Baa, baa, black sheep,
Have you any wool?
Yes sir, yes sir,
Three bags full.
One for the master,
One for the dame,
And one for the little boy
Who lives down the lane.
Version published in 1744:
Bah, Bah a black Sheep,
Have you any Wool?
Yes merry have I,
Three Bags full,
One for my master,
One for my Dame,
One for the little Boy
That lives down the lane.
At first glance, this nursery rhyme may seem a simple children’s song teaching the kids the sound that sheep make. In reality, however, this verse speaks about… taxation!
The rhyme is quite old, dating back to the 12th century AD. At the end of this century England had countless rebellions and minor wars in Wales and in Scotland, and in 1272 the last Crusade had ended with defeat. All this required vast sums of money and resulted in financial hardships.
King Edward I (1239-1307), just as today’s governments, saw the solution to these financial problems in raising the taxes. Even the Church, who until then was free of paying any taxes to lay authorities, now had to pay half of it's revenues to the King.
Farmers had to pay the tax in wool: one third to the King (the master), one third to the local nobleman (the Dame). The remaining third was left to the farmer himself who is that little boy in the rhyme.
An interesting thing to mention is that the wool of a black sheep was worth considerably less than that of a white sheep which could be dyed to any color.
Bat, bat,
Come under my hat,
And I'll give you a slice of bacon;
And when I bake
I'll give you a cake,
If I am not mistaken.
“Bat, Bat, Come Under My Hat” is an English nursery rhyme most likely originating from the 19th century. The exact origin of the rhyme and its creators remain unclear, however, some believe it was first mentioned by 19th-century Irish poet William Allingham.
The literal meaning of the line “Bat, Bat, Come Under My Hat” is unclear. Since bats generally evoke a sense of fear, some researchers believe this line may be referring to the idea of hiding or being protected from something. Others argue the meaning of the line is more innocent with the “hat” perhaps being a symbol of security or safety. Additionally, some believe “Bat, Bat, Come Under My Hat” is linked to a secret or hidden meaning found in certain circles.
Though the line “Bat, Bat, Come Under My Hat” has been used in many different countries throughout the centuries, it first debuted in the United States in the book “Mother Goose: or, the Old Nursery Rhymes,” which was published in 1881.
Bow, wow, wow!
Whose dog art thou?
Little Tom Tinker's dog,
Bow, wow, wow!
The precise origins of this nursery rhyme are uncertain, but its connection with Little Tom Tinker and his dog suggests that it may have originally been an oral children’s game. Though the game could have been played as early as the 17th century, the first known recorded appearance of the rhyme is in the 1810 publication of Rhymes for the Nursery by Jane Taylor.
The nursery rhyme “Bow, Wow, Wow!” is best enjoyed as a children’s game that can be enjoyed by a group of kids. To play, children sit in a circle and one child is chosen to be “Little Tom Tinker” (or “Little Pam Tinker” if she’s a girl). Little Tom Tinker stands in the middle of the circle while the other players have a small stuffed dog that they keep hidden behind their backs, so that Little Tom Tinker can’t see it.
Everyone recites the rhyme together:
Bow, wow, wow!
Whose dog art thou?
Little Tom Tinker’s dog,
Bow, wow, wow!
As long as the rhyme lasts, the players hiding the toy dog pass it quickly from one to another as fast as they can. When the rhyme ends with the last “wow”, the passing of the toy stops. Little Tom Tinker must then guess who is holding the toy dog and ask the child: “Art thou holding my dog?” If Little Tom Tinker guesses correctly, they switch places and the game continues with a new Little Tom Tinker. If Little Tom Tinker doesn't guess correctly, the game continues with the same Little Tom Tinker.
This classic children’s game is sure to provide hours of fun and laughter for kids.
Bye, Baby bunting,
Father's gone a-hunting,
Mother's gone a-milking,
Sister's gone a-silking,
And Brother's gone to buy a skin
To wrap the Baby bunting in.
Bye, Baby Bunting is an old English nursery rhyme of unknown origin. In the year 1731, an edition of the rhyme was made available in England.
The rhyme tells the story of a baby bunting, a type of small bird, and its mother's efforts to keep it warm and safe. Some researchers suggest that Bye, Baby Bunting might also carry a hidden message about fertility, with the imagery of the new baby being a “bunting”—a type of bird noted for its high reproductive rate—perhaps implying that the mother wants more children.
"Bye, Baby Bunting" is that it is often used as a lullaby to help soothe and calm babies. The gentle melody and soothing lyrics can help to relax and calm young children, making it a popular choice for parents and caregivers.
Cock a doodle do!
My dame has lost her shoe,
My master's lost his fiddlestick,
And knows not what to do.
Cock a Doodle Doo nursery rhyme dates back to 17th century England. Children sang it to mock rooster's crowing. It was first published in 1765 in Mother Goose's Melody, more than a hundred years after its appearance. Later, three more verses were added.
The full 4-rhyme version of this nursery rhyme:
Cock a doodle do!
My dame has lost her shoe,
My master's lost his fiddlestick,
And knows not what to do.
Cock a doodle do!
What is my dame to do?
Till master's found his fiddlingstick,
She'll dance without her shoe.
Cock a doodle do!
My dame has found her shoe,
And master's found his fiddlingstick,
Sing cock a doodle do!
Cock a doodle do!
My dame will dance with you,
While master fiddles his fiddlingstick,
And knows not what to do.
It is also interesting to know how the sound of the rooster is interpreted by different nations of the world. In France, it's cocorico; in Italy chicchirichi. The Dutch, Danish, and Finnish children say kukeleku; German and Cech kids kikeriki; the Russians kukareku. In Icelandic, however, the word is gaggalago.
Cold and raw the north winds blow
Bleak in the morning early,
All the hills are covered with snow,
And winter's now come fairly.
In the foggy mists of time, somewhere in the tapestry of England or Scotland's rich history, in the throes of the 18th century, the birth of this quaint nursery rhyme is surmised to have taken place. This charming rhyme, known as 'Cold and Raw the North Winds Blow', has been interwoven in numerous compilations of nursery rhymes, celebrated in the likes of Mother Goose and The Real Mother Goose.
This humble rhyme, in its deceptive simplicity, paints a vivid picture of the biting and unforgiving north winds, famous for their icy and raw gusts. It often serves as a lyrical vehicle to acquaint young minds with the changing rhythm of seasons and the might of Mother Nature. Yet, some scholars delve deeper, suggesting hidden meanings ensconced within its lines. They speculate a commentary on the grim economic conditions prevalent during its inception, or an allegorical representation of the toils of the labouring class amid the throes of the Industrial Revolution.
Children may delight in learning this rhyme, enacting it in a melodrama of gestures and movements. Their imaginative play may burst forth, crafting projects that pay homage to the rhyme, such as a mobile that captures the north wind's bluster and other facets of the natural world.
This modest nursery rhyme has kindled the creative flame in many a writer, poet, and musician. Among them, the revered T.S. Eliot, who found inspiration within its lines for his illustrious poem, "The Waste Land". The rhyme's appeal transcends borders, finding a home in many cultures across the globe, its charm undiminished in several translated languages.
Daffy-down-dilly
has now come to town
With a petticoat green
and a bright yellow gown.
Daffy-down Dilly, a whimsical nursery rhyme with mysterious 18th-century English roots, spins the tale of a quirky girl courted by gift-bearing suitors. Yet, she stays true to herself, rejecting their materialistic advances.
This catchy rhyme, often sung with claps and twirls, serves as a playful warning against vanity and materialism. Perfect for little ones, it helps teach language and counting skills too!
This cheeky lass, with her unwavering spirit, keeps teaching kids valuable life lessons. Besides dodging greedy suitors, she reminds us that true love and affection matter more than wealth.
Often used as a fun teaching tool, Daffy-down Dilly gets tiny feet tapping and little hands clapping. As kids sing and dance, they learn about self-respect, love, and kindness.
Goosey, goosey, gander,
Where shall I wander?
Upstairs, downstairs,
And in my lady’s chamber.
There I met an old man,
Who wouldn’t say his prayers;
Take him by the left leg,
And throw him down the stairs.
The origin of ‘Goosey, Goosey Gander’ is somewhat horrible. The most common explanation asserts this nursery rhyme to date back to the English Civil War, which took place in the middle of the seventeenth century. At the time when England was ruled by Oliver Cromwell, Catholicism was strictly forbidden there. When practitioners of Catholicism were caught, they were usually executed.
Cromwell’s soldiers used to march in “goose-step” (Goosey, goosey, gander), searching for Catholic priests, hidden in the houses of Catholic nobility and other upper-class families. In the case of a surprise visit, the priests were hidden in specific priest holes. Priest holes where usually near the family’s own chapel, located behind a wooden wall panel, but sometimes also in other more private parts of the house. Lady’s chamber—her own private room, is one such place.
The “old man” is supposedly a priest, who wouldn’t say the (right) prayers—that is, according to the Anglican Prayer Book in English.
Why “left leg”? Even today, in Northern Ireland and Scotland, Catholics are called left-footers. The term comes from a tradition that Irish Catholic workers dug with the left foot, while Protestant workers used their right foot.
Great A, little a,
Bouncing B;
The cat's in the cupboard,
And she can't see.
My dear scrumdiddlyumptious readers, gather 'round and lend me your ears, as I share with you the fantastical story of an old nursery rhyme that has captured the hearts and minds of children for generations. This is the tale of "Great A, Little A," a simple rhyme that, like a golden ticket, unlocks a world of wonder and delight.
A most peculiar thing about nursery rhymes, you see, is that they often have the most phizz-whizzing origins. "Great A, Little A" is no exception. Before I divulge the secrets behind this rhythmic enchantment, let me recite it for you:
"Great A, Little a,
Bouncing B!
The cat's in the cupboard,
And can't see me."
Though it may appear short and sweet, this little ditty is brimming with a history so marvelous that it would make even the Grand High Witch of All the World sit up and take notice.
Once upon a time, in a land far, far away (or perhaps just around the corner), the alphabet was taught to children through a concoction of verse and song. These whimsical rhymes, including "Great A, Little A," were like swishwiffling potions, brewing up a love for language and learning in the hearts of youngsters.
