Alden, W. L.,The Moral Pirate.Altsheler, Joseph A.,The Young Trailers.Horsemen of the Plains.Barbour, Ralph H.,The Crimson Sweater.Bennett, John,The Treasure of Peyre Gaillard.Burton, Charles P.,The Boys of Bob's Hill.Carruth, Hayden,Track's End.Cody, William F.,Adventures of Buffalo Bill.Drysdale, William,The Fast Mail.Grinnell, George Bird,Jack among the Indians.Jack, the Young Ranchman.Hunting, Henry G.,The Cave of the Bottomless Pool.Janvier, Thomas A.,The Aztec Treasure House.Kaler, James Otis,Toby Tyler, or Ten Weeks with a Circus.London, Jack,The Call of the Wild.Malone, Captain P. B.,Winning His Way to West Point.Masefield, John,Jim Davis.Mason, Alfred B.,Tom Strong, Washington's Scout.Matthews, Brander,Tom Paulding.Moffett, Cleveland,Careers of Danger and Daring.Munroe, Kirk,Cab and Caboose.Derrick Sterling.O'Higgins, Harvey J.,The Smoke Eaters.Quirk, Leslie W.,The Boy Scouts of the Black Eagle Patrol.Sabin, Edwin L.,Bar B Boys.Schultz, James Willard,With the Indians in the Rockies.Stevenson, Burton E.,The Young Train Despatcher.Stevenson, Robert Louis,Treasure Island.Stoddard, William O.,Two Arrows.Talking Leaves.Trowbridge, John T.,Cudjo's Cave.The Young Surveyor.Verne, Jules,20,000 Leagues under the Sea.Wallace, Dillon,Wilderness Castaways.White, Stewart Edward,The Magic Forest.
c. 1760.Mother Goose's Melody.[Published by John Newbery, London.]
No copy of this issue known to be in existence.
c. 1783. Ritson, Joseph,Gammer Gurton's Garland, or the Nursery Parnassus. [1810, enlarged.]
c. 1785.Mother Goose's Melody.[Reprint of Newbery, by Isaiah Thomas, Worcester, Mass.]
[1889. Whitmore, W. H.,The Original Mother Goose's Melody, as first issued by John Newbery, of London, abouta.d.1760. Reproduced infacsimilefrom the edition as reprinted by Isaiah Thomas, of Worcester, Mass., abouta.d.1785. With introduction and notes.]
1824 ff.Mother Goose's Quarto, or Melodies Complete.[Various issues by Munroe and Francis, Boston.]
[Hale, Edward Everett,The Only True Mother Goose Melodies. Exact reproduction of the text and illustrations of the original edition (Mother Goose's Melodies: The Only Pure Edition) printed in Boston in 1834 by Monroe and Francis. With an introduction.]
1826. Chambers, Robert,Popular Rhymes of Scotland. [1870, enlarged.]
1834. Ker, John Bellenden,An Essay on the Archaeology of Popular English Phrases and Nursery Rhymes. [Supplemented 1840 and 1842.]
1842. Halliwell (Phillips), J. O.,The Nursery Rhymes of England.
1849. Halliwell (Phillips), J. O.,Popular Rhymes and Nursery Tales.
1864. Rimbault, Edward F.,Old Nursery Rhymes with Tunes.
Baring-Gould, Sabine,A Book of Nursery Songs and Rhymes.
Headland, I. T.,Chinese Mother Goose Rhymes.
Jerrold, Walter,The Big Book of Nursery Rhymes.
Lang, Andrew,The Nursery Rhyme Book.
Newell, W. W.,Games and Songs of American Children.
Saintsbury, G. E. B.,National Rhymes of the Nursery.
Welsh, Charles,A Book of Nursery Rhymes.
Wheeler, William A.,Mother Goose's Melodies.
Crane, Walter,The Baby's Bouquet, a Fresh Bunch of Old Rhymes and Tunes.
Homer, Sidney,Songs from Mother Goose.
Le Mair, H. Willebeck,Our Old Nursery Rhymes.
Le Mair, H. Willebeck,Little Songs of Long Ago.
Perkins, Raymond,Thirty Old-Time Nursery Songs.
Bolton, H. C.,Counting-out Rhymes of Children, Their Antiquity, Origin, and Wide Distribution.
Earle, Alice Morse,Child Life in Colonial Days. [Especially chap. xiv.]
