The Nursery, July 1881, Vol. XXX

By Various

The Project Gutenberg EBook of The Nursery, July 1881, Vol. XXX, 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, July 1881, Vol. XXX
       A Monthly Magazine for Youngest Readers

Author: Various

Release Date: February 22, 2013 [EBook #42156]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, JULY 1881, VOL. XXX ***




Produced by Emmy, Juliet Sutherland and the Online
Distributed Proofreading Team at http://www.pgdp.net Music
transcribed by Veronika Redfern.












THE

NURSERY

_A Monthly Magazine_

FOR YOUNGEST READERS.

VOLUME XXX.--No. 1.

    BOSTON:
    THE NURSERY PUBLISHING COMPANY,
    NO. 36 BROMFIELD STREET.
    1881.




    Entered according to act of Congress, in the year 1881, by
    THE NURSERY PUBLISHING COMPANY,
    In the Office of the Librarian of Congress at Washington.

[Illustration: JOHN WILSON & SON UNIVERSITY PRESS]




[Illustration: Contents.]


IN PROSE.

                                                PAGE
    Hide and Seek                                193
    Flowers for Mamma                            195
    Outwitted                                    197
    Zip Coon                                     199
    The Fuss in the Poultry-Yard                 201
    Our Charley                                  206
    Drawing-Lesson                               209
    More about "Parley-voo"                      210
    The old Pump                                 214
    Winter on Lake Constance                     215
    Swan-upping                                  216
    The Man in the Moon                          219
    The Boy and the Cat                          220


IN VERSE.

    Hammock Song                                 196
    Rosie and the Pigs                           198
    What's up                                    203
    Minding Mother                               204
    Peet-Weet                                    207
    Baby's Ride                                  212
    Baby-Brother                                 222
    Under Green Leaves (_with music_)            224

[Illustration]




[Illustration: HIDE AND SEEK.

VOL. XXX.--NO. 1.]




HIDE-AND-SEEK.


WHERE is Charley? Where can the boy have gone? Just now he was here by
my side. Now he is out of my sight. I will call him. 'Charley, Charley,
my boy! where are you?'

"No answer. Hark! I hear a noise up in that tree. Can that be Charley?
Oh, no! It is a bird. 'Little bird, have you seen a small boy with curly
hair? Tell me where to look for him.'

"The bird will not tell me. I must ask the squirrel. 'Squirrel, have you
seen a boy with rosy cheeks?' Away goes the squirrel into a hole without
saying a word.

"Ah! there goes a butterfly. I will ask him. 'Butterfly, have you seen a
boy, with black eyes, rosy cheeks, and curly hair?' The butterfly lights
on a bush. Now he flies again. Now he is off without making any reply.

"Dear me! what shall I do? Is my little boy lost in the woods? Must I go
home without him? Oh, how can I live without my boy!"

Out pops a laughing face from the bushes.

"Here I am, mamma!" says Charley. "Don't cry. Here I am close by you."

"Why, so you are. Come out here, you little rogue, and tell me where you
have been all this time."

"I have been right behind this tree, and I heard every word you said,"
says Charley.

"What a joke that was! Why, Charley, you must have kept still for as
much as three minutes. I never knew you to do that before."

                                                 IDA FAY.




[Illustration]




FLOWERS FOR MAMMA.


OUR readers will remember a picture of this same little girl as she was
taking her doll to ride. While Dolly was taking her nap, Grace ran into
the garden again. She flitted about among the flowers, as busy as a bee,
for a few minutes. Then she came running into the house. The picture
shows what she brought back to her mamma.

                                                    JANE OLIVER.




[Illustration]




HAMMOCK SONG.


    HEIGH-HO, to and fro!
    How the merry breezes blow!

    Blue skies, blue eyes,
    Baby, bees, and butterflies,

    Daisies growing everywhere,
    Breath of roses in the air!

    Dollie Dimple, swing away,
    Baby darling, at your play.

                 MARY D. BRINE.




OUTWITTED.


ONE fine summer day a very hungry fox sallied out in search of his
dinner. After a while his eye rested on a young rooster, which he
thought would make a very good meal: so he lay down under a wall and hid
himself in the high grass, intending to wait until the rooster got near
enough, and then to spring on him, and carry him off.

Suddenly, however, the rooster saw him and flew, in a great fright, to
the top of the wall.

