The Nursery, June 1873, Vol. XIII. / A Monthly Magazine for Youngest Readers
Date: 2008-01-30T00:00:00+00:00
Keywords: Children's literature; American -- Periodicals

The Project Gutenberg eBook of The Nursery, June 1873, Vol. XIII.

This ebook is for the use of anyone anywhere in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The Nursery, June 1873, Vol. XIII.

Author: Various

Release date: January 31, 2008 [eBook #24479]

Language: English

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

*** START OF THE PROJECT GUTENBERG EBOOK THE NURSERY, JUNE 1873, VOL. XIII. ***

THE

NURSERY

A Monthly Magazine

For Youngest Readers.

VOLUME XIII.—No. 6

BOSTON:
JOHN L. SHOREY, No. 36 BROMFIELD STREET.
1873.

Entered according to Act of Congress, in the year 1873,

By JOHN L. SHOREY,

In the Office of the Librarian of Congress at Washington.

Boston:
Rand, Avery, & Co., Stereotypers and Printers.

IN PROSE.
| PAGE.
The Children at Grandmother's | 161
The Flying Wood-Sawyer | 163
Papa's Story | 167
About Bees | 171
Bad Luck | 174
Cherry and Fair Star | 176
About some Indians | 181
Playing Tableaux | 183
Little Mischief | 186

IN VERSE.

| PAGE.
The Old Blind Man and his Granddaughter | 165
Dixie | 169
The Fat Little Piggies | 178
A Song of Noses | 180
A-Maying | 185
The Seasons | 188

THE CHILDREN AT GRANDMOTHER'S.

THE CHILDREN AT GRANDMOTHER'S.

HERE was once a grandmother who had fourteen little grandchildren. Some of them were cousins to one another; and some were brothers and sisters. This grandmother lived in an old, old cottage not far from the sea-beach. The cottage had a long sloping roof; and there was an elm-tree in front of it.

One fair day in June, the boys went down to the sea-beach to bathe, and the girls went out on the lawn to play. Some of them thought they would play "hunt the slipper."

But little Emma Darton, who was a cousin to the rest, said, "I promised my mother I would not sit down on the grass: so, if you play 'hunt the slipper,' I must not play with you; for in that game you have to sit."

Then her Cousin Julia replied, "Nonsense, Emma! It is a bright warm day. Don't you see the grass is quite dry? Come, you must not act and talk like an old woman of sixty. Come and join in our game."

But Emma said, "When I make a promise, I always try to keep it. If to do that is to be like an old woman of sixty, then I am glad I am like one."

"You are the oldest-talking little witch I ever knew for a five-year-old," cried Julia. "If you don't look out, you'll not live half your days."

"I think Emma is right," said Marian, another cousin. "So, if you insist on sitting on the grass, Emma and I will go and sit by ourselves on the trunk of the old fallen tree."

But Julia insisted on having her game of "hunt the slipper;" and Emma and Marian went and sat down on the fallen trunk, and looked on while the rest played.

The next day five of grandmother's little visitors did not seem to be well. Some were coughing, and some were sneezing, and some were complaining of pains in their limbs.

"Why, what is the matter with you, children?" said the old lady. "If I did not know you were sensible little girls, I should say you had been sitting on the damp grass,—all of you but Emma and Marian."

The cousins looked at one another; but no one spoke aloud. Then Marian whispered to Emma, "Are you not glad you kept your promise to your mother?"

Emma looked up and smiled, but did not say a word.

Dora Burnside.

THE FLYING WOOD-SAWYER.

One day last winter I was cutting maple-logs in the woods with a cross-cut saw. It was about five feet long, and had a handle at each end, so as to be used by two persons together. My brother generally helped me; but, for some reason, he was not with me then, and I was at work all by myself in a rather lonesome place.

I had finished eating my dinner, set my pail under a clump of trees, and commenced my afternoon job; but, as the log was large and hard, I often had to stop and rest a minute. While I was standing still, with my hands upon one handle of the saw, all at once a bird came flying down towards me; and, after resting upon the ground behind the log a few moments, what do you suppose he did?

Whether he knew I was tired, and thought it was too hard for me to cut the wood all alone, I cannot say; but suddenly he gave a little spring, and seated himself right on the other handle of my saw, as you see in the picture, grasping it with all the hands he had, and looking as though he had come on purpose to help me saw that log through.

For my part, I rather think he did help me; for, while he kept his hold upon the other end of the saw, I rested faster than I ever did before. I stood as motionless as a statue; for I feared that any movement would scare the bird away.