"Great A, Little A" first leaped onto the scene in the 18th century, hopping into the pages of Tommy Thumb's Pretty Song Book. Though the rhyme itself may seem as innocent as a snozzcumber, some believe it has a darker history, like a secret ingredient hidden inside a delicious chocolate cake.
One theory suggests that "Great A, Little A" is a veiled reference to the ill-fated Anne Boleyn, the second wife of King Henry VIII. You see, "Great A" and "Little a" could represent the two Annes - the regal Anne Boleyn and her daughter, Elizabeth, who would one day become the gloriumptious Queen Elizabeth I. As for the "Bouncing B," it could symbolize Anne's surname, as well as her unfortunate fate – she quite literally bounced from the throne to the chopping block.
The line about the cat in the cupboard is a bit more mysterious, like a snozzberry hidden in a forest of lickable wallpaper. Some say it symbolizes the secrecy surrounding Anne Boleyn's life, while others argue it's simply a playful addition to amuse young listeners. After all, who doesn't love a cheeky feline, hiding in the cupboard, watching the world go by?
Regardless of its origins, "Great A, Little A" has joined the ranks of other beloved nursery rhymes that have shaped the world of early childhood education. Like fizzy lifting drinks in a chocolate factory, these simple songs transport children into a realm of wonder and curiosity, helping them to develop essential language and cognitive skills while they frolic in a garden of rhymes.
Hickety, pickety, my black hen,
She lays eggs for gentlemen.
Gentlemen come every day,
To see what my black hen doth lay.
Hickety, Pickety, My Black Hen's beginnings are shrouded in 18th-century mystery! The first written mention pops up in late 19th-century nursery rhyme collections.
This quirky rhyme may just be whimsical nonsense, but perhaps it's a fun counting song! It even stars in the game "Mother, May I?" as playful permission to take giant steps forward.
Ever heard "Hiccupitty, Pickupitty"? It's a twist on the classic, swapping out "Hickety, pickety"!
This age-old ditty still delights children and grown-ups alike, reminding us of childhood's simple joys and the magic of nursery rhymes that connects generations.
Hickory, dickory, dock,
The mouse ran up the clock.
The clock struck one,
The mouse ran down,
Hickory, dickory, dock.
The fourth line has several other different versions: “down the mouse run”, “and down he run” and “down the mouse ran”.
Complete (longer) version of Hickory Dickory Dock:
Hickory dickory dock, the mouse ran up the clock.
The clock struck one, the mouse ran down.
Hickory dickory dock.
Hickory dickory dock, the mouse ran up the clock.
The clock struck two, the mouse said “BOO!”
Hickory dickory dock.
Hickory dickory dock, the mouse ran up the clock.
The clock struck three, the mouse said “WHEE!”
Hickory dickory dock.
Hickory dickory dock, the mouse ran up the clock.
The clock struck four, the mouse said “No more!”
Hickory dickory dock.
This nursery rhyme has no particular historical background or hidden meaning. It’s nothing but a simple children’s counting rhyme with words that mimic the sounds of an antique clock ticking and chiming on the wall.
The words hickory, dickory and dock come from an ancient Celtic language that was spoken in the British Isles long before English and they mean numbers: eight, nine and ten. The old tongues were still very much alive in the Middle Ages, in some cases until the nineteenth century. Shepherds used to count their sheep using these words even when they already spoke English.
Who knows why the count ends at ten if the clock dial has two more digits? Maybe it’s because little kids usually first only learn to count to ten?
Hickories are also nut trees. For a tree, the word hickory comes from Algonquin (an Indian nation in North America) word “pawcohiccora.” However, it is improbable that hickory trees could have anything to do with the nursery rhyme.
In 1955 Agatha Christie wrote one of her detective stories, giving it a title “Hickory Dickory Dock”. The story features her famous detective Hercule Poirot and his secretary Miss Lemon.
Humpty Dumpty sat on a wall,
Humpty Dumpty had a great fall.
All the king’s horses and all the king’s men
Couldn’t put Humpty together again.
The 1810 version:
Humpty Dumpty sat on a wall,
Humpty Dumpty had a great fall;
Threescore men and threescore more,
Cannot place Humpty Dumpty as he was before.
Nursery rhyme Humpty Dumpty Sat on a Wall is probably the most well known in the entire English-speaking world. The 1810 version presented it as a riddle to which the answer was an egg. That's why even today the illustrations to this rhyme most often show an egg with a face, arms and legs sitting on the wall.
Initially, however, the nursery rhyme had nearly nothing to do with an egg. In the seventeenth century, “Humpty-dumpty” was a slang word for a short, fat and clumsy person—who indeed may have looked like an egg.
In August 1643, during the very first engagement of the English Civil War, the Royalists used a very poorly constructed siege tower to attack Gloucester which was then defended by the Parliamentary forces. This wooden tower fell over and how much the besieging troops tried, all attempts to raise it up again were futile. The battle was eventually lost, and the siege tower was written (or rather sung at that time) into a mocking rhyme as Humpty Dumpty.
Later on, Lewis Caroll also wrote Humpty Dumpty into one of his books. This character appears in “Through the Looking-Glass”, which the sequel to “Alice's Adventures in Wonderland”. As was already the established tradition in the nineteenth century (the book was first published in 1871), Humpty Dumpty is an egg in the his book as well.
Hush-a-bye, Baby, upon the tree top,
When the wind blows the cradle will rock;
When the bough breaks the cradle will fall,
Down tumbles cradle and Baby and all.
Hush-a-bye Baby, also known as Rock-a-bye Baby, is a cherished nursery rhyme and lullaby that has long been employed to calm and console little ones. The melody is gentle, and the soothing words make it a favored selection amongst parents and caregivers alike.
The true beginnings of Hush-a-bye Baby remain shrouded in mystery, with conjectures proposing that it could have originated as far back as the 17th century.
A favored hypothesis regarding the song's inception involves the English colonists of the 17th century who ventured to the New World. They might have modified the rhyme from an existing English lullaby, or perhaps it was inspired by the Native American tradition of soothing infants in cradleboards, suspended from tree limbs to emulate the swaying movement of a cradle.
Hush-a-bye Baby has been the subject of numerous interpretations over time, with some convinced that the lyrics contain allegorical or historical significance. The song is thought by some to potentially refer to the 1688 departure of King James II and his queen consort, Mary, from the shores of England. The „baby“ within the lyrics may symbolize the royal couple, whereas the „tree top“ and „wind“ might signify their precarious political situation and the forces that eventually led to their decline.
Another interpretation posits that the lyrics exemplify the vulnerability of life, with the cradle’s descent symbolizing the delicacy of human existence. It is essential to note, however, that no definitive meaning has been ascertained for the song, and it may simply serve to comfort and ease the child.
Jack Sprat could eat no fat,
His wife could eat no lean.
And so between them both, you see,
They licked the platter clean.
The nursery rhyme of Jack Sprat has been around for centuries. The saying ‘Jack Sprat’ was used of people of small stature in the 16th century and it was featured in John Clarke’s Collection of Sayings in 1639:
Jack will eat not fat, and Jull doth love no leane.
Yet betwixt them both they lick the dishes cleane.
The phrase ‘Jack Sprat could eat no fat, his wife could eat no lean, and so between them both, you see, they licked the platter clean’ was first published in the book Mother Goose’s Melody in 1765.
There have been various suggestions as to the true meaning of the nursery rhyme of Jack Sprat. Some theories suggest that the characters of Jack Sprat represent King Charles I and his wife Henrietta Maria and the saying writes itself off as a satire on a public figure or alternatively, King John and his wife Isabella.
The most widely accepted meaning of the rhyme is that it is talking about the different ideas and preferences of couples. The idea being that the couple would come to agree on something or compromise on an idea as neither one liked the same thing.
One great way to get children involved in the nursery rhyme of ‘Jack Sprat’ is to get them to create their own mini comic strip telling the story of Jack Sprat. All they will need is some coloring materials, paper, and their imaginations!
You can also create your own matching game out of the words and characters in the phrase. Use cards with each word written on them and have the children match the correct words to the correct characters. This will be great fun and help them to understand the story better!
Lastly, why not get your children to make their own version of the phrase. This could be something amusing and creative such as ‘Bob Sprat loved to eat cake, his wife loved to eat ice cream, so between them both, you see, they licked the bowl clean.’
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.
Up Jack got, and home did trot,
As fast as he could caper,
To old Dame Dob, who patched his nob
With vinegar and brown paper.
This nursery rhyme has several different interpretations. The most likely of those connect it to our closest celestial body, the Moon. The verse speaks about water, which in the oceans is moving up and down daily, caused, of course, by lunar gravitation. The height of the tides is not always the same—the level ascends on the days the Moon is waxing (went up the hill), and is on its highest with the full moon and diminishes again during the waning period (fell down and broke his crown).
A book, written in the thirteenth century by Icelandic historian and poet Snorri Sturluson about Norse (Germanic) mythology describes how a boy named Hjúki (Jack) and a girl named Gil (Jill), while they were fetching water from a nearby well, were taken from the earth to the moon. Linguists have determined that the names of the children could be derived from the Swedish verbs “jakka” which means to pile together and “bila” which means to dissolve.
A Tax Reform
However, in England, this nursery rhyme is sometimes thought as describing the situation in the 17th century when King Charles I made a tax reform on alcoholic beverages. At first, he was vetoed by the Parliament, but then he found the solution in letting the tax remain the same but reducing the volume of a jack (½ pint measure) and gill (Jill, ¼ pint).
French Revolution
Yet another meaning of this rhyme explains that Jack was King Louis XVI of France and Jill Queen Marie Antoinette who were both murdered in 1793, during the Reign of Terror of the French Revolution.
Coming back to the first suggestion, Shakespeare ended his “Midsummer Night’s Dream,” a story where the Moon is an essential and symbolic figure, mentioning Jack and Jill:
When thou wak'st,
Thou tak'st
True delight
In the sight
Of thy former lady's eye;
And the country proverb known,
That every man should take his own,
In your waking shall be shown.
Jack shall have Jill;
Nought shall go ill;
And all shall be well.
Jack be nimble,
Jack be quick,
Jack jump over
The candlestick.
Jack be nimble! Even today this phrase expresses a suggestion to be quick and agile. The name Jack used to be only a nickname for John, but is now more and more frequently used as a stand-alone name.
