diff options
Diffstat (limited to '28133.txt')
| -rw-r--r-- | 28133.txt | 1296 |
1 files changed, 1296 insertions, 0 deletions
diff --git a/28133.txt b/28133.txt new file mode 100644 index 0000000..a88cd33 --- /dev/null +++ b/28133.txt @@ -0,0 +1,1296 @@ +Project Gutenberg's The Nursery, May 1877, Vol. XXI. No. 5, 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, May 1877, Vol. XXI. No. 5 + A Monthly Magazine for Youngest Readers + +Author: Various + +Release Date: February 20, 2009 [EBook #28133] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, MAY 1877 *** + + + + +Produced by Emmy, Juliet Sutherland and the Online +Distributed Proofreading Team at http://www.pgdp.net. Music +by Linda Cantoni. + + + + + + + + +THE + +NURSERY + + +_A Monthly Magazine_ + +FOR YOUNGEST READERS. + +VOLUME XXI.--No. 5. + + BOSTON: + JOHN L. SHOREY, No. 36 BROMFIELD STREET, + 1877. + + + +Entered according to Act of Congress, in the year 1877, by + +JOHN L. SHOREY, + +In the Office of the Librarian of Congress at Washington. + +FRANKLIN PRESS: RAND, AVERY, AND COMPANY, 117 FRANKLIN STREET, BOSTON. + + +[Illustration: Contents] + + +IN PROSE. + + The Young Lamplighter 129 + Fourth Lesson in Astronomy 131 + The Poor Blind Woman 133 + "Good-morning, Sir!" 136 + Playing April-Fool 138 + The Eider-Duck 139 + The Trial-Trip 141 + Swaddling-Clothes 142 + Drawing-Lesson 145 + Fanny and Louise 146 + True Story of a Bird 149 + A Rough Sketch 151 + Peter's Pets 153 + The Strolling Bear 154 + The Parrot and the Sparrow 156 + + +IN VERSE. + + "Popping Corn" 132 + The Cooper's Song 135 + Polliwogs 143 + The Toad 148 + That Fox 158 + Grasshopper Green (_with music_) 160 + +[Illustration: Decoration] + + + +[Illustration: THE YOUNG LAMPLIGHTER.] + + + + +THE YOUNG LAMPLIGHTER. + + +[Illustration: W]ALLACE is a boy about ten years old, who lives in a +town near Boston. He has a brother Charles, eighteen years of age. These +two brothers are the town lamplighters. + +There are at least fifty lamps to be lighted every night; and some of +them are a good deal farther apart than the street-lamps in large +cities. Charles takes the more distant ones for his part of the work, +and drives from post to post in a gig. + +Wallace, being a small boy, calls to his aid his father's saddle-horse. +This horse is a kind, gentle creature, and as wise as he is kind. He and +Wallace are about the same age, and have always been good friends. + +So when Wallace puts the saddle on him every evening, just before dark, +the horse knows just what is going to be done. He looks at the boy with +his great bright eyes, as much as to say, "We have our evening work to +do, haven't we, Wallace? Well, I'm ready: jump on." + +Wallace mounts the horse; and they go straight to the nearest lamp-post. +Here the horse stops close by the post, and stands as still and steady +as the post itself. + +Then Wallace stands upright on the saddle, takes a match from his +pocket, lights the lamp, drops quickly into his seat again, takes up the +bridle, gives the word to the horse, and on they go to the next +lamp-post. + +So they go on, till all the lamps allotted to Wallace are lighted. Then +they trot home merrily, and, before Wallace goes to bed himself, I am +sure he does not forget to see that his good horse is well fed and cared +for. + +This is a true story. + + UNCLE SAM. + +[Illustration] + + + + +FOURTH LESSON IN ASTRONOMY. + + +BECAUSE our earth has one sun and one moon, you may think all earths +have only one; but wise men have looked through their telescopes, and +have discovered that some of the stars which look to us like single +stars are really double; and many of them are clusters of three or four, +all lighting up the same planets. + +Those earths, then, have more than one sun: they have two, three, or +four, as the case may be. Think of two suns. How bright it must be! And +imagine one of them red, and the other blue, as some of them are. +Wouldn't you feel as if you were living in a rainbow? + +And how would you like to look out of the window in the evening and see +four moons? The wise men can see through their telescopes that Jupiter +has four and Saturn eight. (You remember I told you Jupiter and Saturn +are two of the earths lighted up by our sun.) Shouldn't you think so +many moons would make the nights so bright that one could hardly go to +sleep? + +On the whole, I think we get along very well as we are; and I hope the +people who live in the brightness of two suns have strong eyes given +them. It must be very