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

    Author: Various

    Release Date: February 22, 2013 [EBook #42157]

    Language: English

    Character set encoding: ISO-8859-1

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

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

[i]

# THE
NURSERY

## A Monthly Magazine
For Youngest Readers.

VOLUME XXX.—No. 2.
BOSTON:
THE NURSERY PUBLISHING COMPANY,
No. 36 Bromfield Street.
1881.

[ii]

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.

[iii]

### IN PROSE.
| PAGE
The Young Fisherman | 225
A slight Mistake | 227
Two Games | 231
More about "Zip Coon" | 232
Sam and his Goats | 234
Mary's Squirrel | 240
Drawing-Lesson | 241
The Chimney-sweep | 244
Billy and Bruiser | 246
"If I were only a King" | 248
Use before Beauty | 249
Ten Minutes with Johnny | 251
A Cat Story | 252
Tom's Apple | 254
### IN VERSE.
The Hen-Yard Door | 228
Toy-Land | 238
A Turtle Show | 242
Two Little Maidens | 247
Summer Rambles | 250
See-Saw (with music) | 256

[225]

# THE YOUNG FISHERMAN.

HEN Charley was eight years old, his father gave him, for a birthday present, a nice fishing-line.

The little boy was greatly pleased. He had fished often in a tub of water with a pin-hook; but now, for the first time, he had a real fishing-line and pole, and was able to go a-fishing in earnest.

[226]

The very first pleasant day, he got leave from his father to go to the pond and try his luck.

"Be sure to bring home a good mess of fish, Charley," said his father.

"Oh, yes! papa," said Charley, and with his fishing-pole on his shoulder out he went.

What fun it was! First he dug some worms for bait; then he baited his hook nicely; then he took his stand on a little platform, made on purpose for the use of fishermen, and threw out his hook.

There he stood, in the shade of the old willow-tree, and waited for the fish to bite. As he looked down into the calm, clear water, he saw a boy, just about his own size, looking up at him. He had no other company.

He kept close watch of the pretty painted cork, expecting every moment to see it go under water. But for a long, long time it floated almost without motion.

Charley's patience began to give out. "I don't believe there are any fish here," thought he. Just then the cork dipped a little on one side. Then it stopped. Then it dipped again.

"Hurrah!" said Charley, and he pulled up the line with a jerk. Was there a fish on it? Not a bit of one. But the bait was all gone.

"Never mind!" said Charley, "I'll catch him next time." He baited the hook, and threw it out again. The sport was getting exciting.

Pretty soon the cork bobbed under, as before. "Now I have him!" said Charley. He pulled up once more, and this time with such a jerk that he tossed the hook right over his head, and it caught in the weeds behind him. But there was no fish on it.

"The third time never fails," said Charley, as he threw[227] out his line again. He waited now until the cork was pulled clear under water; then he lifted it out, without too much haste, and, sure enough, he had caught a fish.

How long do you suppose it had taken him to do it? Pretty nearly all the forenoon. No matter! he had one fish to carry home, and he had had a real good time besides.

Charley has caught many a mess of fish since then; but I doubt if he has ever enjoyed the sport more than he did in catching that one fish.

UNCLE SAM.

## A SLIGHT MISTAKE.

A donkey walking with a lion, fancied himself a lion also, and pretended not to know his own brother.

[228]

## THE HEN-YARD DOOR.

When careless Tommy fed the fowls,
He did not shut the door;
Out came the rooster and the hens;
Out came the pullets four;
Out came old Speckle-wings, with six
Bewitching little Bantam chicks.
At once the hens began to cluck,
The cock began to crow,
And here and there, and everywhere,
[229]They seemed possessed to go;
They pecked the turnips; in a patch
Of spinach they began to scratch:
And when to drive them in we tried
They straightway to our neighbors hied.
Upon our right, a new-made lawn
Was just with grass-seed sown;
Upon our left, a garden-plot
With pinks and lilies shone.
In rushed our right-hand neighbor's son,
With flaming face, and said,
"'Shut up your hens,' my father says,
Or he will shoot them dead."
Our left-hand neighbor wrote a note,—
"I all the spring have toiled
To rear the lovely flowers I find
[230]Your roving fowls have spoiled."
To get them home, the livelong day
We tried, till evening gathered gray:
Then back to roost returned the cock,
But some were missing from his flock.
Four hens were with him; where were two?
Perhaps our right-hand neighbor knew!
Back came the pullets, having fed
On dainty pinks, and roses red;
Back came old Speckle; of her six
The cat had caught three little chicks.
We shut the door, and made it fast;
We all were glad the day was past:
We'd lost our hens, and lost our friends;
Our neighbors smile no more;
And all because our careless Tom
Forgot to shut the door!
MARIAN DOUGLAS.