The nursery rhyme Jack be Nimble refers to an English privateer (later pirate) named Black Jack Smatt. Black Jack lived on Jamaica, in Port Royal, which during the Golden Age of Piracy was known as “The Wickedest City on Earth.” Black Jack was one of the most famous pirates of the Caribbean, particularly for the reason of being notoriously smart (and quick and nimble) to escape from authorities, who in his later pirate years wanted to capture and hang him. Jack Smatt was portrayed in the Pirates of the Caribbean movies as Jack Sparrow, played by talented and famous Johnny Depp.
Jumping over the candlestick was an old medieval game. It originated from an ancient pagan tradition of jumping over fires. A person was supposed to jump over a burning candle so that the flame was not extinguished. This was seen as a good luck forecast.
“Jacky, come give me your fiddle,
If ever you mean to thrive.”
“Nay, I'll not give my fiddle
To any man alive.
“If I should give my fiddle
They'll think that I'm gone mad,
For many a joyful day.
My fiddle and I have had.”
Wrapped in 19th-century UK mystery, this nursery rhyme captured young hearts as a singing game during festive occasions. It secretly taught children about music and the joys of sharing, making it a popular pick for holiday gatherings and celebrations.
Center stage in this playful tune is Jacky and his cherished fiddle. The lyrics beckon Jacky to share his fiddle with the singer, who's eager to create music alongside him. This delightful ditty encourages children to relish music together and share their passions.
As with many traditional folk songs, scholars have dug for secret meanings hidden within this nursery rhyme. Could it be a metaphor for generously sharing talents and skills with others? Or perhaps it's a tribute to the vital role music plays in everyday life? The possibilities tickle the imagination!
This rhyme's fame has led to a myriad of versions, each with its own lyrical twist and melody. For instance, The Little Mother Goose (1912) features:
John, come sell thy fiddle,
And buy thy wife a gown.
No, I'll not sell my fiddle,
For ne'er a wife in town.
From added verses to language adaptations, the song has evolved over time, with different cultures putting their unique spin on it. Yet, the core message remains the same - urging children to share and revel in music together, spreading joy and camaraderie.
So, the next time you hear Jacky's playful fiddle, remember the valuable lessons woven into this timeless nursery rhyme. Let it inspire a new generation of music lovers and remind us all of the importance of sharing, kindness, and the simple joys of life.
Ladybug, ladybug fly away home,
Your house is on fire and your children are gone,
All except one,
And her name is Ann,
And she hid under the baking pan.
Ladybugs (or ladybirds as they are called in Britain) symbolize luck. It is believed that killing this insect would bring bad luck—it must go unharmed. Seeing it or even more when it lands on a person, means granting of wishes, luck in finances, good weather, etc.
Ladybug is also connected with the Virgin Mary, the mother of Jesus. The black spots on the insect correspond to the seven sorrows of Our Lady. Ladybug is known to be a valuable aid for farmers, as it eats harmful pests. This role is said to be given to it by the Virgin Mary who sent it to help the faithful to protect their yield—the fact which gave the insects its name.
It was a custom of burning the remaining straw on the fields after the harvest as a precaution against harmful insects and weed. The ladybugs are smart enough to realize what is happening, and they leave the burning field en masse—to come back when the next crop is growing. The nursery rhyme is either inspired by this migration or is meant as a friendly recommendation to leave before the flames come.
Little Bo-Peep has lost her sheep,
And can’t tell where to find them;
Leave them alone, and they’ll come home,
Wagging their tails behind them.
Longer version:
Little Bo-Peep has lost her sheep,
And doesn’t know where to find them;
Leave them alone, and they’ll come home,
And bring their tails behind them.
Little Bo-Peep fell fast asleep,
And dreamt she heard them bleating;
But when she awoke, she found it a joke,
For they were still a-fleeting.
Then up she took her little crook,
Determined for to find them;
She found them indeed, but it made her heart bleed,
For they’d left their tails behind them.
It happened one day, as Bo-Peep did stray
Into a meadow hard by,
There she espied their tails side by side,
All hung on a tree to dry.
She heaved a sigh and wiped her eye,
And over the hillocks went rambling,
And tried what she could, as a shepherdess should,
To tack each again to its lambkin.
Little Bo Peep, as she lost her sheep, is today sometimes used as a symbol of carelessness and irresponsibility. The rhyme dates back to the beginning of the nineteenth century, but the name Bo Peep is much older and was a Medieval children’s game. The game is also mentioned in Shakespeare’s play King Lear:
Then they for sudden joy did weep,
And I for sorrow sung,
That such a king should play bo-peep,
And go the fools among.
Prithee, nuncle, keep a schoolmaster that can teach
thy fool to lie: I would fain learn to lie.
Most likely this nursery rhyme does not refer to any actual historical event or person. It’s an old children’s game that has been put into a nursery rhyme just for the art’s sake and first published as such in 1805.
There is, however, in a village in East Sussex, England, a legend that there once lived a shepherd whose name was Bo Peep. Ninfield, the place in question, is located by the English Channel and was once in the Middle Ages an open port for smaller vessels and—one of the major smuggling centers. Bo Peep grazed her sheep by the sea and used them to eliminate the footprints of the smugglers. Thanks to her the untaxed goods exchange with France flourished undisturbed.
Little Boy Blue,
Come blow your horn!
The sheep's in the meadow,
The cow's in the corn.
Where is that boy
Who looks after the sheep?
He’s under the haystack,
Fast asleep.
The version from 1912:
Little Boy Blue,
Come blow your horn;
The sheep’s in the meadow,
The cow’s in the corn.
Where’s the little boy
That looks after the sheep?
He's under the hay-cock,
fast a-sleep.
Will you wake him?
No, not I;
For if I do,
he'll be sure to cry.
The nursery rhyme Little Boy Blue most likely has no real historical background. It has been speculated, however, that it may speak about Cardinal Thomas Wolsey, a powerful political figure and a contemporary of King Henry VIII. His father was said to be a butcher and a cattle dealer, and so in childhood he may have been a sheperd to his father’s flocks. Being very wealthy, powerful and somewhat arrogant, he had many enemies who may have used this fact as a basis to make a mocking rhyme. But, as already said, it’s only a speculation that circulates with this rhyme. Even the fact that his father was a butcher may very well be made up by his enemies to humiliate him.
Recently, another interesting approach has been made, connecting this rhyme with The Book of Joel in the Bible, where there are also mentioned such things as herds of cattle, blowing of a trumpet (a horn), the corn. You may follow the train of thought of this interpretation here.
Yet another connection can be found in Shakespear’s King Lear. Shakespeare has written the following lines in it:
Let us deal justly.
Sleepest or wakest thou, jolly shepherd?
Thy sheep be in the corn;
And for one blast of thy minikin mouth,
Thy sheep shall take no harm.
Pur! the cat is gray.
Little Jack Horner
Sat in the corner,
Eating a Christmas pie;
He put in his thumb,
And pulled out a plum,
And said “What a good boy am I!”
The 1725 version:
Now he sings of Jacky Horner
Sitting in the Chimney-corner
Eating of a Christmas-Pie,
Putting in his thumb, Oh Fie
Putting in, Oh Fie! his Thumb
Pulling out, Oh Strange! a Plum.
Henry Carey wrote this nursery rhyme (the version of 1725) as a satirical poem. The target for his satire was Ambrose Philips, also a poet and writer. The mocking was motivated by jealousy, because Philips enjoyed being patronized by wealthy aristocrats. His poems that are sometimes called ‘infantile’ were in fact enjoyed and admired by many precisely because of their simplicity. Jack Horner, however, has been ever since associated with opportunism.
Another interpretation of this nursery rhyme was created in the nineteenth century. According to this, the story of Little Jack Horner is about Thomas Horner, who was a contemporary of King Henry VIII. He served blessed Richard Whiting, the head of the monastery in Glastonbury, England. Whiting sent Horner to Henry VIII with a big Christmas pie, inside of which were hidden the deeds to twelve manors. He tried to save the monastery with this act, as Henry VIII had broken off from the Catholic Church, was closing monasteries, and seizing their properties. During the journey Horner stole one of the deeds, the deed to the manor in Mells, and afterwards became the owner of it. Even though Henry VIII got the remaining eleven manors, he didn’t spare the monastery. It was also closed down, Whiting was accused of treason and executed.
Little King Boggen he built a fine hall,
Pie-crust and pastry-crust, that was the wall;
The windows were made of black puddings and white,
And slated with pancakes, — you ne’er saw the like!
Among the most cherished and time-honored nursery rhymes in the annals of the English language, Little King Boggen holds a special place. First appearing in print within the esteemed 1719 compilation of English Nursery Rhymes by the illustrious Robert Dodsley, it stands tall alongside perennial favorites such as the enigmatic “Hey Diddle Diddle” and the whimsical “Hickory Dickory Dock.”
At its core, Little King Boggen spins the yarn of a monarch who erects a grandiose hall, a marvel of construction with walls of piecrust and pastry-crust, windows formed from black puddings and white, and a roof slated with pancakes. The rhyme's interpretation, however, remains an enigma, shrouded in the mists of time.
On the one hand, it could be a captivating folktale centered on the awe-inspiring edifice crafted by King Boggen. Alternatively, it might serve as an allegory for the confluence of diverse people who unite to create something magnificent. Regardless of the poem's intended message, its potential to impart lessons of collaboration and unity to children is undeniable.
To engage young minds and foster a deep appreciation for the nursery rhyme, a plethora of enchanting activities centered on Little King Boggen are at their disposal. For instance, the creation of a puppet show can bring the tale to life. With rudimentary supplies such as paper, glue, and markers, children can fashion puppets depicting King Boggen and his resplendent castle and reenact the fabled scene.
A creative endeavor, constructing pastry-crust boxes allows children to draw inspiration from the rhyme itself. Commencing with the preparation of pastry-crust dough, they can roll it out, fashioning a sizable rectangle. The children are then free to cut out an array of shapes, such as stars, circles, and squares, adorning their boxes with a multitude of artistic elements. Finally, the boxes are assembled and baked to perfection.
A challenge worthy of their imagination, the Boggen storytelling game invites children to create an original narrative starring the characters from "Little King Boggen." Equipped with cardstock, they can draw and cut out the rhyme's protagonists. Placing the characters on a table, they spin a bottle to determine who initiates the story with their chosen character as the focal point. The players then take turns, each adding their own unique twists and turns to the tale
Little Miss Muffet
Sat on a tuffet,
Eating her curds and whey;
Along came a spider,
Who sat down beside her
And frightened Miss Muffet away.
