him by the bridle thus formed, as a horse is led. To render the fifth verse still more interesting, take the children into a black- smith's shop to see the shoeing of a horse. Take care to explain that the substance of the hoof is such that the horse feels no pain when the shoe is nailed to its hoof. For the sixth verse, have books on a table that in passing each child may take one, as a " load," bearing it merrily along in the gallop or trot. If now and then, in the spirit of play, a sudden neigh or whinny startles your ear, or a horse unexpectedly refuses to be " caught " and canters away, or even the whole band throw up their heads and heels and gallop off in a mad frolic, don't frown, or forbid, but gently conclude that a few independent studies of the horse may have been going on. Fine pictures of horses can be found among photographs of paintings by Landseer and Rosa Bonheur. The famous horseback picture by Velasquez of the little Spanish boy-prince, Charles Balthazar, son of Philip IV., is a favorite with children. Large copies, suitable for framing, can be had at the photograph dealers. i8 <^D0BB1N-C0LT.^> DOBBIN is a baby colt! By his mother's side he stays ; Through the grassy pasture land Slowly close beside her strays. :s£s^-' Dobbin is a playful colt ! Prancing off on twinkling feet, Circling back he gaily comes ; Hear his flying small hoofs beat! ^ Child next teacher skips down front of class, up behind and around teacher back to-starting point — Otheri follow in order Dobbin is a handsome colt ! ( ;X bee him grow, and grow, and grow! f And a master's voice and hand Dobbin-colt has learned to know. DOBBIN-COL T. *9 Dobbin is a model colt! See him bend his arching head, Take the guiding bridle on, From the grassy field be led. Children bend, then follow teacher around room. Dobbin is a wond'ring colt ! But, obedient to do What he's bid, he lifts his foot For the shining iron shoe. dpTTlVt.* ^ndfffli. ^JL Dobbin is a well-trained colt ! With his load he speeds away — Every creature trained and strong Likes to work as well as play. 20 DOBBIN COLT. m Words by Grey Burleson, m Briskly. Music by Kate L. Brown. S= =1= =fc=^: ^* -- ■--*— ? — *=^ * -A— 1. 2. 3. 9*1 Dob - bin is Dob - bin is Dob - bin is a ba - by colt ! By a hand-some colt ! See a wand-'ring colt ! But his him moth - er's grow and be - di side he stays, lit -tr g~ fe" •- -&^-? grow and grow, ent to do =tz=tz= ^ I te -v -N-±tt Through the gras And a mas What he's bid, '0' t * J. — i- :■: sy pas - ture land, Slow - ly close be - hind her stays, ter's voice and hand Dob - bin colt has learned to know, he lifts his foot For the shin - ing i - ron shoe. ing 94 -y- # #C :U: Trotting measure. ~fi"Mu.S\ !V > -A -f- ~~^~ in ' — i— — s- -^ -IS c~zN— -f>- • -£- -0— *0 =tE— — • — i— i i = i 1_ * — 0— 1 — —0— —m — P — M — •^ l* — 1 — — I — 9 * ' — 1 1— -0- -0- • • — f— J Dob - bin is a play - ful colt! Prancing off on twinkling feet, Dob - bin is a mod - el colt ! See him lift his arch - ing head, Dob - bin is a well - trained colt! With his load he speeds a - way — -^rtf-ar' — -# — ■0- -1 -# — • _ -ryf— — •— • — • 1 mi-- — 1 -v— b 1 -w— — — I v — -0- — 1 — -1- -!\- — 1 — i — — — — i 1 — i — — - . V -g J • • — v — *— _f_d Circ Take Ev' R?l= ^ tt- ling the V 5 B *=£ v- =t "5*- ;ii back he gai - ly comes, Hear his fly - ing, small hoofs beat ! guid - ing bri - die on, From the gras - sy field be led. crea-ture trained and strong, Likes to work as well as play. -e- II y V / •f r A Hock^SHf ep. SUGGESTIONS FOR PLAYING " A FLOCK OF SHEEP." NOT all country children have seen sheep, and few town children, though the latter may have spent their vacations in farming regions. Sheep are not kept on every farm, like horses and cows. So it is important to get reliable pictures of sheep before trying the Play. Those with the Play are good but small. Among magazine pictures easy to find, those by Monks are very true to American sheep. The photograph of Rosa Bonheur's " Changing Pasture " is fine for framing. Children should be told in the general talk before playing, that sheep go at large in pastures and feed on grass, and like the horse eat hay in winter. Show them pictures of lambs, the babies of sheep. Interest them in realizing that their own winter gowns and coats are made from the warm wool of sheep. Show pictures of sheep-shearing. Secure, when you can, a lock from a fleece of wool ; the wool of merino sheep is beautiful to look at. The Play calls for several children — a " flock " of the child's playmates will gladly come in upon invitation — and particularly amuses little ones, because it places the mother, or teacher in several funny positions ; it is always delightful to a child to see a grown person really at " play." Also they like to wear the little sheep-bells. The bells are more easily shaken into tinkling if worn upon the wrist. Some educators ob- ject to any accessories, and urge that the child's imagination is better exercised by sing- ing the refrain " Hear the sheep-bells tinkle ! " But it is well to consider instances of the natural action of the child-mind. In spontaneous child-play, as in " playing house," the little one does not seat itself on the open floor, but creeps under the table where it has roof and walls, or with shawl and chairs builds itself a tent. The mother, as " leader," or head of the flock, wears a large bell. In general talk the children are told that all animals that go in flocks and herds have a " leader " whom they recognize, follow and obey. Like people, the sheep provide for their safety by submitting to a governor. This gives the child the feeling that " government " is a general and natural and good thing, and so its mind takes an easy step into the established order of things. In the third verse the mother steps up on a stool or hassock to look about for danger ; this amuses the children. In some of her talks the mother says, " Everybody enjoys the thought of being a leader. Bat a leader must have his thoughts all the time on those he leads. He must watch .or danger and warn them, and take them out of its reach, or in some other way protect them and save them." The final scamper, the mother's jump over the imaginary wall, and the general shaking of the bells combine to further make the exercise a genuine " play." Yet a les- son in courteousness may be drawn from the " crowding," concerning the kindly re- straint of little elbows and hands. Now and then, as a special diversion, and at a given signal, at the end of the third verse the children may be permitted a chorus and a confusion of " ba-a's," but never unnaturally loud or noisy, or approaching burlesque. 24 A Flockt^of Sheep. DOWN the hilly pasture, Over ledge and rock, By the winding sheep-path Come the woolly flock. Tinkle, tinkle, tinkle — Hear the sheep-bells tinkle ! eeacher. p» single ^''e-slovvly,^^^ In the vale they gather At the silver rill ; Back they nibbling clamber Up the sunny hill. Tinkle, tinkle, tmkle — Slow the sheep-bells tinkle All pause in semicircle, bend heads. drink from hollowed palms , Chen follow teacher bacK bending and moving 1 heads fromside 10 side as if cropping grass A FLOCK OF SHEEP. Hist ! a panic-signal ! Crowding close they fly With their fleecy leader Down the hillside high. Tinkle-tinkle-tinkle — Fast the sheep-bells tinkle ! Children crowd if « close ibehind Che teacher: all advance in a body with rapid step. •-■y^-o BLi*-- ®«6.«« O, the silly baa-sheep ! See them jump the wall — Over goes the leader, Over go they all ! Tinkle ! tinkle-tinkle ! How the sheep-bells tinkle In -marching the teacher takes ^ sud- den skip and high step.childrerx the same in concert. 