[231]

## TWO GAMES.

Here is a boy, full ten years old, playing with a peg-top. What a sight! He might find some better game, I should think. Why is he not out of doors playing baseball? He is big enough to use his arms and legs?

This girl could teach him a much better game than peg-top. She is out on the lawn, all ready to play croquet. She will have fun and fresh air at the same time. Those are two things that all girls and boys need.

C. B. A.

[232]

## MORE ABOUT "ZIP COON."

IP COON: he bites!" This is what I told you was printed in large red letters on the door of Zip's house, after he had grown so cross and snappish that he had to be chained up in the wood-shed.

A big countryman came one day with a load of potatoes. Zippy was inside his house, pretending to take a nap. The man saw the printed letters on the little door, and said to himself, "Zip Coon! where is he? I'd like to see him." So he stooped down, and thrust his hand into the house.

You know you can never catch a coon asleep any more than you can a weasel. Zippy's bright little eyes were wide open: so, when the countryman's big hand came bouncing in at the door, Zip, quick as lightning, seized it in his teeth, and gave it a terribly hard bite.

"Goodness, gracious sakes!" cried the man, pulling out his bleeding hand. "What surprisin' chaps them coons be!" He hadn't seen Zippy; but he felt enough of him: so he hurried down cellar with his potatoes, and when he came back had the empty bag wound about his smarting hand.

Zip Coon was very fond of raw eggs. He would take one up in both his hands, and pound it down hard on the wood-house floor. This would crack the shell. Then he would turn the egg around, hold it to his mouth, and suck the inside out, just as you would suck an orange. After he had sucked the shell clean, he would put one little hand inside, scrape the empty shell, and then lick his fingers so as to eat every bit of the egg-meat.

One day, Isabella's sister Ellen gave Zippy a nice, large, fresh egg. He was very glad to get it, you may be sure, and ate it as I have told you. Then he wanted another,[233] just as you sometimes want another orange. So he took hold of Ellen's hand with one of his hands, and with the other felt way up her sleeve and peeped up with his sharp eyes.

When he found no egg in the sleeve he was angry. He looked up in Ellen's face in a very wicked way, then stooped down and buried his teeth in her wrist. Then he turned and ran into the house, clanking his chain after him.

Zippy was not always so wicked as this, even after he had to be chained up; but he was very mischievous. Once, the[234] servants in the kitchen heard a terrible racket in the wood-house. They went out there and found Zippy on a high shelf where the blacking-brushes were kept. He was throwing the blacking-boxes and brushes down, as fast as he could, and there they lay scattered about the floor. His chain was so long, that he had climbed up on the shelf and was having a good time.

But, after a while, Zip Coon became so fierce that Isabella didn't know what to do with him. She was afraid he would do something terrible to somebody: so she gave him to a man who carried him way off where Isabella and her sisters never saw him any more. And this is all I have to tell you about Zip Coon.

HELEN MARR.

## SAM AND HIS GOATS.

AM was a boy about five years old. He lived in the country, and had a nice little black-and-tan dog, Jack, to play with him. Sam wanted a goat. He thought that if he could only have a goat, he would be perfectly happy.

One day, when Sam was playing in the yard, his papa came driving home from town, with something tied in the bottom of the wagon. When he saw Sam, he stopped the horse and called, "Sam, come here, I have something for you."

Sam ran there as fast as he could, and—what do you think?—papa lifted two little goats out of the wagon, and put them down on the ground. One goat was black and one was white. Sam was so glad he did not know what to to do. He just jumped up and down with delight.

Then the dog Jack came running out to see the goats[235] too; but he did not like them much. He barked at them as hard as he could; but the goats did not mind him at all.

Pretty soon mamma came to see what Sam had. When she saw the goats, she said, "Why, papa, what will become of us if we have two goats on the place?" But she was glad because Sam was glad; and Sam gave his papa about a hundred kisses to thank him for the goats.