beautiful, though. Perhaps you can get an idea how +it seems to have a red sun, if you look through a piece of red glass; +but I do not believe we can any of us imagine what it would be like to +have two suns of different colors. + +Do you think a red sun shining on a moon makes a red moon? A colored sun +or a colored moon seems very strange to us; but I suppose the people +that are used to them would think our white light strange. + +I wonder whether the two suns rise and set at the same time. But we may +all wonder and wonder. Nobody knows much about it. I hope you will all +look at a double star through a telescope, if you ever have an +opportunity. + + M. E. R. + +[Illustration] + + + + +"POPPING CORN." + + + BRING a yellow ear of corn, and then rub, rub, rub, + Till the kernels rattle off from the nub, nub, nub! + Then put them in a hopper made of wire, wire, wire, + And set the little hopper on the fire, fire, fire! + If you find them getting lively, give a shake, shake, shake; + And a very pretty clatter they will make, make, make: + You will hear the heated grains going pop, pop, pop; + All about the little hopper, going hop, hop, hop! + When you see the yellow corn turning white, white, white, + You may know that the popping is done right, right, right: + When the hopper gets too full, you may know, know, know, + That the fire has changed your corn into snow, snow, snow: + Turn the snow into a dish, for it is done, done, done; + Then pass it round and eat--for that's the fun, fun, fun! + + FLETA F. + +[Illustration] + + + + +THE POOR BLIND WOMAN. + + +I HAVE a true story to tell about a colored woman who lives in the city +of Salem, not far from Boston. + +She is old and poor and blind. She has had a husband and six children; +but they are all dead; her last remaining son was killed in the war, and +she is now quite alone in the world. + +But she is a cheerful old body. She does not whine, nor complain, nor +beg; though she needs help much, and is very thankful for any help that +is given her. + +When she goes out to walk, she finds her way as well as she can by +groping about with her big umbrella. Very often she loses her way, and +goes in the wrong direction; and sometimes she gets bewildered: but I +have never known her to be really lost or hurt. There is always somebody +to set her right; and it is pleasant to see how kind every one is to +her. + +Many a time I have seen some gentleman, while hurrying to catch his +train, stop to help her over the crossing; or some handsomely-dressed +lady take her by the arm, and set her right, when she has gone astray. + +Best of all it is, though, to see the children so kind to her. She comes +to our square every Saturday; and, as she is very apt to go to the wrong +gate, the little girls--bless their dear hearts!--seem to consider it +their duty to guide her, and to help her over the slippery places. + +In the picture, you may see Lily helping the poor old woman along, as I +often see her from my window. Another day it may be Lina, and the next +time Mamie; for they are all good to her. Even baby Robin runs to meet +her, and is not afraid of her black face. + +Last week, these small folks had a fair for her in Lily's house. Nobody +thought they would get so much money; but they made fifty dollars out of +it. This will make the old woman comfortable for a long time. + +The good woman said, when she was told what they had done, that she +hoped the Lord would reward them, for she could not. + +I think he has rewarded them already by making them very happy while +they were doing this kind deed. + + P. + +[Illustration] + + + + +THE COOPER'S SONG. + + + I AM the cooper: I bind the cask: + The sweat flows down as I drive my task; + Yet on with the hoop! And merry's the sound + As I featly pound, + And with block and hammer go travelling round, + And round and round. + + I am the cooper: I bind the cask; + And gay as play is my nimble task; + And though I grow crooked with stooping to pound, + Yet merry's the sound + As with block and with hammer I journey round + And round and round. + + I am the cooper: I bind the cask: + Am healthy and happy--what more shall I ask? + Not in king's palaces, I'll be bound, + Such joy is found, + Where men do nothing, and still go round, + And round and round. + + So I'll still be a cooper, and bind the cask: + Bread for children and wife is all I ask; + And glad will they be at night, I'll be bound, + That, with cheerful sound, + Father all day went a-hammering round, + And round and round. + + FROM THE