The fox could not get him there, and he knew it: so he came out from his
hiding-place, and addressed the rooster thus: "Dear me!" he cried, "how
handsomely you are dressed! I came to invite your magnificence to a
grand christening feast. The duck and the goose have promised to come,
and the turkey, though slightly ill, will try to come also.

[Illustration]

"You see that only those of rank are bidden to this feast, and we beg
you to adorn it with your splendid talent for music. We are to have the
most delicate little cock-chafers served up on toast, a delicious salad
of earthworms, in fact all manner of good things. Will you not return
then with me to my house?"

"Oh ho!" said the rooster, "how kind you are! What fine stories you
tell! Still I think it safest to decline your kind invitation. I am
sorry not to go to that splendid feast; but I cannot leave my wife, for
she is sitting on seven new eggs. Good-by! I hope you will relish those
earthworms. Don't come too near me, or I will crow for the dogs.
Good-by!"

                                           LEONORA, from the German.




[Illustration]




ROSIE AND THE PIGS.


    ROSIE was breakfasting out on the grass
    When two pigs, on a walking tour, happened to pass.
    One pig, with rude manners, came boldly in front,
    And first gave a stare, and then gave a grunt,
    As much as to say, "What is that you have got?
    Just give us a taste, my dear, out of your pot!"

                                             T.




[Illustration]




ZIP COON.


DID you ever see a raccoon? I am going to tell you about one that was
sent from the South as a present to a lady whose name was Isabella. He
was called Zip Coon, and a very wise coon he was.

Zip had a long, low body, covered with stiff yellowish hair. His nose
was pointed, and his eyes were bright as buttons. His paws were regular
little hands, and he used them just like hands.

He was very tame. He would climb up on Isabella's chair, and scramble to
her shoulder. Then he would comb her hair with his fingers, pick at her
ear-rings, and feel of her collar and pin and buttons.

Isabella's mother was quite ill, but sometimes was able to sit in her
chair and eat her dinner from a tray on her lap. She liked to have Zip
in her room; but, if left alone with her, Zip would jump up in the
chair behind her, and try to crowd her off. He would reach around, too,
under her arm, and steal things from her tray.

Once the cook in the kitchen heard a brisk rattling of tin pans in the
pantry. She opened the door, and there, on a shelf, was Zip. There were
two pans standing side by side. One had Indian-meal in it, and the other
nice sweet milk. In front of the pans stood Zippy.

He had scooped the meal from one pan into the milk in the other pan, and
was stirring up a pudding with all his might. He looked over his
shoulder when he heard the cook coming up behind him, and worked away
all the faster, as if to get the pudding done before he was snatched up,
and put out of the pantry.

Zip was very neat and clean. He loved to have a bowl of water and piece
of soap set down for his own use. He would take the soap in his hands,
dip it into the water, and rub it between his palms; then he would reach
all around his body, and wash himself. It was very funny to see him
reach way around, and wash his back.

One day, Isabella, not feeling well, was lying on her bed. Zippy was
playing around her in his usual way. Pretty soon he ran under the bed,
and was busy a long while reaching up, and pulling and picking at the
slats over his head. By and by he crawled out; and what do you think he
had between his teeth? A pretty little red coral ear-ring that Isabella
had lost several weeks before. Zip's bright eyes had spied it as he was
playing around under the bed. So you see Zip Coon did some good that
time.

When Zip grew older, he became so cross and snappish, that he had to be
chained up in the woodshed in front of his little house. On the door of
his house was printed in red letters, "Zip Coon: he bites."

                                                HELEN MARR.




[Illustration]




THE FUSS IN THE POULTRY-YARD.


THERE is no sign of a fuss to be seen in the picture. Little Ellen is
feeding a quiet old hen, and two or three younger ones are slowly coming
up to see what is going on. All is calm and serene.

But if we could look round a corner, and take a view of the other side
of the barnyard, we should see something quite exciting.

The trouble was made by three hens of foreign breed. They felt so proud
because they had big tufts on their heads, that they looked down on the
native barn-yard fowls. One old white hen they never cease to pick upon.

Now, the old white hen, although plain, was very smart. If there was a
good fat worm to be found anywhere, she was sure to scratch it up. This
was what caused the fuss.

Old Whitey scratched up a worm. Three tufted hens at once tried to take
it away from her. There was a chase all around the barnyard. Old Whitey,
with the worm in her mouth, kept the lead.

