diff options
Diffstat (limited to '24476.txt')
| -rw-r--r-- | 24476.txt | 1359 |
1 files changed, 1359 insertions, 0 deletions
diff --git a/24476.txt b/24476.txt new file mode 100644 index 0000000..ff78619 --- /dev/null +++ b/24476.txt @@ -0,0 +1,1359 @@ +Project Gutenberg's The Nursery, March 1873, Vol. XIII., by Various + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Nursery, March 1873, Vol. XIII. + A Monthly Magazine for Youngest People + +Author: Various + +Release Date: January 31, 2008 [EBook #24476] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, MARCH 1873 *** + + + + +Produced by Emmy, Juliet Sutherland and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + + +THE NURSERY + +_A Monthly Magazine_ + +FOR YOUNGEST READERS. + +VOLUME XIII.--No. 3 + + BOSTON: + JOHN L. SHOREY, No. 36 BROMFIELD STREET. + 1873. + + + + + Entered according to Act of Congress, in the year 1873, + + BY JOHN L. SHOREY, + + In the Office of the Librarian of Congress at Washington. + + + + + + BOSTON: + RAND, AVERY, & CO., STEREOTYPERS AND PRINTERS. + + +[Illustration: Contents] + + +IN PROSE. + + PAGE. + The Pigeons and their Friend 65 + + The Obedient Chickens 69 + + John Ray's Performing Dogs 71 + + Ellen's Cure for Sadness 75 + + Kitty and the Bee 78 + + Little Mischief 82 + + How the Wind fills the Sails 85 + + Ida's Mouse 88 + + Almost Lost 91 + + Little May 93 + + An Important Disclosure 95 + + +IN VERSE. + + Rowdy-Dowdy 67 + + The Sliders 74 + + Mr. Prim 77 + + Minding Baby 80 + + Deeds, not Words 84 + + Molly to her Dolly 87 + + Timothy Tippens (_with music_) 96 + +[Illustration: Decoration] + +[Illustration: THE PIGEONS AND THEIR FRIEND.] + + + + +THE PIGEONS AND THEIR FRIEND. + +A TRUE STORY. + + +[Illustration: W]HEN I was in Boston about a year ago, I stopped one day +at the corner of Washington Street and Franklin Street to witness a +pretty sight. + +Here, just as you turn into Franklin Street, on the right, a poor +peddler used to stand with a few baskets of oranges or apples or +peanuts, which he offered for sale to the passers-by. + +The street-pigeons had found in him a good friend; for he used to feed +them with bits of peanuts, crumbs of bread, and seed: and every day, at +a certain hour, they would fly down to get their food. + +On the day when I stopped to see them, the sun shone, and the street was +crowded; and many people stopped, like myself, to see the pretty sight. + +The pigeons did not seem to be at all disturbed or frightened by the +noise of carriages or the press of people; but would fly down, and light +on the peddler's wrist, and peck the food from the palm of his hand. + +He had made them so tame, that they would often light on his shoulders +or on his head; and, if he put food in his mouth, they would try to get +it even from between his teeth. + +The children would flock round to see him; and even the busy newsboy +would pause, and forget the newspapers under his arm, while he watched +these interviews between the birds and their good friend. + +A year afterwards I was in Boston again; but the poor peddler and his +birds were not to be seen. All Franklin Street, and much of the eastern +side of Washington Street, were in ruins. There had been a great fire +in Boston,--the largest that was ever known there; and more than fifty +acres, crowded with buildings, had been made desolate, so that nothing +but smoking ruins was left. This was in November, 1872. + +I do not know where the poor peddler has gone; but I hope that his +little friends, the pigeons, have found him out, and that they still fly +down to bid him good-day, and take their dinner from his open hand. + +The picture is an actual drawing from life, made on the spot, and not +from memory. The likeness of the peddler is a faithful one; and I thank +the artist for reproducing the scene so well to my mind. Folks _do_ say +that he has hit off _my_ likeness also in the man standing behind the +taller of the two little girls. + + ALFRED SELWYN. + + + + + + +ROWDY-DOWDY. + + ROWDY-DOWDY loves a noise; + Cannot play with quiet boys; + Cannot play with quiet toys: + Rowdy-dowdy loves a noise! + + In the street he takes delight,-- + In the street from morn till night: + Don't I tell