GERMAN. + + + + +"GOOD-MORNING, SIR!" + + +THERE was once a little robin that grew to be so tame, that it would +come to my sister Helen's door every morning for a few crumbs. Sometimes +it would perch on the table. + +What a power there is in kindness! It is very pleasant to form these +friendships with birds; so that they learn to trust you and to love you. +The sound of the human voice often seems to have a strange effect on +animals, as if they almost understood your words. + +My sister would say, "Good-morning, sir! Come in! Don't make yourself a +stranger. Hard times these; but you will find plenty of crumbs on the +table. Don't be bashful. You don't rob us. Try as you may, you can't eat +us out of house and home. You have a great appetite, have you? Oh, well, +eat away! No cat is prowling round." + +[Illustration] + +The little bird, as if he knew that my sister was talking to him, would +chirp away, and seem quite happy. As soon as the warm weather came, his +visits were not so frequent; but, every now and then, he would make his +appearance, as if to say, "Don't forget me, Helen. I may want some more +crumbs when the cold weather comes." + + IDA FAY. + + + + +PLAYING APRIL-FOOL. + + +IT was the last evening in March, and raining drearily out of doors; but +in mamma's sitting-room all was bright, warm, and cosey. Jim and his big +brother Rob were stretched out on the rug, feet in the air, watching the +blazing fire, and talking of the tricks they meant to play next day. + +"No, sir," said Rob, "you can't fool me! I know about every way there is +of fooling; and I'd just like to see anybody try it on me!" And Rob +rolled over on his back, and studied the ceiling with a very defiant +air. + +Poor little Jim looked very much troubled; for, if Rob said he could not +be fooled, of course he couldn't be; and he did want to play a trick on +Rob so badly! At last he sprang up, saying, "I'm going to ask mamma;" +and ran out of the room. Rob waited a while; but Jim did not come back: +so he yawned, stretched, and went to bed. + +Next morning, bright and early, up jumped Jim, pulled on his clothes; +wrong-side out and upside down (for he was not used to dressing +himself), and crept softly downstairs. + +An hour or two later, Rob went slowly down, rubbing his eyes. He put on +his cap, and took up the pail to go for the milk; but it was very heavy. +What could be the matter with it? Why, somebody had got the milk +already. Just then, Jim appeared from behind the door, crying, "April +Fool! April Fool! You thought I couldn't fool you; but I did." + +Rob looked a little foolish, but said nothing, and went out to feed his +hens. To his great surprise, the biddies were already enjoying +breakfast; and again he heard little Jim behind him, shouting, "April +Fool! April Fool!" + +Poor Rob! He started to fill the kitchen wood-box; but Jim had filled +it. Jim had filled the water-pails: in fact, he had done all of Rob's +work; and at last, when he trudged in at breakfast-time, with the sugar +that Rob had been told to bring from the store the first thing after +breakfast, Rob said, "I give up, Jim. You have fooled me well. But such +tricks as yours are first-rate, and I don't care how many of them you +play." + + AUNT SALLIE. + + + + +THE EIDER-DUCK. + + +DID you ever sleep under an eider-down quilt? If you have, you must have +noticed how light and soft it was. Would you like to hear where the +eider-down comes from? I will tell you. + +[Illustration] + +A long, long way from here, there is a country called Norway. It is a +very cold country, and very rocky; and there are a great many small +islands all around it. It is on these islands that the dear little +eider-ducks build their nests. They take a great deal of time and +trouble to make them, and they use fine seaweed, mosses, and dry sticks, +so as to make them as strong as they can. + +When the mother-duck has laid four or five eggs, which are of a pretty, +green color, she plucks out some of the soft gray down that grows on her +breast, to cover them up, and keep them warm, while she goes off to find +some food. + +And now what do you think happens? Why, when she comes back to sit on +her eggs, she finds that all her eggs and beautiful down have been taken +away! Oh! how she cries, and flaps her wings, to find her darling eggs +gone! + +But, after a while, she lays five more, and again pulls the down out of +her dear little breast to cover them. She goes away again; and again the +people take the down away. + +When she returns the