Eckenstein, Lina,Comparative Studies in Nursery Rhymes.
Godfrey, Elizabeth,English Children in the Olden Time. [Especially chap. ii.]
Gomme, A. B.,The Traditional Games of England, Scotland, and Ireland. 2 vols.
Green, P. B.,The History of Nursery Rhymes.
Halsey, Rosalie V.,Forgotten Books of the American Nursery.
Field, W. T.,Fingerposts to Children's Reading, pp. 193 ff.
Moses, M. J.,Children's Books and Reading, pp. 40 ff.
A flawless literature.The one literature that is supremely adapted to its purpose is the collection of rhymes associated with Mother Goose. To every child it comes with an irresistible appeal. It has a power so natural and fundamental that it defies explanation. The child takes it for granted just as he does his parents. It has a perfection of rhythm and structure not attainable by modern imitators. It has been perfected through the generations by the surest of all tests, that of constant popular use. Much of it is common to many different nations. It is an international literature of childhood. While much of it is known to children long before they enter school, these jingles, like all folk literature, never lose their charm through repetition. The schools have long since learned the value of the familiar in teaching. The process of learning to read is usually based on some of the better known rhymes. Teachers of literature in more advanced classes think they can generally detect the students who have been especially "learned" in "Mother Goose her ways" by their quick responsiveness to the facts of verbal rhythm and rhythmical structure in more sophisticated products. "If we have no love for poetry to-day, it may not impossibly be due to the fact that we have ceased to prize the old, old tales which have been the delight of the child and the child-man since the foundations of the world. If you want your child to love Homer, do notwithholdMother Goose."
Who was Mother Goose?The answer to this, as to other questions suggested below, may be of no direct or special interest to the children themselves. But teachers should know some of the main conclusions arrived at by folklorists and others in their investigations of the traditional materials used for basic work in literature. All the evidence shows that Mother Goose as the name of the familiar old lady of the nursery came to us from France. Andrew Lang discovered a reference to her in a French poem of 1650, where she figures as a teller of stories. In 1697 Perrault's famous fairy tales were published with a frontispiece representing an old woman spinning, and telling tales to a man, a girl, a little boy, and a cat. On this frontispiece was the legend,Tales of Our Mother Goose. (See note to No.161.)
As a teller of prose tales, Mother Goose came to England with the translation of Perrault about 1730. We do not find her name connected with verse until after the middle of the eighteenth century. About the year 1760 a little book calledMother Goose's Melodywas issued by John Newbery, a London publisher and a most important figure in the history of the production of books for children. It is a pleasant and not improbable theory that this first collection of nursery rhymes, upon which later ones were built, was the work of Oliver Goldsmith, who was for some years in Newbery's employ. However that may be, it is certain that from this date the name of Mother Goose has been almost exclusively associated with nursery rhymes.
Newbery'sMother Goose's Melodywas soon reprinted by Isaiah Thomas, of Worcester, Massachusetts, and thus came into the hands of American children early in our national life. A long-since exploded theory was advanced about 1870 that Mother Goose was a real woman of Boston in the early eighteenth century, whose rhymes were published by her son-in-law, Thomas Fleet, in 1719. But no one has identified any such publication and there is no evidence whatever that this old lady in cap and spectacles is other than purely mythical.
Whence came the jingles themselves?It is certain that many nursery rhymes are both widespread geographically in distribution and of great antiquity. Halliwell and others have found references to some of them in old books which prove that many of the English rhymes go back several centuries. They are of popular origin; that is, they took root anonymously among the folk and were passed on by word of mouth. When a rhyme can be traced to any known authority we generally find that the folk have extracted what pleased, have forgotten or modified any original historical or other application the rhymes may have possessed, and in general have shaped the rhyme to popular taste. "Thus our old nursery rhymes," says Andrew Lang, "are smooth stones from the book of time, worn round by constant friction of tongues long silent. We cannot hope to make new nursery rhymes, any more than we can write new fairy tales."
Here are a few illustrations of what scholars have been able to tell us of the sources of the rhymes: "Jack and Jill" preserves the Icelandic myth of two children caught up into the moon, where they can still be seen carrying a bucket on a pole between them. "Three Blind Mice" is traced to an old book calledDeuteromalia(1609). "Little Jack Horner" is all that is left of an extended chapbook story,The Pleasant History of Jack Horner, Containing His Witty Tricks, etc. "Poor Old Robinson Crusoe" is a fragment from a song by the character Jerry Sneak in Foote'sMayor of Garratt(1763). "Simple Simon" gives all that the nursery has preserved of a long chapbook verse story. "A Swarm of Bees in May" was found by Halliwell quoted in Miege'sGreat French Dictionary(1687). These and numerous like facts serve only to impress us with the long and honorable history of the nursery rhyme.