26 p A FLOCK OF SHEEP. Words by Grey Burleson. Music by Kate L. Brown. 3 v- 1. Down the hil - ly pas - ture, O - ver ledge and rock, er, At the sil - ver rill, nal ! Crowding close they fly, baa - sheep! See them jump the wall — 2. In the vale they gath 3. Hist ! a pan - ic - sig 4. O, the sil - ly By the wind- ing Back they nib-bling With their fleec - y O - ver goes the 9*18 t -0- 1% ■v—v- t £ -N-S M -v>— \f>~ -0- t i M £ sheep clam • lead • lead path, ber er, er, Come the wool-ly Up the sun - ny Down the hill - side O - ver go they "V" flock. By the winding hill. Back they nibbling high. With their fleec - y all. O - ver goes the -P =t= sheep clam lead lead path, ber er, er, 9 ift ■tt—*- N" f* -fc: 5 -v—v- ( Sheep-bell Chorus.) %=h -v- - s 3 zt —I — I — •— y — N-* 0~\—\j> -V-0 * -N-#- 4— *- *—V- — *r ~0~ Come the wool-ly flock. Tinkle, tinkle, tinkle, Tinkle, tinkle, tink ! Tinkle, tinkle, tinkle, Up the sun-ny hill. Tinkle, tinkle, tinkle, Tinkle, tinkle, tink ! Tinkle, tinkle, tinkle, Down the hillside high. Tinkle, tinkle, tinkle, Tinkle, tinkle, tink ! Tinkle, tinkle, tinkle, O - ver go they all ! Tinkle, tinkle, tinkle, Tinkle, tinkle, tink ! Tinkle, tinkle, tinkle, m -0 *± — N- *=% ^^N- ■*— N- ~N- /C\ ±E II F-? -• — y- £-* N^- r- -&- -N-*- -f\-#— W Tinkle, tinkle, tink ! Tinkle, tinkle, tink ! Tinkle, tinkle, tink! Tinkle, tinkle, tink ! Tinkle, tinkle, tinkle, Tinkle, tinkle, tink ! Hearthe sheep-bells tinkle ! Tinkle, tinkle, tinkle, Tinkle, tinkle, tink ! Slow the sheep-bells tinkle ! Tinkle, tinkle, tinkle, Tinkle, tinkle, tink ! Fast the sheep-bells tinkle ! Tinkle, tinkle, tinkle, Tinkle, tinkle, tink! How the sheep-bells tinkle ! S S -,-* — t- -t .- -f"— t- — t- a -v- Vi/ SUGGESTIONS FOR PLAYING " THE LIONS." TO set the lion vividly before the eyes of the children, in all the majesty of his form, but depicting his habit of solitude instead of his habit of slaughter, there is no picture better than the small etching by Herbert Dicksee which shows a lion drinking at a river bank. To show, also without slaughter, something of the dread which lions inspire in all things living, get the admirable photograph of the painting of a family of lions, by William Strutt ; this photograph is known as " Watching for Stragglers." The Play is largly designed to serve the mother as a Natural History lesson, a lesson which also shall make one or two valuable moral impressions. It affords a good means of giving children an idea of the striking differences that exist among animals, if chosen to follow " A Flock of Sheep," and vividly impresses them with the extreme that lies between the most terrible of the wild animals, and the gentlest of the domestic animals. Each verse and each movement is intended to call attention to some characteristic of the lion, in contrast to traits of the sheep. The lion's preference for darkness, his active life in the night, his liking for solitude, his powerful and terrifying voice, his terrible strength, the awful dread of him felt by the other animals, his untiring pursuit when once on the chase, all are strikingly unlike the traits of sheep — their preference for high, open, sunny pastures, their fondness for feeding and living together in flocks, their trust in their leader, their gentle, timid, appealing voices, and their peaceful look and manner. The mother will talk of these differences, telling the children that probably they never will see lions in their natural free state, and that a Lion Play is given that they may easily imagine them and perceive how unlike they are to all useful animals, and why it is that they are hunted and destroyed. She will tell them that all the useful animals sleep at night, that most of the useful animals live on grass and grain and roots, and that they enjoy the society of their kind, and readily accept masters, and like to be sheltered and protected ; also that the kingly lion is incapable of becoming useful in any form. She will naturally draw from the lion's character a little lesson on the evil that power unaccompanied by kindness generally becomes ; and she will impress on her little listeners the fact that power which is so exerted as to excite only fear and dread will be destroyed sooner or later ; and that great strength of any kind when not used for kind and useful purposes is of no value. Even a grand appearance which inspires terror, is not admired. The majestic-appearing King of Beasts when at large is universally destroyed as quickly as possible. But the knowledge of the ugly evil of the life of the lion is not allowed to remain in the child's mind with depressing effects ; the impressions of the animal's cruelty pass away, as they should, during the action of the Play which at the close takes a very merry and amusing form in the chase and laughing capture of the mother or teacher. The Lions & {Teacher sings.} THE lions shun the sun ! All day, asleep, Deep in the thicket's shade The lions keep. -efjjfac/' tte- {Teacher sings.) 'Tis in the dark midnights The lions wake ; All silent and alone Their way they take. {TeacJier siftgs.) ^""- — Awake, at night they seek The river-shore ; {Children join in.) And all the desert vast Shakes with their roar. THE LIONS. 3i The lions, they are kings ! They make the law ! Yea, every creature fears The lion's paw ! {Teacher sings.) The lions never tire ! With tossing mane They bound along The moonlit plain. {Children sing:) They never, never tire They speed away And follow, follow on, And take the prey ! 3 2 THE LIONS. Words by Grey Burleson. 1st verse softly. Music by F. E. Savili.e. -*-i- 1 1. The li - ons shun the sun! 2. A - wake, at night they seek 3. The li - ons nev - er tire! All day, a- sleep, Deep in the thiok-et's The riv - er- shore; And all the des - ert With toss - ing mane They bound a - way a - shade The li - ons keep vast Shakes with their roar ! long The moon - lit plain. 'Tis in the dark mid-nights The li - ons The li - ons, they are kings! They make the They nev - er, nev - er tire! They speed a - l^^_ 1 I li' -+- w r^r-v-r-T-i r * * v V V V V V t- -m- i wake; law ! way All si - lent and a - lone Their way they Yea, ev - 'ry crea - ture fears The li - on's And fol - low, fol - low on, And take the take ! paw ! prey. li The Q Happy \N. Hen. SUGGESTIONS FOR PLAYING "THE HAPPY HEN." THIS Play will be specially liked by the mother who has but " one chicken " — one child of the true nursery age. However, its phrasing can be changed, easily, to admit a whole brood into the marching. " Chick" readily becomes "chicks," and " chicken " " chickens," — all required changes will no doubt suggest ' themselves to the mother's pencil. Also she may make other simple alterations that shall cause the watchfulness and tender care of the mother-hen to be still more distinctly felt by the child, since "I" and "my" maybe substituted for "she" and "her" at pleasure. Thus, at the oufc- set, instead of "Now here comes a Hen," the opening line may be sung, " O, I am a Hen." Doubtless with many little ones the make-believe, the personification, would be more certain and complete. For this purpose lines in the second verse may read, "My chicken and I," " I scan heaven and earth," " ' All's well,' says this hen." Additional changed read- ings may be worded thus: "See! quickly I run ; " "I scratch up the ground ;" "My chicken's soft chirp;" "We sip from the dew;" "We lift up our heads ;" " Now homeward I go, With my chick close