second time, her cries are very sad to hear; but, +as she is a very brave little duck, she thinks she will try once more; +and this time she is left in peace, and when she has her dear little +children-ducks around her, you may be sure she is a joyful mamma. + +So this is where the eider-down comes from; and, as there are a great +many ducks, the people get a great deal of down; and with this down are +made the quilts which keep us so warm in cold winter-nights. + +The eider-down quilts are very light and warm; but I always feel sorry +for the poor mamma-duck. + + SISTER PEPILLA. + +[Illustration] + +[Illustration] + + + + +THE TRIAL-TRIP + + +DAVIE and Harold are two little Boston boys. They are brothers. Last +summer, they had two pretty little yachts given them by a friend. Then +they had a launch in the bath-tub; and their mamma named the yachts, +breaking a bottle of water (a small medicine-bottle) over the bows. +Davie's yacht was named the "West Wind;" and Harold's, the "Flyaway." + +One afternoon, the boys went to City Point, hired a row-boat, and rowed +out about halfway to Fort Independence, where they put the little +vessels into the water for a trial-trip. It was a pretty sight to see +the sails fill with the wind, and the tiny yachts ride the waves as if +they meant to go to China before they stopped. + +The "West Wind" beat the "Flyaway," and I regret to say that Davie +taunted his brother with the fact, and made him cry; for Harold is a boy +that takes every thing to heart. + + MAMMA. + + + + +SWADDLING-CLOTHES + + +DID the little readers of "The Nursery" ever think how thankful they +should be for the free use of their arms and legs? I do not believe it +ever came into their thoughts that there could be any other way than to +use them freely. But in Syria, a country many miles from here, the +mothers do not let their babies kick their feet, and hold out their dear +little hands. They are bound very closely in what are called +"swaddling-clothes." + +They are seldom undressed, and are kept in a rough cradle, and rocked to +sleep as much as possible. When the mother carries them out, she straps +them to her back; and often, on the mountains there, one may see a woman +with a baby on her back, and a great bundle of sticks in her arms. + +With the sticks she makes her fire, in a room where there is no chimney, +and where the smoke often makes poor baby's eyes smart; but all he can +do, poor swaddled child, is to open his mouth, and cry. + +This custom of binding the baby up so straight and tight is a very old +one. The Bible tells us, you know, that the mother of Jesus "wrapped him +in swaddling-clothes, and laid him in a manger." So the people of Syria +keep on using swaddling-clothes, thinking, that, if they do not, the +baby will grow crooked. + +[Illustration] + +They are used in Russia also, and in other countries of northern Europe. +Poor babies! We pity them. + + EM. JUNIUS. + + + + +POLLIWOGS. + + + THE cat-tails all along the brook + Are growing tall and green; + And in the meadow-pool, once more, + The polliwogs are seen; + Among the duck-weed, in and out, + As quick as thought they dart about; + Their constant hurry, to and fro, + It tires me to see: + I wish they knew it did no good + To so uneasy be! + I mean to ask them if they will + Be, just for one half-minute, still! + "Be patient, little polliwogs, + And by and by you'll turn to frogs." + + But what's the use to counsel them? + My words are thrown away; + And not a second in one place + A polliwog will stay. + They still keep darting all about + The floating duck-weed, in and out. + Well, if they will so restless be, + I will not let it trouble me, + But leave these little polliwogs + To wriggle till they turn to frogs! + + MARIAN DOUGLAS. + +[Illustration] + +[Illustration: DRAWING-LESSON BY HARRISON WEIR. + +VOL. XXI.--NO. 5.] + + + + +FANNY AND LOUISE. + + +FANNY was a little pony, and Louise was a little girl. Fanny had a long +black mane and tail, and Louise had long brown curls. Louise wore a +gypsy-hat with blue ribbons, and Fanny wore a saddle and bridle with +blue girths and reins. + +Louise was a gentle little girl, and Fanny was a very headstrong pony; +consequently Fanny had it all her own way. When she was trotting along +the road, with Louise on her back, if she chanced to spy a nice prickly +thistle away up on a bank, up she would scramble, as fast as she could +go, the sand and gravel rolling down under her hoofs; and, no matter how +hard Louise pulled on the reins, there she would