The Nursery, February 1873, Vol. XIII.

By Various

Project Gutenberg's The Nursery, February 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, February 1873, Vol. XIII.
       A Monthly Magazine for Youngest People

Author: Various

Release Date: January 31, 2008 [EBook #24475]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, FEBRUARY 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. 2

        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 Biography of a Bubble                          33

   The Story of a Little Duck                         37

   Our Thanksgiving Dinner                            40

   The Grandpa Story                                  42

   Miss Jones's Picture                               45

   Clear the Coast                                    48

   Our New Dog                                        50

   Bunny                                              52

   Dandy the Bear                                     55

   Little Mischief                                    57

   Too Many Presents                                  61

   The Dog and the Shadow                             63


IN VERSE.

   Jack's Menagerie                                   36

   Jack Frost                                         44

   Sue's Seasons                                      47

   The Children's Party                               54

   Jack and Jill (_with music_)                       64


[Illustration: THE BIOGRAPHY OF A BUBBLE]




THE BIOGRAPHY OF A BUBBLE.


[Illustration: T]HE papa who writes this biography of a bubble never
wrote a biography before in all his life. This is his first printed
work. Perhaps some old person will criticise it severely.

"Why use such big words as 'biography' and 'criticise'?" this old person
may ask. "Are you not writing for little people? Is not your subject a
poor little bubble that could not have lived longer than three or four
seconds?"

To which this papa replies: "Old person, do not meddle. This papa knows
what he is about. The little folks understand very well that a
'biography' is a story of a life; that to 'criticise' is to find fault;
and that a 'critic' is a fault-finder."

So all critics will please get out of the way, and leave this papa alone
while he writes the biography of a bubble.

This bubble was born just as the clock struck four, on the afternoon of
the 13th of January, 1873. Its name was "Diamond."

"Why, how could a bubble have a name?"

Now, you just be quiet and patient, and in good time you shall learn
all. Papa had promised his little daughter Grace, that one of these days
he would blow some bubbles for her amusement.

Grace reminded him several times of his promise; but papa was always too
busy to attend to it. At last Grace said, "When will _one of these days_
come?"--"It shall come now," said papa.

So he got a pipe, and a bowl of soap-suds; and Grace stood at his knee
while he blew bubbles. Grace was delighted. "Name them," said she; for
papa had named her kittens, and she thought he could name the bubbles.

The first one's name was "Sparkle." It was a very big bubble; but it did
not live long. The name of the second was "Glory." I think it might have
lived a second longer than it did, if Grace had not touched it with her
finger.

The third bubble floated up almost to the ceiling. Its name was
"Napoleon." It rose as bravely as if it had no fear of breaking. It
expired of old age, after reaching the term of ten seconds and a half.

At last, just as the clock struck four, little "Diamond" appeared. She
was a delicate little thing, and bright with all the colors of the
rainbow. She was not proud like the other bubbles. She did not try to
mount. Perhaps papa's breath made her go as she did.

Grace admired "Diamond" very much. "Why, see, papa! She is coming to
kiss me," said the little girl;--"she is on my cheek."

Yes, little "Diamond" ended her life on the cheek of innocence. What
better end could she have had? Was it not much better than mounting to
the cold, white ceiling, and living to a dull old age, like the big
bubble whose name was Napoleon?

                                                   GRACE'S PAPA.

[Illustration]

[Illustration]

[Illustration: MENAGERIE]




JACK'S MENAGERIE.


        "THIS is our grand menagerie,
         Beneath the crooked cherry-tree.
         The exhibition now begins:
         Admittance, only thirteen pins;
         And if the pins you cannot borrow,
         Why, then, we'll trust you till to-morrow.
         Don't be afraid to walk inside:
         The animals are safely tied.

        "This is the elephant on the right:
         Don't meddle with him, or he'll bite.
         (He's Rover, Neddie's dog, you know.
         I wish he wouldn't fidget so!
         He doesn't think it fun to play
         Wild beast, and be chained up all day.)
         We'll feed him, pretty soon, with meat;
         Though grass is what he ought to eat.

