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Comparative Studies in Nursery Rhymes
Lina Eckenstein
Comparative Studies in Nursery Rhymes
TO THE GENTLE READER
The walls of the temple of King Sety at Abydos in Upper Egypt are decorated with sculptured scenes which represent the cult of the gods and the offerings brought to them. In a side chapel there is depicted the following curious scene. A dead figure lies extended on a bier; sorrowing hawks surround him; a flying hawk reaches down a seal amulet from above. Had I succeeded in procuring a picture of the scene, it would stand reproduced here; for the figure and his mourners recalled the quaint little woodcut of a toy-book which told the tale of the Death and Burial of Cock Robin. The sculptures of Sety date from the fourteenth century before Christ; the knell of the robin can be traced back no further than the middle of the eighteenth century A.D. Can the space that lies between be bridged over, and the conception of the dead robin be linked on to that of the dead hawk? However that may be, the sight of the sculptured scene strengthened my resolve to place some of the coincidences of comparative nursery lore before the gentle reader. It lies with him to decide whether the wares are such as to make a further instalment desirable.
23 September, 1906.
CHAPTER I
FIRST APPEARANCE OF RHYMES IN PRINT
THE study of folk-lore has given a new interest to much that seemed insignificant and trivial. Among the unheeded possessions of the past that have gained a fresh value are nursery rhymes. A nursery rhyme I take to be a rhyme that was passed on by word of mouth and taught to children before it was set down in writing and put into print. The use of the term in this application goes back to the early part of the nineteenth century. In 1834 John Gawler, afterwards Bellenden Ker, published the first volume of his Essay on the Archaiology of Popular English Phrases and Nursery Rhymes, a fanciful production. Prior to this time nursery rhymes were usually spoken of as nursery songs.
The interest in these "unappreciated trifles of the nursery," as Rimbault called them, was aroused towards the close of the eighteenth century. In a letter which Joseph Ritson wrote to his little nephew, he mentioned the collection of rhymes known as Mother Goose's Melody, and assured him that he also would set about collecting rhymes.1 His collection of rhymes is said, in the Dictionary of National Biography, to have been published at Stockton in 1783 under the title Gammer Gurton's Garland. A copy of an anonymous collection of rhymes published by Christopher and Jennett at Stockton, which is called Gammer Gurton's Garland or the Nursery Parnassus, is now at the British Museum, and is designated as a "new edition with additions." It bears no name and no date, but its contents, which consist of over seventy rhymes, agree with parts 1 and 2 of a large collection of nursery rhymes, including over one hundred and forty pieces, which were published in 1810 by the publisher R. Triphook, of 37 St. James Street, London, who also issued other collections made by Ritson.
The collection of rhymes known as Mother Goose's Melody, which aroused the interest of Ritson, was probably the toy-book which was entered for copyright in London on 28 December, 1780. Its title was Mother Goose's Melody or Sonnets for the Cradle, and it was entered by John Carnan, the stepson of the famous publisher John Newbery, who had succeeded to the business in partnership with Francis Newbery.2 Of this book no copy is known to exist. Toy-books, owing to the careless way in which they are handled, are amongst the most perishable literature. Many toy-books are known to have been issued in hundreds of copies, yet of some of these not a single copy can now be traced.
The name Mother Goose, its connection with nursery rhymes, and the date of issue of Mother Goose's Melody, have been the subject of some contention. Thomas Fleet, a well-known printer of Boston, Mass., who was from Shropshire, is said to have issued a collection of nursery rhymes under the following title, Songs for the Nursery, or Mother Goose's Melodies for Children, printed by Thomas Fleet at his printing-house, Pudding Lane, 1719, price two coppers.3 The existence of this book at the date mentioned has been both affirmed and denied.4 John Fleet Eliot, a great-grandson of the printer, accepted its existence, and in 1834 wrote with regard to it as follows: "It is well known to antiquaries that more than a hundred years ago there was a small book in circulation in London bearing the name of Rhymes for the Nursery or Lulla-Byes for Children, which contained many of the identical pieces of Mother Goose's Melodies of the present day. It contained also other pieces, more silly if possible, and some that the American types of the present day would refuse to give off an impression. The cuts or illustrations thereof were of the coarsest description." On the other hand, the date of 1719 in connection with the expression "two coppers," has been declared impossible. However this may be, no copy of the book of Fleet or of its presumed prototype has been traced.