Out she dashed through an opening in the fence. Down she went, down the
hill back of the barn. The three tufted hens, like three highwaymen,
were close upon her.

Well, what was the end of it? They didn't get the worm; I can tell you
that. But there was a fight, and I can't say that poor Whitey got off
without being badly pecked.

                                                UNCLE CHARLES.

[Illustration]




WHAT'S UP?


[Illustration]

[Illustration]

    WHY does Miss Prim;
    So stylish and slim,
    Hold up her head so high?
    What does she see?
    A bird in the tree?
    Or is it a star in the sky?

    And here is young Jane
    In bonnet so plain:
    And why is she looking up too?
    Do they seek at high noon
    For the man in the moon?
    Now, really, I wish that I knew?

                               V. W.




[Illustration]




MINDING MOTHER.


      "OROOK, orook, orook!"
    It is the half-grown turkeys going,
      In the hot sunshine, through the fields;
    Their black feet trampling down the mowing.
      Across the clover rosy red,
    Through the tall brake-leaves in the hollow,
      The old hen-turkey, calling, goes;
    And close behind the others follow.
      "Old birds know best," the young ones say,
      "And we let mother choose the way."

    The dancing oats, all tasselled green,
      Are full of grasshoppers and crickets;
    The raspberry-bushes, red with fruit,
      Grow round the rocks in thorny thickets;
    The partridge-plants beside the wall
      Lift up their clustered purple berries;
      And from the wind-stirred branches fall
    Upon the grass the small wild cherries:
      Just where they are the old hen knows,
      And all her noisy brood she shows.

      Why feast all day?--the trodden oats
    Will scarce be worth the mowing;--
      "'Tis time," the old bird says, "at last
    We home again were going."
      Back through the clover-bloom she strides,
    Down through the braky hollow:
      She flies up on the fence to roost,
    And all the others follow.
      "We always have," the young ones say,
      "When mother leads, a pleasant day."

                             MARIAN DOUGLAS.

[Illustration]




OUR CHARLEY.


CHARLEY was our horse, and a more gentle and kind horse never drew a
carriage. He would carry four boys on his back, and walk off from the
watering-trough to the barn as carefully as if he knew that small boys
could not hold on very well. He seemed to feel that the boys were in his
charge.

What I am going to tell happened one spring day. It was warm and
beautiful out, and the doors and windows of the house were left open for
the fresh air to circulate freely. Charley was turned into the
front-yard to nibble the green grass for a while. It must have seemed
good to him after eating straw and hay all winter.

He ate and ate until he had eaten all he wanted, and probably felt as
boys and girls sometimes do when they have room for nothing more, except
pie, or pudding, or whatever the dessert may be.

In the house dinner was over, and the table was waiting for Katy to come
from the kitchen to clear it off. The family had gone into the
sitting-room, and were busy talking about a ramble in the woods for
flowers, which had been promised us children for that afternoon.

All at once we heard the tramp of heavy feet passing through the hall
into the dining-room. "Run, Willy," said mother, "and see what is making
such a noise."

Willy ran out, and came back laughing so he could hardly speak. "It's
old Charley," said he. "He's in the dining-room." We all rushed to the
door, and, sure enough, there stood Charley by the table, eating what he
could find on the platters and children's plates.

Oh, how we all laughed to see him standing there, as sober as if it were
his own stall and manger! We were willing that Charley should have what
we had left; but it seemed hardly right that a horse should be in the
house; besides, we feared that he might push the dishes off.

So Willy took him by the mane, and led him out of the house. He went off
chewing what he had in his mouth, and nodding his head, as much as to
say, "That pie-crust and salt are pretty good. If you please, I'll call
again."

                                                    N. T. B.




[Illustration]




PEET-WEET.[A]


    SIR PEET-WEET and his little wife
      Live, yonder by the water's edge,
    A merry life, a busy life,
    A life of love, and not of strife,
      Close nestled in the sandy sedge,
    Where the great hungry billows gnaw:
      A fairy creature is Sir Peet;
    Such slender legs you never saw,
    Not larger than a barley-straw;
      Yet wind and wave are not so fleet.

    While madam sits upon her eggs,--
      Four spotted eggs, a pair for each,--
    He loves to match his nimble legs
    Against the breaker as it drags
      The sand-drift up and down the beach.
    So fast behind the wave he trips,
      You hardly see his little feet;
    Below him, in the wet sand, slips
    His picture, and their toes touch tips,
      And their pink bills in kissing meet.