        "In that box are the kangaroos:
         Go near and pat them if you choose;
         (They're very much like Susie's rabbits,
         With just a change of name and habits.)
         You'll find them lively as a top:
         See, when I poke them, how they hop.
         They are not fierce; but, oh! take care:
         We now approach the grizzly bear.

        "See her long claws, and only hear
         Her awful growl when I go near!
         We found her lying on a rug,
         And just escaped her fearful hug.
         It took some time to get her caged:
         She's terrible when she's enraged.
         (You think, perhaps, it's Mabel's cat,
         But don't you be too sure of that!)

        "Here is the ostrich in her pen
         (It's Ernest's little bantam-hen):
         She came from Africa, of course,
         And runs as fast as any horse;
         And up above there is a bird
         Of whom you all have often heard,--
         The eagle ('That is not,' says Mary,
         'A pretty name for my canary')."

         Just at this point, I grieve to say,
         The elephant broke quite away,
         O'erthrew the grizzly bear in rage,
         Upset the eagle in his cage,
         Flew at the kangaroos, and then
         Attacked the ostrich in her pen.
         Thus ended Jack's menagerie
         Beneath the crooked cherry tree!

                                                           H. B.




THE STORY OF A LITTLE DUCK.


I WAS one of a family of nine brothers and sisters. We all found
ourselves outside our shells one fine, sunny day in spring; but we felt
chilly, and were glad to nestle under the wings of the kind old hen whom
we regarded as our mother.

In a day or two, we began to look about the world. We found that it
comprised a pretty lawn, on which our mansion was placed, with a brick
wall at one end of it. The other end of the world was at the foot of the
lawn, and consisted of a level expanse as smooth as a sheet of glass.

Our mansion was formed of wood, with a high pointed roof, and with open
bars in front, through which we could look out and enjoy the prospect.
We could crawl under the bars easily; but mother-hen could not.

One day a great, strong giant came and lifted up our mansion right over
our heads. This giant had two legs, but no wings. Poor thing! They
called him a _little boy_. He frightened us very much at first; but as
he fed us, and called us, "Ducky, ducky!" we soon grew fond of him.

When the boy had lifted up our mansion (which he called a coop),
mother-hen started at once on a journey round the world. We stopped to
pick up some bits of grain, and some little worms, which we found.
"Cluck, cluck!" said mother-hen, which means, "Come, come!" and we all
said, "Quack, quack!" which means, "Yes, yes!"

On we went, threading our way through the forest of grass; and our ideas
were much enlarged by finding that the world comprised a vast farm-yard
as well as our lawn, and the distant glass-like boundary. On we went,
"Cluck, cluck! quack, quack!" and at last found ourselves close to the
smooth expanse, which we learned was called a _pond_, and composed of a
beautiful liquid called "water."

Into this pond my brothers and sisters dashed, and of course I followed.
How delicious! The water was cool and refreshing, and so buoyant, that
we moved about on it more easily than we could walk on the land; but,
when we looked back to the bank, we saw mother-hen calling out in grief
and dread, "Cluck, cluck! come, come! you'll drown, drown! Oh, oh!"

[Illustration]

"All right!" said my eldest brother; "no fear: here we are as jolly as
sandboys! You may as well come. It's capital. Here goes for a dive!"
And, so saying, under he went, and soon came up again, laughing,
"Quack, quack! oh, it's _so_ jolly!"

But poor mother-hen did not see any thing jolly about it, and was always
in fear when we went to the pond, into which she would never go herself.

In time we grew up, and found that we could actually _fly in the air_.
Oh, capital! When that horrible monster with four legs, which they
called "a dog," ran after us, we opened our wings, and flew over the
lawn to the pond. And there stood the stupid dog bawling out, "Bow, wow!
bow, wow!"