The name Mother Goose, which John Newbery and others associated with nursery rhymes, may have been brought into England from France, where La Mère Oie was connected with the telling of fairy tales as far back as 1650.5 La Mère Oie is probably a lineal descendant of La Reine Pédauque, otherwise Berthe au grand pied, but there is the possibility also of the relationship to Fru Gode or Fru Gosen of German folk-lore. We first come across Mother Goose in England in connection with the famous puppet-showman Robert Powell, who set up his show in Bath and in Covent Garden, London, between 1709 and 1711. The repertory of his plays, which were of his own composing, included Whittington and his Cat, The Children in the Wood, Friar Bacon and Friar Bungay, Robin Hood and Little John, Mother Shipton, and Mother Goose.6 A play or pantomime called Mother Goose was still popular at the beginning of the nineteenth century, for the actor Grimaldi obtained his greatest success in it in 1806.7
The name Gammer Gurton which Ritson chose for his collection of rhymes, was traditional also. Gammer Gurton's Needle is the name of a famous old comedy which dates from about the year 1566. The name also appears in connection with nursery rhymes in a little toy-book, issued by Lumsden in Glasgow, which is called Gammer Gurton's Garland of Nursery Songs, and Toby Tickle's Collection of Riddles. This is undated. It occurs also in an insignificant little toy-book called The Topbook of all, in connection with Nurse Lovechild, Jacky Nory, and Tommy Thumb. This book is also undated, but contains the picture of a shilling of 1760 which is referred to as "a new shilling."
The date at which nursery rhymes appeared in print yields one clue to their currency at a given period. The oldest dated collection of rhymes which I have seen bears the title Tommy Thumb's Pretty Song Book, vol. II, "sold by M. Cooper according to Act of Parliament." It is printed partly in red, partly in black, and on its last page bears the date 1744. A copy of this is at the British Museum.
Next to this in date is a toy-book which is called The Famous Tommy Thumb's Little Story-Book, printed and sold at the printing office in Marlborough Street, 1771. A copy of this is in the library of Boston, Mass. It contains nine nursery rhymes at the end, which have been reprinted by Whitmore.
Other collections of rhymes issued in America have been preserved which are reprints of earlier English collections. Among these is Tommy Thumb's Song Book for all Little Masters and Misses, by Nurse Lovechild, which is dated 1788, and was printed by Isaiah Thomas at Worcester, Mass. A copy is at the British Museum.
Isaiah Thomas was in direct connection with England, where he procured, in 1786, the first fount of music type that was carried to America. Among many toy-books of his that are reprints from English publications, he issued Mother Goose's Melody, Sonnets for the Cradle. A copy of this book which is designated as the third Worcester edition, bears the date 1799, and has been reprinted in facsimile by Whitmore. It was probably identical with the collection of rhymes for which the firm of Newberry received copyright in 1780, and which was mentioned by Ritson. Other copies of Mother Goose's Melody, one bearing the watermark of 1803, and the other issued by the firm of John Marshall, which is undated, are now at the Bodleian.8 Thus the name of Mother Goose was largely used in connection with nursery rhymes.
The second half of the eighteenth century witnessed a great development in toy-book literature. The leader of the movement was John Newbery, a man of considerable attainments, who sold drugs and literature, and who came from Reading to London in 1744, and settled in St. Paul's Churchyard, where his establishment became a famous centre of the book trade. Among those whom he had in his employ were Griffith Jones (d. 1786) and Oliver Goldsmith (d. 1774), whose versatility and delicate humour gave a peculiar charm to the books for children which they helped to produce.