the story right, + Rowdy-dowdy, noisy sprite? + + Rowdy-dowdy's full of fun; + Never walks if he can run; + Never likes the setting sun: + That stops Rowdy-dowdy's fun. + +[Illustration] + + He is full of prankish ways; + Never still one moment stays; + Boys are fond of boyish plays: + These are Dowdy's rowdy days. + + Out at elbows, out at toes, + Out at knees, the urchin goes: + Still he laughs, and still he grows + Rowdier, dowdier, I suppose. + + Rowdy-dowdy, don't you see, + Full of noisy, boys-y glee, + Is as sweet as he can be, + For the sprite belongs to me! + + He is mine to have and hold, + Worth his weight in solid gold: + Ah! I've not the heart to scold + Rowdy-dowdy, brave and bold! + + JOSEPHINE POLLARD. + + + +[Illustration] + + + + +THE OBEDIENT CHICKENS. + + +WHEN I was a little girl, I had a nice great Shanghai hen given to me. +She soon laid a nest full of eggs; and then I let her sit on them, till, +to my great joy, she brought out a beautiful brood of chickens. + +They were big fellows even at first, and had longer legs and fewer +feathers than the other little yellow roly-poly broods that lived in our +barn-yard. But, although I could see that they were not quite so pretty +as the others, I made great pets of them. + +They were a lively, stirring family, and used to go roving all over the +farm; but never was there a better behaved, or more thoroughly trained +set of children. If a hawk, or even a big robin, went sailing over head, +how quickly they scampered, and hid themselves at their mother's note of +warning! and how meekly they all trotted roost-ward at the first sound +of her brooding-call! I wish all little folks were as ready to go to bed +at the right time. + +One day when the chickens were five or six weeks' old, I saw them all +following their mother into an old shed near the house. She led them up +into one corner, and then, after talking to them for a few minutes in +the hen language, went out and left them all huddled together. + +She was gone for nearly an hour; and never once did they stir away from +the place where she left them. Then she came back, and said just as +plain as your mother could say it, only in another way, "Cluck, cluck, +cluck! You've all been good chickens while I was away; have you? Well, +now, we'll see what a good dinner we can pick up." + +Out they rushed, pell-mell, as glad to be let out of their prison, and +as pleased to see their mother again, as so many boys and girls would +have been. + +Well, day after day, this same thing happened. It came to be a regular +morning performance; and we hardly knew what to make of it, until one +day we followed old Mother Shanghai, and discovered her secret. + +She had begun to lay eggs again, and was afraid some harm would come to +her young family if she left them out in the field while she was in the +barn on her nest. So she took this way of keeping them out of danger. + +Of course, what she said to her brood when she left them must have been, +"My dears, my duties now call me away from you for a little while; and +you must stay right here, where no harm can come to you, till I come +back. Good-by!" And then off she would march as dignified and earnest as +you please. + +She did this for a number of weeks, until she thought her young folks +were old and wise enough to be trusted out alone. Then she let them take +care of themselves. + +This is a true story. + + EAST DORSET, VT. M. H. F. + +[Illustration] + + + + +JOHN RAY'S PERFORMING DOGS. + + +THERE was once a little boy whose name was John Ray, and who lived near +a large manufacturing town in England. When only seven years old, he +fell from a tree, and was made a cripple for life. + +His father, who was a sailor, was lost at sea soon afterwards; and +then, John's mother dying, the little boy was left an orphan. He was +nine years of age when he went to live with Mrs. Lamson, his aunt,--a +poor woman with a large family of young children. + +It was a sad thought to John that he could not work so as to help his +good aunt. It was his frequent prayer that he might do something so as +not to be a burden to her; but for a long time he could not think of any +thing to do. + +One day a stray dog came to the