How soon I should have got through my sawing with his help, I cannot tell. But suddenly he seemed to think of something more important; and away he went, like a streak of sunshine, off into the woods beyond me.

I have never seen my sawyer-bird since then. I call him my "sawyer-bird" because I don't know how else to name him. He was a strange bird to me: but he seemed like a good friend; and I shall always remember him as he looked when trying to help me work that winter's day.

Uncle William.

THE OLD BLIND MAN AND HIS GRANDDAUGHTER.

Silver-white his locks are straying
As upon the bench he sits,
While his little grandchild, playing,
Round about him sings and flits.

Calmly there, and unrepining,
Waits he—he is old and blind;
But the sun is brightly shining,
And the soft spring airs are kind.

"Ah! if he could once, once only,
See the splendor of the vale!
He, so old and weak and lonely,
See the trees wave in the gale!"

Then his little daughter, pressing
Up against the old man's knee,
With her childish, soft caressing,
Filled his heart with boyish glee.

Through her eyes once more beholding
All the glories of the spring,
Now his youth once more unfolding,
Hope and joy and beauty bring.

From the German.

PAPA'S STORY.

"Now, papa, for another army story," said little Eddie, as he climbed into papa's lap, and prepared himself to listen.

Papa closed his eyes, stroked his whiskers; and Eddie knew the story was coming. This is it,—

One day, when we were camping in Virginia, some of us got leave to go into the woods for chestnuts, which grew there in great abundance. We were busy picking up the nuts, when we heard a scrambling in the bushes. We thought it was a dog.

"Was it a dog?" asks Eddie.

"No, it was not a dog."

"Was it a cat?"

"No, it was not a cat."

"O papa! was it a bear?"

"No, it was not a bear."

"Do tell me what it was!"

"Well, let me go on with my story, and you shall hear."

It was a fox. How he did run when he saw us! We ran after him, and chased him into a pile of rails, in one corner of the camp.

You see, the soldiers had torn down all the fences, and piled them up for fire-wood. The fox ran right in among the rails; and, the more he tried to get out, the more he couldn't.

"A fox, a fox!" we shouted; hearing which, all the men, like so many boys, rushed up, and made themselves into a circle around the wood-pile, so that poor foxy was completely hemmed in.

Then a few of us went to work, and removed the rails one by one, until at last he was clear, and we could all see him. With a bound, he tried to get away; but the men kept their legs very close together, and he was a prisoner. We got one of the tent-ropes and tried to tie him.

Such a time as we had! One man got bitten; but after a while foxy was caught. Then what did the cunning little thing do but make believe he was dead! Foxes are very cunning: they can play dead at any time.

He lay on the ground quite still, while he was tied, and the rope was made fast to a tree. When we all stepped back, he tried again to get away. The rope held him fast; but he bit so nearly through it, that we feared we should lose him, after all.

So off rushed one of the boys, and borrowed a chain from one of the wagons at headquarters. With this Master Fox was made quite secure.

We tried to tame him; for, being away from all little children, we were glad of any thing to pet. But it was of no use; for, even when foxes are taken very young, they cannot be tamed. They do not attach themselves to men, as dogs and some other animals do. He would not play with us at all; but we enjoyed watching him, as we had not many amusements.

One day we had to go off on a march, and left our little fox tied to a tree. When we came back, he was gone. We never knew how he got away; but we were not very sorry, for he was not happy with us. It was much better for him to be in the woods with his own friends. If he was smart enough to stay there, he may be living now; but he must be a pretty old fox by this time.

Here papa stopped; and his little boy drew a long breath, as though very glad that the little fox got into the woods again.

Mary Myrtle.

DIXIE.

Dixie, this little dog of mine,
Had legs like a spider, black and fine,
A nimble tail, and a body slim,
And ears that would almost cover him.

If you whispered to him of "birds" or "rats,"
Of "cows" or "squirrels" or "pigs" or "cats,"
He was all a-tremble with hope and fun,
Ready to hunt or fight or run.

But Dixie is older now; he shows
A gray mustache on his once black nose:
Slower his legs to frolic and leap;
And he needs a nice soft place to sleep.

But he has such brown and gentle eyes,
Has love so human, and ways so wise,
Has tastes so dainty,—the wilful elf!—
That he rules all things to suit himself.

Only Flora has any fear
If he speaks too loud, or comes too near;
Yet she told me bravely the other night
She could pat the end that didn't bite.

Clara Doty Bates.

ABOUT BEES.