The genesis and historical significance of the nursery rhyme "Little Miss Muffet" remains shrouded in a cloud of delightful uncertainty. Yet, some whisper of its creation by the renowned 16th-century British naturalist, Dr. Thomas Muffet, penning a verse inspired by a real-life incident involving one of his beloved stepdaughters. Dr. Muffet, celebrated for authoring the first illustrated English guide categorizing insects, inevitably hosted a myriad of bugs, spiders, and other six-legged guests in his abode. One might speculate how these critters' presence could have struck a chord of fear in the hearts of his offspring. Despite Dr. Muffet's harmless perception of the insects and his expectations that the children should acclimate to their presence, an amusing encounter with one such creature sparked the inspiration to etch this rhyme in history.
In the realm of less probable theories, a curious tale intertwines the nursery rhyme with Mary I, Queen of Scotland. As the yarn goes, she was reportedly unnerved by a certain religious reformer bearing the name of John Knox. This explanation, though rich in intrigue, exists more in the whispers of imaginative conjecture than in the solidity of historical fact.
Miss Muffet and the Spider A children's story, based on this nursery rhyme.
Little Nanny Etticoat
In a white petticoat,
And a red nose;
The longer she stands
The shorter she grows.
It is not certain when this rhyme first appeared, but by the 19th century, it was already included in most nursery rhyme collections.
There must have been countless nannies who recited this verse to the children under their care, wanting to see how clever the kid was because it’s not just a rhyme but a riddle to which the toddler was expected to come up with an answer. By the way, a petticoat was an undergarment typically worn under a dress.
The version with an added line in the middle might make the guessing a little easier:
Little Nancy Etticoat
With a white petticoat,
And a red nose;
She has no feet or hands,
The longer she stands,
The shorter she grows.
While it might be hard to find the correct answer nowadays, in those times back then, it was right under the nose of the children when in the evening no daylight came through the windows anymore.
The white petticoat is melted wax, the red nose is a flame at the top and answer to the riddle that all smart kids knew was the candle.
Little Polly Flinders
Sat among the cinders
Warming her pretty little toes;
Her mother came and caught her,
Whipped her little daughter
For spoiling her nice new clothes.
Little Polly Flinders, a captivating English nursery rhyme, emerged in the early 1800s. Charles Dibdin, a talented English poet, is said to have composed this delightful ditty. The rhyme spins the tale of a young girl who, one fine morning, wakes up early and adorns her hair with roses.
The rhyme was likely concocted as a cautionary tale and a relatable experience for young children.
The primary message of the rhyme is to inspire a sense of responsibility, discipline, and order. It cautions against the consequences of neglecting one's duties, such as ruining one's garments.
Some interpretations propose that the nursery rhyme conceals secret and hidden meanings. For instance, it could be a metaphorical narrative of wealth, with the cinders symbolizing money and the roses representing luxurious items. The last verse of the rhyme might be perceived as a caution against the lavishness of society's elite and a keen insight into the vast divide between the wealthy and the less fortunate.
The last line of the nursery rhyme has sparked controversy in the past, with educators and parents passionately debating its inclusion. Some think that the stern words in the line could damage young children, while others maintain that it imparts a crucial lesson. Regardless, the line is frequently omitted or substituted with softer language when reciting the rhyme.
• In the mid-19th century, the song's fame grew tremendously, frequently acting as a helpful aid for instructing children in reading and writing.
• British musician George Cole composed an updated rendition of the rhyme, infusing it with a fresh and modern touch.
• The US sitcom "That '70s Show" amusingly incorporated the rhyme as the theme song for their opening credits, bringing a whimsical element to the series.
I like little pussy, her coat is so warm,,
And if I don't hurt her she'll do me no harm;
So I'll not pullher tail, nor drive her away,
But pussy and I very gently will play.
This rhyme was first published in a children's book in 1830. Jane Taylor wrote the verse for a book called The Child's Song Book. Already at that time, the word had a double meaning. Since then, some versions of this rhyme replace the controversy with a not intimately loaded "kitty."
The additional lines to this rhyme are:
She shall sit by my side
And I'll give her some food;
And pussy will love me
Because I am good.
I'll pat pretty pussy,
And then she will purr;
And thus show her thanks
For my kindness to her.
I'll not pinch her ears,
Nor tread on her paw,
Lest I should provoke her
To use her sharp claw.
I never will vex her
Nor make her displeased:
For pussy don't like
To be worried and teased.
James William Elliott also composed a melody to this rhyme.
Little Tommy Tittlemouse
Lived in a little house;
He caught fishes
In other men's ditches.
It is said that this nursery rhyme was first crafted amidst the vibrant culture of 17th-century England.. In a village in Northamptonshire, not far from Northampton, once lived a blacksmith named Thomas. Thomas’ main line of work was at the local post station, where he shoed horses and repaired carriages.
Once in winter, when the spouse of the Earl of Nottingham was on her way to London, a wheel broke under her carriage. It was already nearly dark, and the weather was freezing. Fortunately, they were just a mile and a half from Thomas’ forge, and the coachman knew about the place. So he went on foot to the forge, and they were back in less than half an hour.
Thomas took the broken wheel to repair it in his shop. The horses were unharnessed and also taken to the blacksmith’s house for the night.
Now, normally the Countess of Nottingham would have spent the night in the guesthouse of the post station. However, when she heard that a disease was spreading in the village and several people had died, she decided not to go there and stay in the blacksmith’s forge instead.
Nobody knows anymore if something happened between Countess of Nottingham and Thomas or not, but the next day village people started to talk.
In 1910, Beatrix Potter wrote an extremely popular children’s story, ‘The Tale of Mrs. Tittlemouse.’ Other than using the name of the main character, it bears no resemblance to the original story that you can read here.
London Bridge is falling down,
Falling down, falling down.
London Bridge is falling down,
My fair lady.
Another version of this rhyme is:
London Bridge is broken down,
Broken down, broken down.
London Bridge is broken down,
My fair lady.
The London Bridge is Falling Down—a very well known nursery rhyme is about the destruction of the London Bridge. The first wooden bridges stood at the same spot in Roman times. Already two thousand years ago! Roman Londinium was established right after the Roman invasion in the 1st century AD.
In 1013, to split invading Danish forces, the bridge was burned down by King Ethelhed. The last wooden bridge at the spot was built in 1163, supervised by Peter of Colechurch.
In 1176 King Henry II ordered Peter of Colechurch to build a stone bridge. The new stone bridge was to have a chapel at the center in honor of St. Thomas Becket, who was murdered a few years earlier. The building process was slow, taking 33 years. With fortified gates at either end, the bridge soon became lined by shops. In 1350, for example, the bridge had 138 shops, and some people even lived in the 3-4 stories high houses built on the London bridge. In 1633 part of the buildings on the bridge burned down. Later, this turned to be very helpful, as when the Great Fire of London blazed through the city in 1666, this acted as a fire break, preventing the fire from crossing the bridge and reach any further.
By the beginning of the 19th century, the old bridge had become too narrow and insecure, and the city decided to build a more significant structure. The building began in 1824. Now it took only 7 years until its completion. In the sixties of the 20th century, this bridge had become too narrow for the ever-growing traffic. It was sold and relocated to the U.S. (Lake Havasu City, AZ). The current London Bridge, made of concrete, was opened in 1972.
There is also a children’s singing game by this name that was particularly popular in Victorian England. Two players make an arch with their hands, while others go through. Then, at the song’s end, the arch is lowered to catch one player.
Lucy Locket lost her pocket,
Kitty Fisher found it;
There was not a penny in it,
Only ribbon round it.
The nursery rhyme Lucy Locket was composed in the 18th century about the famous British courtesan Cathrine Maria Ficher (1741-1767). The pocket that the protagonist lost refers to the money purse that ladies wore at their waist at that time.
The verse was first printed in 1842 but was widely used both in Britain and America long before that.
The man in the moon came down too soon
To inquire the way to Norridge;
The man in the south, he burnt his mouth
With eating cold plum porridge.
The nursery rhyme The Man in the Moon originated from England. Unfortunately, the author is unknown. The verse was first published in 1833, in The Only True Mother Goose Melodies.
From ancient times people have noticed that the so-called seas on the moon's surface make up something. Usually, it's the face of a man. Talmud says it's the face of Jacob. The European Christian tradition claims it's the man from Numbers XV (32–36) who was caught gathering sticks on Sabbath. According to an old Roman legend, the man is a sheep thief.
In the middle ages, the moon was considered the protector od drunkards. In London alone, three saloons were called 'The Man in the Moon.'
While there is no place with this name in England (Norwich is the closest match), in Chicago, IL, an enclave village bears this name.
It was Neil Armstrong who first shattered the boundaries of human exploration, taking that momentous step onto the enigmatic lunar terrain on the fateful day of July 20th, 1969. This exclusive lunar fraternity has since expanded to encompass a total of 12 extraordinary men, each leaving their indelible footprints on the moon's surface.
Mary had a little lamb,
Its fleece was white as snow,
And everywhere that Mary went,
The lamb was sure to go.
He followed her to school one day;
That was against the rule;
It made the children laugh and play,
To see the lamb at school.
And so the teacher turned him out,
But still he lingered near:
And waited patiently about,
Till Mary did appear.
And then he ran to her, and laid
His head upon her arm,
As if he said, “I'm not afraid;
You'll shield me from all harm.”
“What makes the lamb love Mary so?”
The little children cried;
“Because she loves the lamb, you know,”
The teacher quick replied.
“And you, each gentle animal,
In confidence may bind,
And make them follow at your call,
If you are always kind.”
The lyrics of the song Lowell Mason composed:
Mary had a little lamb,
little lamb, little lamb,
Mary had a little lamb,
whose fleece was white as snow.
And everywhere that Mary went,
Mary went, Mary went,
and everywhere that Mary went,
the lamb was sure to go.
It followed her to school one day
school one day, school one day,
It followed her to school one day,
which was against the rules.
It made the children laugh and play,
laugh and play, laugh and play,
it made the children laugh and play
to see a lamb at school.
And so the teacher turned it out,
turned it out, turned it out,
And so the teacher turned it out,
but still it lingered near,
And waited patiently about,
patiently about, patiently about,
And waited patiently about
till Mary did appear.