Can nursery rhymes be helpfully classified?This question seems of more consequence to the teacher than the previous ones because it deals with the practical organization of his material. The most superficial observer can see that Nos.3,36,46,59,62, and113, on the following pages, are riddles; that Nos.22and30are counting-out rhymes; that Nos.37,38,39,40, and41are replies that might be made to one who indulged unduly in suppositions; that No.27is a face game, No.75a hand game, and No.108a toe game; that Nos.42,81,82,107, and111are riding songs; that Nos.7,10,23,67, and137are proverbial sayings; that Nos.64and89are charms; and so one might continue with groupings based on the immediate use made of the rhyme, not forgetting the great number that lend themselves to the purposes of the crooned lullaby or soothing song.
Halliwell made the first attempt at any complete classification in hisNursery Rhymes of England(1842), using eighteen headings: (1) Historical, (2) Literal, (3) Tales, (4) Proverbs, (5) Scholastic, (6) Songs, (7) Riddles, (8) Charms, (9) Gaffers and Gammers, (10) Games, (11) Paradoxes, (12) Lullabies, (13) Jingles, (14) Loveand Matrimony, (15) Natural History, (16) Accumulative Stories, (17) Local, (18) Relics. Andrew Lang follows Halliwell, but reduces the classes to fourteen by combining (2) and (5), (7) and (11), (8) and (12), and by omitting (17). These classifications are made from the standpoint of the folklore scholar, and are based on the sources from which the rhymes originally sprang. Professor Saintsbury scouts the value of any such arrangement, since all belong equally in the one class, "jingles," and he also rightly points out that "all genuine nursery rhymes . . . have never become nursery rhymes until the historical fact has been practically forgotten by those who used them, and nothing but the metrical and musical attraction remains."
Without denying the great significance of popular rhymes to the student of folklore, we must look elsewhere for any practical suggestion for the teacher in the matter of arrangement. Such a suggestion will be found in the late Charles Welsh'sBook of Nursery Rhymes, a little volume that every teacher interested in children's literature must make use of. The rhymes are grouped into three main divisions: (1) Mother Play, (2) Mother Stories, and (3) Child Play, with subordinate groupings under each. About 250 rhymes are included in Welsh's collection, and the arrangement suggests the best order for using them practically, without dropping into any ironclad system.
It may be argued that any attempt at classification of material so freely and variously used as the Mother Goose rhymes is sure to stiffen the work of the class and render it less enjoyable. Spontaneity is more vital here than at any other stage of one's literary education.
What is the secret of the nursery rhyme's appeal to children?Here at least we are face to face with what may be called a final fact, that these jingles do make an appeal so universal and remarkable that any attempt to explain it seems always to fall far short of completeness. Perhaps the best start may be made with Mr. Welsh's suggestion that this appeal is threefold: first, that which comes from the rhyming jingle, as in "Higgledy, piggledy, my fat hen"; second, that which comes from the nonsense surprises, as in "Hey diddle diddle," "Three wise men of Gotham," and "I'll tell you a story"; third, that which comes from the dramatic action, as in "Little Miss Muffet," and "Little Jack Horner." This summary does not differ much from Mr. Walter Taylor Field's conclusions: "The child takes little thought as to whatanyof these verses mean. There are perhaps four elements in them that appeal to him,—first, the jingle, and with it that peculiar cadence which modern writers of children's poetry strive in vain to imitate; second, the nonsense,—with just enough of sense in it to connect the nonsense with the child's thinkable world; third, the action,—for the stories are quite dramatic in their way; and fourth, the quaintness." Mr. Field also emphasizes the probable charm of mystery in the face of the unknown facts beyond the child's horizon, which appear in many of the rhymes.
