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- Herausgeber: ePembaBooks
- Kategorie: Für Kinder und Jugendliche
- Sprache: Englisch
- Veröffentlichungsjahr: 2023
- This edition includes the following editor's introduction: The life of L. Frank Baum, the father of Oz, a fall from success to disaster
First published in 1897, “Mother Goose in Prose” is a collection of twenty-two children's stories based on Mother Goose nursery rhymes. It was the first children's book written by American author L. Frank Baum, best known for “The Wonderful Wizard of Oz” and its sequels.
“Mother Goose in Prose” opens with an introduction by Baum that traces the history of Mother Goose. The book's last selection features a girl named Dorothy who can talk to animals—an anticipation of the Oz books.
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L. Frank Baum
Table of contents
The life of L. Frank Baum, the father of Oz, a fall from success to disaster
MOTHER GOOSE IN PROSE
Introduction.
Sing a Song O' Sixpence
The Story of Little Boy Blue
The Cat and the Fiddle
The Black Sheep
Old King Cole
Mistress Mary
The Wond'rous Wise Man
What Jack Horner Did
The Man in the Moon
The Jolly Miller
The Little Man and His Little Gun
Hickory, Dickory, Dock
Little Bo-peep
The Story of Tommy Tucker
Pussy-cat Mew
How the Beggars Came to Town
Tom, the Piper's Son
Humpty Dumpty
The Woman Who Lived in a Shoe
Little Miss Muffet
Three Wise Men of Gotham
Little Bun Rabbit
The life of L. Frank Baum, the father of Oz, a fall from success to disaster
Who hasn't heard Over the Rainbow? Who hasn't seen Judy Garland as Dorothy and sung the melodies of that history-making movie? However, few remember L. Frank Baum, the author of this series of children's books about the Wizard of Oz, as well as 41 other novels, including the essential “The Sea Fairies” (1911) and "Sky Island" (1912), 83 short stories, 200 poems and at least 40 plays.
Lyman Frank was the ninth child of the Baum - Stanton couple. He was named after his uncle but always preferred to be called Frank. Baum grew up on the family's extensive property; his father was a successful businessman who believed that military life would strengthen his son's dreamy character. For this reason he sent him to a Lyceum where Frank spent the most miserable years of his life. However, the yellow brick streets of Peekskill High School were like the streets Dorothy walked along with the Wizard of Oz. Frank's military career was not very long, lasting barely two years. It ended when the young cadet suffered a panic attack. Back home, he began editing a family newspaper and a philately manual. At the age of 20 he decided to set up a chicken breeding business and even edited a magazine on the subject, without much success in either breeding or publishing. Meanwhile, Frank indulged one of his lifelong passions, fireworks. Every opportunity was good to fill the skies with ephemeral sparkles, a metaphor for what was to be his life with bright moments and black failures. An entertaining young man with a sparkling chat, he quickly became the centre of the meetings he attended. He also had a histrionic vocation that led him to act in several plays while working in his brother-in-law's store and directing a literary magazine called The White Elephant. One day he arrived at the shop and his partner had taken his own life. This experience led him to write a short story, “The Suicide of Kiaros.” In 1880 he wrote his first play, “The Maid of Arran,” which he took on tour to several cities in the interior of the USA. While he was in Kansas, the place where the adventures of the Wizard of Oz take place, the theatre he directed in Richburg burned down, while a play he wrote, coincidentally called “Matches,” was playing. In November 1882 he married Maud Gage, the daughter of a celebrated feminist and suffragist. Baum made the ideas of his wife and mother-in-law his own. The young couple went to live in South Dakota where they opened a store, which did not prosper and Baum returned to editing a newspaper. While living in Dakota he imagined the story of the famous magician from Kansas. As the newspaper also went bankrupt he went to live with his family in Chicago and wrote in the Evening Post. In 1897 he edited “ Mother Goose in Prose,” a text illustrated by W. Denalow. He also published a children's book called “Papa Goose,” a tale of absurdities in the best Alice in Wonderland style. The success of these books stimulated his literary career and around 1900 he published the story of Dorothy and the Magician, a story that became a commercial success. The play premiered in Chicago and ran on Broadway for almost two years. As the play was intended for adult audiences The little dog Toto was replaced by the Imogene Cow and some political jokes directed at President Roosevelt, and different characters including John Rockefeller were introduced. The play was adapted to film in the 1910 and 1925 versions (the filming with Judy Garland is from 1939 and there is a 1982 Disney version). Baum, emboldened by success, published a book called “Dot and Tot of Merryland” in 1901, which was a fiasco. Although Baum tried to escape from the Wizard of Oz and look for other literary lines about fantastic worlds such as “The Life and Adventures of Santa Claus” and “Queen Zixi of Ix,” he had to return periodically to the Wizard of Oz to save it from the financial failures of his other works that mixed projections of images, with cinema and performances, a very advanced proposal for the time. In order to avoid the loss of all his properties, he transferred them to his wife's name and he only kept his clothes and books. Maud was more cautious than Frank and was able to save the family's assets. Baum continued writing under different pseudonyms and also began his career as a Hollywood producer creating his own company, The Oz Films. Success, once again, eluded him and after the disappointment of “The Last Egyptian,” he suffered a stroke and died in May 1919 shortly after his 63rd birthday, when he discovered that on the other side of the rainbow, only failure and death awaited him. "Now we can cross the quicksand," he said, referring to an episode of his saga before he breathed his last breath. The story of Oz knew other versions written by Ruth Plumey Thompson that had better luck than Baum's versions.
