The Project Gutenberg EBook of R. Caldecott's First Collection of Pictures

and Songs, by Various

This eBook is for the use of anyone anywhere at no cost and with

almost no restrictions whatsoever.  You may copy it, give it away or

re-use it under the terms of the Project Gutenberg License included

with this eBook or online at www.gutenberg.org

Title: R. Caldecott's First Collection of Pictures and Songs

Author: Various

Illustrator: R. Caldecott

Release Date: March 8, 2007 [EBook #20777]

Language: English

*** START OF THIS PROJECT GUTENBERG EBOOK PICTURES AND SONGS ***

Produced by K. Nordquist, Jacqueline Jeremy and the Online

Distributed Proofreading Team at http://www.pgdp.net. This

file is gratefully uploaded to the PG collection in honor

of Distributed Proofreaders having posted over 10,000

ebooks.

R. CALDECOTT’S

first collection of

PICTURES AND SONGS

CONTAINING

THE DIVERTING HISTORY OF JOHN GILPIN

THE HOUSE THAT JACK BUILT

AN ELEGY ON THE DEATH OF A MAD DOG

THE BABES IN THE WOOD

THE THREE JOVIAL HUNSTMEN

SING A SONG FOR SIXPENCE

THE QUEEN OF HEARTS

THE FARMER’S BOY

LONDON

FREDERICK WARNE AND CO., LTD.

AND NEW YORK

PRINTED IN GREAT BRITAIN

006 View larger image

THE DIVERTING HISTORY OF JOHN GILPIN:

Showing how he went father than he intended, and came safe home again.

WRITTEN BY Wm. COWPER WITH DRAWINGS BY R. CALDECOTT

WRITTEN BY Wm. COWPER WITH DRAWINGS BY R. CALDECOTT

View larger image

JOHN GILPIN was a citizen

Of credit and renown,

A train-band captain eke was he,

Of famous London town.

John Gilpin’s spouse said to her dear,

“Though wedded we have been

These twice ten tedious years, yet we

No holiday have seen.

“To-morrow is our wedding-day,

And we will then repair

Unto the “Bell” at Edmonton,

All in a chaise and pair.

“My sister, and my sister’s child,

Myself, and children three,

Will fill the chaise; so you must ride

On horseback after we.”

The Linendraper bold

The Linendraper bold

View larger image

He soon replied, “I do admire

Of womankind but one,

And you are she, my dearest dear,

Therefore it shall be done.

“I am a linendraper bold,

As all the world doth know,

And my good friend the calender

Will lend his horse to go.”

009 View larger image

Quoth Mrs. Gilpin, “That’s well said;

And for that wine is dear,

We will be furnished with our own,

Which is both bright and clear.”

John Gilpin kissed his loving wife;

O’erjoyed was he to find,

That though on pleasure she was bent,

She had a frugal mind.

010 View larger image

The morning came, the chaise was brought,

But yet was not allowed

To drive up to the door, lest all

Should say that she was proud.

So three doors off the chaise was stayed,

Where they did all get in;

Six precious souls, and all agog

To dash through thick and thin.

Smack went the whip, round went the wheels,

Were never folks so glad!

The stones did rattle underneath,

As if Cheapside were mad.

John Gilpin at his horse’s side

Seized fast the flowing mane,

And up he got, in haste to ride,

But soon came down again;

The 3 Customers

The Three Customers

View larger image

For saddletree scarce reached had he,

His journey to begin,

When, turning round his head, he saw

Three customers come in.

So down he came; for loss of time,

Although it grieved him sore,

Yet loss of pence, full well he knew,

Would trouble him much more.

012 View larger image

’Twas long before the customers

Were suited to their mind,

When Betty screaming came downstairs,

“The wine is left behind!”

“Good lack!” quoth he, “yet bring it me,

My leathern belt likewise,

In which I bear my trusty sword

When I do exercise.”

Now Mistress Gilpin (careful soul!)

Had two stone bottles found,

To hold the liquor that she loved,

And keep it safe and sound.

Each bottle had a curling ear,

Through which the belt he drew

And hung a bottle on each side,

To make his balance true.

013 View larger image

Then over all, that he might be

Equipped from top to toe,

His long red cloak, well brushed and neat,

He manfully did throw.

Now see him mounted once again

Upon his nimble steed,

Full slowly pacing o’er the stones,

With caution and good heed.