behind, A glad mother -hen With a most happy mind." The Play, when used, will be seen to inspire graceful gestures and striking move- ments, but altogether easy and natural and full of the play spirit. Little children will particularly enjoy the chances for "peeping." Those who have never seen baby chickens will have no difficulty in imagining the plump, caressable little creatures from looking at the pictures which illustrate the Play. Good farmyard pictures, of a large size, are to be readily found in magazines, notably in the German periodicals. Much of the fun of the marching, however, will depend on the mother — on the naturalness with which she cranes her head, darts about, and sings her craw-craws. There may be an improvised chorus between the verses, of crowings, duckings, and peepings. Indeed, it is well to interest the children in the fact that hens seem to come near jjossessing a language, and talk with one another, and that this may be studied by any- one who has a chance to observe a hen with her chickens. The hen has several distinct calls : " Come here to me, quick ! " "A hawk ! danger ! hide ! " " Going to rain ! come in ! " " Come ! come ! come ! here's something good to eat! " The chickens un- derstand her perfectly. Also call the child's attention to the facts that a hen seems as loving, and the chickens as loving, as a human mother and her children ; that when allowed to go with her chickens she provides food for them as carefully as the human mother gets meals for her family ; also that hens are so easily impressed by kind tones and gentle handling that, anxious mothers though they are, nervous and easily alarmed, they will permit their chickens to be picked up and petted, without a protest. 3" The Happy Hen. o HERE comes a Hen j With a most happy mind, Her one little chick Close a-walking behind. The morning is warm And the sun is on high, No hawk to be seen In the blue summer sky. Slow circuit of room, mother singing', child now and chen uttering happy peeps. Her chicken and she Are out for a walk ; Craw, craw, kr-kr-craw" And " Peep, " goes the talk She scans heaven and earth, High a-craning her head ; "All's well ! " says the Hen, " My chick shall be fed." In 2^ circuit mother often pauses, anxiously craning her head about, scanning- sky for hawks. Peeps'' and "Craws" at pleasure. in the singing. THE HAPPY HEN. 37 3 1 ? circuit Is interspersed with running- steps and darts oF the head Child runs at all'cal Is" with outstretched arma.and chirps ■^ Now quickly she runs, Darting here, darting there, For bugs in the gfrass Or a fly in the air; She calls to her chick As she scratches the ground, And the chicken's soft chirp Is the loveliest sound! They sip from the leaves The bright drops of the dew, And lift up their heads Ever thankfully too. Then homeward she goes, And her chick close behind, This dear Mother Hen With a most happy mind. In the 4 th circuit .side by side they sip from hands, upli'Ft- inp: heads at each swallow Finish circuit, child walking behind mother 38 THE HAPPY HEN. Words by Gkey Burleson. plfczi = -f£: ±z±3l d: -K =f ~~ •" Music by F. E. Saville. -I- ^ -+- <-r»- 1. O here comes a hen With a most hap - py mind, Her one lit - tie 2. Her chick - en and she Are out for a walk ; And " Craw, craw, craw, 3. Now quick - ly she runs, Darting here, dart - ing there, For bugs in the 4. They sip from the leaves The bright drops of the dew, And lift up their r m H- :=j: -4- d rrn =1: X =t A- ~0~ d=q £=1 : -j— •- fe -y- chick Close a - walk - ing be - hind. craw" And "Peep," goes the talk, grass, Or a fly in the air. heads, Ever thank - ful - ly too. -A — ■ — i- -e The morn - ing is warm, And the She scans heav'n and earth, High a - She calls to her chick As she Then home -ward she goes, And her !=P — i- 0- 3 dv n — »m - sun is on high, No hawk to be seen In the cran - ing her head ; " All's well," says the hen, " My scratch- es the ground, And the chick -en's soft chirp Is the chick close be - hind, This dear Moth-er Hen With a ro-i §^ :E£ :r=p: * i^ll blue sum - mer sky. chick shall be fed." love - li - est sound, most hap - py mind. :t= 3=pe? II Countr SUGGESTIONS FOR PLAYING " THE COUNTRY CATS." THE little ones who have taken part in the Lion Play will perhaps be surprised when told that the lion and the house-cat belong to the same family : that the dread lion is a cat as truly as little pussy by the fireside, and can purr ! Though children are acquainted with cats, the bright tabbies in Louis Wain's pic- tures and the exquisite pussies of Henrietta Ronner, will give them a new interest in the familiar animals, a new respect for them. These may be found in the magazines and the large foreign illustrated papers for the last five years, and there is at least one beautiful book entirely devoted to the lovely Ronner cats, published by the Century Company. The mother can make these pictures of handsome, well-kept cats serve a good purpose in her general talk before the Play is tried, showing the children the differ- ence between the cat protected, and the cat neglected as they all have seen it scudding in haste and fear along a street in town. She has the opportunity here to create in the tender mind of the child an indignation regarding various practices, — such as providing no sleeping place for the house cat, but turning it out of the door at night to find one for itself in the street or elsewhere, and leaving it to provide its own food and shelter during the summer absence of the family. She can, too, express her wonder — cause for wonder it truly is — that many town boys should consider a cat in the street as fair game for frightening, and for cruel treatment, while country boys ver}^ rarelj r treat a stray cat unkindly. She will point out that while many family cats are treated with all attentions and become beautiful creatures, the lives of ordinary town cats are full of hardships and many of them become, from mere lack of humane care, skulking, fighting, shabby outcasts, markedly afraid when they meet an urchin ; also that any ownerless cat seems doomed to persecution. She may tell them that it is for such reasons that the " country cat," by contrast, seems the happy type of cat — playful, gamboling, climbing, racing, the true natural cat who yet is tame and home-loving and companionable. She will do an act of jus- tice in teaching that the cat is not an ungrateful, treacherous creature, as is often said, but on the contrary fond of caresses, purring at the very sound of her name, and as af- fectionate and attached as the dog, and she should collect some of the many stories of the long journeys which cats, when given away, take to get back to their former homes. Train the little ones to "march," in this Play, with a soft, quick, easy step, noise- less but not stealthy, and without wriggling. The wise mother will also encourage any original play-impulse, and suggest also pretty additions to the Play. Sometimes, at the close, she will let the little ones curl themselves on rug or cushions as nearly like cats as possible, and " purr " as long as they like. They may take a fancy, too, to tumble and roll on the carpet, like the country cats in the fragrant catnip, and she may end the frolic, at last, with a soft clapping of her hands a and a merry "Scat! Scat!" sending them away laughing and happy. 