OUDLY weeping, I ran to my father from the garden, a bee having stung me in the hand. He drew out the sting, washed my swollen hand in cool water, told me about those wonderful creatures the bees, and promised to take me to visit a gentleman who kept many hives of them.

So, the first fine day, we walked to a neighboring village, and found the bee-master, as he was called, very glad to show us his little pets. He first led us to a hive made wholly of glass, so that we might watch the bees at their labors.

He told us there were three kinds of bees; and in the picture you may see how they look, both when flying and when at rest. Those marked A are queen-bees; B are the male bees, or drones; and C the working-bees.

The most important bee in the hive is naturally the queen. She is longer and sleeker than the others, and has a crooked sting, of which, however, she seldom makes use. Similar in form, but smaller, are the working-bees, whose sting is straight. The male bee, or drone, is thicker than the others, and stingless.

"What has the queen to do in the hive?" I asked. The old gentleman replied, "She is the mother-bee, lays all the eggs, and is so diligent that she often lays twelve hundred in a day, having a separate cell for each egg. That is her only work; for she leaves the whole care of her children to the industrious working-bees, who have various labors to perform. Some of them build cells of wax; others bring in honey on the dust of flowers, called pollen; yet others feed and take care of the young; and a small number act as body-guard to the queen."

The bee-master next took us to a strange-looking old hive, and asked us what it was like. I said, "The trunk of a tree." He told me I was right, and that the wild bees still dwell in hollow trees.

He then showed us various kinds of hives, and, last of all, a glass globe, in which the bees had built a beautiful white comb in the form of a star, and filled it with honey. This he was to send as a wedding-present to a bride.

He said, "The bees can make of any egg, either a queen or a working bee, according to the food and treatment they give it. The queen requires but sixteen days in which to come to maturity; while the workers require twenty, and the drones twenty-four. When several queens appear at the same time, they fight until one gains the victory."

Honey is the nectar of flowers, which they collect with their tongues, place in their honey-bags, and deposit in cells built for the purpose, which, when filled, they cover with wax.

Bee-bread is made of the dust of flowers, with which the bee gets covered in collecting honey. This it brushes off, kneads into two little masses, which are placed in a sort of basket on the joint of the leg, where a fringe of hairs acts as a cover.

Wax is a secretion from honey, which oozes out between the rings which form the body, and is then worked with the mouth until it is fit for the construction of the comb. Bees also make a gummy substance for varnishing their cells, which they procure from the buds of trees.

When we took leave of the kind old gentleman, he gave me in a basket a nice honeycomb to take to my mother; and since that my father has bought me a hive of bees. Every summer I plant flowers in my garden for them, that they may not have far to go for their honey.

Bertha.

BAD LUCK.

John went down to the brook to catch a mess of fish. He took off his boots, took his seat on the bank, and threw out his line.

The fishes took John's bait. He could see them dart at the bait as fast as he threw it in; but they did not take his hook.

While he watched them, some one touched him on the arm. It was his sister Jane.

"How many have you caught, John?" said she. "I'll help you take them home."

"Thank you," said John. "We shall not have much of a load. I have had bad luck."

There were three men a mile down stream, who did full as well as John did. Here is a sketch of them.

CHERRY AND FAIR-STAR.

I could not have been quite six years old when I became the possessor of a canary-bird, to which I gave the name of Cherry.

There were three children of us,—myself (the oldest), Arthur, and baby. My father was at sea; and my mother had charge of us all in her little house near the ocean.

Well do I remember one cold day in winter when we were all gathered in the one little apartment that served us for nursery, dining-room, and sitting-room. Arthur, who had overslept himself, was at his breakfast; mother was feeding baby; and I was looking at my dear Cherry in his cage.

Pots of hyacinths in bloom were on the table; Mr. Punch, Arthur's Christmas present, lay as if watching the cat on baby's pillow in the basket; and Muff, the old cat, with Fair-Star her kitten, were lapping milk from a basin on the floor.

My dear mother had taught Muff to be good to Cherry; and Muff seemed to have overcome her natural propensities so far as to let Cherry even light on her head, and there sing a few notes of a song.

So, on the day I am speaking of, I let Cherry out of his cage; and he flew round, and at last lighted on the kitten's head. At this Muff seemed much pleased; and Fair-Star herself was not disturbed by the liberty the little bird took.

But all at once Muff sprang upon Cherry, and, seizing him in her mouth, jumped up on the bureau. At last it would seem as if the old cat had chosen her time to kill and eat my poor little bird.