    To see them chasing, you would say
      The giant Ocean and his pet
    Were let out for a holiday,
    Playing at "tag" as children play,
      And laughing at the fun they get.
    'Tis more than fun; the big bluff sea
      To his small friend brings savory meat:
    Peet dines, and hurries, full of glee,
    To set his faithful lady free,
      That she may run and dance and eat.

                          GEORGE S. BURLEIGH.

[Illustration]

FOOTNOTES:

[A] Peet-weet is the common name of the spotted Sandpiper, derived from
its note.




[Illustration: DRAWING-LESSON.

VOL. XXX.--NO. 1.]




MORE ABOUT "PARLEY-VOO."


HOW a little boy came to be called by such a queer nickname as
"Parley-voo" was told in the March number of "The Nursery." This is a
story about the same boy.

"Where's Parley-voo?" asked aunt Tib one afternoon. "I haven't seen him
for a long time."

"Where can he be?" said mamma, looking concerned.

"Where _can_ he be?" echoed the French nurse, throwing down her sewing,
and going in search of him. "Where can he be? _Le méchant!_" (She meant
"The naughty little boy.") Then she ran down the walk, calling out,
"Parley-voo, Parley-voo, Parley-voo!" But not a sound came back.

She went down the lane to the house of the tailoress, where Parley-voo
had sometimes been known to go. "Have you seen our little boy to-day?"
she asked anxiously of the tailoress, who sat at the window, making a
vest.

The tailoress looked up over her glasses, and laughed. "Why, yes: he's
here," said she; "and I don't know what his mother will say when she
sees him."

The nurse went up to the window, and looked in. There sat Parley-voo on
a little wooden cricket, and ever so much of his bright, pretty hair--as
much as he could get at--lay on the floor beside him.

When Parley-voo saw the nurse, he ran into a corner, and hid his face.
The poor nurse was so amazed, that she could hardly speak. How came the
child in such a plight?

The tailoress told the story as follows. She had gone out to pick some
peas in the garden, leaving her husband, a blind man, in the room with
Parley-voo. He heard the little boy about the room, and, fearing that he
might be in some mischief, told him that he "must not meddle."

But pretty soon the blind man heard the sound of shears going across the
table. Parley-voo was certainly doing something with the shears.

"Little boy, you must not meddle," said the blind man again. The noise
stopped. "Ah! the boy does not dare to disobey me," thought the blind
man.

[Illustration]

All of a sudden the noise began again; but it was a very different
noise. It was not on the table. The shears went together every little
while with a sharp click.

The blind man felt very uneasy. "I do wish," he thought, "my wife would
come in and see what the little chap is up to."

To console himself, the blind man opened his snuff-box and took a pinch
of snuff. What do you think the little chap did? He slyly put in his
finger and thumb, and took a pinch too. And then how he did sneeze!

The tailoress heard him sneeze, and came in. She saw at once what had
been going on. Parley-voo had been cutting his hair.

"Oh, my!" exclaimed mamma, when the nurse brought him home.

"Dear, dear!" cried aunt Tib, "what a looking child!"

Then the _bonne_ told where she found him, and they looked at his hair,
and talked so much about it, that Parley-voo wished he could sink
through the floor out of sight. And he thought to himself that he would
never again touch any thing he had been told not to.

The nurse took him up to the nursery, and dressed him all fresh and nice
before his father came home. But the pretty yellow hair was two or three
months growing out.

                                                 ELIZABETH A. DAVIS.




BABY'S RIDE.


    CLEAR the way all, move the playthings aside,
    Baby is having a glorious ride:
    See! from the hall he comes galloping in,
    Dimpled hands folded beneath papa's chin.

    Golden curls flying, fat cheeks all aglow,
    Three pearly teeth peeping out in a row:
    Hark! how he crows, and laughs out in his glee!
    Never was baby more happy than he.

[Illustration]

    Now he goes trotting along to the town,
    Far away, far away, up hill and down;
    Back to mamma then as quick as he can,
    There's a good ride for papa's little man!

                                     RUTH REVERE.




THE OLD PUMP.


THIS is the pump that stands in the field near our house. The well is
very deep, and the water is pure and cold. There is a trough at which
the cows and horses often come to drink.