42 -^Uss^ The Country Cats. /teapher may sing or | recite the verses, the j children joining in the re Ifrains of pit-a-pats and Vpurrs. The hand move- \ ments are made JVwhile. marching. w : E happy Country CatF, We think our lot the best Of all the beastie-folk, And pity all the rest. We've miles of grass just right For cushioned kitty-feet, All velvet-soft to suit A kitty scudding fleet. Pit-i-pat, pit-i-pat 7 Rolling movement hands revolving; - ^jpigr " about each othg Climbingr movement, raising arms higher and higher alter- ^ nately. And barky trees, where cats Can climb, and sharpen claws, And frio-ht the foolish birds With harmless me-a-aws ! And leafy garden-beds Lie round us everywhere — 'Tis naughty little cats That sx) and tumble there ! Pit-i-pat, pit-i-pat I THE COUNTRY CATS. 43 And, O, the country nights ! A cat can travel far And come and go all safe By light of moon and star. But best the dusky barn ! With mice, and mows of hay, Where any cat can climb And sleep the day away. Purr-purr-purr, ptcrr, pu,rr ! finders, the Hands held well forward. There, when the cows come up — O, listen, cats in town ! We hear in great milk-pails The milk go streaming down ! And there on winter nights, Deep in her haymow nest, The peaceful Country Cat Knows well her lot is best! Purr-purr-purr, purr, ptirr. At end, children in seats, head bent, arms folded, to- imitate cats vs""-^ curled up in / ^*~"? ^hay. 44 THE COUNTRY CATS. Words by Grey Burleson. Music by F. E. Saville. 1. We hap - py Coun-try Cats, 2. And bark - y trees where cats 3. And O, the coun- try nights ! 4. There, when the cows come up — We think our lot the Can climb and sharp- en A cat can trav - el O, list - en, cats in Of And And We all the beast- ie - folk, fright the fool - ish birds come and go all safe, hear in great milk-pails, -JO- • And pit - y all the rest. With harm- less me - a - aios ! By light of moon and star. The milk go stream-in g down ! We've miles of And leaf - y But best the dusk- y And there on win - ter grass just gar - den right beds barn ! nights For cushioned kit - ty Lie round us ev' - ry • With mice, and mows, of feet, where — hay, Deep in her hay- mow nest, f All vel - vet - soft to suit, to suit A 'Tis naughty lit - tie cats that go, That Where a - ny cat can climb and sleep, And The peaceful Coun-try Cat knows well, Knows {Refrain, by -children.) ± a ^» fH -&T kit - ty scud-ding go and turn- ble sleep the day a - way. well her lot is the best ! "2S-- fleet, there ! 'P=pq= -i-i- -i :i z£ m Piti-pat, piti-pat, pit - i - pat, pit - pat pit-i, pit-i- pat. Piti-pat, piti-pat, pit-i - pat, pit - pat, pit-i, pit-i-. pat. Purr,purr,purr,purr,purr,purr,purr,purr,purr,purr,purr,purr. Purr,purr,purr,purr,purr,purr,purr,purr,purr,purr,purr,purr. 9fc -§1 The Big Niaht Birds. v. SUGGESTIONS FOR PLAYING "THE BIG NIGHT BIRDS." AS a rule, few children will be able to see live owls. They can, however, in many places, be taken to see stuffed owls in bird-stores and in Natural History Muse- ums. They also can see excellent pictures of owls in Grant's "Our Common Birds, and How to Know Them," in which the soft, fluffy featheriness peculiar to the owl is well shown, also the markings of the feathers. When practicable, procure a stuffed owl to stand on mantel or bracket, for the Play. The owl is an easy bird to draw on the little blackboards, also with crayons on paper. When an owl's feather can be had, encourage the children to try to draw it, with its markings. This Play is popular with children. It appeals strongly to the child's imagina- tion. With much of the same kind of pleasure with which it listens to fairy stories, the child realizes that there is a great bird that flies silently about in the nighttime a very different one from the small birds it is accustomed to see — the cheerful birds of the sunshine and the daytime, such as robins and sparrows. Also, the Play abounds with true play-opportunities. Children enjoy the tu-ivhit, tu-whoo refrains, and always sing them well, greatly amused at the effect. They like, also, to wear the disks and horns, especially if they are not allowed to ha-v them at any other time. A mother who has leisure may make disks of chicken feathei ; some- times the real owl-feathers may be had at taxidermists. She may twist the children's own locks into "horns;" a braided horn tied with a ribbon pleases any very lit- tle "owl." It adds to the pleasure of the Play to have papa or some other visitor present whom the mother addresses as she " points " to the owls while she sings. Sometimes the mother may darken the room and have a large lighted shaded lamp to serve as a "moon," to better create a night effect. Sometimes, for second verse, she can arrange to have the owls march in behind parted curtains, and stand between them as in a hollow tree, if the window has draperies. The third verse affords a good exercise for the practice of noiseless stepping and movement. The singing or reciting should be soft and low. In the fourth verse the mother may sometimes precede the little owls with their slow-waving arms, her own joyous soaring movements impressing on them the contrast between sunshiny, light-loving natures and gloomy ones. Sometimes, while she sings the last verse, the children may slowly circle about the room and then away to their hollow-tree nests between the curtains, instead of going to seats. This gives an amusing little tableau where there are two or three windows, and at each two or three children to peer out. The mother will do well to prepare a short natural history talk for the Play, each time taking a different member of the owl family. She will not find the time lost, even from a personal pleasure point-of-view, that she spends in libraries searching for interesting information for these talks with her children. 4 8 The Bie Night Birds. BEHOLD the round-eyed Owls ! The puffed-up feathery birds That cry out in the night And speak these two odd words : Tu-whit, tu-whoo! tu-whit, tu-whoo! Mother recites or, sin^s each verse;cVildren sing tu -wh/t refrain A pair of big disks to surround the eyes.adds much to the pleasure of che "owls'; easily made of common cnmped paper A pair of tufts', to stand up like thefeather"horns" of certain species, may also be worn. Children stand , arms pressed close to side, eyes closed, should crs drawn up, mother behind, •pointincj. Light scares these big-eyed birds ; They go and hide all day ; They sit in hollow trees; Disturbed, they hiss and say : Ttc-whit, tu-whoo ! tu-whit, tu-whoo ! THE BIG NIGHT BIRDS. 49 But out they fly at night ; They come round many a house ; All noiselessly they sail, A-watch for mole or mouse. Tu-whit, tu-whoo ! tu-whit, tu-whoo ! Children slowly circle room arms screeched out wide., heads inclining f orward ,- mother behind, pointing;. They never fly for joy, And soar about the sky ; They sail, and pounce, and sail — These Owls with their strange cry : Tu-whit, tu-whoo! hi-whit, tu-whoo! Children circle room a* before ; mother behind, tiptoe , joyous, with tos- sing, soaring-, wavering arm movements. ^ 5. Mother waves her arms backward repeated- ly . Children circle away to their seats, arms extended horizontally as before , repeating" teFrain until seated. 6. Back to your hollow tree, You birds that have no song No child would like to be An Owl for very long. Tu-whit, tu-whoo! tu-whit, tu-whoo i 5° THE BIG NIGHT BIRDS. Words by Grey Burleson. ^ -1 -A— Music by F. E. Savilli — I xr — — •— 1. Be ■ 2. Light 3. But 4. They 5. Back • -#- 1 hold scares out nev - to - — * the these they er your ' ■0- 1 round big - fly fly hoi - -4 - eyed eyed at fol- low . n 1 - — 1 Owls ! The birds ; They night ; They joy, And tree, You i ' '- • * ■0- 1 puffed - up go and come round soar a birds that 1 -0- 1 feath - hide many bout have -1 ery all a the no 9W4— "- =1 ■P [7 4 - (2 P- (2 f&rN +1 s |\ IS d is — i — J |\ -JS 1 — ~ -1 W H - 1 birds day; house ; sky; song. -2— T — — That They All They No 1 — i — i — — -0- 1 cry sit noise sail child • out in in hoi -less - ly and pounce would like the low they , and to 0~- night trees ; sail, sail, be * •- * s i And speak these Dis - turbed, they A - watch for These Owls with An Owl for 0. 