house; and John gave him a part of his +dinner. The dog liked the attention so well, that he staid near the +house, and would not be driven off. Every day John gave him what he +could spare. + +One day, John said to him, "Doggie, what is your name? Is it Fido? Is it +Frisk? Is it Nero? Is it Nap? Is it Tiger? Is it Toby? Is it Plato? Is +it Pomp?" + +When John uttered the word "Pomp," the dog began to bark; and John said, +"Well, sir, then your name shall be Pomp." Then John began to play with +him, and found that Pomp was not only acquainted with a good many +tricks, but was quick to learn new ones. + +Pomp would walk on his hind-legs better than any dog that John ever saw. +Pomp would let John dress him up in an old coat and a hat; and would sit +on a chair, and hold the reins that were put in his paws, just as if he +were a coachman. + +Pomp learned so well, and afforded such amusement to those who saw his +tricks, that the thought occurred to John, "What if I try to earn some +money by exhibiting Pomp?" + +So John exhibited him in a small way, to some of the neighbors, and with +so much success, that he bought another dog and a monkey, and began to +teach all three to play tricks together. + +A kind lady, who had been informed of his efforts to do something for +his aunt, made some nice dresses for the dogs and the monkey. The +pictures will show you how the animals looked when dressed up for an +exhibition. + +[Illustration] + +The kind lady did still more: she hired a hall in which John could show +off his dogs; and then she sold five hundred tickets for a grand +entertainment. It was so successful, that John was called upon to repeat +it many times. + +Oh! was he not a proud and happy little boy when he found himself so +rich that he could put a twenty-pound note in the hands of his aunt as a +token that he was grateful for all her care of him? + +It was more money than the poor woman had had at any one time in her +whole life before; and she kissed her little nephew, and called him the +best boy in the world. + +John and his dogs grew to be so famous, that he had to go to other +cities to show them; and soon he earned money enough to keep him till he +could learn to be a watchmaker. + +As he was a diligent, faithful workman, he at last became the owner of a +nice house, and then took his aunt and some of her children to live with +him. + + UNCLE CHARLES. + +[Illustration] + + + + +THE SLIDERS. + + + COME Clara and Jane, Frank and Tom, come along; + We'll watch the boys sliding, and listen their song: + You'll hear it ring out like the notes of a horn, + In the clear, frosty air of this cold winter's morn. + + +THE SONG. + + Oh! how pleasant it is when the snow's on the ground, + And the icicles hang on the eaves all around, + O'er the white winter-carpet our way to pursue, + With our schoolmates and friends ever hearty and true! + + When we come to the place of the jolly long slide, + With a run and a jump o'er the ice we will glide: + Look out for the engine! keep off of the rail! + Don't you hear the steam-whistle? make way for the mail! + + We laugh at cold weather; we laugh at mishaps; + We will slide till we're warm from our shoes to our caps; + And the quick bounding blood as it mantles and glows + Shall paint all our cheeks like the fresh, ruddy rose. + + So we'll keep the pot boiling; now up the long slide, + And then down on the other that runs by its side,-- + There's nothing like _tiring_, there's nothing like _rest_,-- + Till the broad yellow sun is far down in the west. + + GEORGE BENNETT. + + + + +ELLEN'S CURE FOR SADNESS. + + +OUR little Ellen is never in a good temper when she comes down late to +breakfast, and finds the things cleared away. First she complains that +her bowl of bread and milk is too hot; and then, when Aunt Alice pours +in some water to cool it, Ellen says, "It is now too cold." + +I think the fault is in herself. She is five years old,--quite old +enough to know that she ought to get up when the first bell rings, and +come down to breakfast. She knows she is in fault. She has missed papa's +kiss, for he had to leave home early on business; and this adds to her +grief. + +But, after she had eaten her bread and milk on the day