[Illustration]

Bridget goes to the pump two or three times a day to get a pail of
water. It is quite a task to bring it so far. But Bridget's arms are
quite strong. She takes all the care of the hens and cows and pigs.

[Illustration]

                                                T. S. R.




[Illustration]




WINTER ON LAKE CONSTANCE.


THE Lake of Constance, which lies between Switzerland and Germany, is
seldom frozen over. The last time it was frozen was in December, 1879.
Before that, it had not been frozen over since 1829.

People came from far and near to see it and to skate on it. The lake was
black with skaters who were gliding over its surface.

Men, women, and children alike shared the fun. There had not been such
skating before for fifty years, and it is no wonder that they made the
most of it while it lasted.

In January a warm wind blew for two days: the huge masses of snow
melted, and the little brooks were once more set running down the
mountain-sides. But winter was soon back again with redoubled severity,
bringing fresh snow and severer frost, and thus keeping the lake frozen.

On Candlemas Day (the second day of February) there was a grand festival
on the ice. The peasants came from far and near. There were thousands of
them there. In the evening there was a grand illumination, and after
that there were fireworks, and then a dance on the ice.

In summer the water of Lake Constance is of a dark green color. The
River Rhine enters it at the western end, and flows out at the eastern
end. The lake is about forty-four miles long and nine miles wide.

The view of the frozen lake from the mountains is said to have been very
fine. As you looked down on its smooth glittering surface, the skaters
moving over it appeared like mere specks, while the houses in the
village were like doll-houses.

                                            LEONORA, from the German.




SWAN-UPPING.


HERE we have a picture that tells its own story. It reminds me of some
swans in my native island, England, and of a curious custom called
"swan-upping."

Some miles from London, on one of the most beautiful parts of the River
Thames, a great number of swans are kept, which are owned by the Dyers'
and Vintners' Companies.

The owners value them so highly, and take such care of them, that they
have about as nice a time as any birds could wish to have. I fancy that
these Thames swans hold their heads higher, and feel prouder, than any
other swans in England.

[Illustration]

They build their nests in the osier-beds, by the side of the river, but
out of the reach of the water. These nests are compact, handsome
structures, formed of osiers, or reeds.

Every pair of swans has its own walk, or district, within which no
other swans are permitted to build. Every pair has a keeper appointed to
take the entire charge of them.

The keeper receives a small sum for every cygnet that is reared; and it
is his duty to see that the nest is not disturbed. Sometimes he helps
these lordly birds by building the foundation of the nest for them.

Once a year, in August, the swans are counted and marked. This is called
"swan-upping," and a good time it used to be. In gayly decorated barges,
with flags flying, and music playing, the city authorities came up the
river to take up the swans and mark them.

[Illustration]

The "upping" began on the first Monday after St. Peter's Day. But,
before the swans could be taken up, they had to be caught. This was no
easy matter; for the swans are strong; and often they would lead the
uppers a hard chase among the crooks of the river.

The mark of the Vintners' Company is two nicks: hence came the
well-known sign on so many inns in England, "The Swan with Two Necks," a
corruption from "two nicks."

These "Thames swans" are very beautiful birds, and well worth a trip up
the river to see: so I hope, that, if ever the little readers of "The
Nursery" take a trip to England, they will visit Hurley in Bucks, and
there they will find "The Swans with Two Nicks."

                                                      B. P.




THE MAN IN THE MOON.


I KNOW two children,--a little girl named Helen, and a little boy named
Lewis. Sometimes in the evening, after tea, they come to me, and say,
"Papa, will you be the man in the moon and take us all a-sailing?"

Then I get into the rocking-chair, take Helen on one knee and Lewis on
the other, and as they lean on my breast, with their eyes shut, I rock
and talk to them thus:--

"Here we are up in the sky on the moon. Oh, how high we are! Below us
see the clouds blown about like feathers. Here we are safe and sound in
the moon. Look down, and see the trees on the earth. There's where the
birds are going to bed. Do you see that streak that looks like a silver
ribbon? That is a river flowing to the sea. Now we are over the ocean.
You can see our moonlight like great plates of silver all over it. See!
there comes a ship all white. It looks as if it had its nightdress on.

"Here we are over a town. How beautiful the streets look with gas-lamps
burning! And see all the pretty things in the shop-windows. I know what
Helen is looking at. It is the big doll dressed in silk and satin. I
know what Lewis is looking at. He is looking at the ginger-bread.