In London Newbery had a rival in John Marshall, whose shop in Aldermary Churchyard was known already in 1787 as the Great A, and Bouncing B Toy Factory. This name was derived from a current nursery rhyme on the alphabet, which occurs as follows: —
Great A, little a, Bouncing B,The cat's in the cupboard, and she can't see.(1744, p. 22.)A number of provincial publishers followed their example. Among them were Thomas Saint, in Newcastle, who between 1771 and 1774 employed the brothers Bewick; Kendrew, in York; Lumsden, in Glasgow; Drewey, in Derby; Rusher, in Banbury; and others. The toy-books that were issued by these firms have much likeness to one another, and are often illustrated by the same cuts. Most of them are undated. Among the books issued by Rusher were Nursery Rhymes from the Royal Collections, and Nursery Poems from the Ancient and Modern Poets, which contain some familiar rhymes in versions which differ from those found elsewhere.
Besides these toy-book collections, there is a large edition of Gammer Gurton's Garland, of the year 1810, which contains the collections of 1783 with considerable additions. In the year 1826, Chambers published his Popular Rhymes of Scotland, which contained some fireside stories and nursery rhymes, the number of which was considerably increased in the enlarged edition of 1870. In the year 1842, Halliwell, under the auspices of the Percy Society, issued the Nursery Rhymes of England, which were reprinted in 1843, and again in an enlarged edition in 1846. Three years later he supplemented this book by a collection of Popular Rhymes which contain many traditional game rhymes and many valuable remarks and criticisms.
These books, together with the rhymes of Gawler, and a collection of Old Nursery Rhymes with Tunes, issued by Rimbault in 1864, exhaust the collections of nursery rhymes which have a claim on the attention of the student. Most of their contents were subsequently collected and issued by the firm of Warne & Co., under the title Mother Goose's Nursery Rhymes, Tales and Jingles, of which the issue of 1890 contains over seven hundred pieces. In the list which follows, I have arranged these various collections of rhymes in the order of their issue, with a few modern collections that contain further rhymes. Of those which are bracketed I have not succeeded in finding a copy.
(1719. Songs for the Nursery, or Mother Goose's Melodies. Printed by T. Fleet.)
1744. Tommy Thumb's Pretty Song Book.
c. 1760. The Topbook of all.
(1771. Tommy Thumb's Little Story Book. The nine rhymes which this contains are cited by Whitmore.)
(1780. Mother Goose's Melody, for which copyright was taken by John Carnan.)
c. 1783. Gammer Gurton's Garland.
1788. Tommy Thumb's Song Book, issued by Isaiah Thomas.
(1797. Infant Institutes, cited by Halliwell and Rimbault.)
1799. Mother Goose's Melody. Facsimile reprint by Whitmore.
1810. Gammer Gurton's Garland. The enlarged edition, published by R. Triphook, 37 St. James Street, London.
1826. Chambers, Popular Rhymes of Scotland.
1834-9. Ker, Essays on the Archaiology of Nursery Rhymes.
1842-3. Halliwell, The Nursery Rhymes of England.
1846. Halliwell, ditto. Enlarged and annotated edition.
1849. Halliwell, Popular Rhymes.
1864. Rimbault, Old Nursery Rhymes with tunes.
1870. Chambers, Popular Rhymes of Scotland. Enlarged edition.
1876. Thiselton Dyer, British Popular Customs.
1890. Mother Goose's Nursery Rhymes, Tales and Jingles. Issued by Warne & Co.
1892. Northall, G. F., English Folk Rhymes.
1894. Gomme, A. B., The Traditional Games of England, Scotland, and Ireland.
In the studies which follow, the rhymes cited have attached to them the date of the collection in which they occur.
CHAPTER II
EARLY REFERENCES
INDEPENDENTLY of these collections of nursery rhymes, many rhymes are cited in general literature. This yields a further clue to their currency at a given period. Thus Rimbault describes a book called Infant Institutes, part the first, or a Nurserical Essay on the Poetry Lyric and Allegorical of the Earliest Ages, 1797, perhaps by B. N. Turner, the friend of Dr. Johnson, which was intended to ridicule the Shakespeare commentators (N. & Q., 5, 3, 441). In the course of his argument, the author cites a number of nursery rhymes.
Again, the poet Henry Carey, about the year 1720, ridiculed the odes addressed to children by Ambrose Philips by likening these to a jumble of nursery rhymes. In doing so he cited the rhymes, "Namby Pamby Jack a Dandy," "London Bridge is broken down," "Liar Lickspit," "Jacky Horner," "See-saw," and others, which nowadays are still included among the ordinary stock of our rhymes.