I am speaking of, +she asked Aunt Alice what she should do to cure herself of her +"sadness." "I think that the best plan, in such cases, is to try to do +some good to somebody," said Aunt Alice. "The best way to cheer +yourself is to cheer another." + +[Illustration] + +This made Ellen thoughtful; and she stood at the window, looking out on +the street, long after Aunt Alice had left the room. It was a cold, +cloudy day, and there were flakes of snow in the air. Ellen stood +watching a poor woman at the corner, who was trying to sell +shoe-strings; but nobody stopped to buy of her. + +"That poor woman looks sad and discouraged," said Ellen to herself: +"she must be almost as sad as I am. How can I comfort her? Why, by +buying some of her shoestrings, of course." + +Ellen had some money of her own put away in a box. She ran and got it, +then, putting on her bonnet, went out and bought a whole bunch of +shoestrings. Then, with her aunt's consent, she asked the poor woman to +come in and get some luncheon. + +The poor woman gladly accepted the invitation; and Ellen soon had her +seated by a nice fire in the kitchen, chatting and laughing with the +maids as merrily as if she had no care in the world. + +"Have I made you happy?" asked Ellen. "That you have, you darling," said +the poor woman, with a tear in her eye. "And so you have made _me_ +happy," replied Ellen. Yes, she had found that Aunt Alice was in the +right. "The best way to cheer yourself is to cheer another." + + EMILY CARTER. + + + + +[Illustration] + + + MR. PRIM sat on the bank from twelve o'clock till four: + He caught one fish--he caught a cold--and then--caught nothing more. + + + + +KITTY AND THE BEE. + +[Illustration] + + +THERE were no mice for kitty, and what could she do? She could not sit +still. She saw the little soft white chickens running about in the +grass, and she thought she would try to catch one. + +So she crouched down, and, without making a bit of noise, was getting +ready for a spring. + +[Illustration] + +But the chickens had a dear mother who loved them. When she saw kitty +creeping along, she knew that they were in danger: so she flew at kitty, +and made a dreadful noise that scared her away. + +[Illustration] + +Then kitty saw a great butterfly flying along in the air. By and by it +flew down upon a flower. Kitty sprang and caught it in her mouth. + +[Illustration] + +Then she saw a pretty bird on a bush, singing as hard as he could sing. +Kitty crept along under the bush, like a sly little rogue. But the bird +saw her coming, and flew away. + +[Illustration] + +One day a bee was coming home with honey. Kitty saw the bee, and caught +it in her mouth. I think she will not try to catch any more bees. Can +you guess why? + + W. O. C. + + + + +MINDING BABY. + + +NURSE. + + ROCK the cradle + Just a minute; + Rock it gently, + Baby's in it. + If he's sleeping, + Do not wake him; + If he rouses, + Nurse will take him. + + Sing him now + Some little ditty, + Sweet and bird-like, + Low and pretty. + He will hear it + In his slumbers, + And will feel + Its soothing numbers. + + Sound and sounder + He'll be sleeping + In the angels' + Holy keeping; + For they always, + Darling Carrie, + Near to infants + Watch and tarry. + + +CARRIE. + + Baby, baby, + Stop your play now, + And to sleep-land + Go away now. + As the bee's rocked + In the lily, + I will rock you, + Little Willy. + + As the May-bough + Rocks the nest-bird, + I will rock you, + Mother's best bird. + Boys, at play there, + Hush your clatter! + Don't wake baby + With your chatter! + + In the garden + Do not play now: + Go and frolic + On the hay-mow. + I am minding + Baby-brother; + For, you see, I'm + Little mother. + + GEORGE BENNET. + +[Illustration: MINDING BABY.] + +[Illustration] + + + + +LITTLE MISCHIEF. + + +VIII. + +BESSIE went into the parlor one day, and noticed that the clock did not +tick. "I must wind it up," thought she. "It must be very easy, for you +only have to turn the key round and round." + +So Bessie began to turn the key. At first it would not move; but then +she tried it the other way, and it went round and round quite easily. +She was determined to do it thoroughly while she was about it: so she +went