But finding soon a smoother road

Beneath his well-shod feet,

The snorting beast began to trot,

Which galled him in his seat.

014 View larger image

“So, fair and softly!” John he cried,

But John he cried in vain;

That trot became a gallop soon,

In spite of curb and rein.

So stooping down, as needs he must

Who cannot sit upright,

He grasped the mane with both his hands,

And eke with all his might.

His horse, who never in that sort

Had handled been before,

What thing upon his back had got,

Did wonder more and more.

Away went Gilpin, neck or nought;

Away went hat and wig;

He little dreamt, when he set out,

Of running such a rig.

The wind did blow, the cloak did fly

Like streamer long and gay,

Till, loop and button failing both,

At last it flew away.

015 View larger image

Then might all people well discern

The bottles he had slung;

A bottle swinging at each side,

As hath been said or sung.

The dogs did bark, the children screamed,

Up flew the windows all;

And every soul cried out, “Well done!”

As loud as he could bawl.

016 View larger image

Away went Gilpin—who but he?

His fame soon spread around;

“He carries weight! he rides a race!

’Tis for a thousand pound!”

018 View larger image

And still as fast as he drew near,

’Twas wonderful to view

How in a trice the turnpike-men

Their gates wide open threw.

019 View larger image

And now, as he went bowing down

His reeking head full low,

The bottles twain behind his back

Were shattered at a blow.

Down ran the wine into the road,

Most piteous to be seen,

Which made the horse’s flanks to smoke,

As they had basted been.

020 View larger image

But still he seemed to carry weight,

With leathern girdle braced;

For all might see the bottle-necks

Still dangling at his waist.

021 View larger image

Thus all through merry Islington

These gambols he did play,

Until he came unto the Wash

Of Edmonton so gay;

And there he threw the wash about

On both sides of the way,

Just like unto a trundling mop,

Or a wild goose at play.

022 View larger image

At Edmonton his loving wife

From the balcony spied

Her tender husband, wondering much

To see how he did ride.

“Stop, stop, John Gilpin!—Here’s the house!”

They all at once did cry;

“The dinner waits, and we are tired;”

Said Gilpin—“So am I!”

023 View larger image

But yet his horse was not a whit

Inclined to tarry there;

For why?—his owner had a house

Full ten miles off, at Ware.

So like an arrow swift he flew,

Shot by an archer strong;

So did he fly—which brings me to

The middle of my song.

024 View larger image

Away went Gilpin, out of breath,

And sore against his will,

Till at his friend the calender’s

His horse at last stood still.

The calender, amazed to see

His neighbour in such trim,

Laid down his pipe, flew to the gate,

And thus accosted him:

025 View larger image

“What news? what news? your tidings tell;

Tell me you must and shall—

Say why bareheaded you are come,

Or why you come at all?”

Now Gilpin had a pleasant wit,

And loved a timely joke;

And thus unto the calender

In merry guise he spoke:

“I came because your horse would come:

And, if I well forebode,

My hat and wig will soon be here,

They are upon the road.”

The calender, right glad to find

His friend in merry pin,

Returned him not a single word,

But to the house went in;

026 View larger image

Whence straight he came with hat and wig,

A wig that flowed behind,

A hat not much the worse for wear,

Each comely in its kind.

He held them up, and in his turn

Thus showed his ready wit:

“My head is twice as big as yours,

They therefore needs must fit.”

027 View larger image

“But let me scrape the dirt away,

That hangs upon your face;

And stop and eat, for well you may

Be in a hungry case.”

Said John, “It is my wedding-day,

And all the world would stare

If wife should dine at Edmonton,

And I should dine at Ware.”

So turning to his horse, he said

“I am in haste to dine;

’Twas for your pleasure you came here,

You shall go back for mine.”

Ah! luckless speech, and bootless boast

For which he paid full dear;

For while he spake, a braying ass

Did sing most loud and clear;

Whereat his horse did snort, as he

Had heard a lion roar,

And galloped off with all his might,

As he had done before.

028 View larger image

Away went Gilpin, and away

Went Gilpin’s hat and wig;

He lost them sooner than at first,

For why?—they were too big.

029 View larger image

Now Mistress Gilpin, when she saw

Her husband posting down

Into the country far away,

She pulled out half-a-crown;

And thus unto the youth she said

That drove them to the “Bell,”

“This shall be yours when you bring back

My husband safe and well.”