The Editor, P.C. 2022
MOTHER GOOSE IN PROSE
L. Frank Baum
Introduction.
None of us, whether children or adults, needs an introduction to Mother Goose. Those things which are earliest impressed upon our minds cling to them most tenaciously The snatches sung in the nursery are never forgotten, nor are they ever recalled without bringing back with them myriads of slumbering feelings and half–forgotten images.
We hear the sweet, low voice of the mother, singing soft lullabies to her darling, and see the kindly, wrinkled face of the grandmother as she croons the old ditties to quiet our restless spirits. One generation is linked to another by the everlasting spirit of song; the ballads of the nursery follow us from childhood to old age, and they are readily brought from memory's recesses at any time to amuse our children or our grandchildren.
The collection of jingles we know and love as the "Melodies of Mother Goose" are evidently drawn from a variety of sources. While they are, taken altogether, a happy union of rhyme, wit, pathos, satire and sentiment, the research after the author of each individual verse would indeed be hopeless. It would be folly to suppose them all the composition of uneducated old nurses, for many of them contain much reflection, wit and melody. It is said that Shelley wrote "Pussy–Cat Mew," and Dean Swift "Little Bo–Peep," and these assertions are as difficult to disprove as to prove. Some of the older verses, however, are doubtless offshoots from ancient Folk Lore Songs, and have descended to us through many centuries.
The connection of Mother Goose with the rhymes which bear her name is difficult to determine, and, in fact, three countries claim her for their own: France, England and America.
About the year 1650 there appeared in circulation in London a small book, named "Rhymes of the Nursery; or Lulla–Byes for Children," which contained many of the identical pieces that have been handed down to us; but the name of Mother Goose was evidently not then known. In this edition were the rhymes of "Little Jack Homer," "Old King Cole," "Mistress Mary," "Sing a Song o' Sixpence," and "Little Boy Blue."
In 1697 Charles Perrault published in France a book of children's tales entitled "Contes de ma Mere Oye," and this is really the first time we find authentic record of the use of the name of Mother Goose, although Perrault's tales differ materially from those we now know under this title. They comprised "The Sleeping Beauty," "The Fairy," "Little Red Riding Hood," "Blue Beard," "Puss in Boots" "Riquet with the Tuft," "Cinderella," and "Little Thumb"; eight stories in all. On the cover of the book was depicted an old lady holding in her hand a distaff and surrounded by a group of children listening eagerly. Mr. Andrew Lang has edited a beautiful English edition of this work (Oxford, 1888).
America bases her claim to Mother Goose upon the following statement, made by the late John Fleet Eliot, a descendant of Thomas Fleet, the printer:
At the beginning of the eighteenth century there lived in Boston a lady named Eliza Goose (written also Vergoose and Vertigoose) who belonged to a wealthy family. Her eldest daughter, Elizabeth Goose (or Vertigoose), was married by Rev. Cotton Mather in 1715 to an enterprising and industrious printer named Thomas Fleet, and in due time gave birth to a son. Like most mothers–in–law in our day, the importance of Mrs. Goose increased with the appearance of her grandchild, and poor Mr. Fleet, half distracted with her endless nursery ditties, finding all other means fail, tried what ridicule could effect, and actually printed a book under the title "Songs of the Nursery; or, Mother Goose's Melodies for Children." On the title page was the picture of a goose with a very long neck and a mouth wide open, and below this, "Printed by T. Fleet, at his Printing House in Pudding Lane, 1719. Price, two coppers."