Other commentators do little beyond expanding some of these suggestions. All of them agree in stressing the appeal made by rhythm, the jingle, the emphatic meter. This seems a fundamental thing in all literature, though readers are mainly conscious of it in poetry. Just how fundamental it is in human life has not been better hinted than in a sentence by Mrs. MacClintock: "One who is trying to write a sober treatise in a matter-of-fact way dares not, lest he be set down as the veriestmystic, say all the things that might be said about the function of rhythm, especially in its more pronounced form of meter, among a community of children, no matter what the size of the group—how rhythmic motion, or the flow of measured and beautiful sounds, harmonizes their differences, tunes them up to their tasks, disciplines their conduct, comforts their hurts, quiets their nerves; all this apart from the facts more or less important from the point of view of literature, that it cultivates their ear, improves their taste, and provides them a genuinely artistic pleasure."
Professor Saintsbury, as usual, adds a fascinating turn to the discussion when, after agreeing that we may see in the rhymes, "to a great extent, the poetical appeal of sound as opposed to that of meaning in its simplest and most unmistakable terms," he continues: "And we shall find something else, which I venture to call the attraction of the inarticulate. . . . In moments of more intense and genuine feeling . . . [man] does not as a rule use or at least confine himself to articulate speech. . . . All children . . . fall naturally, long after they are able to express themselves as it is called rationally, into a sort of pleasant gibberish when they are alone and pleased or even displeased. . . . It must be a not infrequent experience of most people that one frequently falls into pure jingle and nonsense verse of the nursery kind. . . . I should myself, though I may not carry many people with me, go farther than this and say that this 'attraction of the inarticulate,' this allurement of mere sound and sequence, has a great deal more to do than is generally thought with the charm of the very highest poetry. . . . In the best nursery rhymes, as in the simpler and more genuine ballads which have so close a connection with them, we find this attraction of the inarticulate—this charm of pure sound, this utilizing of alliteration and rhyme and assonance." Those who have noticed the tendency of children to find vocal pleasure even of a physical or muscular sort in nonsense combinations of sounds, and who also realize their own tendency in this direction, will feel that Professor Saintsbury has hit upon a suggestive term in his claim for "the attraction of the inarticulate" as a partial explanation of the Mother Goose appeal.
Through song, game, memorization, and dramatization, traditional or original, the rhymes may be made to contribute to the child's satisfaction in all of the directions pointed out.
(Books referred to by authors' names are listed in preceding bibliography.)For orientation read Chauncey B. Tinker, "In Praise of Nursery Lore,"Unpopular Review, Vol. VI, p. 338 (Oct.-Dec., 1916). For a most satisfactory presentation of the whole subject read chap. x, "Mother Goose," in Field. For the origin of Mother Goose as a character consult Lang's introduction to his edition ofPerrault's Popular Tales. For the theory of her American nativity see Wheeler and Whitmore. For the origins of the rhymes themselves the authorities are Halliwell and Eckenstein. For pedagogical suggestions see Welsh, also his article "Nursery Rhymes,"Cyclopedia of Education(ed. Monroe). For many interesting facts and suggestions on rhythm in nursery rhymes consult Charles H. Sears, "Studies in Rhythm,"Pedagogical Seminary, Vol. VIII, p. 3. For the whole subject of folk songs look into Martinengo-Cesaresco,The Study of Folk Songs. Books and periodicals dealing with primary education often contain brief discussions of value on the use of rhymes. Many Mother Goose records have been prepared by the educational departments of the various talking-machine companies, and may be used to advantage in the work in rhythm.
(Books referred to by authors' names are listed in preceding bibliography.)
For orientation read Chauncey B. Tinker, "In Praise of Nursery Lore,"Unpopular Review, Vol. VI, p. 338 (Oct.-Dec., 1916). For a most satisfactory presentation of the whole subject read chap. x, "Mother Goose," in Field. For the origin of Mother Goose as a character consult Lang's introduction to his edition ofPerrault's Popular Tales. For the theory of her American nativity see Wheeler and Whitmore. For the origins of the rhymes themselves the authorities are Halliwell and Eckenstein. For pedagogical suggestions see Welsh, also his article "Nursery Rhymes,"Cyclopedia of Education(ed. Monroe). For many interesting facts and suggestions on rhythm in nursery rhymes consult Charles H. Sears, "Studies in Rhythm,"Pedagogical Seminary, Vol. VIII, p. 3. For the whole subject of folk songs look into Martinengo-Cesaresco,The Study of Folk Songs. Books and periodicals dealing with primary education often contain brief discussions of value on the use of rhymes. Many Mother Goose records have been prepared by the educational departments of the various talking-machine companies, and may be used to advantage in the work in rhythm.