030 View larger image

The youth did ride, and soon did meet

John coming back amain;

Whom in a trice he tried to stop,

By catching at his rein.

But not performing what he meant,

And gladly would have done,

The frighted steed he frighted more,

And made him faster run.

Away went Gilpin, and away

Went postboy at his heels,

The postboy’s horse right glad to miss

The lumbering of the wheels.

031 View larger image

Six gentlemen upon the road,

Thus seeing Gilpin fly,

With postboy scampering in the rear,

They raised the hue and cry.

“Stop thief! stop thief! a highwayman!”

Not one of them was mute;

And all and each that passed that way

Did join in the pursuit.

To London. To Ware.

To London. To Ware.

View larger image

And now the turnpike-gates again

Flew open in short space;

The toll-man thinking, as before,

That Gilpin rode a race.

034 View larger image

And so he did, and won it too,

For he got first to town;

Nor stopped till where he had got up,

He did again get down.

Now let us sing, Long live the King,

And Gilpin, long live he;

And when he next doth ride abroad,

May I be there to see.

035 View larger image

Back to contents

THE HOUSE THAT JACK BUILT

038 View larger image

THIS is the House that Jack built.

039 View larger image

Jack

Jack

View larger image

Malt

Malt

View larger image

042 View larger image

Malt

Malt

View larger image

This is the Malt,

That lay in the House that Jack built.

4 MEASURES OF MALT

4

MEASURES OF MALT

View larger image

This is the Rat,

That ate the Malt,

That lay in the House that Jack built.

044 View larger image

045 View larger image

046 View larger image

This is the Cat,

That killed the Rat,

That ate the Malt,

That lay in the House that Jack built.

047 View larger image

048 View larger image

049 View larger image

050 View larger image

051 View larger image

This is the Dog,

That worried the Cat,

That killed the Rat,

That ate the Malt,

That lay in the House that Jack built.

052 View larger image

053 View larger image

054 View larger image

This is the Cow with the crumpled horn,

That tossed the Dog,

That worried the Cat,

That killed the Rat,

That ate the Malt,

That lay in the House that Jack built.

055 View larger image

056 View larger image

057 View larger image

058a View larger image

This is the Maiden all forlorn,

That milked the Cow with the crumpled horn,

That tossed the Dog,

That worried the Cat,

That killed the Rat,

That ate the Malt,

That lay in the House that Jack built.

058b View larger image

This is the Man all tattered and torn,

That kissed the Maiden all forlorn,

That milked the Cow with the crumpled horn,

That tossed the Dog,

That worried the Cat,

That killed the Rat,

That ate the Malt,

That lay in the House that Jack built.

059 View larger image

060 View larger image

061 View larger image

062a View larger image

This is the Priest, all shaven and shorn,

That married the Man all tattered and torn,

That kissed the Maiden all forlorn,

That milked the Cow with the crumpled horn,

That tossed the Dog,

That worried the Cat,

That killed the Rat,

That ate the Malt,

That lay in the House that Jack built.

062b

This is the Cock that crowed in the morn,

That waked the Priest all shaven and shorn,

That married the Man all tattered and torn,

That kissed the Maiden all forlorn,

That milked the Cow with the crumpled horn,

That tossed the Dog,

That worried the Cat,

That killed the Rat,

That ate the Malt,

That lay in the House that Jack built.

View larger image

063 View larger image

064 View larger image

065 View larger image

This is the Farmer who sowed the corn,

That fed the Cock that crowed in the morn,

That waked the Priest all shaven and shorn,

That married the Man all tattered and torn,

That kissed the Maiden all forlorn,

That milked the Cow with the crumpled horn,

That tossed the Dog,

That worried the Cat,

That killed the Rat,

That ate the Malt,

That lay in the House that Jack built.

066 View larger image

067 View larger image

Back to contents

AN ELEGY ON THE DEATH OF A MAD DOG

070 View larger image

An ELEGY on the DEATH of a MAD DOG. WRITTEN By Dr. GOLDSMITH PICTURED By R. CALDECOTT SUNG By Master BILL PRIMROSE IN MEMORY OF TOBY

An ELEGY on the DEATH of a MAD DOG.

WRITTEN By Dr. GOLDSMITH

PICTURED By R. CALDECOTT

SUNG By Master BILL PRIMROSE

IN MEMORY OF TOBY

View larger image

072 View larger image

GOOD people all, of every sort,

Give ear unto my song;

And if you find it wondrous short,

073 View larger image

It cannot hold you long.