Again, in the year 1671, John Eachard, the divine, illustrated his argument by quoting the alphabet rhyme "A was an apple pie," as far as "G got it."9 Instances such as these do not, however, carry us back farther than the seventeenth century.
Another clue to the date of certain rhymes is afforded by their mention of historical persons, in a manner which shows that the rhyme in this form was current at the time when the individual whom they mention was prominently before the eyes of the public. Halliwell recorded from oral tradition the following verse: —
Doctor SacheverelDid very well,But Jacky DawbinGave him a warning.(1849, p. 12.)The verse refers to Dr. Sacheverel, the nonconformist minister who preached violent sermons in St. Paul's, pointing at the Whig members as false friends and real enemies of the Church. John Dolben (1662-1710) called attention to them in the House of Commons, and they were declared "malicious, scandalous, and seditious libels."
Again there is the rhyme: —
Lucy Locket lost her pocket,Kitty Fisher found it,But the devil a penny was there in it,Except the binding round it.(1849, p. 48.)This is said to preserve the names of two celebrated courtesans of the reign of Charles II (1892, p. 330).
The first name in the following rhyme is that of a famous border hero who was hanged between 1529 and 1530: —
Johnny Armstrong killed a calf;Peter Henderson got half;Willy Wilkinson got the head, —Ring the bell, the calf is dead.(1890, p. 358.)Among the pieces collected by Halliwell, and told in cumulative form, one begins and ends with the following line, which recurs at the end of every verse: —
John Ball shot them all.
Halliwell is of opinion that this may refer to the priest who took a prominent part in the rebellion at the time of Richard II, and who was hanged, drawn, and quartered in 1381.
But a historical name does not necessarily indicate the date of a rhyme. For a popular name is sometimes substituted for one that has fallen into contempt or obscurity. Moreover, a name may originally have indicated a person other than the one with whom it has come to be associated.
A familiar nursery song printed in the collection of c. 1783, and extant in several variants, is as follows: —
When good King Arthur rul'd the land,He was a goodly king,He stole three pecks of barley mealTo make a bag pudding.A bag pudding the king did makeAnd stuff'd it well with plumbs,And in it put great lumps of fat,As big as my two thumbs.The king and queen did eat thereof,And noblemen beside,And what they could not eat that nightThe queen next morning fry'd.(c. 1783, p. 32.)Mr. Chappell, as cited by Halliwell, considered that this version is not the correct one, but the one which begins: —
King Stephen was a worthy kingAs ancient bards do sing…The same story related in one verse only, and in simpler form, connects it with Queen Elizabeth, in a version recovered in Berkshire.
Our good Quane Bess, she maayde a pudden,An stuffed un well o' plumes;And in she put gurt dabs o' vat,As big as my two thumbs.(1892, p. 289.)On the face of it the last variant appears to be the oldest.
An interesting example of a change of name, and of the changing meaning of a name, is afforded by the nursery song that is told of King Arthur, and mutatis mutandis of Old King Cole. The poem of King Arthur is as follows: —
When Arthur first in Court beganTo wear long hanging sleeves,He entertained three serving menAnd all of them were thieves.The first he was an Irishman,The second was a Scot,The third he was a Welshman,And all were knaves, I wot.The Irishman loved usquebaugh,The Scot loved ale called blue-cap.The Welshman he loved toasted cheese,And made his mouth like a mouse-trap.Usquebaugh burnt the Irishman,The Scot was drowned in ale,The Welshman had liked to be choked by a mouse,But he pulled it out by the tail.In this form the piece is designated as a glee, and is printed in the New Lyric by Badcock of about 1720, which contains "the best songs now in vogue."