“Why does the lamb love Mary so?”
Love Mary so? Love Mary so?
“Why does the lamb love Mary so,”
the eager children cry.
“Why, Mary loves the lamb, you know.”
The lamb, you know, the lamb, you know,
“Why, Mary loves the lamb, you know,”
the teacher did reply.
The nursery rhyme “Mary Had a Little Lamb”—a wonderful childrens's poem, really, was composed by an American writer Sarah Josepha Buell Hale (1788-1879). Written a little earlier, it was published in May 1830.
It is often said that there is no historical background to the poem. While this is true in a sense that it is not an allegorical narrative of a great historical event like many other nursery rhymes, it is nevertheless based on real life.
The person behind the poem was Mary Sawyer who lived in Sterling, Massachusetts. Mary Sawyer, as a young girl had a lamb, which she indeed took with her to the school one day. The schoolhouse in question, was later bought and relocated by Henry Ford.
Thomas Edison in 1877 used this rhyme for his first phonograph recording. For long it was thought to be the world’s very first recording of human voice, until in 2008 another recording, dating back to 1860 was found.
I’ll tell you a story
About Mary Morey,
And now my story’s begun.
I’ll tell you another
About her brother,
And now my story’s done.
Eleanor Worthington, the 17th-century poetess credited with fashioning the Mary Morey nursery rhyme, was esteemed for her keen eye and aptitude for capturing the quintessence of pastoral life in her compositions. Born and bred in Dorset, England, Worthington was profoundly influenced by the tight-knit hamlet in which she resided. The Mary Morey nursery rhyme is believed to be among her earliest creations, inspired by her observations of the robust familial ties within her village.
The rhyme’s succinctness stands as a testament to the potency of storytelling, demonstrating that even the briefest of tales can captivate and endure in memory. Worthington’s ambition may have been to kindle a passion for storytelling among younglings, nurturing creativity and self-expression through the employment of imagination.
In 1968, a bustling city resolved to organize a comedy night at a well-liked downtown locale, with the purpose of showcasing local talent and delivering an evening abundant with laughter and fellowship. Keen participants from diverse backgrounds enlisted themselves to display their flair for storytelling and humor and recount the briefest, yet most captivating tale.
When it was Frank’s turn,with confidence, he advanced towards the microphone and initiated his performance: „I’ll tell you a story about Mary Morey, and now my story’s begun. I’ll tell you another about her brother, and now my story’s done.“
Mary, Mary, quite contrary,
How does your garden grow?
With silver bells, and cockle shells,
And pretty maids all in a row.
Some other versions for the last line are: “Cowslips all in a row”; “Marigolds all in a row”; “With lady bells all in a row”.
This nursery rhyme has several different interpretations. The most widespread explanation connects it with queen Mary I (1516-1558), who executed Protestants, filling cemeteries—called the “garden” in the rhyme. “Silver bells” and “cockle shells” are told to be instruments of torture, and “pretty maids” supposed to be guillotines.
There is, however, a problem with this explanation. The version published in the year 1744 does not have “pretty maids”, and Mary is called a “mistress”:
Here’s the 1744 version:
Mistress Mary, Quite contrary,
How does your garden grow?
With Silver Bells, And Cockle Shells,
And so my garden grows.
Also, there is also no proof that the rhyme was known before the eighteenth century, which makes it somewhat hard to believe that it could originate from the sixteenth century.
Another, a more probable interpretation takes it as an allegory of the Catholic religion. Silver bells are the altar bells used at a Catholic Mass (they are used at the time when priest celebrates the Eucharist); cockleshells are pilgrims’ badges; and pretty maids are Catholic nuns.
A, B, C, D, E, F, G,
H, I, J, K, L, M, N, O, P,
Q, R, S, and T, U, V,
W, X, and Y and Z.
Now I've said my A, B, C,
Tell me what you think of me.
In a most delightful and enchanting corner of history, there resides a charming nursery rhyme, spreading joy to children as they begin their journey into the world of letters and words. This magical little verse, as familiar as a spoonful of sugar, commences with the letters A, B, C, and gallantly waltzes all the way to Z. :-)
Tracing back through the pages of time, we uncover the beginnings of this darling rhyme in the 18th century. Many believe it first graced the world in 1761, when the pioneering children's literature publisher, John Newbery, committed it to print. However, the true origins of this lovely song remain as elusive as a kite caught in the breeze.
As time marched on, the Alphabet Song blossomed into a cornerstone of early education, weaving its way into the tapestry of childhood like a most delightful melody. The song's purpose is as clear as a cloudless sky: to teach little ones the alphabet in a manner both engaging and memorable. Yet, tucked away within the verse lies a gentle nudge for children to contemplate their own self-worth and identity, as they inquire, "Tell me what you think of me."
Old King Cole was a merry old soul
And a merry old soul was he;
He called for his pipe, and he called for his bowl
And he called for his fiddlers three.
Every fiddler he had a fiddle,
And a very fine fiddle had he;
Oh there's none so rare, as can compare
With King Cole and his fiddlers three.
1708 version:
Good King Cole,
And he call'd for his Bowle,
And he call'd for Fidler's three;
And there was Fiddle, Fiddle,
And twice Fiddle, Fiddle,
For 'twas my Lady's Birth-day,
Therefore we keep Holy-day
And come to be merry.
The nursery rhyme ‘Old King Cole’ refers to an actual ancient king. It is not quite certain which, because there are at least three different royal personages by the same name and at roughly the same time period. The name itself is of old Celtic (Brythonic) origin, originally spelled as “Coel”
The most probable candidate is Coel Hen (AD 350-420). At first, he was a Roman commander, governing quite vast territories in northern Britain, south of the famous Hadrian’s Wall. When the Romans left Britain in 410, after nearly 400 years of Roman rule, he became king. It has been speculated, that he was also a member of an ancient Roman family Coelius, since high officers in the Roman government usually belonged to high and noble families.
As smoking of pipes was not known in the fourth-century Britain, “called for his pipe” should mean he ordered some kind of a woodwind instrument to be brought. It also happens to be that “ceol” is an Irish word for music.
The other two kings were Cole the Magnificent who in the 3rd century was the Decurion of Rome in Britannia; and St. Ceneu ap Coel, whose father was Coel Hen. St. Ceneu became a saint because he defended Christian faith against pagan invaders. Geoffrey of Monmouth's “History of the Kings of Britain”, written in the 12th century, predicates that St. Ceneu also attended the coronation of the great King Arthur.
Yet another interpretation was presented by William Chappell in the 19th century. He proposed an idea that King Cole could be a 12th century cloth merchant Thomas Cole-brook from Reading (Berkshire, England).
Old Mother Goose,
When she wanted to wander,
Would ride through the air
On a very fine gander.
This nursery rhyme has its beginning in an old English pantomime that the Covent Garden Theatre first performed in 1806 on Boxing Day (26th of December. On that day, wealthy households in Great Britain used to give gifts to their servants.)
In the pantomime's opening scenes, Squire Bugle punishes Colin and Colenette cruelly for their illicit love affair. A good witch then turns the lovers magically into Harlequin and Columbine, while Bugle becomes a clown.
So if the antagonist in the original production was a squire (a nobleman), who replaced it with a Jew? How the Antisemitic overtone gets into the rhyme that later gets published is unknown, but maybe it was just characteristic of the era.
This is the full version of the rhyme as it was published by Philadelphia Union in 1897:
Old Mother Goose,
When she wanted to wander,
Would ride through the air
On a very fine gander.
Mother Goose had a house,
Twas built in a wood,
Where an owl at the door
For sentinel stood.
This is her so Jack,
A plain-looking lad;
He is not very good,
She sent him to market,
A live goose he bought,
"Here, Mother," says he,
"It will not go for nought."
Jack's goose and her gander
Grew very fond;
They'd both eat together,
Or swim in one pond.
Jack found one morning,
As I have been told,
His goose laid him
An egg of pure gold.
Jack rode to his mother,
The news for to tell,
She called him a good boy,
And said it was well.
Jack sold his gold egg
To a rogue of a Jew,
Who cheated him out of
The half of his due.
Then Jack went a-courting
A lady so gay,
As fair as the lily,
And sweet as the May.
The Jew and the Squire
Came behind his back,
And began to belabour
The sides of poor Jack.
Then old Mother Goose
That instant came in,
And turned her son Jack
Into famed Harlequin.
She then, with her wand,
Touched the lady so fine,
And turned her at once
Into sweet Columbine.
The gold egg into the sea
Was thrown then—
When Jack jumped in,
And got the egg back again.
The Jew got the goose,
Which he vowed he would kill.
Resolving at once
His pockets to fill.
Jack's Mother came in,
And caught the goose soon,
And, mounting its back,
Flew up to the moon.
Sing the song: Old Mother Goose is perfect for singing, as it is fairly easy to learn and quite repetitive. Kids of all ages will love singing along.
Make masks: Making masks of the characters from the poem is a fun craft activity. Kids can use basic materials to create amazing and memorable works of art.
Old Mother Hubbard
Went to the cupboard
To get her poor doggie a bone,
When she got there
The cupboard was bare
So the poor little doggie had none.
The meaning of the nursery rhyme Old Mother Hubbard goes back to the first half of the sixteenth Century. It was the time when King Henry VIII ruled England, and Cardinal Thomas Wolsey, who served as Lord Chancellor, was the most important and influential statesman of his kingdom.
The king had a problem: after sixteen years of marriage to Catherine of Aragon, he still had no heir to the throne. Before they had gotten married, a special papal bull was required, because Catherine was a widow of his brother (Prince Arthur) who had died at a young age just a couple of months after them getting married. Against such marriage was a passage of Scripture in the Book of Leviticus: “And if a man shall take his brother’s wife, it is impurity: he hath uncovered his brother’s nakedness; they shall be childless.”—the reason why special permission from the Pope was required. And now he wanted a divorce so as to marry his mistress Anne Boleyn. The task to get permission from the Pope was, of course, assigned to Cardinal Wolsey. He failed, lost his power, was arrested, and died in prison.
This is what the first verse—that is much older than the others of the longer version speaks about: the Old Mother Hubbard is the Cardinal, the doggie is King Henry VIII, the bone is the divorce he wished to have and the cupboard refers to the Catholic Church.