074 View larger image

To the Angel

To the Angel

View larger image

In Islington there lived a man,

Of whom the world might say,

That still a godly race he ran,

076 View larger image

Whene’er he went

077 View larger image

to pray.

078 View larger image

079 View larger image

A kind and gentle heart he had,

To comfort friends and foes;

The naked every day he clad,

080 View larger image

When he put on

081 View larger image

his clothes.

082 View larger image

083a View larger image

And in that town a dog was found:

As many dogs there be—

083B View larger image

Both mongrel, puppy, whelp,

and hound,

083c View larger image

And curs of low degree.

084 View larger image

This dog and man at first were friends;

085 View larger image

But, when a pique began,

The dog, to gain some private ends,

086 View larger image

Went mad, and bit the man.

087 View larger image

088 View larger image

Around from all

089 View larger image

the neighbouring streets

090 View larger image

The wondering neighbours ran;

091 View larger image

092 View larger image

And swore the dog had lost his wits,

blind

Blind

View larger image

To bite so good a man.

094 View larger image

The wound it seem’d both sore and sad

To every christian eye;

095 View larger image

096 View larger image

And while they swore the dog was mad,

097 View larger image

They swore the man would die.

But soon a wonder came to light,

That show’d the rogues they lied—

098a View larger image

The man recover’d of the bite,

098b View larger image

The dog it was that died.

099 View larger image

Back to contents

THE BABES IN THE WOOD

102

SORE SICKE THEY WERE AND LIKE TO DYE

View larger image

103 View larger image

NOW ponder well, you parents deare,

These wordes which I shall write;

A doleful story you shall heare,

In time brought forth to light.

A gentleman of good account

In Norfolke dwelt of late,

Who did in honour far surmount

Most men of his estate.

Sore sicke he was, and like to dye,

No helpe his life could save;

His wife by him as sicke did lye,

And both possest one grave.

104 View larger image

No love between these two was lost,

Each was to other kinde;

In love they liv’d, in love they dyed,

And left two babes behinde:

The one a fine and pretty boy,

Not passing three yeares olde;

The other a girl more young than he

And fram’d in beautye’s molde.

The father left his little son,

As plainlye doth appeare,

When he to perfect age should come

Three hundred poundes a yeare.

And to his little daughter Jane

Five hundred poundes in gold,

To be paid downe on marriage-day,

Which might not be controll’d:

105 View larger image

But if the children chanced to dye,

Ere they to age should come,

Their uncle should possesse their wealth;

For so the wille did run.

NOW, BROTHER, said the dying man, LOOK TO MY CHILDREN DEARE

NOW, BROTHER, said the dying man, LOOK TO MY CHILDREN DEARE

View larger image

“Now, brother,” said the dying man,

“Look to my children deare;

Be good unto my boy and girl,

No friendes else have they here:

“To God and you I do commend

My children deare this daye;

But little while be sure we have

Within this world to staye.

“You must be father and mother both,

And uncle all in one;

God knowes what will become of them,

When I am dead and gone.”

107 View larger image

With that bespake their mother deare:

“O brother kinde,” quoth shee,

“You are the man must bring our babes

To wealth or miserie:

108 View larger image

109 View larger image

“And if you keep them carefully,

Then God will you reward;

But if you otherwise should deal,

God will your deedes regard.”

WITH LIPPES AS COLD AS ANY STONE, THEY KIST THE CHILDREN SMALL

WITH LIPPES AS COLD AS ANY STONE, THEY KIST THE CHILDREN SMALL

View larger image

With lippes as cold as any stone,

They kist the children small:

“God bless you both, my children deare;”

With that the teares did fall.

111 View larger image

112 View larger image

These speeches then their brother spake

To this sicke couple there:

“The keeping of your little ones,

Sweet sister, do not feare:

“God never prosper me nor mine,

Nor aught else that I have,

If I do wrong your children deare,

When you are layd in grave.”

113 View larger image

THEIR PARENTS BEING DEAD & GONE, THE CHILDREN HOME HE TAKES

THEIR PARENTS BEING DEAD & GONE, THE CHILDREN HOME HE TAKES

View larger image

The parents being dead and gone,

The children home he takes,

And bringes them straite unto his house,

Where much of them he makes.

115 View larger image

116 View larger image

He had not kept these pretty babes

A twelvemonth and a daye,

But, for their wealth, he did devise

To make them both awaye.