on winding and winding, and was charmed to hear it begin to tick. + +But all at once it made a noise,--burr-r-r-r,--and then it stopped +ticking. + +[Illustration] + + +IX. + +The hands, too, that had been going so fast, stood still. What could be +the reason of it? Had it really stopped? Bessie put her ear quite near, +and listened. Yes, there was not a sound. + +She began to feel frightened, and to think that perhaps, after all, she +had better have left it alone. Her mother came into the room and said, +"What are you doing, Bessie? You must have broken the mainspring of the +clock." + +"I saw it was not going, mamma, and so I wound it up," sobbed out +Bessie: "I did not mean to break it." That was all she could say. + +[Illustration] + + + + +DEEDS, NOT WORDS. + + + BENNY says he'll be a soldier: + He will march to fife and drum, + With a musket on his shoulder; + Never stouter heart nor bolder, + Where the shots the thickest come. + (Yet I've seen the speckled hen + Put to rout brave Captain Ben!) + + Willie longs to be sailor: + He will cross the farthest seas; + 'Mid the terror and commotion + Of the dark, tempestuous ocean, + He will pace his deck at ease. + (_Storms_ are _certain_ when we scrub + Willie in his bathing-tub.) + + Nellie hears with awe and wonder + Of the perils they will seek; + Weeps at thought of cruel slaughter; + Prays for seamen on the water; + Blushes for her courage weak: + (Yet the best thing, Nellie dear, + Is to _do_ the duty near.) + + A. D. W. + + + + +HOW THE WIND FILLS THE SAILS. + + +"WHAT makes the vessel move on the river?" asked little Anna one day of +her brother Harry. + +"Why," said Harry, "it's the wind, of course, that fills the sails, and +that pushes the vessel on. Come out on the bank, and I will show you how +it is done." + +So Anna, Harry, and Bravo, all ran out on the lawn. Bravo was a dog; but +he was always curious to see what was going on. + +When they were on the lawn, Harry took out his handkerchief, and told +Anna to hold it by two of the corners while he held the other two. + +As soon as they had done this, the wind made it swell out, and look just +like a sail. + +"Now you see how the wind fills the sails," said Harry. + +[Illustration] + +"Yes; but how does it make the ship go?" asked Anna. + +"Well, now let go of the handkerchief, and see what becomes of it," said +Harry. + +So they both let go of it; and off the wind bore it up among the bushes +by the side of the house. + +In order to explain the matter still further to his sister, Harry made a +little flat boat out of a shingle, and put in it a mast, and on the mast +a paper sail. + +Then they went down to the river and launched it; and, much to Anna's +delight, the wind bore it far out towards the middle of the stream. + +Bravo swam out, took it in his mouth, and brought it back; and Anna was +at last quite satisfied that she knew how it is that the wind makes the +vessel go on the river. + + DORA BURNSIDE. + +[Illustration] + + + + +MOLLY TO HER DOLLY. + + + WELL, dolly, here I am again, + Just home from school, you see: + Let's come down to our cubby-house + Beneath the willow-tree. + + There, dolly, now we're snug and safe, + Away from horrid boys; + Oh! don't we hate their teasing tricks, + Their rudeness and their noise! + + Come, let me press your little cheek, + So rosy and so cool; + And I will tell you all about + The times I had at school. + + I said my tables pretty well, + But missed on five times seven: + In spelling I went to the head + (The word, dear, was e-lev-en). + + At recess, Nelly Fay and I + A splendid "teter" made: + O dolly! we went up so high, + _You_ would have been afraid. + + And Nelly promised she would come + And spend this afternoon: + So, dolly, I must change your dress, + For she will be here soon. + + She'll bring with her her stylish doll, + (Miss Maud May Rosalie) + Who wears real ear-rings and a watch + (As vain as she can be)! + + Ah, dolly! by her Paris dress + Yours will look plain, I fear; + But you have twice as sweet a face, + My _ownty_ darling dear! + +[Illustration] + + + + +IDA'S MOUSE. + + +ONE morning when Ida went to the closet for the birdseed to feed her +canary, she found a wee brown mouse in