1 U \ two hiss mole their ve - • odd words : and say : or mouse, strange cry : ry long. ■0- • 1- v- \ zjr^ni » u % • - - * 1 ' k i 7 a 1 ~t 1 P b to r 1 1 \ i 1 1 u Refrain. ( To be sung after each verse. ) /T\ /TV /?\ /7\ Tu - whit, tu-whoo ! tu - whit, tu-whoo ! tu - whit, tu-whoo ! tu - whit, tu-whoo ! 9^=lEl tn a.- to- -&- S7\ '0 w, / •" «# V V r — Mouse Mouse SUGGESTIONS FOR PLAYING "THE HOUSE MOUSE." IN this Play long parts are given the child to sing. However, the children's verses are of a nature to catch hold upon both memory and fancy. It will prove that even the youngest of the " mice" can readily remember all the mouse choruses and will sing them " with expression," with smiling roguery. In the marching for the second verse the children should be encouraged to give with the greatest sense of free, smiling play, yet still in complete unison, the rush, the scamper, the scurry, the sudden stop, and the sudden perfect silence called for by the words. To secure this effective unison of movement some careful training and drill will be needful, but the practicing will prove one of the enjoyments of the Play. The gay chorus after the moment of silence is strikingly effective. The easy old-fashioned hippity-hop step, familiar to children everj'where, is ad- ; vised, for the sake of order, form, concerted, regulated movement. Some pretty dan- cing-step may be taught for the " dancing in a round " while singing the third chorus ; i then the circle breaking into pairs, the children may have a second round of hippity- hop — this is charming for the little ones when there is a piano so that the notes may be struck for the merry feet. The accompaniment for the entire Play may be played upon a guitar, banjo, violin, mandolin. The greatest liberty of varying is recom- mended to the mother. As example, the music for last line of first verse, " Of flee- ing elfin Feet" may be repeated without the words, on the mandolin or piano, with a light echo-like effect. In short no opportunity should be neglected to make an unex- pected change. Sometimes, as a particular pleasure and surprise, a tray of candies, and nuts and tiny cakes may be placed on a little table, and the children may sing the chorus of the last verse, merrily skipping by, each taking a bon-bon as they pass. Many new little features, for each and all of the Plays will occur, from time to time, to the mother's fancy. One intention of this Play is to root out and destroy the very common and very foolish fear of a mouse which often causes terror with children. Many of the consid- erations proper to adults need not be forced on the child-mind. In making a collection of pictures for this Play exclude those of mice in a trap, no matter how well drawn and true to life. Good pictures of mice are rare. Procure, if posssible, a photograph of the mice painted in fresco by Raphael in the Loggia of the Vatican. They are wonderfully real. If the actual mouse can be shown, call attention to the exquisite soft gray fur, the dainty, tiny, pink claws, the bright eyes, the pretty, graceful, slender head. Speak of its confiding disposition when tamed and petted. Tell the children of the tamed mice in Aldrich's " Story of a Bad Boy." Tell iEsop's fable of the mouse that liber- ated the netted lion. There are many stories of prison-mice that have become the pets and companions of solitary captives, and there are curious true stories of singing mice, and mice that learn music, and mice that have been seen to dance. 54 The House Mouse m {Mother, or teacher sings :) a child comes lightly about the SOMETIMES a child at night Ar 0om with hi PP ity.hop step Awakes from slumber sweet, And seems to hear the step Of fleeing elfin feet. {Child sings :) 'Tis I, the merry Mouse, The little bright-eyed Mouse That dwells within the house Tis I ! 'tis I ! 'tis I ! lJ|F //ffl ts>/f {Mother sings :) A rush as of a troop ! A scamper in the walls ! A scurry in the floors ! Then perfect silence falls everal children come out and hippity-hop about swiftly andcjaily {Ckildren, pausing, sing :) 'Tis we, the merry Mice! 'Tis we, the frolic Mice All scudding in a trice ! 'Tis we ! 'tis we ! 'tis we ! THE HOUSE MOUSE. 55 {Mother sings :") A merry sprite it is ! Yet children fear the Mouse, The Mouse that joys like them To dwell within the house ! {Children sing, joining hands, dancing in a round i) We do ! each merry Mouse, Rach little tricksy Mouse ; We like the cosey house, We do ! we do ! we do ! ('""hildren hippity-hop ar.ound m pairs, joyously. Br A {Mother sings :) 4 C hildren hippity-hop about ^ gently. And dainty is the Mouse ! What children like, it eats ! It chooses grains and fruits, And has a tooth for sweets. (Chi/dren sing, dancing in a round:') Then do not fear the Mouse, The dainty merry Mouse That shares your cosey house ; O, no ! no, no ! no, no ! 56 THE HOUSE MOUSE. Words by Grey Burleson. Music by F. E. Saville. 9i 1. Some-times a child at night, 2. A rush as of a troop ! 3. A mer - ry sprite it is ! 4. And dain - ty is the mouse ! A - wakes from slum-ber sweet, And A scam - per in the walls ! A Yet chil - dren fear the mouse, The What chil - dren like, it eats ; It W _C i fe -«■—!- -f\- * -*■■ -0- P J^5=^ seems to hear the step Of sour - ry iu the floors ! Then mouse that joys like them, To choos - es grains and fruits, And flee - ing per - feet dwell with has a el - fin feet. si - lence falls. in the house ! tooth for sweets. I 'Tis 'Tis We Then pi I, the mer - ry mouse, we, the mer - ry mice ! do ! each mer - ry mouse ; do not fear the mouse , The lit - tie bright - eyed mouse. That 'Tis we, the frol - ic mice ! All Each lit - tie trick - sy mouse. We The dain-ty mer- ry mouse, That :t -**?- -•- -0- atit dwells with-in the scud-ding in a like the co - sy shares your co - sy house ! trice ! house, house ! *&L -«- — 1- -3 'Tis 'Tis We 0, I! we ! do! no 'tis 'tis we no, I! we ! do! no tpbt^^ * 'tis 'tis we no, 1— ■*- 1! we ! do ! no ! II 11 *£- # f mi UP are SUGGESTIONS FOR PLAYING "THE WILD HARE." THE long ears of the hare are commonly spoken of as " rabbit ears," and though the truth is that rabbits have much smaller ears than hares, the two creatures differ so little to the common eye that rabbits are called hares, and hares are mistaken for rabbits. The hare is the stronger and swifter. Both creatures have the divided upper lip — George MacDonald calls them " three-lipped." His poem about rabbits, entitled " A Child's Make-Believe," which gives the thoughts of a little boy making believe himself a rabbit, will be good to read to children as it is true to the wild hare's life, excepting that the hare does not burrow. It can be found at the libra- ries in the bound volume of Wide Awake for 1883 (Dec. — June), for which magazine it was written. Among the most faithful of the smaller pictures of the hare, is the one in Chambers' Encyclopedia ; and the one drawn by Albert Diirer, when a boy. Both the Play and MacDonald's poem emphasize the facts that the hare, like nearly all wild animals, has a place, a spot, that it considers home ; that it is as con- scious of it when away, as a child