stay until she had +eaten the thistle down to the very roots. Then she would back down the +bank, and trot on. + +Fanny was fond of other good things besides thistles. She would spy an +apple on a tree, no matter how thick the leaves were; and, without +waiting to ask Louise's permission, she would run under the tree, +stretch her head up among the branches, and even raise herself up on her +hind-legs, like a dog, to reach the apple. + +Louise would clasp Fanny around the neck, and bury her face in her mane: +but she often got scratched by the little twigs; and many a long hair +has she left waving from the apple-boughs after such an adventure. + +Whenever Fanny smelled any very savory odor issuing from the kitchen, +she would trot up, and put her head in at the window, waiting for Biddy +to give her a doughnut or cooky. One day a boy named Frank borrowed +Fanny, as he wished to ride out with a little girl from the city. As +they were passing a farm-house, Fanny perceived by the smell that some +one was frying crullers there. + +[Illustration] + +She immediately ran down the lane to the house, and stuck her head in at +the open window, and would not stir from the spot until the farmer's +wife gave her a cruller. Then she went quickly back to the road, and +behaved very properly all the rest of the way. + +Fanny was such a good pony, with all her tricks, that the neighbors +often used to borrow her. This Fanny did not think at all fair; and she +soon found a way to put a stop to it. One warm summer day, the minister +borrowed her in order to visit a sick man about two miles away. After +several hours he returned, very warm and tired, walking through the +dust, and leading Fanny, who came limping along, holding down her head, +and appearing to be very lame. + +She had fallen lame when only half-way to the sick man's house; and the +good old minister had led her all the way, rather than ride her when she +was lame. All the family gathered around Fanny to see where she was +hurt, when Fanny tossed her head, kicked up her heels, and pranced off +to the stable, no more lame than a young kitten. It had been all a trick +to punish the minister for borrowing her. And it succeeded; for he never +asked for Fanny again. + + L. S. H. + +[Illustration] + + + + + +THE TOAD. + + + WHAT a curious thing is the little brown toad; + Do come and look at it, pray! + It sits in the grass, and, when we come near, + Just hops along out of our way. + + It does not know how to sing like a bird, + Nor honey to make like a bee; + 'Tis not joyous and bright like a butterfly; + Oh, say, of what use can it be? + + But, since God made it, and placed it here, + He must have meant it to stay: + So we will be kind to you, little brown toad, + And you need not hop out of our way. + + E. A. B. + +[Illustration] + + + + +TRUE STORY OF A BIRD. + +ONE day last spring, in looking over the contents of some boxes which +had long been stowed away in the attic, I found some pieces of lace, +which, though old-fashioned, seemed to me very pretty. But they were +yellow with age,--quite too yellow for use. + +I took them to the kitchen, and, after a nice washing, spread them on +the grass to bleach. I knew that the bright sun would soon take away +their yellow hue. + +A day or two after, Johnnie came running in, and said, "Auntie, the +birds are carrying off all your old rags out there," pointing to the +place where the laces were spread. Out I went to see about my "old +rags," as he called them; and I found that several pieces were missing. +We knew that the birds must have taken them; but, where to look for +them, we could not tell. + +That afternoon, Johnny invited me and his cousins to take a row with him +in his boat to Rocky Island, of which the readers of "The Nursery" have +heard before. We were all glad to go. As we were passing some bushes on +the bank of the river, one of us spied something white among them. We +wondered what it could be. + +Johnny rowed nearer; and we could see that it was a piece of lace. +Rowing nearer still, we saw another piece, and another, and at the same +time heard the flutter of wings. We then asked to be landed, and our +boatman soon brought us to shore in fine style. + +On parting the bushes, we saw a nest just begun, and a piece of lace +near it, but not woven in. Close by were four other pieces; but they +were all caught by the little twigs, so that the bird could not get them +to the nest. We took the lace off carefully, leaving the nest as it was, +and brought it away with us. + +On