the bottom of the bottle where +the seed was kept. Instead of screaming and running away, Ida clapped +her fat little hand over the mouth of the bottle, and mousie was a +prisoner. + +[Illustration] + +Mamma said mousie should be drowned; but Ida begged so hard to keep him, +that mamma got a glass jar, put mousie into it, with a bit of bread and +cheese to keep him company, tied a piece of tin, all pricked with +little holes, over the mouth of the jar, and set it on the shelf. + +Ida spent half the day in watching the mouse. + +[Illustration] + +When papa came home at night, he brought a funny little tin house for +mousie's cage. Mousie was put into it; and he soon began to make the +wire-wheel go round. He turned the wheel so fast and so long, that he +soon made his nose sore. Ida thought he was very tame; but I think he +only wanted to get out and run away. + +[Illustration] + +One day mousie managed to get his door open and scamper off. Then Ida +cried and cried, and was afraid her dear mousie would starve. But after +a day or two, as grandma was going up stairs, she saw little mousie +hopping up ahead of her. + +He ran into Ida's closet. Ida brought the cage; and mamma and grandma +made mousie run into it. + +"Perhaps it is not the same mouse," said grandma. + +[Illustration] + +"Oh, yes, it is!" said Ida. "I know him by his sore nose." + +Ida took good care of mousie till warm weather came, and it was time to +go into the country for the summer. Then she took the cage outside the +back-gate, and opened mousie's door. Mousie was very quiet at first; but +soon he peeped out, and, seeing nothing to hinder, he ran away as fast +as his little legs could carry him. + +I am glad that he was set free; for I do not think he was happy in the +cage. I hope he will keep away from traps and cats, and live to a good +old age. + + AUNTIE MAY. + +[Illustration] + + + + +ALMOST LOST. + + +SOON after school had commenced, it began snowing so, that the mistress +dismissed all the scholars, and they started for their homes. + +Among the girls were two little sisters, Julia and Emily Burns, who +lived a mile and a half from the schoolhouse, and had to cross a wide +field, and pass through a wood, before they could reach the well-known +road that led up to their own house. + +They had an umbrella with them; and Julia, the elder sister, had a +leather bag on her arm, containing their luncheon. Soon the snow began +to fall with blinding force: the wind blew, and they could not see their +way. + +They were by this time near the entrance to the wood. Emily began to cry +with alarm; but Julia said, "Do not be afraid. See! there is the little +old shanty where the wood-choppers used to go in winter to eat their +dinners. We will go in there, and stop till somebody comes for us." + +So they went in; and, as good luck would have it, Julia found some +matches in an old box on the shelf. There were plenty of pine-chips, +too, lying in the corner of the one room, which was all that the shanty +afforded. + +Soon Julia had a merry fire blazing on the hearth; then Emily began to +laugh. They sat down on a log, and warmed themselves; and Julia drew +forth their luncheon from the leather bag, and they ate a hearty meal. + +What do you suppose the sisters did after that? Why, they began to sing +songs, and tell stories, and repeat riddles; and they were in the midst +of this, when they heard the sound of voices. + +"Oh, dear! what's that?" cried Emily. + +"It sounds very much like papa's voice," said Julia; "and that bow-wow +sounds like the voice of old Tiger. Yes, here they come." + +And the next moment the children's father, with two big boys, sons of +one of their neighbors, burst into the room; and papa exclaimed, "Why, +you little rogues, how I have worried about you! And here you are as +comfortable as a mouse in a meal-bag!" + +Then old Tiger began to frisk round them, and to jump up as if to kiss +them. "Down, old fellow!" said Mr. Burns: "you told us where they were; +didn't you, old Tiger?" + +Tiger barked loudly, as much as to say, "Yes, I told you where they +were; and I think I am the smartest dog that ever lived. Bow-wow! Of all +the dogs ever told about in 'The Nursery,' I am the