One day our ideas were again expanded by our being driven through a
gate. We then found that the world was much larger than we had thought;
for beyond our wall was a broad ploughed field, as well as a vast
forest, the edges of which touched the distant sky. Wonderful discovery!
How grand a duck feels when gaining useful knowledge!

Every thing went on pleasantly enough, until a great awkward giant,
named Bob, came and looked very hard at us. At first we did not like
him; but he was really very kind, and called us "Ducky, ducky, ducky!"
and threw us handfuls of barley. He then seized two or three of my
fattest brothers and sisters, and frightened them so much, that they
called out, "Quack, quack! don't, don't!" But they need not have made
such a fuss, as he put them safely in a basket with a lid to it to keep
off the rain, and took a great deal of care of them indeed.

How kind of him to take the trouble to carry them in this basket on his
arm, instead of leaving them to waddle along the road! In this way he
has taken all my brothers and sisters away with him, except myself and
my brother little Jack Drake. I dare say he will soon take _us_ with him
in his nice basket.

Certainly it is a good thing to have men to attend to us so well. I am
sure they must be very fond of ducks to take such care of us. And so I
said to Jack Drake; but all he said in reply was, "Quack, quack! quack,
quack!"

                                                           T. C.

[Illustration]


[Illustration]




OUR THANKSGIVING DINNER.


WE live in a little village near the city of Cincinnati. We have not
lived here many years; and our grandparents and aunts and uncles and
cousins are so far away, that they cannot often come to see us.

This year, on Thanksgiving Day, none of our friends were with us; and
mamma and papa felt very sad to have the big turkey cooked, and only our
own family to eat it.

So, happening to see a ragged little boy in the street, mamma called
him, and told him to go out and find eleven more poor little boys, and
tell them to come with him and get a Thanksgiving dinner.

He ran off in high glee; and, sure enough, when twelve o'clock came,
along came the whole number of poor, hungry little boys. Their eyes
sparkled with delight when they saw the nice brown turkey, and the pies
and cakes. They were soon seated at the table; and papa and mamma waited
on them.

It made us all glad to see how the poor fellows enjoyed their dinner.
One ragged little boy was so afraid of soiling the cloth, that he
quietly slipped the bones under the table. Another boy saw him, and told
the rest; and then they all had a good laugh.

After they had eaten as much as they wanted, they were taken into the
room where the piano is; and mamma got "The Nursery" containing the song
of "Mother Hubbard," and played and sung it to them.

Papa then gave each one a paper of candy and a nice large apple, and
sent them off. No sooner were they out of the door than they set up a
yell like so many little Indians, and ran to their homes as fast as they
could, I suppose, to tell about the good time they had had.

We all think now that we enjoyed our Thanksgiving as well as children
who had their own friends to dine with them. And I do not doubt that
those poor little boys will remember their unexpected dinner as long as
they live.

  HARRISON, O.                              ANNIE GRAY PATTISON.

[Illustration]

[Illustration]




THE GRANDPA STORY.


"WHICH shall it be to-night, Harry?" I said a little while ago?--"The
Goblet Story, The Grandpa Story, or About the Runaway Boy?"

"Oh! The Grandpa Story," said Harry at once; "for grandpa has been here
to-day, and brought me ten notched sugar-plums,--five red ones, and five
white." So I began:--

        One bright Monday morning, I looked out of the
        front-window, and said, "Why, Harry, Uncle
        David has come to town! He is tying his horse
        under the elm-tree." A minute after, Uncle
        David opened the door into the sitting-room,
        and said, "Is there any one here who would like
        to go out to grandpa's to-day?" And mamma spoke
        right up, and said, "We would all like to go.
        It will do my little lads good to have a nice
        ride."

        "Get ready quick, then," said Uncle David. So
        mamma put a little blue cloak and a white
        sun-bonnet on Freddy the baby, and a linen
        coat, and straw hat with blue ribbons on Harry;
        and they all went out, and got into the
        carriage.