For some weeks, the goats ran about the yard, and ate the grass; and Sam gave them water to drink, out of his little pail, and salt to eat, out of his hand. He liked to feel their soft tongues on his hand as they ate the salt. The goats would jump and run and play, and Sam thought it was fine fun to run and play with them. Jack would run too, and bark all the time.

But by and by Sam began to get tired of his goats, and his mamma was more tired of them than Sam was. They ate the tops off of her nice rose-bushes; they ran over her flower-beds; and one day, when the door was open, one of them ran into the parlor and jumped up on the best sofa.

Mamma said this would never do: so the next day papa found a man who said he would give Sam fifty cents for the[236] white goat. As Sam wanted to buy a drum, he was glad to sell the goat; and with fifty cents in his pocket he felt very rich.

Then the other goat was put in the orchard, and he liked it there very much. He liked to have Sam come and play with him. As soon as he saw Sam coming, he would run to meet him, and push him with his head, in play, and try to jump on him.

The goat grew very fast,—much faster than Sam did; so that soon he was quite a big goat, while Sam was still a very small boy. He got to be so much stronger that Sam, that Sam was a little afraid of him.

One day, when they were playing, the goat hit Sam with his head, and knocked him down. Sam was scared. He got up, fast as he could, and tried to run to the gate; but the goat ran after him, and Sam had to climb into a tree. It was a nice apple-tree. Sam had often sat up there before, and liked it; but, now that he was forced to sit there, he did not like it at all.

The goat staid at the foot of the tree, and, when Sam tried to come down, he would shake his head at him, as if to say, "Come down if you dare." Sam did not dare. "Oh, dear!" said he, "what shall I do?"

There were some green apples on the tree; and Sam thought, that, if he threw them at the goat, he could drive him away: so he began to pick the apples, and throw them at the goat.

[237]

The first one hit the goat right on his head; but it did not hurt him at all. He just went to where the apple lay, and ate it up; and every time that Sam threw an apple at him the goat would eat it, and then look at Sam, as if to say, "That is good. Give me some more."

At last Sam said, "Oh, you bad, bad goat! I wish you would go away. If you don't go away, I'm afraid I shall cry." Then he thought of Jack, and called, "Here, Jack! Here, Jack!" Jack came running up to see what Sam wanted. Sam said, "At him, Jack! At him, Jack!"

Jack ran at the goat, and barked at him and tried to bite him; but the goat kept turning his head to Jack, so that[238] Jack could not get a chance to bite him. At last the goat got tired of hearing Jack bark, and thought he would give him one hard knock, and drive him away.

So he took a step or two back, and then ran forward, as hard as he could, to hit Jack. But, when his head got to where Jack had been, Jack was not there: he had jumped away. The goat was going so fast, that he could not stop himself, but tumbled over his head, and came down on his back with his legs sticking up in the air.

Sam laughed so hard that he almost fell out of the tree, and Jack was so glad, that he jumped and barked, and tried to bite the goat's legs. At last the goat got up and walked over to the other side of the orchard as far as he could go. Then Sam jumped down out of the tree, and ran to tell his mamma all about it.

MARY DEY.

## TOY-LAND.

And how do you get to Toy-land?
To all little people the joy-land.
Just follow your nose,
And go on tip-toes:
It's only a minute to Toy-land.
And oh! but it's gay in Toy-land,—
This bright, merry girl-and-boy-land;
And woolly dogs white
That never will bite
[239]You'll meet on the highways in Toy-land.
Society's fine in Toy-land;
The dollies all think it a joy-land;
And folks in the ark
Stay out after dark;
And tin soldiers regulate Toy-land.
There's fun all the year in Toy-land:
To sorrow 'twas ever a coy-land;
And steamboats are run,
And steam-cars, for fun:
They're wound up with keys down in Toy-land.
Bold jumping-jacks thrive in Toy-land;
Fine castles adorn this joy-land;
And bright are the dreams,
And sunny the beams,
That gladden the faces in Toy-land.
How long do we live in Toy-land?—
This bright, merry girl-and-boy-land;
A few days, at best,
We stay as a guest,
Then good-by forever to Toy-land!
GEORGE COOPER.

[240]

## MARY'S SQUIRREL.

WANT to tell you about the little squirrel we have. His name is Frisky. He came from New Jersey, and was quite tame when we got him. We thought it would be better to let him out in the fresh air among the trees; so we let him out.

I was away at aunt Lizzie's; but I came home early. Just as Henry and I were going to bed,—Henry is my brother,—the cook called me, and, of course, Henry came after me to see what was the matter.