returning to the house, the children measured the lace, and found +nearly six yards, the largest piece being about two yards. It seemed +quite a lift for the little birds; and it was too bad that after all +they did not get the use of it. But do you think they were discouraged? + +Oh, no! for they soon had a nice nest built; and one day Johnny found an +egg in the nest, which, from its bright hue, he knew to be a robin's +egg. This was followed by other eggs, and, in due time, by a whole brood +of young birds. + + AUNT ABBIE. + +[Illustration] + + + + +A ROUGH SKETCH. + + +HERE is a boy drawing on a wall. He is a shoemaker's boy. His name is +Bob. + +Tom, the baker's boy, and a little girl named Ann are looking on. "What +is it?" asks Ann at sight of the picture. + +"It's a fine lady, of course," says Tom. "Don't you see her head-dress +and her sun-shade?" Bob is so busy that he cannot stop to talk. + +He is well pleased with his work. But the man who is looking around the +corner of the wall does not look pleased in the least. + +It is plain that he has no love for the fine arts. Or it may be that he +does not like to see such a rough sketch on his wall. + +Perhaps he thinks that when boys are sent on an errand, they ought not +to loiter by the way. + + A. B. C. + +[Illustration] + + + + +PETER'S PETS. + + +"HOW old are they, Peter?" asked Ralph Lamson, pointing to two little +guinea-pigs on a rude cage which Peter had himself made. + +"I've had them about six weeks," said Peter. "I don't know how old they +were then; but they were only little things: they've grown twice as big +since I've had them." + +"What do you give them to eat?" asked Edwin Moore. + +"Oh! all sorts of things," replied Peter. "They're fond of carrots, +apples, and all sorts of green leaves, and, what is queer, they are fond +of tea-leaves." + +"Fond of tea-leaves!" cried Ralph and Edwin. + +"Yes," said Peter, "they like tea-leaves very much. I give them oats +too, and bits of bread." + +"And what do they drink?" asked Edwin. + +"They don't want much to drink, if they get plenty of green stuff and +tea-leaves," said Peter; "but they like a drop of milk now and then, if +they can get it." + +"Where do these animals come from?" asked Ralph. + +"From Brazil and Paraguay in South America. It is thought that their +odor drives away rats; and that is one reason why we keep them." + +"What will you sell them for?" asked Ralph. + +"Oh, I can't sell them!" said Peter. "They are my pets. Funny little +fellows they are, and not so stupid as they seem. This white one I call +Daisy; and the other I call Dozy, because he sleeps a good deal." + + UNCLE CHARLES. + + + + +THE STROLLING BEAR. + + +IN St. Paul, one day last winter, a big black bear was seen strolling +along on the sidewalk on Third Street. He seemed to be quite at his +ease, and would stop now and then, and look in at the shop-windows. + +Half a dozen men and boys soon gathered behind him, following him at a +safe distance. Others, going up and down the street, would stop to +learn the cause of the crowd, and perhaps join it, so that they might +see the end of the fun. + +[Illustration] + +For a while, Bruin did not seem to care much for the crowd. But they +grew to be pretty free in their speech, calling out to him, "Does your +mother know you're out?" "Will you take a glass of whiskey?" and making +other rude remarks. Bruin stood it for a while, then turned fiercely +upon the crowd, who scattered at once, some running into shops, and +others down the side-streets. + +This free-and-easy bear then continued his stroll. But the crowd behind +him grew larger and larger, and he again turned upon them, and made them +run, all laughing and shouting, in various directions. + +At last, as if he had had enough of this kind of fun, he quickened his +pace, driving five or six fellows into a saloon, while he followed close +at their heels. The boys on the other side of the street laughed at +this: so he crossed the street quickly, and put them to flight; and the +way they all ran was fun for those near the saloon, who were now the +laughers, in their turn. + +At last, a man with whom Bruin was well acquainted, and on good terms, +came up, with a chain in his hand, and threw it about the bear's neck; +and then, as if he had had quite enough of a stroll, Bruin quietly +followed his guide, and was led back to his owner. + + ALFRED SELWYN. + + + + +THE PARROT AND THE SPARROW. + + +AT the "Jardin des Plantes," a famous garden and museum in Paris, there +was once a