is of its home, that it remembers it, and always goes back to it, as children go back to theirs. These facts brought out in the general talk will make the little hare tenderly interesting to children, and they will feel very affectionately toward it. Another fact, with its valuable lesson of making the most of what is at hand, and being contented with it, is that the hare builds its nest, or " form," according to its surroundings ; a little bower in the grass, a shelter among the leafy branches of a fallen tree, or in any little ferny fissure among rocks. In making believe it is a bunny, it is well now and then to ask the child to " imagine " it has long ears, simply holding its two hands up at the side of the head, the fingers pressed together to get the pointed shape. Again, give the child the pleas- ure of wearing two long wired ear-forms covered with brown tissue paper, as in the pictures of the Play ; or the mother can easily bend and crush ordinary paper into the shape of ears, tying the pair on with a ribbon. The Play is suited to quite young children, as the play element in it is active and distinctly amusing. Also, it can be successfully played with a single child. The little one greatly enjoys its mother's attempts to come near and capture it, also its own efforts to elude her, and to escape her hand by springing aside. The mother will take care to have it felt that she does not mean to catch the bunny by force ; she must sing and move in a gentle way, coaxing and persuading. Children are much amused whenever they take the rabbit attitude, their little hands held up and hanging help- lessly in front of them like the hare's paws. The hare is a good animal to draw. Children like.to " make it " on their little blackboards, on account of its ears. Where crayons and paper are used, any particularly successful drawing may be quietly laid away, to be hung on the wall at the next Play ; the mother may print under it, " Whose bunny is this ? " The children, in the pleasure of remembering and telling, will feel a generous impulse, instead of envy and discour- agement because their own pictures were not chosen. 6o TheV/ild Hare The children in this play wear long brown lissue paper rabbit ears, made over wire and tied around the head byanbbon {Mother sings ;) NOW this, must be a bunny! I know it by its ears! Those gentle wildland creatures, Such timid pretty dears ! {Child sings :) O, yes, I am a bunny! I've seen you as you pass My little hidden bower Built in the wildland grass. {Mother sings, seeking to capture child i) Pray let me catch you, bunny ! O, let me, rabbit dear, And take you to the children — Nay, bunny, do not fear! {Child sings, springing aivay in little leaps :) I am a free wild bunny ! To catch me who shall dare I am no timid rabbit — I am a wild swift hare ! U2, Child comes out and slowly hops about/with little leaps and springs.. THE WILD HARE. 61 \l< Other'hares'come hopping down the room Child pauses in rabbit attitude and is joined by the others. (Mother sz'tigs, folloiving after child:") Nay, bunny, stop and listen, And tell me many things ! Say, is a hare's life pleasant ? But no — away it springs !. Stop, stop, and tell me, bunny, Where stay you w {Mother sings :) hen night comes r {Child sings :) O, all the great green wildland Is full of little homes ! And tell me, pretty bunnies, What do you have to eat ? {Children sing :) O, twig and leaf and berry Are bunny's bread and meat. {Mother sings, shuddering :) But oh ! the owls and foxes That hunt you for their prey {Children sing, springing (rway ') Then on our leaping long-legs We bunnies streak away ! Children circle room to seat* 62 THE WILD HARE. f Words by Grey Burleson. (Mother sings.) 3= & Music by Kate L. Brown 1=B T- T- i H_ # :± =F SE I*!* ^r—<-& It by its ears ! rab - bit dear ! Those And 1. Now this must be a bun - ny, I know it 2. Pray let me catch you, bun - ny, O let me, (Mother sings, following child.) 3. Nay, bun - ny, stop and lis - ten, And tell me ma - ny things ! Say, (Mother sings.) (Children sing.) 4. And tell me pret - ty bun - nies, What do you have to eat ? O, 9a* tea ± £ :t=*zt jzpzi: m -j±. gen - tie wild - land take you to the is a hare's life twig and leaf and crea - tures, chil - dren, pleas - ant ? ber - ry, Such Nay, But Are tim - id, pret - ty bun - ny, do not no — a - way it bun - ny's bread and wm^ t=x 3 -4- dears ! fear ! springs ! meat. i — — e— , t> j a 1 1 1 -r~n—\ ■ JLti \J m i - 1 ! (? * .. (9 • 1 fm" v i * i 1 vy l | 1 1 1 ! 1 •^ (Child sings.) yes I am 1 am a free Stop, stop and tell (Motlier sings, shuddering.) But oh! the owls a wild me, and bun - bun - bun - fox - ny, I've seen you as you pass ny, To catch me who shall dare ! ny, Where stay you when night comes? es That hunt you for their prey ! -£-•£-•#- -0- -#- Rt-fr-fc-* — . m • - 2 -5 1 1 _ — m~\ y-jzO ?= — i — F — , — I ■ ■ w — r- 3 f— f 1 9 \, — •— V =i' t t ^ r— \- # — i — J i- -_* rZ=t-M p§§ * 11 :p: -gJ- hid - den bow - er, tim - id rab - bit, My lit - tie I am no (Child sings.) O, all the great, green wild- wood (Children sing, springing away.) Then on our leap - ing long - legs, §» Is We t=it Built in I am full bun the wild - land grass, a wild swift hare. of lit - tie nies streak a homes ! way ! 1 The ShephferdDog. SUGGESTIONS FOR PLAYING "THE SHEPHERD DOG." GOOD pictures of collies are to be found among photographs of paintings, notably those by Landseer ; but the dog himself is quite well known and seems to be the one best loved by little children, perhaps because the bright curly fellow is the most graceful and playful, affectionate and companionable of all the dogs. Read to the children descriptions of his feats in gathering his herds of sheep or cattle and taking care of them. The Play with exception of " The Happy Hen," is the easiest of the dozen to put in action and yet generally will prove to be the most popular of all. All the move- ments will be taken readily, for they come within the child's natural range of imitation and mimicry — the dog's barking being generally the one of the first outdoor animal sounds that the baby tries to imitate. The child chosen to be the " dog " always is delighted to wear the dog-collar. This collar may be cut out of any bright-colored paper, or it may be a broad red ribbon, or it may be made of red cloth, stiffened and lined and corded, set with shining gilt nail-heads, and with a dog's name embroidered on it ; all this will be according to the mother's taste and leisure. As a good shepherd dog is noted for several very fine qualities, which also make a human being much loved and respected, the mother may sometimes choose the child who has best shown these in his conduct, to wear the red collar ; but in a school it is generally better either to let all take their turns in per- sonating the trusty little guardian, or to let the children themselves each time choose who shall be the dog. The mother should sing, or recite, the first verse in tones of hearty pleasure and commendation, pointing to the wearer of the red collar, thus causing all the children to feel that cheerfulness, willingness, punctuality, responsibleness, energy and trusti- ness are splendid qualities. Much pleasure, too, will be felt by the child chosen to wear the bell and strap of the leader-cow. The action of the Play, as shown by the straying herd, will teach its own plain little lesson of the advantages of orderly conduct and of the folly of disobeying rules. Nevertheless any little waywardness natural to the cow, which the children may improvise in the spirit of the Play, need not be objected to, unless it produces too much disorder or confusion. The dog will naturally bark sometimes when a bark is not called for, and any particularly good imitation of barking should be praised, not at the time of the Play, but afterward. The cows, too, may be expected to "moo-o" now and then. In short, if the general order and form of the marching be regarded and pre- served, the play spirit may be allowed some original expression. In fact, the " mooing " of several voices might be made a feature of the first verse of the Play, when the herd is unseen, waiting to be let out to set off for the pasture. The natural easy ringing of the cow-bell worn by the leader-cow will probably ■oall for some practice ; the length of strap will need to be determined by experiment. 