He bargain’d with two ruffians strong,

Which were of furious mood,

That they should take the children young,

And slaye them in a wood.

117 View larger image

He told his wife an artful tale,

He would the children send

To be brought up in faire London,

With one that was his friend.

118 View larger image

Away then went those pretty babes,

Rejoycing at that tide,

Rejoycing with a merry minde,

They should on cock-horse ride.

AWAY THEN WENT THE PRETTY BABES REJOYCING AT THAT TIDE

AWAY THEN WENT THE PRETTY BABES REJOYCING AT THAT TIDE

View larger image

120 View larger image

They prate and prattle pleasantly

As they rode on the waye,

To those that should their butchers be,

And work their lives’ decaye:

So that the pretty speeche they had,

Made murderers’ heart relent:

And they that undertooke the deed,

Full sore did now repent.

Yet one of them, more hard of heart,

Did vow to do his charge,

Because the wretch, that hired him,

Had paid him very large.

121 View larger image

The other would not agree thereto,

So here they fell to strife;

With one another they did fight,

About the children’s life:

122 View larger image

And he that was of mildest mood,

Did slaye the other there,

Within an unfrequented wood,

Where babes did quake for feare

AND HE THAT WAS OF MILDEST MOOD, DID SLAYE THE OTHER THERE.

AND HE THAT WAS OF MILDEST MOOD, DID SLAYE THE OTHER THERE.

View larger image

124 View larger image

He took the children by the hand,

While teares stood in their eye,

And bade them come and go with him,

And look they did not crye:

And two long miles he ledd them on,

While they for food complaine:

“Stay here,” quoth he, “I’ll bring ye bread,

When I come back againe.”

125 View larger image

These prettye babes, with hand in hand,

Went wandering up and downe;

126 View larger image

But never more they sawe the man

Approaching from the town.

127 View larger image

128 View larger image

Their prettye lippes with blackberries

Were all besmear’d and dyed;

And when they sawe the darksome night,

They sat them downe and cryed.

129 View larger image

Thus wandered these two prettye babes,

Till death did end their grief;

In one another’s armes they dyed,

As babes wanting relief.

No burial these prettye babes

Of any man receives,

130 View larger image

Till Robin-redbreast painfully

Did cover them with leaves.

IN ONE ANOTHER’S ARMS THEY DYED

IN ONE ANOTHER’S ARMS THEY DYED

View larger image

Back to contents

THE THREE JOVIAL HUNTSMEN

134 View larger image

135 View larger image

IT’S of three jovial huntsmen, an’ a hunting they did go;

An’ they hunted, an’ they hollo’d, an’ they blew their horns also

Look ye there!

136 View larger image

An’ one said, “Mind yo’r e’en, an’ keep yo’r noses reet i’ th’ wind

An’ then, by scent or seet, we’ll leet o’ summat to our mind.”

Look ye there!

137 View larger image

138 View larger image

139 View larger image

They hunted, an’ they hollo’d, an’ the first thing they did find

Was a tatter’t boggart, in a field, an’ that they left behind.

Look ye there!

One said it was a boggart, an’ another he said “Nay;

It’s just a ge’man-farmer, that has gone an’ lost his way.”

Look ye there!

140 View larger image

141 View larger image

142 View larger image

143 View larger image

They hunted, an’ they hollo’d, an’ the next thing they did find

Was a gruntin’, grindin’ grindlestone, an’ that they left behind.

Look ye there!

One said it was a grindlestone, another he said “Nay;

It’s nought but an’ owd fossil cheese, that somebody’s roll’t away.”

Look ye there!

144 View larger image

145 View larger image

146 View larger image

147 View larger image

They hunted, an’ they hollo’d, an’ the next thing they did find

Was a bull-calf in a pin-fold, an’ that, too, they left behind.

Look ye there!

One said it was a bull-calf, an’ another he said “Nay;

It’s just a painted jackass, that has never larnt to bray.”

Look ye there!

148 View larger image

149 View larger image

150 View larger image

They hunted, an’ they hollo’d, an’ the next thing they did find

Was a two-three children leaving school, an’ these they left behind.

Look ye there!

One said that they were children, but another he said “Nay;

They’re no but little angels, so we’ll leave ’em to their play.”

Look ye there!