Mr. Wm. A. Wheeler, the editor of Hurd & Houghton's elaborate edition of Mother Goose, (1870), reiterated this assertion, and a writer in the Boston Transcript of June 17, 1864, says: "Fleet's book was partly a reprint of an English collection of songs (Barclay's), and the new title was doubtless a compliment by the printer to his mother–in–law Goose for her contributions. She was the mother of sixteen children and a typical 'Old Woman who lived in a Shoe.'"
We may take it to be true that Fleet's wife was of the Vergoose family, and that the name was often contracted to Goose. But the rest of the story is unsupported by any evidence whatever. In fact, all that Mr. Eliot knew of it was the statement of the late Edward A. Crowninshield, of Boston, that he had seen Fleet's edition in the library of the American Antiquarian Society. Repeated researches at Worcester having failed to bring to light this supposed copy, and no record of it appearing on any catalogue there, we may dismiss the entire story with the supposition that Mr. Eliot misunderstood the remarks made to him. Indeed, as Mr. William H. Whitmore points out in his clever monograph upon Mother Goose (Albany, 1889), it is very doubtful whether in 1719 a Boston printer would have been allowed to publish such "trivial" rhymes. "Boston children at that date," says Mr. Whitmore, "were fed upon Gospel food, and it seems extremely improbable that an edition could have been sold."
Singularly enough, England's claim to the venerable old lady is of about the same date as Boston's. There lived in a town in Sussex, about the year 1704, an old woman named Martha Gooch. She was a capital nurse, and in great demand to care for newly–born babies; therefore, through long years of service as nurse, she came to be called Mother Gooch. This good woman had one peculiarity: she was accustomed to croon queer rhymes and jingles over the cradles of her charges, and these rhymes "seemed so senseless and silly to the people who overheard them" that they began to call her "Mother Goose," in derision, the term being derived from Queen Goosefoot, the mother of Charlemagne. The old nurse paid no attention to her critics, but continued to sing her rhymes as before; for, however much grown people might laugh at her, the children seemed to enjoy them very much, and not one of them was too peevish to be quieted and soothed by her verses. At one time Mistress Gooch was nursing a child of Mr. Ronald Barclay, a physician residing in the town, and he noticed the rhymes she sang and became interested in them. In time he wrote them all down and made a book of them, which it is said was printed by John Worthington & Son in the Strand, London, in 1712, under the name of "Ye Melodious Rhymes of Mother Goose." But even this story of Martha Gooch is based upon very meager and unsatisfactory evidence.
The earliest English edition of Mother Goose's Melodies that is absolutely authentic was issued by John Newbury of London about the year 1760, and the first authentic American edition was a reprint of Newbury's made by Isaiah Thomas of Worcester, Mass., in 1785.
None of the earlier editions, however, contained all the rhymes so well known at the present day, since every decade has added its quota to the mass of jingles attributed to "Mother Goose." Some of the earlier verses have become entirely obsolete, and it is well they have, for many were crude and silly and others were coarse. It is simply a result of the greater refinement of modern civilization that they have been relegated to oblivion, while the real gems of the collection will doubtless live and grow in popular favor for many ages.
While I have taken some pains to record the various claims to the origin of Mother Goose, it does not matter in the least whether she was in reality a myth, or a living Eliza Goose, Martha Gooch or the "Mere Oye" of Perrault. The songs that cluster around her name are what we love, and each individual verse appeals more to the childish mind than does Mother Goose herself.
Many of these nursery rhymes are complete tales in themselves, telling their story tersely but completely; there are others which are but bare suggestions, leaving the imagination to weave in the details of the story. Perhaps therein may lie part of their charm, but however that may be I have thought the children might like the stories told at greater length, that they may dwell the longer upon their favorite heroes and heroines.
For that reason I have written this book.
In making the stories I have followed mainly the suggestions of the rhymes, and my hope is that the little ones will like them, and not find that they interfere with the fanciful creations of their own imaginations.
L Frank Baum
Chicago, Illinois, September, 1897.
Sing a Song O' Sixpence
If you have never heard the legend of Gilligren and the King's pie, you will scarcely understand the above verse; so I will tell you the whole story, and then you will be able to better appreciate the rhyme.