The longer version of Old Mother Hubbard:
Old Mother Hubbard Went to the cupboard, To give the poor dog a bone: When she came there, The cupboard was bare, And so the poor pecker had none. She went to the baker’s She went to the undertaker’s She took a clean dish She went to the alehouse She went to the tavern |
She went to the fruiterer’s To buy him some fruit; When she came back He was playing the flute. She went to the tailor’s She went to the hatter’s She went to the barber’s She went to the cobbler’s She went to the sempstress |
She went to the hosier’s To buy him some hose; When she came back He was dressed in his clothes. The Dame made a curtsy, This wonderful dog |
One misty, moisty morning,
When cloudy was the weather,
I chanced to meet an old man clothed all in leather.
He began to compliment, and I began to grin,
How do you do, and how do you do?
And how do you do again?
The nursery rhyme One Misty Moisty Morning comes from a 17th-century flyer titled The Wiltshire wedding betwixt Daniel Doo-well, and Doll the dairy-maid. The print dates back somewhere between 1684-1695.
While the first verse of it has found its way to children’s nursery rhyme books, the original had more than a dozen verses. The whole composition was meant to be sung at weddings. It begins with a young girl meeting a man, and then the story develops until the thirteenth verse begins goes: Her parents then consented, all parties were agreed; Her portion thirty shillings, we married were with speed.
So why would a young girl want to marry “an old man”? The answer is obvious—he was clothed in leather. Leather clothes were associated with noblemen because knights wore them as lighter body armor before firearms made them obsolete. Hundreds of years ago, any girl from a poor family was thrilled by the opportunity of “marrying up”—in other words, improving her social status through matrimony.
One, two, three, four, five,
I caught a hare alive;
Six, seven, eight, nine, ten,
I let him go again.
The first recorded version of One, Two, Three, Four, Five appeared in Mother Goose’s Melody around 1765. The original version dealt with a hare, with the words: “One, two, three, four, and five, I caught a hare alive; Six, seven, eight, nine and ten, I let him go again.” The modern version of the rhyme, which involves counting fish, is derived from three variations collected by Henry Bolton in the 1880s from America.
One, Two, Three, Four, Five is a counting-out rhyme used to determine who will be “it” in games such as tag or hide-and-seek. The rhyme is repeated until the chosen number is reached, and the person at that number is “it.”
Children can also use the rhyme to practice counting and improve their math skills.
The traditional Mother Goose version went as follows:
One, two, three, four, five,
I caught a hare alive;
Six, seven, eight, nine, ten,
I let him go again.
Modern version:
One, two, three, four, five,
Once I caught a fish alive.
Six, seven, eight, nine, ten,
Then I let it go again.
Why did you let it go?
Because he bit my finger so.
Which finger did it bite?
This little finger on my right.
• In Scotland, the rhyme is sometimes sung as “One, two, three, four, five, Here I go to hell alive; Six, seven, eight, nine, ten, I come out alive again.”
• There is also a version which uses a different animal altogether, with the lines, “One, two, three, four, five, I caught a butterfly alive; Six, seven, eight, nine, ten, I put it in a box again.”
• Lastly, there is an American version of the rhyme where potatoes are the central character. It goes “One, two, three, four, five, I dig my potatoes alive; Six, seven, eight, nine, ten, I carry them home again.”
Pat-a-cake, pat-a-cake, baker’s man.
Bake me a cake as fast as you can;
Pat it and prick it and mark it with “B”,
Put it in the oven for baby and me.
Patty cake, patty cake, baker's man.
Bake me a cake as fast as you can;
Roll it up, roll it up;
And throw it in a pan!
Patty cake, patty cake, baker’s man.
The first known published version of this nursery rhyme appeared in Thomas D'Urfey’s play The Campaigners, in 1698: ‘…pat a cake Bakers man, so I will master as I can, and prick it, and prick it, and prick it, and prick it, and prick it, and throw't into the Oven.’
‘Mother Goose’s Melody’ version from 1765:
Patty Cake, Patty Cake,
Baker’s Man;
That I will Master,
As fast as I can;
Prick it and prick it,
And mark it with a T,
And there will be enough
for Jacky and me.
Unlike many other nursery rhymes, Pat-a-Cake has no hidden political meaning or historical background. There have been attempts to connect it with the Great Fire of London that occurred in 1666 when. During three days of burning, nearly half of the city burned down. The logic behind the connection is that bakeries were considered great fire risks and the fire of 1666 also started at a bakery. However, there is no evidence to suggest that the rhyme originally had this meaning.
As far as we know, "Pat-a-Cake" is simply a children's clapping game. Two children clap their hands together while chanting the rhyme.
Patty cakes that are mentioned in the older version are small cakes made with currants. Here's a recipe.
‘Mark it with T’ in the same older version may actually mean making a cross sign (small ‘t’) on the cake—as a way of blessing it.
Peter Piper picked a peck of pickled peppers,
A peck of pickled peppers Peter Piper picked;
If Peter Piper picked a peck of pickled peppers,
Where’s the peck of pickled peppers Peter Piper picked?
Peter Piper debuted within the pages of John Harris's 1813 publication, a charming collection aimed at weaving fun into the fabric of language learning. This book, Peter Piper's Practical Principles of Plain and Perfect Pronunciation, brought to life an array of tongue twisters, with our titular rhyme leading the parade. Who penned 'Peter Piper' remains a puzzle, inviting us to contemplate its mysterious passage across the epochs.
Diving deeper, we encounter the curious case of the peck—a quaint measure from times gone by, holding roughly 2 gallons or 9 liters, used here to quantify pickled peppers. The choice of pickled peppers, typically preserved after picking, introduces a playful paradox: Why does Peter pick already pickled peppers? This problem adds a layer of whimsy to our rhyme, tickling the fancy of those who ponder its lines.
At its heart, "Peter Piper" stands as a testament to the delights of linguistic gymnastics. His rhyme transcends mere childhood amusement to act as a workshop for wordcraft, where orators, actors, and linguistic enthusiasts refine their diction. It confronts and charms, leading us on a quest to master its harmonic rhythm.
Peter Piper picked a peck of pickled peppers.
If Peter Piper picked a peck of pickled peppers,
How many pickled peppers did Peter Piper pick
if he picked a peck of pickled peppers?
Peter, Peter pumpkin eater,
Had a wife but couldn't keep her;
He put her in a pumpkin shell
And there he kept her well.
Peter, Peter pumpkin eater,
Had another and didn't love her;
Peter learned to read and spell,
And then he loved her very well.
The nursery rhyme Peter, Peter Pumpkin Eater, is originally from England. It was published in Great Britain in the late 18th century. Then, in 1825 the verse was published in Boston, Massachusetts.
One probability of the meaning of this nursery rhyme acclaims it to a chastity belt. Peter was married to a woman who was unfaithful to him. Iron underwear was called a pumpkin shell. This clothing item that some husbands forced their wives to wear was locked. The key was kept in the husband's pocket.
Another explanation refers to murder. Peter's wife was a prostitute against her husband's wish. He killed his wife and hid the body inside a pumpkin.
Unfortunately, this is not the only nursery rhyme that, while seemingly innocent, has gruesome original meanings.
Rain, rain, go away
Come again another day
Little Johnny wants to play
Rain, Rain, Go Away has captured the hearts of children for generations as they yearn for sunny skies to replace dreary rain clouds. This captivating nursery rhyme is steeped in history, brimming with interesting facts, and offers countless opportunities for interactive activities.
The true origins of Rain, Rain, Go Away remain shrouded in enigmatic mist. Scholars believe that the rhyme surfaced around the 17th century. Over time, the rhyme has evolved, yet the core message has persisted – children eagerly awaiting the cessation of rain so they can frolic outdoors.
Rain, Rain, Go Away boasts a plethora of astounding facts that continue to pique the curiosity of people everywhere. Did you know that diverse cultures and languages have their own renditions of the rhyme? In Spanish-speaking countries, a similar rhyme called "Arroz con leche," meaning "Rice with milk," is prevalent. Meanwhile, India has a rhyme called "Barish, Barish, Jaldi Chalo," which also conveys a plea for rain to cease.
Ride away, ride away,
Johnny shall ride,
And he shall have pussy-cat
Tied to one side;
And he shall have little dog
Tied to the other,
And Johnny shall ride
To see his grandmother.
Ride away, ride away is believed to have originated during the early 18th century in the rural English countryside. The Lancashire Historical Society archives revealed a fascinating find in 1806: a manuscript holding a version of the rhyme. This discovery suggests that the rhyme might have been a well-loved folk song within the local rural communities of the era.
The first known printed version of the rhyme can be found in a collection titled “The Nursery Rhymes of Old England,” published in 1840 by renowned children’s literature author and illustrator, Thomas Duffield. Duffield’s collection was groundbreaking in its time, as it was among the first to compile and document traditional nursery rhymes from various parts of the country.
The rhyme’s popularity grew significantly after it was included in the famous “Mother Goose’s Melody,” a collection compiled by John Newbery and published around 1765. This collection reached a wider audience, contributing to the spread of Ride away, ride away across the British Isles and beyond.
While the origins and history of Ride away, ride away can be traced with some certainty, its meaning remains open to interpretation:
A tale of adventure: The rhyme describes a young boy named Johnny, who embarks on an exciting journey to visit his grandmother, with his cat and dog as companions. The story could be intended to entertain children with a sense of adventure and whimsy, allowing them to imagine themselves as Johnny, exploring the world with their beloved pets.
A symbol of unity and harmony: In the context of the 18th-century rural English society, the image of a child riding with a cat and dog tied to either side could symbolize unity and harmony. Cats and dogs are often portrayed as natural enemies, yet in the rhyme, they journey together peacefully. This interpretation might have been used to teach children the importance of overcoming differences and working together towards a common goal.
A reflection of rural life: At the time when the rhyme was first popular, many families in rural England relied on their animals for companionship and assistance with daily tasks. In this interpretation, the character of Johnny and his journey with his pets may represent the close bond between humans and animals in rural communities, as well as the importance of valuing and protecting these relationships.
Ride a cock horse to Banbury Cross,
To see a fine lady upon a white horse;
Rings on her fingers and bells on her toes,
And she shall have music wherever she goes.