The shorter rhymes (Nos.1-115) are arranged in alphabetical order. There are many slight variations in the form of the text as found in printed versions and in the oral versions used by children in different communities. While Halliwell has been used as the basis for rhymes given in his collection, the following versions try to reproduce the forms of expression that seem generally most pleasing to children.
A cat came fiddling out of a barn,With a pair of bagpipes under her arm;She could sing nothing but fiddle-de-dee,The mouse has married the bumble-bee;Pipe, cat—dance, mouse—We'll have a wedding at our good house.
A diller, a dollar,A ten o'clock scholar,What makes you come so soon?You used to come at ten o'clock,And now you come at noon.
As I was going to St. Ives,I met a man with seven wives;Every wife had seven sacks,Every sack had seven cats,Every cat had seven kits:Kits, cats, sacks, and wives,How many were there going to St. Ives?
(One.)
As I was going up Pippen Hill,—Pippen Hill was dirty,—There I met a pretty miss,And she dropped me a curtsy.Little miss, pretty miss,Blessings light upon you;If I had half-a-crown a day,I'd spend it all upon you.
As I went to Bonner,I met a pigWithout a wig,Upon my word of honor.
As Tommy Snooks and Bessie BrooksWere walking out one Sunday,Says Tommy Snooks to Bessie Brooks,"To-morrow will be Monday."
A swarm of bees in MayIs worth a load of hay;A swarm of bees in JuneIs worth a silver spoon;A swarm of bees in JulyIs not worth a fly.
Baa, baa, black sheep,Have you any wool?Yes, marry, have I,Three bags full;One for my master,And one for my dame,And one for the little boyWho lives in the lane.
Barber, barber, shave a pig,How many hairs will make a wig?"Four and twenty, that's enough."Give the barber a pinch of snuff.
Birds of a feather flock together,And so will pigs and swine;Rats and mice will have their choice,And so will I have mine.
Bless you, bless you, burnie bee;Say, when will your wedding be?If it be to-morrow day,Take your wings and fly away.
Bobby Shafto's gone to sea,With silver buckles at his knee;He'll come back and marry me,—Pretty Bobby Shafto!Bobby Shafto's fat and fair,Combing out his yellow hair,He's my love for evermore,—Pretty Bobby Shafto!
Bow, wow, wow,Whose dog art thou?Little Tom Tinker's dog,Bow, wow, wow.
Bye, baby bunting,Daddy's gone a-hunting,To get a little rabbit skinTo wrap the baby bunting in.
Come when you're called,Do what you're bid,Shut the door after you,Never be chid.
Cross patch,Draw the latch,And sit by the fire and spin;Take a cup,And drink it up,Then call your neighbors in.
Curly locks! curly locks! wilt thou be mine?Thou shalt not wash the dishes, nor yet feed the swine.But sit on a cushion and sew a fine seam,And feed upon strawberries, sugar, and cream!
Dance, little baby, dance up high,Never mind, baby, mother is by;Crow and caper, caper and crow,There, little baby, there you go;Up to the ceiling, down to the ground,Backward and forward, round and round;Dance, little baby, and mother will sing,With the merry coral, ding, ding, ding!
Diddle, diddle, dumpling, my son John,He went to bed with his stockings on;One shoe off, the other shoe on,Diddle, diddle, dumpling, my son John.
Ding, dong, bell!Pussy's in the well.Who put her in?Little Tommy Green.Who pulled her out?Little Johnny Stout.What a naughty boy was that,To drown the poor, poor pussy-cat,Who never did him any harm,But killed the mice in his father's barn.
Doctor FosterWent to Glo'ster,In a shower of rain;He stepped in a puddle,Up to his middle,And never went there again.
Eggs, butter, cheese, bread,Stick, stock, stone dead,Stick him up, stick him down,Stick him in the old man's crown.
For every evil under the sun,There is a remedy, or there is none.If there be one, try to find it,If there be none, never mind it.
Four-and-twenty tailors went to kill a snail,The bravest man among them dursn't touch her tail;The snail put out her horns, like a little Kyloe cow,Run, tailors, run, or she'll kill you all e'en now.
Great A, little a,Bouncing B!The cat's in the cupboard,And she can't see.
Hark, hark,The dogs do bark,The beggars are coming to town:Some in tags,Some in rags,And some in velvet gowns.