In the nursery collection of Halliwell of 1842 there is a parallel piece to this which stands as follows: —
Old King Cole was a merry old soulAnd a merry old soul was he;Old King Cole he sat in his hole,And he called for his fiddlers three.The first he was a miller,The second he was a weaver,The third he was a tailor,And all were rogues together.The miller he stole corn,The weaver he stole yarn,The little tailor stole broadclothTo keep these three rogues warm.The miller was drowned in his dam,The weaver was hung in his loom,The devil ran away with the little tailorWith the broadcloth under his arm.(1842, p. 3.)Chappell printed the words of the song of Old King Cole in several variations, and pointed out that The Pleasant Historie of Thomas of Reading, or the Six Worthie Yeomen of the West of 1632, contains the legend of one Cole, a cloth-maker of Reading at the time of King Henry I, and that the name "became proverbial owing to the popularity of this book." "There was some joke or conventional meaning among Elizabethan dramatists," he says, "when they gave the name of Old Cole, which it is now difficult to recover." Dekker in the Satiromatrix of 1602, and Marston in The Malcontent of 1604, applied the name to a woman. On the other hand, Ben Jonson in Bartholomew Fair gave the name of Old Cole to the sculler in the puppet-play Hero and Leander which he there introduces.10 In face of this information, what becomes of the identity of the supposed king?
On the other hand a long ancestry is now claimed for certain characters of nursery fame who seemed to have no special claim to attention. The following verse appears in most collections of rhymes, and judging from the illustration which accompanies it in the toy-books, it refers sometimes to a boy and a girl, sometimes to two boys.
Jack and Gill went up the hillTo fetch a bottle of water;Jack fell down and broke his crown,And Gill came tumbling after.(c. 1783, p. 51.)[Later collections have Jill and pail.]This verse, as was first suggested by Baring-Gould,11 preserves the Scandinavian myth of the children Hjuki and Bill who were caught up by Mani, the Moon, as they were taking water from the well Byrgir, and they can be seen to this day in the moon carrying the bucket on the pole between them.
Another rhyme cited by Halliwell from The New Mad Tom o'Bedlam mentions Jack as being the Man in the Moon: —
The Man in the Moon drinks claret,But he is a dull Jack-a-dandy;Would he know a sheep's head from a carrot,He should learn to drink cider or brandy.(1842, p. 33.)According to North German belief, a man stands in the moon pouring water out of a pail (K., p. 304), which agrees with expressions such as "the moon holds water." In a Norse mnemonic verse which dates from before the twelfth century, we read, "the pail is called Saeg, the pole is called Simul, Bil and Hiuk carry them" (C. P., I, 78).
The view that Jack and Jill are mythological or heroic beings finds corroboration in the expression "for Jak nor for Gille," which occurs in the Townley Mysteries of about the year 1460.12 By this declaration a superhuman power is called in as witness. The same names are coupled together also in an ancient divination rhyme used to decide in favour of one of two courses of action. Two scraps of paper slightly moistened were placed on the back of the hand, and the following invocation was pronounced before and after breathing upon them to see which would fly first. The sport was taught by Goldsmith to Miss Hawkins when a child, as she related to Forster.13
There were two blackbirds sat upon a hillThe one was named Jack, the other named Jill.Fly away Jack! Fly away Jill!Come again Jack! Come again Jill!(1810, p. 45.)The lines suggest the augur's action with regard to the flight of birds. The same verse has been recited to me in the following variation: —
Peter and Paul sat on the wall,Fly away Peter! Fly away Paul!Come again Peter! Come again Paul!In this case the names of Christian apostles have been substituted for heathen names which, at the time when the names were changed, may still have carried a suggestion of profanity. The following rhyme on Jack and Gill occurs in an early nursery collection: —
I won't be my father's Jack,I won't be my mother's Gill,I will be the fiddler's wifeAnd have music when I will.T'other little tune, t'other little tune,Pr'ythee, love, play me, t'other little tune.(c. 1783, p. 25.)CHAPTER III
RHYMES AND POPULAR SONGS
ON looking more closely at the contents of our nursery collections, we find that a large proportion of so-called nursery rhymes are songs or snatches of songs, which are preserved also as broadsides, or appeared in printed form in early song-books. These songs or parts of songs were included in nursery collections because they happened to be current at the time when these collections were made, and later compilers transferred into their own collections what they found in earlier ones. Many songs are preserved in a number of variations, for popular songs are in a continual state of transformation. Sometimes new words are written to the old tune, and differ from those that have gone before in all but the rhyming words at the end of the lines; sometimes new words are introduced which entirely change the old meaning. Many variations of songs are born of the moment, and would pass away with it, were it not that they happen to be put into writing and thereby escape falling into oblivion.