Gilligren was an orphan, and lived with an uncle and aunt who were very unkind to him. They cuffed him and scolded him upon the slightest provocation, and made his life very miserable indeed. Gilligren never rebelled against this treatment, but bore their cruelty silently and with patience, although often he longed to leave them and seek a home amongst kinder people.
It so happened that when Gilligren was twelve years old the King died, and his son was to be proclaimed King in his place, and crowned with great ceremony. People were flocking to London from all parts of the country to witness the festivities, and the boy longed to go with them.
One evening he said to his uncle,
"If I had sixpence I could make my fortune."
"Pooh! nonsense!" exclaimed his uncle, "a sixpence is a small thing. How then could you make a fortune from it?"
"That I cannot tell you," replied Gilligren, "but if you will give me the sixpence I will go to London, and not return until I am a rich man."
"The boy is a fool!" said his uncle, with anger; but the aunt spoke up quickly.
"Give him the money and let him go," she said, "and then we shall be well rid of him and no longer be obliged to feed and clothe him at our expense."
"Well," said her husband, after a moment's thought, "here is the money; but remember, this is all I shall ever give you, and when it is gone you must not come to me for more."
"Never fear," replied Gilligren, joyfully, as he put the sixpence in his pocket, "I shall not trouble you again."
The next morning he cut a short stick to assist him in walking, and after bidding goodbye to his uncle and aunt he started upon his journey to London.
"The money will not last him two days," said the man, as he watched Gilligren go down the turnpike road, "and when it is gone he will starve to death."
"Or he may fall in with people who will treat him worse than we did," rejoined the woman, "and then he 'll wish he had never left us."
But Gilligren, nothing dismayed by thoughts of the future, trudged bravely along the London road. The world was before him, and the bright sunshine glorified the dusty road and lightened the tips of the dark green hedges that bordered his path. At the end of his pilgrimage was the great city, and he never doubted he would find therein proper work and proper pay, and much better treatment than he was accustomed to receive.
So, on he went, whistling merrily to while away the time, watching the sparrows skim over the fields, and enjoying to the full the unusual sights that met his eyes. At noon he overtook a carter, who divided with the boy his luncheon of bread and cheese, and for supper a farmer's wife gave him a bowl of milk. When it grew dark he crawled under a hedge and slept soundly until dawn.
The next day he kept steadily upon his way, and toward evening met a farmer with a wagon loaded with sacks of grain.
"Where are you going, my lad?" asked the man.
"To London," replied Gilligren, "to see the King crowned."
"Have you any money?" enquired the farmer.
"Oh yes," answered Gilligren, "I have a sixpence."
"If you will give me the sixpence," said the man, "I will give you a sack of rye for it."
"What could I do with a sack of rye?" asked Gilligren, wonderingly.
"Take it to the mill, and get it ground into flour. With the flour you could have bread baked, and that you can sell."
"That is a good idea," replied Gilligren, "so here is my sixpence, and now give me the sack of rye."
The farmer put the sixpence carefully into his pocket, and then reached under the seat of the wagon and drew out a sack, which he cast on the ground at the boy's feet.
"There is your sack of rye," he said, with a laugh.
"But the sack is empty!" remonstrated Gilligren.
"Oh, no; there is some rye in it."
"But only a handful!" said Gilligren, when he had opened the mouth of the sack and gazed within it.
"It is a sack of rye, nevertheless," replied the wicked farmer, "and I did not say how much rye there would be in the sack I would give you. Let this be a lesson to you never again to buy grain without looking into the sack!" and with that he whipped up his horses and left Gilligren standing in the road with the sack at his feet and nearly ready to cry at his loss.
"My sixpence is gone," he said to himself, "and I have received nothing in exchange but a handful of rye! How can I make my fortune with that?"
He did not despair, however, but picked up the sack and continued his way along the dusty road. Soon it became too dark to travel farther, and Gilligren stepped aside into a meadow, where, lying down upon the sweet grass, he rolled the sack into a pillow for his head and prepared to sleep.
The rye that was within the sack, however, hurt his head, and he sat up and opened the sack.
"Why should I keep a handful of rye?" he thought, "It will be of no value to me at all."
So he threw out the rye upon the ground, and rolling up the sack again for a pillow, was soon sound asleep. When he awoke the sun was shining brightly over his head and the twitter and chirping of many birds fell upon his ears. Gilligren opened his eyes and saw a large flock of blackbirds feeding upon the rye he had scattered upon the ground. So intent were they upon their feast they never noticed Gilligren at all.