"Oh! now we are just over a little white house. I can see through the
window a man with two children in his lap. Oh, dear! he's going to do
something dreadful with them."

"What's that?" asks Helen. "Put them to bed," I say. But Lewis says
nothing. He is fast asleep.

                                                HIERONIMUS.




THE BOY AND THE CAT.


SEE this small boy on the kitchen-table. How did he ever get up there
with such little short legs? And what is he looking at?

[Illustration]

He is looking out of the window. He sees a cat on the sill outside. It
is an old strange cat.

The little boy is fond of kittens; but he does not like cats. He is not
polite to the strange cat.

"What do you want here?" he says. "Why do you stare at me so? Do you
want to eat me? I'm not a mouse. Go away!"

The cat answers with one word, "Mew!"

"What do you say?" asks the boy. "Are you cold? Do you want to come in?
Do you want some milk?"

And all that the cat says is, "Mew!"

"Go away!" says the boy again. "My mother does not like strange cats. I
do not like strange cats. If you are hungry, go and catch a rat. You
can't come in here."

[Illustration]

The cat does not budge an inch. But still she answers with a pitiful
"Mew!"

Cats cannot talk; but they can think. This cat looks in at the window
and sees the boy. This is what she thinks.

"That boy looks like a boy that I knew when I was a kitten. I was a pet
then. Now I am a cat without any home. Nobody cares for me. I go from
house to house; but nobody takes me in. I wonder if I can't make that
little boy take pity on me. I will try.

"Ah! he treats me like everybody else. He tells me to go away. Pretty
soon he will say, 'Scat!' and throw water on me. No: he will not do
that. He is so much like the little boy who used to pet me when I was a
kitten, that I will not run away from him. I will beg to be let in."

So the cat sat still and said, "Mew!"

[Illustration]

And the cat did not make a mistake. The little boy did take pity on her
at last. He toddled off to his mother as fast as his legs would carry
him, and got a pan of milk, which he set on the floor.

His mother opened the window for him, and the strange cat came in. How
eagerly she lapped up the milk! She was really a very nice cat. The
little boy soon began to make a pet of her.

And the cat was happy, and the boy was happy; and I don't know which was
the happier of the two.

                                                UNCLE SAM.




BABY-BROTHER.


    THIS is my baby-brother,
    Just one year old to-day:
    He cannot talk, he cannot walk;
    But he can laugh and play!

[Illustration]

    Step out now, baby-brother,
      And use your feet so small;
    Oh, never fear! while I am here,
      You shall not have a fall.

                            W. G.




UNDER GREEN LEAVES.

Words by IDA FAY.

Music by T. CRAMPTON.


[Illustration: Music]

    1. The birdies are merrily singing;
       And Minnie is merrily swinging;
       And Minnie is merrily swinging;
           Safe from the forest tree, . . .
           Hangs the swing you may see;
       And the breeze a sweet odor is bringing,
           Under green leaves so free.

    2  Hold tight to the ropes, little lady,
    || All round us is pleasant and shady; ||
           And now we will not go,
           Where the sun scorches so,
       But will stay in the grove, little lady,
         Where the cool streamlets flow.

    3  You sit the swing well I am thinking,
    || Your eyes, as you rise, never blinking; ||
           You're brave, you little girl,
           But your hair's out of curl;
       Very soon at the glass you'll be prinking;
           Smoothing each glossy curl.

       *       *       *       *       *

Transcriber's Notes: Obvious punctuation errors repaired.

The original text for the July issue had a table of contents that
spanned six issues. This was divided amongst those issues.

Additionally, only the July issue had a title page. This page was
copied for the remaining five issues. Each issue had the number added on
the title page after the Volume number.





End of Project Gutenberg's The Nursery, July 1881, Vol. XXX, by Various

*** END OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, JULY 1881, VOL. XXX ***

***** This file should be named 42156-8.txt or 42156-8.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/4/2/1/5/42156/

Produced by Emmy, Juliet Sutherland and the Online
Distributed Proofreading Team at http://www.pgdp.net Music
transcribed by Veronika Redfern.


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
  www.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 1.F.3.  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 MERCHANTABILITY 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 information page at www.gutenberg.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.  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
contact links and up to date contact information can be found at the
Foundation's web site and official page at www.gutenberg.org/contact

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 www.gutenberg.org/donate

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:  www.gutenberg.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For forty 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:

     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.