Here sits the Lord Mayor,(touching forehead)Here sit his two men,(eyes)Here sits the cock,(right cheek)Here sits the hen,(left cheek)Here sit the little chickens,(tip of nose)Here they all run in;(mouth)Chinchopper, chinchopper,Chinchopper chin!(chuck the chin)
Here we go up, up, up,And here we go down, down, down;And here we go backwards and forwards,And here we go round, round, round.
Given as usually known to children. In some older versions the word "craft" was used instead of "sport," thus making a rhyme. There is an old story of an overly serious parent who was greatly disturbed by the evident exaggerations in this jingle. After calling the attention of his children to the offensive improbabilities, the good man suggested the following "revised version."
Hey diddle diddle,The cat and the fiddle,The cow jumpedunderthe moon;The little dogbarked,To see the sport,And thecatran after the spoon!
Hey! diddle, diddle,The cat and the fiddle,The cow jumped over the moon;The little dog laughedTo see such sport,And the dish ran away with the spoon.
Hickery, dickery, 6 and 7,Alabone Crackabone, 10 and 11,Spin, span, muskidan;Twiddle 'um, twaddle 'um, 21.
Higgledy, Piggledy,My black hen,She lays eggsFor gentlemen;Sometimes nine,And sometimes ten,Higgledy, Piggledy,My black hen!
Hickory, dickory, dock,The mouse ran up the clock,The clock struck one,The mouse ran down;Hickory, dickory, dock.
Hogs in the garden, catch 'em, Towser.Cows in the cornfield, run, boys, run;Cats in the cream-pot, run, girls, run, girls;Fire on the mountains, run, boys, run.
Hot-cross buns!Hot-cross buns!One a penny, two a penny,Hot-cross buns!Hot-cross buns!Hot-cross buns!If you have no daughters,Give them to your sons.
Hub a dub dub,Three men in a tub;The butcher, the baker,The candlestick-maker,They all fell out of a rotten potato.
Humpty Dumpty sat on a wall,Humpty Dumpty had a great fall;Threescore men and threescore moreCannot place Humpty Dumpty as he was before.
(An egg.)
If all the sea were one sea,What agreatsea that would be!And if all the trees were one tree,What agreattree that would be!And if all the axes were one axe,What agreataxe that would be!And if all the men were one man,What agreatman he would be!And if thegreatman took thegreataxe,And cut down thegreattree,And let it fall into thegreatsea,What a splish splashthatwould be!
If all the world was apple-pie,And all the sea was ink,And all the trees were bread and cheese,What should we have for drink?
If I'd as much money as I could spend,I never would cry, "Old chairs to mend!Old chairs to mend! Old chairs to mend!"I never would cry, "Old chairs to mend!"If I'd as much money as I could tell,I never would cry, "Old clothes to sell!Old clothes to sell! Old clothes to sell!"I never would cry, "Old clothes to sell!"
If "ifs" and "ands"Were pots and pans,There would be no need for tinkers!
If wishes were horses,Beggars might ride;If turnips were watches,I'd wear one by my side.
I had a little pony,His name was Dapple-gray,I lent him to a lady,To ride a mile away;She whipped him, she slashed him,She rode him through the mire;I would not lend my pony nowFor all that lady's hire.
I had a little hobby horse,His name was Tommy Gray,His head was made of pease straw,His body made of hay;I saddled him and bridled him,And rode him up to town,There came a little puff of windAnd blew him up and down.
I have a little sister, they call her peep, peep;She wades the waters deep, deep, deep;She climbs the mountains high, high, high;Poor little creature, she has but one eye.
(A star.)
I'll tell you a storyOf Jack-a-Nory,And now my story's begun.I'll tell you anotherAbout Jack's brother,And now my story is done.
In marble walls as white as milk,Lined with a skin as soft as silk;Within a fountain crystal clear,A golden apple doth appear.No doors there are to this stronghold,Yet thieves break in and steal the gold.
(An egg.)
1. I went up one pair of stairs.2. Just like me.1. I went up two pair of stairs.2. Just like me.1. I went into a room.2. Just like me.1. I looked out of a window.2. Just like me.1. And there I saw a monkey.2. Just like me.
Jack and Jill went up the hill,To fetch a pail of water;Jack fell down, and broke his crown,And Jill came tumbling after.
Jack be nimble,Jack be quick,Jack jump over the candlestick.
Jack Sprat could eat no fat,His wife could eat no lean;And so between them both, you see,They licked the platter clean.