        Then away they rode through the pretty streets,
        and over a covered bridge, where the horse went
        TROT, TROT, TROT. Then they crossed a
        railroad-track, and drove past a station, and
        stopped at a store; and Uncle David went in and
        bought a great box of sugar for Aunt Mattie,
        and a little bag of candy to carry home to his
        little boy Philly.

        [Illustration]

        Then they rode up a steep hill, and came out
        upon Westfield Plains. And then what beautiful
        things they saw!--a man with a gun, a squirrel
        cracking a nut, a little girl with red hair, a
        man picking apples from a tree, and, best of
        all, a boy flying a kite.

        [Illustration]

        By and by they drove up a hill to grandpa's
        house. Cousin Philly, who was out on the
        piazza, ran into the house to tell his mamma
        that Aunt Susan had come, and brought all her
        little boys with her.

        Tiger, the great black dog, said, "Bow, wow!"
        to Harry, as he went up the steps. Cousin Anne
        sat in a great rocking-chair by the open
        window, and sang to her dolly, "Rock-a-by
        baby."

        Aunt Mattie was glad enough to see them, and
        gave Harry a round cooky with a hole in the
        middle, that he thought very funny. Mamma
        always makes square cookies, with no holes to
        put your fingers through.

        By and by, when grandpa came in from the
        orchard, they had a nice supper. They had
        peaches and cream, and biscuits and honey; and,
        oh! how good every thing tasted!

        [Illustration]

        Philly lent Harry his cup with the picture of a
        queen on one side, and "_Remember me_" on the
        other; and Harry drank two cups of milk, the
        cup was so pretty.

        After supper Harry's eyes began to droop; and
        so mamma said, "Kiss grandpa, my little boy,
        and the dear little cousins, and then let's run
        to bed with sleepy head."

        In six seconds after Harry's head touched the
        pillow, he was fast asleep.

        The next morning he awoke fresh and bright;
        and, after breakfast, Philly and Harry went out
        into the road to play. They made little
        sand-hills and houses of pebble-stones, and dug
        wells in the sand, and had a real good time.

        In the afternoon, mamma put the cloaks and hats
        on Harry and Freddy; Uncle David drove up to
        the house; and they all got into the carriage,
        and had a nice ride home.

                                                        S. B. T.

[Illustration]

[Illustration]




JACK FROST.


        JACK FROST, he is with us again;
        He comes every winter, you know:
          But we're hardy and bold,
          And we don't mind the cold,
        And we welcome the ice and the snow.

        Jack Frost plays a rough sort of game
        With the children wherever he goes:
          He pinches their cheeks;
          Their noses he tweaks;
        And he treads on their ten little toes.

        Jack Frost makes the ground rather hard:
        But with thick boots we clatter about;
          And we run till our breath
          Puffs away like a wreath
        Of white steam from the teakettle's spout.

        Jack Frost lays his hand on the pond,
        And turns it to glittering ice;
          Then the skaters they glide,
          And the sliders they slide:
        Think of that, Charley; isn't it nice!

        Jack Frost, he is sure to be found
        Where the sleigh-bells are tinkling clear;
          As the horses, so strong,
          Canter gayly along,
        While the lads give a shout and a cheer.

        Jack Frost, then, you're welcome again;
        Of pleasures you bring us a store:
          But be mild as you can,
          Oh, you fierce little man!
        When you visit the feeble and poor.

                                                 GEORGE BENNETT.

[Illustration]




MISS JONES'S PICTURE.


I HAVE just been looking at Miss Jones's picture. How do you think Miss
Jones looks?

She wears a shawl pinned close up to her throat, a cap tied under her
chin, and a pair of spectacles over some very wise-looking eyes.