I could not understand what it was at first; but pretty soon I saw it was Frisky up in one of the trees on our place. Frisky never bites: so it was not much trouble to catch him.

All the servants were there; but they could not catch him, because he did not know them: so I made them stand back, and held out a peanut to him. He came down and ate it; then he trusted me, and came down and ate another. As soon as I got him within reach, I seized him and gave him to William, the gardener, who, while I held the door open, popped him into his cage. I am eight years old, and my name is

MARY WINSOR.

[241]

DRAWING-LESSON.
VOL. XXX.—NO. 2.

[242]

## A TURTLE SHOW.

Down in the pond, where willows grow
Along the shore in a golden row,
Is a single rock with its mossy ridge,
And a log as mossy, resting there
Half in the water, and half in the air,
From shore to islet a beautiful bridge;
And the lily-pads on either side
Might tempt the little green frogs to ride;
And the lily-blooms, so purely made,
Do tempt the little white feet to wade.
What do you think I saw one day
In the month of June, as I passed that way?
Five little turtles, all in a row,
On the top of the log,—a funny show,—
For they carried their houses on their backs,
And tucked their toes out through the cracks
Under the eaves! while their heads and tails
Played hide-and-seek behind the scales.
They had golden dots on every shell;
And they stood so still, and "dressed" so well,
You might think they were called up to spell;
And a "master" turtle, big and brown,
[243]On the top of the rock sat looking down
In a learned way, as you might say
To "put out words,"—and perhaps 'twas so,
Though I heard no word,—but this, I know,
The five little heads looked so very wise
With their little bead eyes, they must have heard
If ever the master pronounced a word.
In school or not, it was getting hot;
And by and by, as the sun rose high,
With the June-like drowsiness it sheds,
They could not keep from going to sleep;
And what do you think they did with their heads?
Swallowed them! Oh, then, laugh, if you will;
[244]But true it is, still:
Into their necks, as a sailor would slide
His spy-glass into its leathern hide,
They slid their five little heads away
From the sight of man and the light of day.
While I stood watching them, still as a mouse,
Pleased at their comical way to keep house,
I heard a terrible splash and croak,
As a great bull-frog leapt up on the log,
In a way to frighten such simple folk.
Five little turtles, quick as a wink,
Into the water slip and sink;
And one big turtle, just as quick,
Off from the log goes down like a brick.
Ah, well! my turtles are not like boys,
They can live in the pond, and they do hate noise!
GEORGE S. BURLEIGH.

## THE CHIMNEY-SWEEP.

ITTLE Mary in the picture is afraid of Jacob, the chimney-sweep. He does look black and ugly; but he is a good boy, for all that, and Mary ought not to be afraid of him.

His parents died when he was very small, and he was bound out to a master, who taught him how to clean chimneys. Jacob did not like the work at first, and was[245] afraid to go up the chimney; but now that he has got used to it, he likes it quite well. He sometimes sings a merry song while he is at work.

Mary's mother has sent for him to come and clean out her chimney; for it is choked up with soot, and she cannot make her fire burn.

Leonora, from the German.

[246]

## BILLY AND BRUISER.

ILLY is a small boy: Bruiser is a big dog. They are great friends. Billy gets on Bruiser's back, and treats him as if he were a horse.

Bruiser takes this as a good joke. He likes to have Billy play with him in this way. But it would not be safe for anybody else to do it.

Bruiser is a grand watch-dog. One day the old dog gave a fierce growl to keep off a butterfly.

He thought the butterfly was going to attack Billy. Billy had a good laugh at this; for, small as he is, he thinks he is a match for a butterfly.

UNCLE CHARLES.

[247]

## TWO LITTLE MAIDENS.

This little maiden is out for a walk, A fair little maiden is she; And I really believe she is having a talk With a bird flying down from a tree. She asks him to tell of his home in the woods; He sings of the summer so gay; While a very tall maiden sits by on the grass, And hears every word that they say. |

F. E. D.

[248]

## "IF I WERE ONLY A KING."

NE fine, warm, summer day, four children were playing together in the garden.

"Oh!" said one of them, "if I were only a king, I would live in a beautiful castle that should reach up to the clouds."

"And I," said another, "would wear nothing but gold and silver clothes."

"If I were one," cried a little boy, "I would do nothing but eat cake and pudding all day long."