wisest, the bravest, +the handsomest, and the best. Bow-wow!" + + MARY ELMORE. + + +[Illustration] + + + + +LITTLE MAY. + + +THERE were pigs and chickens and cows and a good old gray pony on the +farm where little May lived. + +May loved them all; and they all seemed to love her. + +The cows, as they lay chewing their cud, would let the little girl pat +them as much as she pleased. They never shrank from the touch of her +soft little hands. Sometimes papa would let May stand beside him when he +milked. Then she would be sure to get a good saucer of milk to feed the +kittens with. She was a great friend of all the cats. + +She took great delight in feeding the chickens; and she even liked to +throw bits to the pigs. It made her laugh to see piggy, with one foot in +the trough, champing his food with such a relish. + +Once she saw her papa scratch piggy's back with an old broom. So, a few +days after, she thought she would try it; but, instead of getting an +_old_ broom, she took a nice new one, and, reaching over the side of the +pen, managed to touch the pig's back with it. + +Now, what do you think that ungrateful animal did? He caught the broom +in his mouth, and began to chew it. + +Off went May to her mother as fast as her little feet could carry her. +"Mamma, mamma!" said she, "come quick. Oh, dear, dear! piggy is eating +the broom." + +To be sure, there was mamma's best carpet-broom all chewed down to a +stub; and the pig was still eating away. + +May cried then; but it was so very funny, that mamma only laughed, and +by and by May laughed too. When papa got home, he was told the story, +and it made him laugh. + +May was almost ready to cry again; for she felt sorry, and she did not +like to be laughed at. "There's nothing to cry about, darling," said her +papa; "but don't try to scratch the pig's back again until I show you +how to do it." + + AUNTY MAY. + +[Illustration] + +[Illustration] + + + + +AN IMPORTANT DISCLOSURE. + + +"I WANT to tell you something, Tommy." + +"What is it?" + +"The country is going to ruin." + +"You don't say so! What's the matter?" + +"Rag currency is the matter." + +"What's that?" + +"I'll explain. You paid for that kettle of milk ten cents. You paid in +rag currency. Did you ever see a silver dime?" + +"No, Billy; but my big brother has seen one." + +"Well, that is specie. Now, what we want is specie payment." + +"How do you know?" + +"My father says so." + +_Carlo the dog listens attentively, and seems to be absorbed in a +profound reflection upon the currency question._ + + + + + +[Illustration: TIMOTHY TIPPENS.] + + T. CRAMPTON + + +[Illustration: Music] + +_Lively_. + +VOICE AND PIANO. + + 1 + + Timothy Tippens drove a cart + To a market up the town, oh! + He carried a lot of turnip tops, + And sold for half a crown, oh! + His waistcoat was red and so was his head, + But his little coat was brown, oh! + + 2 + + Timothy Tippens's horse was blind, + Because he couldn't see, oh! + He'd two legs in front, and two behind; + And that's one more than three, oh! + Though if two be be-four, and behind two more, + It looks very like six to me, oh! + + 3 + + Timothy Tippens's horse he died, + And Tim cried, "Gee," and "Woe," oh! + And sold his cart to his neighbor Jack, + Because it wouldn't go, oh! + Without a horse: and you know, of course, + It was likely it should be so, oh! + + * * * * * + +Transcriber's Notes: + +Obvious punctuation errors repaired. + +Page 96, the final line of the second verse was not indented in the +original text. + +This issue was part of an omnibus. The original text for this issue did +not include a title page or table of contents. This was taken from the +January issue with the "No." added. The original table of contents +covered the entire year of 1873. The remaining text of the table of +contents can be found in the rest of the year's issues. + + + + + + +End of Project Gutenberg's The Nursery, March 1873, Vol. XIII., by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, MARCH 1873 *** + +***** This file should be named 24476.txt or 24476.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/4/4/7/24476/ + +Produced by Emmy, Juliet Sutherland and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. |