What a funny-looking picture! I call it a funny picture, because the
clothes are an old lady's clothes; but the face is a little girl's face,
round and plump and rosy. If I could take off the cap and the shawl and
the spectacles, I should see a little girl of four years, with a white
dress, a pink sash, and long curls hanging down over her shoulders.

[Illustration]

Her name is Edith May. Her mamma calls her Edie. Edie likes to fix
herself up, and "play people" as she calls it. She takes many different
parts.

Sometimes she is an old lady, and sometimes she is a young lady.
Sometimes she plays she is mamma; and then she runs round taking care of
her dollies, and says she doesn't know what she _shall_ do now that
Tilly has the measles, and Hannah has the chicken-pox, and she _verily_
believes that the baby has the measles too.

The other day, she said she was going to be Miss Jones, and go down to
the saloon and have her picture taken.

So she fixed herself up with cap and spectacles and shawl, and went down
to the photograph-room, and told the artist that she was Miss Jones, and
she had called to have her picture taken.

Then the artist placed a chair for her, and she sat up as straight as
she could. When the pictures were finished, he sent them to her mamma,
who has sent one to me; and here you have it in "The Nursery."

                                                        S. F. W.

[Illustration]




SUE'S SEASONS.


        IN the spring, when the leaves all start,
        The crocus thrills at its glowing heart,
        The windflower opens its tinted cup,
        While the sap mounts merrily up and up.

        In the spring all the birds begin,
        Early and late to build and sing:
        Sweeter music was never heard
        Then the merry note of a building bird.

        In the summer the roses smile,
        Painting the roadside, mile by mile;
        The sweet-brier catches you as you pass,
        The violets thicken among the grass;

        Little nests run over with song,
        Little wings grow restless and strong;
        Daisies shine in the fields afar,
        Odors float where the lilies are.

        In the autumn the sap runs down,
        And leaves are tinted with gold and brown:
        In the winter when wild winds blow,
        The leaves are dead in a shroud of snow.

                                               MARY N. PRESCOTT.




"CLEAR THE COAST!"


I TOLD you last month how Robert hoped that Santa Claus would bring him
a sled; and how Robert woke on Christmas morning to find by his bedside
a beautiful sled, painted red, with thick iron runners.

The next day he went with Uncle Charles to the hill on Boston Common,
near Park Street, to see the boys coast. Here is a picture of the scene,
drawn from life; and a very correct idea it will give you of the sport
that may be witnessed in Boston after every snow-storm.

Robert had his sled with him; and as he stood with Uncle Charles,
looking at the coasters, the little boy longed to be _of_ them and
_among_ them. But Uncle Charles said, "You are not quite old enough yet
to coast in public: you have not had practice enough."

Then a big boy, who had been admiring Robert's sled, stepped up and
said, "I should like to try that sled, sir: I can take the little fellow
on the sled in front of me. I will take good care of him, sir."

Robert begged so hard to take his first lesson in coasting under the
care of this big boy, that Uncle Charles at last consented; and in the
picture you may see Uncle Charles waiting for the two boys to come along
on the sled.

He could not see them at first: but in about five minutes down they came
like the rush of a torrent; and little Robert, as he saw Uncle Charles,
cried out as loud as he could, "Clear the coast, clear the coast!"

Uncle Charles clapped his hands; the ladies waved their handkerchiefs;
and Robert felt quite proud, when, as he reached the bottom of the hill,
some boys gathered round, and pronounced his sled "a first-rate
runner."

[Illustration]

That was a proud day for Robert; for, before he left the Common, he was
allowed to coast once all alone; and he did it in such good style, that
the big boy told him he would make a "prime coaster."

"What did he mean by a "_prime coaster_"?" asked Robert.

"He meant," said Uncle Charles, "that, with a little more practice, you
will coast very well,--as well, perhaps, as he does himself."

                                                  ALFRED SELWYN.

[Illustration]




OUR NEW DOG.


WE have a new dog. His name is Bright. He is only two years old. His
master one day took the cars near our place for California; and poor
Bright was left behind.