"And I," said a little girl, blushing, "would give money to all the poor children I saw, so that they might buy food and clothes."

Which of these children do you think would have made the best ruler?

Leonora, from the German.

[249]

## USE BEFORE BEAUTY.

HE hens and turkeys were scratching for their breakfast in front of the barn-door; while the dog lay lazily looking on. The proud peacock stood on the fence near by, and spread his tail out, that the morning sun might shine on it, and make it still more beautiful.

"Ah!" said the peacock to one of the hens, "do you not wish that you were as handsome as I am? Then you would never have to scratch for your food, but would be fed and taken care of and admired."

"I wish nothing of the kind," said the hen. "There is something which men prize more than beauty, and that is usefulness. If I were as fine and gay as you are, men would miss the eggs I lay."

"That is just my view of the case," said a goose. "If I were not a goose, I should like to be a hen. I would not be a lazy peacock."

"She is quite right," said the dog. "You are very beautiful to look at, Master Peacock, but that is all you are good for. Take comfort in your fine feathers, but don't boast."

Leonora, from the German.

[250]

SUMMER RAMBLES.
Bring the children to the fields,
Where the sheep are straying;
With the birds and butterflies
Let them now be playing,—
In the hollow on the hill,
All the green lawn over,
Through the yellow buttercups,
Down among the clover.
With the sunshine in their hearts,
In their cheeks the roses,
Let them breathe the balmy air,
Let them gather posies.
In the merry month of June,
Summer's fairest weather,
Let the children and the flowers
Bud and bloom together.
ANNA LIVINGSTON.

[251]

## TEN MINUTES WITH JOHNNY.

O grandpa's cows chew gum, like Mr. Connor's cows, mamma?" asked Johnny, a few days ago, as he stood emptying his pockets of hay-seed on the dining-room carpet, after a visit to the barn.

"Cuds you mean, don't you, dear?" asked mamma.

"No, gum. Mr. Connor says it's gum; and they're his cows: so he knows."

"No, grandpa's cows chew cuds, like all good grass-eating cows. Perhaps Mr. Connor's cows do not eat grass or hay."

"Yes, they do," said Johnny. "I've seen 'em."

"Well, then," said mamma, "they must chew cuds."

"What are cuds, mamma?"

"Why, after the cow has chewed the fresh green grass or the dry hay in her mouth, she sends it down into a large stomach, to be soaked; then she sends it into another stomach, to be rolled into balls; then up it goes into her mouth again, to be chewed over; and each little ball is a cud."

"Doesn't she have any other stomach for it to go into then, mamma?"

"Yes, two more. Do you have four stomachs, like a cow?"

"No, of course I don't. I don't chew cuds."

"Well, you may get a brush and dust-pan, and brush up that hay-seed from the carpet; then come with me, and I'll show you a picture of a giant kangaroo with her baby in a fur bag."

"Oh! where does she live, mamma?"

"Brush up that hay-seed, then I'll tell you all about her," said mamma. With this promise in view, Johnny hastened[252] to brush up the litter he had made, talking to himself the while, somewhat after this wise,—

"Chew away, old cow! You'll have to keep your big teeth going all night to keep all those stomachs at work. One stomach, two stomachs, three-e-e, four-r-r. All ready, mamma!"

MRS. G. I. HOPKINS.

## A CAT STORY.

ID you ever see a cat laugh? Look at the cat in the picture, and see if she is not laughing. It is plain to me that she is.

What is she laughing at? Why, that is plain enough too. She is amused at the talk of those two little girls about her kittens.

There are four kittens,—just two for each; but little Jenny wants to take them all up in her arms, though she can hardly hold more than one. This is what pleases the old cat.

Now I am going to tell you a cat story.

Once, when I taught school in the country, I boarded at farmer Clark's house, where there were sixteen cats,—Yes, sixteen cats! There was a big yellow cat, and a big gray cat, and a big black-and-white cat, and lots of little kittens.

The big gray cat was named Gussy. She was the grandmother of them all. She lived in the house. The rest staid around the barn. Farmer Clark was a good man, and did not believe in killing any thing that was not dangerous to life or property. So no little kittens were drowned, if he knew it.

Mrs. Clark taught me how to make butter; and I was told to feed the skimmed milk to the cats. There were two[253] large dish-pans that I used for this purpose. They were shallow and leaky; but precious little time there was for the milk to leak.