No such thing! Our good Muff was all right. A neighbor, who had come to borrow our axe, had left the back-door open; and a hungry old stray cat had suddenly made her appearance. Muff saw that Cherry was in danger, and seized him so that the strange cat should not harm him.

Cherry was not only not hurt, but not frightened. Well do I remember how my mother placed baby on the pillows, drove out the strange cat, and then took up Muff, and petted and praised her till Muff's purr of pleasure was loud as the noise of a spinning-wheel.

After that adventure, Cherry and Muff and Fair-Star were all better friends than ever.

Lucy Korner.

THE FAT LITTLE PIGGIES.

Said a sow to her piggies so white,
"Oh! the chilly winds whistle around,
There is ice on the old miller's dam,
And there's snow on the hard frozen ground;
But a warm, sheltered stackyard have we,
Where all day you may play hide-and-seek:
So away, little piggies, my white little piggies,
For a gambol and scramble and squeak.

"You have all had your breakfasts, I know;
For your trough was full, up to the top,
Of the sweetest potatoes and milk;
And you've not left a bit or a drop;
But, though an old sow, I'll not grunt:
So begone round the barn for a freak,
And I'll watch you, dear piggies, fat, curly-tailed piggies,
As you hurry and scurry and squeak."

So at once, 'mid the fresh-sprinkled straw,
The young pettitoes scampered away;
And they rooted and burrowed and hid,
Then all quiet a minute they lay:
Soon their pink-pointed, noses peeped out;
Then their bodies, so plump and so sleek.
Oh the glad little piggies, the mad little piggies—
How they snuffle and scuffle and squeak!

George Bennett.

A SONG OF NOSES.

UNCAN has a nose,
Points my finger at it:

Has a nose the hare,
He will let you pat it.

Has a nose the bull,
Soon he will be lowing.

Has a nose the fox,
He is very knowing.

Peacock has a nose,
Very proud he's feeling.

Has a nose the hog,
Soon he will be squealing.

Tell me which of all these noses
Duncan now the best supposes.

ABOUT SOME INDIANS.

Last summer a party of Indians,—men, women, and children,—in nine little birch canoes, came paddling down the Mississippi River, and landed at our village in Illinois. They were of the Chickasaw tribe from Minnesota, who are half-civilized, and speak our language imperfectly.

Indians, you must know, do not live in good warm houses as we do. They live in wigwams, as they call their houses, which are merely a few poles stuck in the ground, and covered with skins or blankets.

They do not provide regular meals, but live from hand to mouth by hunting and fishing. Sometimes they have to go without food a long time. The men are too lazy to work. They like better to strut about with their faces painted all the colors of the rainbow.

The Indians who came to our village were very good specimens of their race. Of course, their visit made quite a sensation, especially among our young folks. As soon as they landed, the squaws (women) threw their blankets over their shoulders, swung their pappooses (babies) on their backs, and, with their little boys and girls, came up into town.

The Indian boys made some money by shooting arrows at cents stuck in a stake. They were quite skilful. The squaws offered for sale slippers, moccasons, and bags, which they had worked themselves with sinews and porcupine-quills.

Their chief, a large man, whose face was painted bright red, got the use of our town hall, and in the evening gathered his party there, and showed us some of their dances. Two of the men beat a "tum-tum" on their rude drums (which looked like nail-kegs); and the little and big Indians danced or hopped around in a circle, singing, "Ye, ye! yu, yu! hi, yi! ye, ye!"

Now and then the chief would pull out a long knife, and swing it around his head; and another Indian would draw up his bow, as if he were going to shoot. This was the war-dance.

We were all much amused; and our little boys and girls laughed heartily. We gave the Indians some money to buy their breakfast, and they said, "Yank, yank!"

When they, or a like party, come again, I will tell you more about them.

Carlos.

PLAYING TABLEAUX.

The picture of "Miss Jones" in the February "Nursery" reminded me of two other little girls who are as fond of "playing people" as Edith May.

Nearly every day in winter, when they cannot play out of doors, these little girls dress up to represent different characters. They call this "Playing Tableaux;" but their tableaux are something more than pictures, as they act their parts as well as dress them.

Sometimes, for instance, one of the little girls appears as a peddler, who is quite as hard to get rid of as a real one.

Sometimes a washerwoman comes in, and gets about tubs and clothes, and makes all the confusion of washing-day.

Sometimes papa's great shaggy black coat covers what pretends to be "your good old dog Tiger," who is very kind to his friends, but has loud, fierce "bow-wow-wows" and sharp bites for those who are not good to him.

Sometimes poor little lame Jimmy, who can only walk on crutches, comes in to sell shoe-strings, "because," he says, "you know I can do nothing else to help my poor mother."