66 TheShepherdDog (A little boy, wearing a dog-collar made of red paper, paces back and forth before a closed door. Whenever he hears a cow-bell outside he pricks up, hastens to the door and listens, giving a short bark now and again. Dur- ing his marching, mother or teacher sings : ) Behold the little Dog that works! The little Dog with tasks to do ! A cheerful, willing little Dog, And ever, ever trusty too. This little Shepherd Dog is here, Just like a man, at dawn of day, Right at his post to do his part — To pasture drive the cows away. II. (The cowbell is heard nearer and louder. The door opens; three chil- dren come in, single file, the leader wearing a strap and large cow-bell. They march very slowly down the room, the " dog " behind. The leader cow shakes the bell while they sing, and the dog barks during the last ■ line:) Klmgle-klangle, clovers grow, Klingle-klangle, where we go ; Klingle-kling-kling-kling-klangle, Bark! bark! bark! O, the wrangle! (They have come to an open side-door, or a space prepared between seats. The cows have turned to go through. The " dog" trots around them, bark- ing, and heads them off. He guards the spot, barking, until the cows start on again in orderly single file.) ~< THE SHEPHERD DOG. 67 III. (The marching movements are indicated by the words which the teacher or mother sings:) Along the shady country road They slowly klinging-klanging go; By lanes, by gates, they pause and turn, But peaceful pass; for well they know The little Dog is lord of all, Miu» = Ijzm: :#■= --N-#- 1 1 :^z — N- — rv- -h fc£=5 reel Cheer, cheer-you-up ! Cheer, cheer-you- up! I've heard the dear " first rob - in," And know that Spring is here, ree! Cheer, cheer-you-up ! Cheer, cheer-you- up! O, hark ! and hear them whis -tie, Their cheer - ful, joy- ful lay. ree! Cheer, cheer-you-up! Cheer, cheer-you-up! They come and build their dwellings By ours, and feel no fears, ree! Cheer, cheer-you-up! Cheer, cheer-you-up! And perk their lit- tie blackcaps Dp at us as they pass, ree ! Cheer, cheer-you-up ! Cheer, cheer-you - up ! See ! o'er a nest she hov - ers, Where her wee bird -lings be. ree ! Cheer, cheer-you-up ! Cheer, cheer-you - up ! Be - cause you have, sweet rob - in, A warm heart in your breast. II w :;i3j II ''281 Th fll&utterflies. ^wm i rff SUGGESTIONS FOR PLAYING "THE BUTTERFLIES." NATURALLY, "The Butterflies " is a Play for sunny days, and the wise mother will make the room as beautiful and summery and flowery as possible. She will have the central table of light blossoms, which the Play calls for, and she will place here and there bowls and jars of flowers, or blooming plants, to attract toward them the honey-loving butterflies. It is no waste of a mother's time, or a mother's labor, to thus set a gala hour and beautiful scene in her child's day. Dress the little ones, too, in prettier frocks and ribbons than usual, so that the gay tissue paper wings will not be out of harmony. Touch up these wings with pastel colors to show the " markings," taking as models any of the various handsome butterflies flying about out-of-doors. But such is the magic of a child's imagination that any quickly-made wings, plain tissue paper gathered up, and fastened on between the shoulders, or even a bow of wide ribbon, will be quite sufficient to create a butterfly feeling. And of course the Play may be played, trusting all and everything to the children's imagina- tion, without any of these pretty preparations. With the aid of the words and music, the movements and the marchings, the child will readily make believe itself a butterfly. After the first circling about the table of flowers, on their entrance, the children can soon be given almost entire freedom of movement, though they will at first need to be guided by the mother's fancy. "Now be butterflies ! " she says, " graceful, noise- less butterflies ! fly and float and soar, and visit all the flowers ! " She shows them a little, here and there, how to wind in and out, to follow one another, to meet with touching of hands, " weaving a dance," then falling apart to " float upon the sunny air." They will soon flit naturally about the room, from flower to flower, with floating arms and with slow graceful movements. It is, however, almost a necessity with this Play, that the music should be played, to inspire and to carry the pretty steps and motions. As the lines are short, and the words easy, and the tune readily learned, the chil- dren will have no difficulty in singing the Play. The conceited singing is very pleasing and effective. Recitation will hardly take its place. The song will not tire the children although they sing it while flitting about. Mother and children can have together many very interesting little readings from the butterfly books by Scudder and Edwards and Mrs. Ballard. The " Adventures of a Butterfly Hunter," by Eugene Aaron, is as good as a book of fairy tales. For the mother's own information, in order to recognize and name butterflies at sight from their markings and colorings, there is no book better than Knobel's little handbook, " Day Butterflies and Duskflyers." Tales about butterfly, caterpillar and chrysalis will interest the children and even the youngest can understand all, since all these forms can be shown them in nature. Perhaps by no other illustration can the beautiful truth of the ceaseless renewing and continuance of life be so satisfactorily taught to a child. 78 * §The Butterflies J\ few slight charges, such as" I am a butterfly" for first line, will fit the sons* to be suner by one j~\ child instead of several . The suitable changes will suqeest themselves to mother or teacher, A * butterfly -look may be given to the little ones by wines of tissue paper fastened between the shoulders. or even by broad bows of wide , eay-colored ribbon. WE airy Butterflies We come in sunny hours, „ J ' tups We fairy Butterflies We come when come the flowers We dainty Butterflies We feed on honey new At every opening flower, And drink of morning dew. Children enter sincjins? and circle about a table of flowers. THE BUTTERFLIES. 79 We hover o'er the fields Like flowers of the grass, As on our colored wings We pause, and poise, and pass - Winged flowers that rise and soar And weave a dance so fair, And float at last away Upon the sunny air. Children flit about «t pleasure. Children touch hands, then "float" airily away. --*»* We airy Butterflies We go with summer hours, fflWP^i We go when go the flowers. But we shall come again ■L. With all the merry May, Ik. J" And we again shall help To make the great world gay! Circle around the room and away. 8o THE BUTTERFLIES. Words by Grey Burleson. Gracefully. Music by Kate L. Brown. ?2 —A- ^se2 H £ 1. We air - y But - ter - flies, 2. We hov-er o'er the fields 3. We air - y But - ter - flies, §Sfeft-^- iBfc t =£ :*=p=p: We come in sun - ny hours, Like flow - ers of the grass, We go with sum-mer hours, — N- We As We -¥■—¥■ — ¥~ ■V ; "N — to — i P=P=*- -V— ^— tc m m is + fai - ry on our fai - ry But - ter - flies, col - ored wings But - ter - flies, rz We come when come the flow'rs, We We pause and poise and pass ; Winged We go when go the flow'rs. But -V- -h -9>—V- -b>- ?