I met him at the railroad-station. He seemed to be in great distress. I
had some bread in my hand, and offered him a piece. He was too sad to
eat. I patted him on the head, and said, "Poor doggie, have you lost
your master?"

Bright howled as if he understood my question; and I believe he did.
When I got home that day, I found that he had followed me. As I stood on
the door-step, he fawned at my feet, and made a low, imploring noise, as
if he would like to say, "Do be my master, and let me be your dog: I
will be such a good dog!"

I understood what he wanted, and said, "Well, old fellow, you shall have
your wish. I adopt you as my own dog."

Thereupon Bright wagged his tail, and barked, and put his fore-feet on
my shoulders, and tried to lick my face. We understood each other now
completely.

Bright seemed to understand that he must not only be good to me, but to
all under my care. I had a little white kitten named Snow-drop. When she
and Bright first met, she was so much afraid, that she leaped up on top
of the bookcase to be out of his way.

[Illustration]

It was amusing to see how he tried to coax her down, and to make her
feel that he was her friend. Snow-drop mewed, and raised her back; but
Bright, by some good-natured half-barks and playful grunts, soon made
her understand that he was one of the family, and bound to treat her
well.

By and by Snow-drop left off mewing, and began to purr. Bright lay down
on the carpet, and began flapping and brushing it in a half-circle with
his tail. That meant play.

So Kitty at last came down; and, when I left the room, she and Bright
were having a grand frolic together. I know you would like my dog Bright
if you could see him.

   KANSAS.                                         EDWIN BARTON.




BUNNY.

[Illustration]


ONE day, when I was in the barn, I happened to look up, and there, on a
beam, I saw a red squirrel with a great bushy tail. He was looking right
at me.

[Illustration]

The next day I saw him in my yard, trying to jump from one tree to
another. I thought he would fall; but he just saved himself by catching
the end of a twig.

[Illustration]

Up in one of the chambers there was an old satchel hanging on a nail.
Bunny climbed in at the window, and filled the satchel with nuts and
apple-seeds. There was a basket of corn in the wood-house; and Bunny
carried it almost all away.

[Illustration]

[Illustration]

One day, as Bunny was going along in the grass, he heard a noise: so he
sat up, and looked about. He saw a dog. Up went Bunny into a tree.

[Illustration]

The dog came under the tree, and barked. The saucy squirrel ran down,
and said with his eyes, "Now catch me if you can," and then ran up to
the top of the tree as quick as a wink.

                                                        W. O. C.

[Illustration]




THE CHILDREN'S PARTY.


        WILL you come to our party to-day, Carrie Wynn?
        The party is all ready now to begin;
        And you shall be mother, and pour out the tea,
        Because you're the oldest and best of the three.

        My white cups and saucers that came Christmas Day
        Are all set out nicely on Hatty's gilt tray;
        Real milk in the cream-jug, and real sugar too;
        But only _play_-tea--we pretend that it's true.

        We've got a _whole_ orange, and three macaroons,
        And some _blue_-mange--we'll eat it with Hatty's new spoons;
        And we've carried our table out under the trees:
        So come, Carrie Wynn, to our party, do, please!

        Hatty'll sit at one end, and the other you'll take;
        And I'll cut the orange, and she'll help the cake:
        You'll see something funny--the reason, don't ask it--
        When we've eaten the cake, we can eat up the basket!

        We invited the dolls; but they both have the mumps;
        And yesterday mine got two terrible bumps:
        So we left them in bed; and I do not much care,
        For dolls never _will_ sit up straight on a chair.

        Then, nicest of all, when our party is done,
        We'll wash up the dishes; and won't that be fun!
        Then scrub sticky fingers and sugary thumbs;
        And the sparrows and robins may clear up the crumbs.

                                                 ELIZABETH SILL.

[Illustration]

[Illustration]




DANDY THE BEAR.