parrot that took a great fancy to a little wild sparrow. + +Every morning, the little bird would fly to the parrot's perch; and +there it would sit almost all day by the side of its great friend. +Sometimes the parrot would raise his unchained claw, and the sparrow +would perch upon it. + +Jacquot,--that was the parrot's name,--holding the sparrow at the end of +his claw, would turn his head on one side, and gaze fondly on the little +bird, which would flap its wings in answer to this sign of friendship. +Then Jacquot would slide down to his food-tin, as if to invite the +sparrow to share his breakfast. + +Once the parrot was ill for some days. He did not eat: he trembled with +fever, and looked very sad. The sparrow tried in vain to cheer him up. +Then the little bird flew out into the garden, and soon returned, +holding in his beak some blades of grass. The parrot with great effort +managed to eat them. The sparrow kept him supplied with grass; and in a +few days he was cured. + +Once, when the sparrow was hopping about on the grassplot near the +parrot's perch, a cat sprang out from some bushes. At this sight, +Jacquot raised a loud cry, and broke his chain to fly to the aid of his +friend. The cat ran away in terror; and the little bird was saved. + +[Illustration] + + UNCLE CHARLES. + + + + +THAT FOX! + + + A LITTLE gray fox + Had a home in the rocks, + And most of his naps and his leisure took there; + But, one frosty eve, + He decided to leave, + And for a short absence began to prepare. + + A letter he wrote; + And he brushed up his coat; + And he shook out his tail, which was plumy and fine: + At first break of day + He galloped away, + At some distant farm-house intending to dine. + + How gay he did look, + As he frisked to the brook, + And gazed at himself in the water so clear! + He looked with delight + At the beautiful sight; + For all was so perfect, from tail-tip to ear! + + That noon, our gray fox + Called on good Farmer Knox, + Where some of the fattest of poultry was kept, + And, sly as a mouse, + Lay in wait by the house; + Or, peeping and watching, he stealthily crept. + + He felt very sure + He should shortly secure + A fat little chicken, or turkey, or goose; + And his eyes were as bright + As the stars are at night, + As he tried to decide which his foxship should choose. + +[Illustration] + + From his sharp-pointed nose + To the tip of his toes, + He was all expectation!--when, suddenly "_Snap!_" + With a "_click_" and a "_clack_;" + And, before he could wink, + This smart little fox was caught fast in a trap. + + And now that gray fox + Does not live in the rocks; + And just what his fate was I never have learned: + This only I know, + That, a long time ago, + He left there one morning--and never returned. + + FLETA F. + +[Illustration: GRASSHOPPER GREEN.] + + + + +GRASSHOPPER GREEN. + + T. CRAMPTON. + +[Illustration: music] + + 1. + Grasshopper Green is a comical chap; + He lives on the best of fare; + Bright little jacket and breeches and cap, + These are his summer wear. + Out in the meadows he loves to go, + Playing away in the sun; + It's hopperty, skipperty, high and low, + Summer's the time for fun. + + 2. + Grasshopper Green has a dozen wee boys, + And soon as their legs grow strong, + All of them join in his frolicsome joys, + Humming his merry song. + Under the leaves in a happy row, + Soon as the day has begun; + It's hopperty, skipperty, high and low, + Summer's the time for fun. + + 3. + Grasshopper Green has a quaint little house, + It's under a hedge so gay, + Grandmother spider as still as a mouse, + Envies him o'er the way. + Little folks always he calls I know, + Out in the beautiful sun: + It's hopperty, skipperty, high and low, + Summer's the time for fun. + + * * * * * + +Transcriber's Notes: + +The January edition of the Nursery had a table of contents for the first +six issues of the year. This table was divided to cover each specific +issue. A title page copied from the January edition was also used for +this number. + + + + + +End of Project Gutenberg's The Nursery, May 1877, Vol. XXI. No. 5, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, MAY 1877 *** + +***** This file should be named 28133.txt or 28133.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/8/1/3/28133/ + +Produced by Emmy, Juliet Sutherland and the Online +Distributed Proofreading Team at http://www.pgdp.net. Music +by Linda Cantoni. + + +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, are 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. |