=M -b— +— *— v- dain - ty But - ter - flies, flow'rs that rise and soar we shall come a - gain, We feed on hon - ey new At And weave a dance so fair, And With all the rner - ry May, And zfctc -#- _i — -v- :*=*=■: -*—¥—¥■- S a— -i 1 1 — ev' - ry open - ing flow'r, float at last a - way we a - gain shall help ®m And drink of Up - on the To make the ~» ~~p — pr-wr M— V~*— V— l— f morn - ing sum - mer great world dew. air. gay- I -0- —0- & i \h ;v-s^» J^ T k he >Goinq of the Swallows. •ass^s- SUGGESTIONS FOR PLAYING "THE GOING OF THE SWALLOWS." THIS Play calls for as many children as can comfortably take part. They have four verses to sing, but they are short and easy to remember ; the youngest can learn both words and music readily. While singing or reciting her first verse, the mother or teacher should stand in the center of the room, and look as completely surprised and bewildered as possible, turn- ing herself about this way and that to follow the marchings and cross-marchings of the entering " swallows." The children in singing their reply, all turn toward her, addressing her. They place emphasis on the word " each " — " Each little bird." By doing this they more clearly understand that in the migration every bird feels the mysterious impulse to set off for its winter home. There is no point in nature-study that will appeal more strongly to the child's in- terest than this annual migration of birds. In the general talk about the Play, while learning their parts, they may be told that there is no doubt that the birds " gather to- gether " in order to consult, and that they understand one another ; that the journey is made under the care of leaders ; and that they go to the same places winter after winter. The children will be very curious about these facts and the mother will ex- plain that the leaders are always old birds that have taken the journey before ; that birds have powerful eyes and can distinguish objects at great distances, and that doubt- less the leader-birds recognize large bodies of water, mountains, and large cities, seen on former journeys, and steer their course by them ; that it is south they go because they seek a warmer climate and because the supply of insect food at the north is be- coming scarce. Sometimes, in some localities it will be possible to take the children to observe these annual gatherings of the swallows, as frequently the arrivals and discussions occupy two or three days ; sometimes the start itself may be witnessed as they often leave just before sunset. It will interest the children to know that on this annual flight the swallows form into a long compact body, one of the leaders a little in front, the other behind, and that it is said that these birds frequently change places. Grant's " Our Common Birds " is a valuable book for the mother to have, in connection with the questions which the little players of the Play will doubtless ask her, for it gives the time when different birds leave the north in the fall, and the time they may be expected back in the spring. Few birds however have an unalter- able, fixed date, like the nightingale in England. In any given locality, which he haunts, the nightingale is due on a given day each year, and before night his note, his " shout," is certain to be heard. In their last verse, which they sing going from the room, the children should each look back to the mother, while she waves her good-bye as they pass, one by one, through the doorway. 8 4 TTie Going of the Swallows. DIRECTIONS. — During the singing of the first two verses, the children enter march and countermarch srngty.dartme crossing and wheeling as suggested by the song. Between verses, they gratherancl sit inline as swallows sather on the ridge of barn roofs or on telegraph wires, previous to migratory flight Ourmg the singing of the third verse .the children gather in line forming a solid body, two leaders somewhat in advance During the singing of the fourth verse, the children. keeping close together, march around the room and out throusrh the door, the mother or teacher waving farewells- w ( Mother or Teacher sings : ) HAT does disturb the Swallows? They come from every- where ! Criss-cross, zig-zag, and circle, Like bees they fill the air — What is it, little Swallows ? ( Children sing ,* ) We have had word, Each little bird, To gather Together ! = ^8S6s& THE GOING OF THE SWALLOWS. 85 ( Mother sings ; ) What was the word, O Swallows, That it disturbs you so, That all day long in trouble You hurry to and fro ? What is it, little Swallows ? {Children sing;) We have had word, Each little bird, Of blowing ! Of snowing ! ( Mother sings ; ) Ah, 'tis the winter-warning ! No Swallow will delay ! You'll take to-night the long-flight, A thousand miles away, To find the sunny Southland ( Children sing;) Goeth each bird, As it hath word, -^j£j| From Northland JL To Southland ! ( i& ( Mother sings : ) Goodbye, then, little Swallows Safe fly you, little band ! A happy winter to you Down in the southern land ! **%^ But come again, dear Swallows! ( Children sing; ) Yea — when each bird Heareth the word To fly forth And fly North ! 86 THE GOING OF THE SWALLOWS. Words by Grey Burleson. „ (Mother sings.) Lightly. L L2 1 m m 1 m- Music by Kate L. Brown. —A v i: ^ 1. What does dis - tuib the 2. What was the word O 3. Ah, 'tis the win - ter 4. Good - bye, then lit - - tie Swal -lows? They Swal - lows, That warn - ing, No Swal - lows, Safe §±if3 i come it swal - fly I 8 — i- m- :i=t»: — ! H I- • — — 9- -- 1- from ev' - - ry ■ dis - turbs you low will de ■ you, lit - - tie IV > t 1 | |V [V is 1 i\ n | s r i ■ J N irn\ *" ' • • W m — — 1 m — • — f — 4 i tr #—5- where so ? lay! band ! -%-- — — m - — -0- • Criss - That You'll take Hap - cross, all to - py « -0- ' \ zig - zag day long night the win - ter and in long, to cir - troub long you, 1 cle, - le flight, 1 Like You A Down bees hur thou - in 1 ■#- they - r y sand the N Rtif — i ... m . 1 •_ 1 — 1 4 4 2 ^~ 1- W ' v • 1 1 — 1 9 s m ■»■ • i 1 _ fi _ h— 1 ■p= — m — • 1 !\- — 1— - — 1 * — — * — — w d — — i — — — 1 M = ^ = l fill to miles south - i 1 — • 1 ■0- the and a em 0. • 9 • air. fro? way, land! ' -4 9 ■$ What is What is Seek - ing Come a - F 1/ it it the gain, —0 P-— — 1 Ht — V • lit - - lit - - sun - - ! • — i — w - tie tie n y dear 1 *+. Swal Swal South Swal -\ 1 - 1 ■+ • lows? lows? land, lows. -1 . ^ i i i _ *—i— -H _P_a — •-* 1 — m—r— k-\ * -\ J _ # u r- ' -1 -ji—-\ ( Children sing.) — *=^H— i«-^— is — f-P — 1 \ 1 — 1 — s — N — k- N — i- 5 — i — , " H P__? i * • • = * -J -0- -+ -r . 9 9 * • 9 — 9 — — 1 ! — • t t |^ l/ * z-j-^-MI We have had word, Each lit - tie bird, To gath - - er To - geth - er. We have had word, Each lit - tie bird, Of snow - ing Of blow - ins;. Go - eth each bird As it hath word, From North - land To South - land. Yea, when each bird lear-eth the word, To fly forth And fly North ! * !S H i ■*- .0- Bf! f 1 J l,J H p 9 1 11 *" J * \)m\ J 9 ' h- ' • * 9 II -J TT _* 1 ¥■ — -A 1 \ — i * * H 9 • *— ~. -\- i — # ___ -f "— l #-5—" ihmmSLSE; co ngress '"■■■■■■■■III » [0 020 237 172 3 '■^' :,.:'- ■■■■:-■■■■.■ m