Tommy Thumb's Pretty Song Book version from 1744:
Ride a cock-horse
To Banbury Cross,
To see what Tommy can buy;
A penny white loaf,
A penny white cake,
And a two-penny apple-pie.
This nursery rhyme is said to refer to Queen Elizabeth I (1533-1603) and her visit to Banbury. Banbury is a little market town, a bit more than sixty miles northwest of London, England. At the time, an enormous stone cross had been put up, and the Queen traveled to the town to see it. On the way to the destination, a wheel of her carriage broke. She had to continue her way by riding on a horse. The animal she was given to, was a beautiful white stallion.
Puritans who didn’t like the stone cross as a pilgrimage destination. They destroyed it, together with two other crosses in 1602. Two and a half centuries later, in 1859, another cross was put up near the same site that the original cross stood.
Banbury is also famous for its delicious cakes. Banbury cakes, made with honey, cinnamon, and currents were already made at the time when Queen Elizabeth I visited the town.
Ring around the rosy
A pocketful of posies
Ashes, Ashes,
We all fall down!
Kate Greenaway’s 1881 edition of Mother Goose:
Ring-a-ring-a-roses,
A pocket full of posies;
Hush! hush! hush! hush!
We’re all tumbled down.
1790 version:
Round a ring of roses,
A bottle full of posie,
All the little girls in our town,
Ring for little Josie....
Everyone has heard the nursery rhyme Ring Around the Rosy at some point or another, but the true origin of the rhyme is not fully agreed upon. As the story goes, it is an old English nursery rhyme originating in the 16th century.
Its seemingly innocent nature and subject matter have captivated children and adults alike for years, but its sinister roots as a tale of death and destruction are believed to be related to Great Plague of England from 1664 to 1666. In August and September of 1665, 70,000 people died in London alone. Although some believe this interpretation is based on evidence, the words of which the poem relays didn't exist in earlier versions.
Admittedly, many of the exact details of its history remain up for debate. Some believe that the rings circling around in the lyrics represent a wheel going around the rosy, ostensibly referring to a carriage in which many of the diseased were wheeled around for government encashment. Others think that the “ring” refers to a black ring of death that surrounded citizens, wherever they were located. The rosy, conversely, could symbolize the typical red circles of puss which appeared on victims of the plague. Similarly, the line “pocket full of posy” has been rumored to represent a practice during the plague of carrying aromatic herbs and flowers to try to ward off death and take away the stench of the streets.
Despite its rather dark roots, Ring Around the Rosy is still one of the most beloved nursery rhymes in the United States and beyond. Today, it’s commonly sung at children’s parties and other social gatherings, as a cheeky reminder of the past. Kids will continue to laugh and play while they spin around in a circle and sing the traditional lyrics.
Rock-a-bye baby, on the treetops,
When the wind blows, the cradle will rock,
When the bough breaks, the cradle will fall,
And down will come baby, cradle and all.
1765. version:
Hush-a-by baby
On the tree top,
When the wind blows
The cradle will rock.
When the bough breaks,
The cradle will fall,
And down will fall baby
Cradle and all
“The Real Mother Goose” version from 1916:
Rock-a-bye, baby, thy cradle is green;
Father’s a nobleman, mother’s a queen;
And Betty’s a lady, and wears a gold ring;
And Johnny’s a drummer, and drums for the king.
The most likely explanation of this nursery rhyme—likely the first poem written in America, dating back to the seventeenth century—is that it describes the way local Native American mothers rocked their babies. The babies were in birch-bark cradles attached to branches of a tree that allowed the wind to rock them to sleep.
Another theory refers to Derbyshire, England, where according to local legend in the late eighteenth century there was a charcoal burner named Luke, who lived with his wife and eight children in a house inside a huge two-thousand-year-old yew tree. They hollowed out a bough of the tree and used it as a cradle.
One more theory refers to events prior to the Revolution of 1688 in England. The child is the son of King James II, and it was believed to be someone else’s child, secretly brought into the birthing chamber so that James could have a Catholic heir. The “wind” is Protestants coming from the Netherlands, bringing James’ nephew to the throne.
Row, row, row your boat
Gently down the stream.
Merrily, merrily, merrily, merrily,
Life is but a dream.
Credited to the ingenious Eliphalet Oram Lyte, a scribe and mentor of young minds in 1852, this ditty has danced through the annals of time, cloaked in mystery and merriment. The path of its melody and words twisted and turned like a river, reflecting the song’s advice to gently navigate life’s streams. Not until 1881 did the stars align, pairing the melody we now hold dear with the lyrics that have long charmed the hearts of both the young and the young at heart.
Oh, what a tapestry of tales this simple tune has inspired! From the benign to the bizarre, “Row, Row, Row Your Boat” has been a canvas for creativity. Imagine, if you will, a world where lions roar in harmony with our rowing and crocodiles await with toothy grins. Yet, it’s not all perilous adventures; there are lighter moments where leaks in our boats teach us the folly of neglect. Such versatility demonstrates the nursery rhyme’s unique ability to adapt, echoing the myriad paths one encounters in the journey of life.
Behold the illustrious Bing Crosby, whose dulcet tones carried “Row, Row, Row Your Boat” across the airwaves and into the annals of musical lore. His renditions, both solo and in harmonious medley, reminded the world of the song’s enduring charm. And so, from the London Palladium to the vibrant stage of the Hollywood Palace, this humble rowing refrain has echoed, performed by luminaries from Celine Dion to Justin Timberlake, each adding their own sparkle to its simple joy.
The little robin grieves
When the snow is on the ground,
For the trees have no leaves,
And no berries can be found.
The air is cold, the worms are hid;
For robin here what can be done?
Let's strow around some crumbs of bread,
And then he'll live till snow is gone.
The Little Robin Grieves is a delightful nursery rhyme that has enchanted countless generations with its tender message of kindness and concern for our feathered friends during the frosty winter months. Although not as renowned as some other nursery rhymes, its origins and history occupy a cherished niche in the realm of children's literature.
The precise beginnings of The Little Robin Grieves remain shrouded in mystery, much like numerous other nursery rhymes. A number of historians suggest that the rhyme originated in 18th century England, an era when individuals were more in harmony with nature and the shifting seasons. It is believed that the rhyme was transmitted verbally across generations prior to being eternally preserved in a multitude of children's literature compilations during the 19th and early 20th centuries.
At its essence, The Little Robin Grieves serves as a gentle reminder to be compassionate and mindful of animals and the environment, especially during trying times such as winter. The poem conjures a vivid image of the little robin's plight to find sustenance and warmth, ultimately suggesting a humble act of kindness - the scattering of bread crumbs - to aid the bird in weathering the bitter season. This message of empathy and care remains pertinent today, as we confront environmental challenges and endeavor to conserve the natural world for the generations to come.
Bird Feeder Craft: Assist your child in crafting a charming bird feeder using a pine cone, peanut butter, and birdseed. Hang it outdoors and delight in observing the birds that pay a visit.
Coloring Pages: Provide coloring pages adorned with robins and other wintry scenes, allowing your child's imagination to soar.
Act Out the Rhyme: Encourage your child to perform the tale of The Little Robin Grieves, complete with props and costumes. This activity can foster a deeper comprehension of the poem's message and nurture empathy towards animals.
Compose Your Own Rhyme: Inspire your child to pen their own winter-themed rhyme, integrating elements from The Little Robin Grieves or crafting an entirely new narrative:
The tiny wren shivers,
As the snowflakes tumble down,
No leaves on the trees,
And no berries are around.
The ground is frozen, the worms retreat,
How can we help the wren in defeat?
Let's sprinkle some seeds on the white snowy sheet,
And there it will thrive till the spring's gentle heat.
Winter Nature Walk: Don your warmest attire and embark on a winter nature walk with your child, searching for signs of animal activity and discussing how various creatures adapt to the frigid weather.
There was an old woman, and what do you think?
She lived upon nothing but victuals and drink;
Victuals and drink were the chief of her diet,
And yet this old woman could never be quiet.
In the grand tapestry of nursery rhymes, the shimmering thread of "There Was an Old Woman and What Do You Think?" is woven with a delicate and intriguing ambiguity. Its lineage, although somewhat obscured by the veils of time, traces back to the rich and fertile soil of traditional English folk rhymes.
Peeling back the layers of this engrossing verse, we find ourselves in a realm of simple surface meaning. An elderly woman subsists on nothing more than victuals and drink – a reference to food and beverages that were typical sustenance in olden times. Yet, despite her comfortable means of sustenance, the woman's spirit remains restless, her heart continues to echo with unheard laments.
There was an old woman who lived in a shoe.
She had so many children, she didn't know what to do;
She gave them some broth without any bread;
Then whipped them all soundly and put them to bed.
This nursery rhyme, hailing from the colourful annals of eighteenth-century England, is often considered an allegorical jab at the English Parliament—whimsically personified as an old woman. Turn the map of Great Britain 90 degrees to the right, and behold—an old-fashioned shoe appears in its outlines. The numerous offspring in the rhyme are thought to symbolise England's far-reaching colonies, echoing the harsh, unsympathetic management of these territories from London's seat of power.
An alternative interpretation posits the rhyme as a clever nod to Queen Caroline, the consort of King George II (1683-1760), a mother herself to eight offspring.
A further analysis delves into the troubled reign of King George III of England (1738-1820). Notorious as “The Mad King” or “The King Who Lost America”, due to his unfortunate mental decline, he becomes a likely candidate for the old woman in the verses. The children could symbolise Parliament's members, while the bed becomes a poetic stand-in for the Houses of Parliament.
In the contemporary era, the nursery rhyme "There Was an Old Woman Who Lived in a Shoe" has stoked the embers of debate, particularly centred around the controversial final line mentioning the old woman "whipping" her children. Given the ban on corporal punishment in numerous countries and states, arguments swirl over whether this line should be rephrased or expunged.
Supporters of change argue that the rhyme delivers an undesirable message to impressionable minds, suggesting physical punishment as an acceptable disciplinary measure. They call for an update to the rhyme to mirror modern sensibilities on child discipline.
Contrarily, those opposing alterations maintain that this timeless literary piece should persist in its original form. They argue that the controversial line does not advocate physical punishment, but instead alludes to a stringent bedtime regimen enforced by the old woman for her sizable brood.
Three blind mice. Three blind mice.
See how they run. See how they run.