WE have a dancing bear in our village. His name is Dandy. He belongs to
Mr. Werner, a German, who leads him about the streets, and makes a show
of him. We children all give Dandy some of our spare cents when we see
him; for a bear has to be fed like you and me.

"Come, Dandy," Mr. Werner will say, "here are the young ladies and
gentlemen, all with plenty of cents in their pockets to give you if you
perform well. They are good judges of high art. They can admire the
poetry of motion. So do your prettiest."

Mr. Werner has a monkey and a pet dog. The monkey is called Captain. He
wears a hat with a feather in it. The name of the pet dog is Grip. He is
fat and greedy; and, if he sees a boy with a cake, he begs for a piece
of it; indeed, he wouldn't object to the whole of it. I wonder if you
can spy out Grip and the Captain in the picture.

But Dandy makes more fun for us than all the rest. "Now, Dandy," Mr.
Werner will say, "make your most stunning bow to the ladies, and then
give us a turn on the light fantastic."

By the "light fantastic," Mr. Werner means "the light fantastic toe." He
has made this joke so many times, that we know what he means by it.

Thus encouraged, Dandy will bow, raise himself on one of his hind-feet,
and whirl round in a _pirouette_. (If you do not know what a _pirouette_
is, you must get some one to explain and pronounce the word for you.)

You would laugh to see Dandy imitate the great dancers. Though he can
hardly be called graceful, he is very amusing; and we children willingly
pay for the sight a cent each when the Captain passes round the hat.

Mr. Werner thinks of taking Dandy to other towns to show off his
accomplishments. If you should ever see him, I hope you will treat him
well for my sake. I am the boy in the picture with a slate under his
arm; and my name is

                                                    RICHARD ROE.




LITTLE MISCHIEF.


IV.

BESSIE went to pass a week with her Aunt Clara and Uncle Frank. Uncle
Frank was a portrait-painter. One day Bessie took her doll Cornelia, and
went into his studio.

[Illustration]

On the easel stood a portrait. Bessie looked at it, and thought it must
be a likeness of her friend Col. Fraser. "But," said she, "the mustache
is too faint: it wants paint."

Then she remembered hearing her uncle say that he had more work than he
could attend to. "What if I do a little work for him, and so give him a
surprise!" thought she.


V.

"Uncle Frank, when he is by, never lets me touch his paints," said
Bessie to herself; "but that must be because he does not know how clever
I am. Nothing can be easier to paint than a mustache. It is only a
number of hairs."

[Illustration]

So Bessie climbed up into her uncle's chair, and took one of his long
brushes in her hand. Then she looked at the colors on the palette, and
tried to mix the blue and red as she had seen Uncle Frank do.

The long brush was hard to manage. However, she remembered the rhyme,
"Try, try, try again;" and she worked away until she thought she had got
the tint.


VI.

At last Bessie was ready to begin her great work. So, standing on
tiptoe, she applied the brush to the upper-lip. She was determined,
while she was about it, to give Col. Fraser a thoroughly good mustache,
long and thick.

[Illustration]

Now and then she would step back a little way, and consider the picture
from a distance, as she had seen her uncle do. She was well pleased with
her work. It was certainly a great improvement: so Bessie thought.

At last she laid down her brush. She felt quite charmed with her
success, and picked up her doll off the floor, that she might see how
well her little mamma could paint.


VII.

"It is beautiful! Is it not, Cornelia?" she said, as she threw herself
back in the chair. "Uncle will never say again that I cannot paint.
Perhaps it is more blue than Col. Fraser's mustache; but it is all the
prettier for that."

[Illustration]

Bessie remembered, too, that her mamma had once read to her a story
about a man with a blue beard. "So people _do_ have blue mustaches
sometimes," thought she.

What did Uncle Frank say when he saw what she had done? I am sorry to
say he did not agree with Bessie that the picture was improved. At first
he was vexed; then he laughed; then he gave Bessie a kiss.

[Illustration]




TOO MANY PRESENTS.