Sometimes a ring at the door-bell calls our attention to the wants of a deaf-and-dumb beggar, who makes fearful gestures till he is fed, and then forgets that he cannot speak, and says, "Thank you!" in a very familiar voice.

When these little girls have company, they often fit out travelling parties for California, or a trip to Europe; and the baggage they make out to collect would serve very well if they were "really and truly going," as they tell us they are.

Their good-bys are very affecting as they kiss us all, and beg us write by the first mail.

Aunt Mercy.

ALL FOR ONE, AND ONE FOR ALL.

A-MAYING.

When the wild March winds were blowing,
Not so very long ago,
And it still kept snowing, snowing,
Piling, drifting,
Heaping, sifting,
Snow on snow,
Faithless Fanny said, "Spring never
Will be here; 'twill snow forever;
And I don't believe I ever
Shall again a-Maying go!"

April pleased her little better:
Now 'twas rain as well as snow;
Every day was wet and wetter,
Drifting, dropping,
Soaking, sopping,
Raining so,
That poor Fanny feared the showers
Would quite drown her precious flowers;
And for what, in May's bright hours,
Could she then a-Maying go?

Now the gay May sun is shining,
Pink and sweet the Mayflowers blow;
And forgetting her repining,
Her complaining
Of the raining
And the snow,
With its fitful, frosty flurries,
Fanny lingers not, nor worries,
But to field and greenwood hurries;
For she must a-Maying go.
Fenno Hayes.

LITTLE MISCHIEF.

XV.

What now? Will this child never be out of hot water? What is Bessie doing now? I will tell you. She found in one of her mother's drawers a box; and, on opening it, she found some little round things something like sugar-plums.

She began putting the little round things in her mouth, and swallowing them. They were not quite so pleasant as she had expected, or she would have taken more. "I wonder what makes them taste so bitter?" thought Bessie.

She will find that out by and by, to her sorrow.

XVI.

"What makes me feel so?" thought Bessie as she sat in the big arm-chair in mother's best chamber, rubbing her eyes, and feeling very uncomfortable.

She had not sat there long, before she began to cry. Her mother, who had been wondering who could have been meddling with her pill-box, came in. "Have you been swallowing these pills?" she asked.

"Yes; but I didn't know they were pills," said Bessie.

"Well, you will be well punished for your fault," said her mother. "The pills will make you quite sick."

And so it happened.

THE SEASONS.

MARY.
How I love the blooming Spring,
When the birds so gayly sing!

JOHN.

More the Summer me delights,
With its lovely days and nights.

EMILY.

Autumn is the best of all,
With its fruits for great and small.

RICHARD.

Nay! old Winter is the time!
Jolly then the sleigh-bells' chime!

GRANDMOTHER.

Every season will be bright,
Children, if you'll live aright.

Transcriber's Note:

This issue was part of an omnibus. The original text for this issue did not include a title page or table of contents. This was taken from the January issue with the "No." added. The original table of contents covered the first six months of 1873. The remaining text of the table of contents can be found in the other issues.

*** END OF THE PROJECT GUTENBERG EBOOK THE NURSERY, JUNE 1873, VOL. XIII. ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law 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™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. 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™ 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™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ 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™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ 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™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law 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™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ 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™ 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™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than 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™ License must appear prominently whenever any copy of a Project Gutenberg™ 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 in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (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™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ 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™ 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™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

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™ 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™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (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™ 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™ 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™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ 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™ 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™ 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™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ 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 works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ 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™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ 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™’s goals and ensuring that the Project Gutenberg™ 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™ 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 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 website and official page at www.gutenberg.org/contact

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

Project Gutenberg™ depends upon and cannot survive without widespread 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™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright 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 website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, 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.

Table of Contents

- THE

- NURSERY

- A Monthly Magazine For Youngest Readers.

- THE CHILDREN AT GRANDMOTHER'S.

- THE FLYING WOOD-SAWYER.

- THE OLD BLIND MAN AND HIS GRANDDAUGHTER.

- PAPA'S STORY.

- DIXIE.

- ABOUT BEES.

- BAD LUCK.

- CHERRY AND FAIR-STAR.

- THE FAT LITTLE PIGGIES.

- A SONG OF NOSES.

- ABOUT SOME INDIANS.

- PLAYING TABLEAUX.

- A-MAYING.

- LITTLE MISCHIEF.

- XV.

- XVI.

- THE SEASONS.

- Transcriber's Note:

- THE FULL PROJECT GUTENBERG LICENSE