As soon as I appeared at the door, and called, "Tom, Tom!" the cats came tumbling, pell-mell, mewing, and rubbing against me. It was a sight to see.

First, there would be a thick row of cats around the pans,[254]—so thick that only sixteen tails and thirty-two hind-legs could be seen. The next minute the heads would go lower, and the fore-paws would go up on the edge of the pans.

Then a kitten would jump in. Then they would all fight, and push, and spit, and snarl to get to the lower side of the pan, where the milk was the deepest.

And then it was all gone. And the pans would be licked clean. And then sixteen tongues licked sixteen jaws, and thirty-two eyes appealed for more. But it was no use to beg. Then sixty-four legs trotted off, and only old Gussy went into the house; while the others went to the barn.

There were no rats or mice around those premises, I tell you. I often wonder how many cats there are at farmer Clark's now. And sometimes I dream about them. This is a true story.

AUNT FAN.

## TOM'S APPLE.

AH! ugh! oh!" cried little Tom. "There's a worm in my red apple, mamma."

"Is he a pretty worm?" asked his mamma, looking up from her sewing.

"Pretty, mamma! Who ever heard of a worm being pretty? No, no! he's a horrid crawling thing. I sha'n't eat any more of the apple. I couldn't, now I've seen him in it."

"Let me see him," said mamma: so Tommy brought the apple to his mother.

"Why, yes, he's a beauty," said she. "Just look at that[255] little red cap he wears, and see how soft and white his skin is. If nobody had picked that apple, he would have spun a little rope from out his body, and let himself down from the high tree, down, down, to the earth.

"Then he would have crawled into a little hole in the ground. When he had covered himself all over with a gray sheet, he would sleep, sleep, sleep. But by and by he would awaken.

"He would come out of the tight shroud, and find that he had airy, gauzy wings with which he could fly: so he would go flitting and fluttering up into the warm sunshine to find an apple-blossom."

"What would he want of an apple-blossom?" asked Tommy, much interested now in his apple-worm.

"Oh, to lay an egg in," said mamma. "And, when the apple-blossoms grew, the egg would be softly wrapped within its pink heart. And when the blossom turned into an apple there would be a tiny baby-worm to feed upon the white pulp. Then some day, perhaps, some other little boy would exclaim, 'Bah! ugh! oh!' about him, as my little boy did just now about the mamma-worm."

"Oh!" said Tom thoughtfully. "I'm glad nobody will have that chance: here goes."

And he tossed the apple, worm and all, out of the window.

MRS. G. I. HOPKINS.

[256]

## SEE-SAW.

Words by George Cooper. Music by T. Crampton.
[Transcriber's Note: You can play this music (MIDI file) by clicking here
and a larger image of the music sheet may be seen by clicking on the image.]
1. See-saw! high and low,
That's the way we love to go.
With a bound,
Up we fly,
From the ground
To the sky;
From the ground
To the sky.
All aboard for Fun-land, oh!
See-saw! high and low.
2. See-saw! birdies play
On the tree-tops, just this way;
And the bees
Rock the rose,
When they please
With their toes!
And the winds the wavelets blow,
See-saw! high and low.
3. See-saw! oh, what sport!
Wish the days were not so short!
Girls and boys,
Everywhere,
Rosy joys,
Earth so fair!
Gayer playmates do you know?
See-saw! high and low.

### 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, August 1881, Vol. XXX, by Various

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

    ***** This file should be named 42157-h.htm or 42157-h.zip *****
    This and all associated files of various formats will be found in:
            http://www.gutenberg.org/4/2/1/5/42157/

    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
         gbnewby@pglaf.org

    Section 4.  Information about Donations to the Project Gutenberg
    Literary Archive Foundation

    Project Gutenberg-tm depends upon and cannot survive without wide
    spread public support and donations to carry out its mission of
    increasing the number of public domain and licensed works that can be
    freely distributed in machine readable form accessible by the widest
    array of equipment including outdated equipment.  Many small donations
    ($1 to $5,000) are particularly important to maintaining tax exempt
    status with the IRS.

    The Foundation is committed to complying with the laws regulating
    charities and charitable donations in all 50 states of the United
    States.  Compliance requirements are not uniform and it takes a
    considerable effort, much paperwork and many fees to meet and keep up
    with these requirements.  We do not solicit donations in locations
    where we have not received written confirmation of compliance.  To
    SEND DONATIONS or determine the status of compliance for any
    particular state visit 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.