DID you ever hear of the boy who had a drum and a trumpet and a
rocking-horse for his Christmas presents, and cried, after all, because
Santa Claus had given his sister a doll, and hadn't given him one?

I have heard of that boy; but, to tell the truth, I doubt the whole
story. It is a little too tough for me. I don't believe there ever was
such a boy; and I won't believe in him until I see him.

But I did know a little boy who _almost_ cried because he had _no_
Christmas present. He was a good boy too. He would have been pleased
with any thing; and it was too bad that Santa Claus forgot to bring some
little gift for him.

The queerest case, though, is that of the little boy whose picture we
have here. You see him just as he looked on Christmas morning, with his
presents all around him; and yet you see he does not look happy. What
can be the matter with the child?

Ah! the trouble is, that he has too many presents. He has so many that
he doesn't know what to do with them. He doesn't know which to play with
first. He is afraid all the time that some of them will get lost. And
so, by trying to enjoy them all at once, he fails to enjoy them at all.

Poor boy! he is having a hard time of it, and I pity him very much. If I
were going to prescribe for him, this is what I should say, "Tom, my
boy" (I know by his looks that his name is Tom), "don't be cast down.
I'll show you the way out of your trouble. Your case is pretty bad; but
there's a remedy. What you want to do is to _give away_ something.

"Now, there's that doll that you are hugging so closely. What does a boy
like you want of a doll? That must have been meant for some little girl.
It was sent to you on purpose to give away. Of course it was.

"Then there are those two wagons. You don't want both of them. You know
you don't. Find the boy who hadn't any Christmas presents, and give one
of the wagons to him. Let that wooden soldier go with it; for what do
you want of a soldier, when you have a gun of your own?

"And what if you should give away something that you do want very much;
why, it wouldn't hurt you a bit: you would feel all the better for it.
Just try now, Tom, and see if you wouldn't."

Perhaps the little boy would take my advice; and perhaps he wouldn't,
but, if he should, I'm sure he would make a much more cheerful picture
than he does now.

                                                      UNCLE SAM.

[Illustration]

[Illustration]




THE DOG AND THE SHADOW.


A DOG, crossing a bridge with a piece of meat in his mouth, saw in the
water what he took to be another dog, with a piece of meat twice the
size of his own. Letting go his own, he flew at the other dog to get the
larger piece from him. He thus lost both,--that which he grasped at in
the water, because it was a shadow; and his own, because the stream
swept it away.

[Illustration: Music]




JACK & GILL

Old Nursery Rhyme extended.

Music by T. CRAMPTON.


        VOICE

        AND

        PIANO

        1. Jack and Jill went up the hill
             To fetch a pail of water;
           Jack fell down and broke his crown,
             And Jill came tumbling after.
           Jack got up and said to Jill--
              As in his arms he caught her--
           "If you're not hurt, wipe off the dirt,
             And then we'll fetch the water."

        2. Jack and Jill went round the hill
             To tend the geese and gander,
           But strolled away to sport and play,
             And left the geese to wander:
           A fox came down and pounced on one,
             And stole it for his dinner.
           While Jill and Jack came running back,
             But Foxy was the winner.

        3. Jack and Jill went down the hill
             To scare away the crows there:
           Jack fired his gun, and soon killed one,
             But blew off his own nose there.
           Says Jill, "Good luck, my darling Jack!
             I'll go and fetch your master;
           And don't suppose you've lost your nose,
             We'll stick it on with plaster."

       *       *       *       *       *

Transcriber's Notes:

Obvious punctuation errors repaired.

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 first six months of 1873. The remaining text of the table of
contents can be found in the other issues.






End of Project Gutenberg's The Nursery, February 1873, Vol. XIII., by Various

*** END OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, FEBRUARY 1873 ***

***** This file should be named 24475.txt or 24475.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/2/4/4/7/24475/

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
[email protected].  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
     [email protected]


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.