They all ran after the farmer's wife,
Who cut off their tails with a carving knife,
Did you ever see such a sight in your life,
As three blind mice?
The nursery rhyme Three Blind Mice, as we know it today, was published in 1842. However, the first version of it appeared already in 1609. The original version was quite different from the later one:
Three Blinde Mice,
Three Blinde Mice,
Dame Iulian,
Dame Iulian,
the Miller, and his merry olde Wife,
she scrapte her tripe licke thou the knife.
The most probable meaning of this verse goes back to the counter-reformation. The British Queen Mary I captured three Protestant Bishops, and before execution, blinded them in 1555. The three Anglican Bishops were noblemen Hugh Latimer, Nicolas Ridley, and Thomas Cranmer. The "farmer's wife" in the rhyme refers to the Queen.
Interestingly, many composers have named their compositions Three Blind Mice. We have Symphonic variation from Joseph Holbrook; Joseph Haydn called a theme in his Symphony 83 Three Blind Mice; Havergal Brian, a British composer, based one of his orchestral work on this rhyme.
Another exciting thing is mouse symbology in different cultures. While in Europe, mice were connected to witchcraft, disease, and other bad things, in some other cultures, things are entirely different. In India, there is even a temple where these animals run freely. Some Native American tribes considered mice as brothers and helpers of humankind.
Three children sliding on the ice
Upon a summer's day,
As it fell out, they all fell in,
The rest they ran away.
Oh, had these children been at school,
Or sliding on dry ground,
Ten thousand pounds to one penny
They had not then been drowned..
Ye parents who have children dear,
And ye, too, who have none,
If you would keep them safe abroad,
Pray keep them safe at home.
"Three Children Sliding on the Ice," dates back to the 17th or 18th century, though its precise origin remains shrouded in mystery. Passed down through generations like a treasured family heirloom, the rhyme has witnessed myriad variations in both lyrics and melody, each lending its own enchanting twist.
This winsome rhyme spins a yarn of three spirited children, merrily frolicking upon the ice. Alas, their slippery escapade takes a dire turn when they plunge into the icy depths below. The tale's somber ending imparts a cautionary message to attentive parents, urging them to guard their younglings with a watchful eye.
The song's chilling warning resonates in the hearts of many cultures that have embraced it. Its frosty lesson cautions children against the perils of playing on frozen bodies of water, lest they suffer the same fate as the trio in the rhyme. A powerful reminder, wrapped in playful verse and melody, that sometimes even the most joyous moments carry a hint of danger.
Three wise men of Gotham
Went to sea in a bowl,
And if the bowl had been stronger
My song had been longer.
The nursery rhyme Three Wise Men of Gotham likely originated from the small English village of Gotham in Nottinghamshire, England. The rhyme is believed to be centuries old.
The three wise men of Gotham are the people of Gotham village who supposedly feigned idiocy to avoid a visit from King John sometime in the Middle Ages. The people of the village were said to have done all sorts of foolish things, like trying to drown an eel in a pool of water, dragging carts on a large barn, tumbling cheeses down a hill, and trying to hedge a cuckoo in an old bush when the Royal messengers arrived. Upon hearing of these occurrences, King John agreed that Gotham must be a village of fools and chose to have his hunting lodge elsewhere.
The “Three Wise Men of Gotham” nursery rhyme has been interpreted to be a secret form of protest against the rule of King John. By pretending to be fools, the villagers of Gotham were able to hold their own against the powerful King John and prevent their lands from being made a public highway.
The nursery rhyme is thought to be an example of the “blason populaire” genre of folklore which is common to many countries.
Similar stories to the “Three Wise Men of Gotham” nursery rhyme can be found in countries around the world. In Germany, there are the “Schildbürger” from the town of Schilda, in the Netherlands there are the people of Kampen, in Bohemia the people of Kocourkov, and in Moravia the people of Šimperk. In Romania, Caracal is known as the place where “the cart of fools tipped over”.
Twinkle, twinkle, little star,
How I wonder what you are!
Up above the world so high,
Like a diamond in the sky.
When the blazing sun is gone,
When he nothing shines upon,
Then you show your little light,
Twinkle, twinkle, all the night.
Then the trav’ller in the dark,
Thanks you for your tiny spark,
He could not see which way to go,
If you did not twinkle so.
In the dark blue sky you keep,
And often thro' my curtains peep,
For you never shut your eye,
Till the sun is in the sky.
'Tis your bright and tiny spark,
Lights the trav’ller in the dark,
Tho' I know not what you are,
Twinkle, twinkle, little star.
Twinkle Twinkle Little Star is the most popular lullaby in English-speaking countries, originally sung as a bedtime song. It is a nursery rhyme that originated in England in the 18th century. It has been adapted into many languages and found new life across the world.
There are two theories about how it originated. One, which is more traditional, is that it was written by Jane Taylor, an English poet and novelist in 1806 for her little sister Ann Taylor. The other theory tells of a mother humming it to her child who was not yet able to speak, with the name 'Twinkle' coming from the word 'twinkling'.
Another version of this lullaby:
Twinkle, twinkle, little star,
How we wonder what you are.
Up above the world so high,
Like a diamond in the sky.
When the glorious sun has set,
And the grass with dew is wet,
Then you show your little light,
Twinkle, twinkle, all the night.
When the golden sun doth rise,
Fills with shining light the skies,
Then you fade away from sight,
Shine no more 'till comes the night.
It is widely believed that the tune for this rhyme was one of Mozart's earliest compositions. However, this is not true. While he composed variations on the tune, the melody already existed. Who actually wrote it? No-one really knows. Link to the sheet music below.
Wee Willie Winkie runs through the town,
Upstairs and downstairs, in his nightgown;
Tapping at the window, crying at the lock:
“Are the babes in their beds, for it's now ten o’clock?”
William Miller (1810-1872 )wrote this poem in Scottish in 1841. The rhyme has ever since become associated with children’s bedtime and is used as a lullaby. (Link to the sheet music page is at the bottom.)
The original Scottish full version:
Wee Willie Winkie rins through the toon,
Up stairs an’ doon stairs in his nicht-gown,
Tirlin’ at the window, crying at the lock,
“Are the weans in their bed, for it’s now ten o’clock?”
“Hey, Willie Winkie, are ye comin’ ben?
The cat’s singin grey thrums to the sleepin hen,
The dog’s speldert on the floor and disna gie a cheep,
But here’s a waukrife laddie, that wunna fa’ asleep.”
Onything but sleep, you rogue, glow’ring like the moon,
Rattlin’ in an airn jug wi’ an airn spoon,
Rumblin’, tumblin’ roon about, crawin’ like a cock,
Skirlin like a kenna-what, waukenin’ sleepin’ fock.
“Hey Willie Winkie, the wean’s in a creel,
Wamblin’ aff a bodie’s knee like a verra eel,
Ruggin’ at the cat’s lug and raveling a’ her thrums-
Hey Willie Winkie – see there he comes.”
Wearit is the mither that has a stoorie wean,
A wee, stumpie, stousie, that canna rin his lane,
That has a battle aye wi’ sleep afore he’ll close an e’e-
But a kiss frae aff his rosy lips gies strength anew to me.
Willie Winkie was a Jacobite nickname for George III (King of Great Britain from 1760 to 1820). Some people have tried to find a secret interpretation behind the words. However, William Miller likely just used the name without giving the rhyme any undercover meaning.
When good King Arthur ruled his land
He was a goodly king;
He stole three pecks of barley meal
To make a bag-pudding.
A bag-pudding the king did make,
And stuffed it well with plums,
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 night
The queen next morning fried.
When Good King Arthur Ruled His Land is a well-known nursery rhyme that originated in England in the 1930's. The lyrics of this classic rhyme tell the story of a King who reigned in a powerful kingdom. The phrase “ When good King Arthur ruled his land” is thought to reference the legendary King Arthur from medieval British folklore. Many hold the conviction that King Arthur, a formidable and influential sovereign, valiantly championed the cause of justice, shaping the destiny of the realm he governed with unwavering resolve. This song has passed through generations and remains today as a favorite nursery rhyme among children.
Most people believe that the rhyme is simply a nursery rhyme and does not have much meaning beyond having a nice story. Yet, some think the rhyme has a deeper, hidden meaning beyond its simple appearance. This secret meaning is thought to refer to the declining power of the nobility in England, from the medieval period through to the early modern period.
The rhyme speaks of various people in King Arthur's kingdom who held the power of some sort. There is a mention of the nobles, merchants, and jailers who likely had all kinds of roles in the kingdom, though the exact meaning of the roles they had is not clear.
In a land steeped in history and lore, the bewitching nursery rhyme "When Good King Arthur Ruled His Land" has captured the hearts of many young dreamers. Sharing this enchanting verse with your children can serve as a spark, igniting their imagination and creativity like the flicker of a candle.
Encourage your little ones to create their own magical tales, role-playing as knights, enchantresses, or even King Arthur himself, as they traverse the fabled kingdom. You might also transform the rhyme into a captivating game, where each line of the song becomes a cue for a unique action, guiding children as they bring the story to life.
Should your young charges be of a suitable age, gather round and perform a play together, reenacting the legendary tale of King Arthur's reign. For those who find delight in the realm of numbers, there is a charming method to weave the story of King Arthur's kingdom into a mathematical challenge. Invite children to practice arithmetic by tracking the varied inhabitants and the balance of power they wield within the kingdom.
As King Arthur's rule was renowned for its fairness and justice, engage your children in an inspiring activity: crafting their very own code of laws befitting the wise king's realm. Delve into discussions about the rights of the people, the responsibilities of nobles, jailers, and merchants, and together, conjure a fresh set of principles to govern the kingdom. This pursuit is certain to enthrall your children's minds, prompting them to think critically and devise imaginative solutions to the myriad challenges faced in King Arthur's land.
Willie boy, Willie boy,
Where are you going?
O, let us go with you
This sunshiny day.
I'm going to the meadow
To see them a-mowing,
I'm going to help the girls
Turn the new hay.
The precise source of this charming melody remains a mystery, but its initial appearance can be traced back to its inclusion in Kate Greenaway's "Mother Goose or the Old Nursery Rhymes" in 1881.
Another version of this rhyme is:
Willy boy, Willy boy,
Where are you going?
I will go with you, if I may.
I am going to the meadows,
To see them mowing,
I am going to see them make hay.