151 View larger image

152 View larger image

153 View larger image

154 View larger image

They hunted, an’ they hollo’d, an’ the next thing they did find

Was a fat pig smiling in a ditch, an’ that, too, they left behind.

Look ye there!

One said it was a fat pig, but another he said “Nay;

It’s just a Lunnon Alderman, whose clothes are stole away.”

Look ye there!

155 View larger image

156 View larger image

157 View larger image

158 View larger image

They hunted, an’ they hollo’d, an’ the next thing they did find

Was two young lovers in a lane, an’ these they left behind.

Look ye there!

One said that they were lovers, but another he said “Nay;

They’re two poor wanderin’ lunatics—come, let us get away.”

Look ye there!

159 View larger image

160 View larger image

161 View larger image

So they hunted, an’ they hollo’d, till the setting of the sun;

An’ they’d nought to bring away at last, when th’ huntin’-day was done.

Look ye there!

Then one unto the other said, “This huntin’ doesn’t pay;

But we’n powler’t up an’ down a bit, an’ had a rattlin’ day.”

Look ye there!

162 View larger image

163 View larger image

Back to contents

SING A SONG FOR SIXPENCE

166 View larger image

SING a Song for Sixpence,

167 View larger image

168 View larger image

A Pocketful

169 View larger image

of Rye;

170 View larger image

171 View larger image

Four-and-Twenty Blackbirds

172 View larger image

Baked

173 View larger image

in a Pie.

174 View larger image

175 View larger image

When the Pie was opened,

The Birds began to sing;

Was not that

176 View larger image

a dainty Dish

177 View larger image

178 View larger image

179 View larger image

To set before the King?

The King was in

180 View larger image

181 View larger image

his Counting-house,

182 View larger image

Counting out his Money.

183 View larger image

The Queen was in

184 View larger image

185 View larger image

the Parlour,

186 View larger image

Eating Bread and Honey.

187 View larger image

188 View larger image

The Maid was in

189 View larger image

the Garden,

190 View larger image

Hanging out the Clothes;

191 View larger image

192 View larger image

There came a little Blackbird,

193 View larger image

And snapped off her Nose

194 View larger image

But there came a Jenny Wren

and popped it on again.

195 View larger image

Back to contents

THE QUEEN OF HEARTS

The Art of making TARTS. The Complete History of JAMS.

The Art of making TARTS. The Complete History of JAMS.

View larger image

199 View larger image

THE Queen of Hearts,

She made some Tarts,

200 View larger image

201 View larger image

202 View larger image

203 View larger image

All on a Summer’s Day:

204 View larger image

205 View larger image

206 View larger image

The Knave of Hearts,

He stole those Tarts,

207 View larger image

208 View larger image

209 View larger image

210 View larger image

211a View larger image

And took them right away.

211b View larger image

212 View larger image

213 View larger image

214 View larger image

The King of Hearts,

Called for those Tarts,

215 View larger image

216 View larger image

217 View larger image

218 View larger image

And beat the Knave full sore:

219 View larger image

220 View larger image

221 View larger image

222 View larger image

The Knave of Hearts,

Brought back those Tarts,

223 View larger image

224 View larger image

225 View larger image

226 View larger image

And vowed he’d steal no more.

227 View larger image

Back to contents

THE FARMER’S BOY

230 View larger image

231 View larger image

WHEN I was a farmer, a Farmer’s Boy,

I used to keep my master’s HORSES,

With a GEE-WO here, and a GEE-WO there,

And here a GEE, and there a GEE,

And everywhere a GEE;

Says I,  My pretty lass, will you come to the banks of the Aire oh?

232 View larger image

233 View larger image

234 View larger image

235 View larger image

When I was a farmer, a Farmer’s Boy,

I used to keep my master’s LAMBS,

With a BAA-BAA here, and a BAA-BAA there,

And here a BAA, and there a BAA,

And everywhere a BAA;

With a GEE-WO here, and a GEE-WO there,

And here a GEE, and there a GEE,

And everywhere a GEE;

Says I,  My pretty lass, will you come to the banks of the Aire oh?

236 View larger image

237 View larger image

238 View larger image

239 View larger image

When I was a farmer, a Farmer’s Boy,

I used to keep my master’s HENS,

With a CHUCK-CHUCK here, and a CHUCK-CHUCK there,

And here a CHUCK, and there a CHUCK,

And everywhere a Chuck;

With a BAA-BAA here, and a BAA-BAA there,

And here a BAA, and there a BAA,

And everywhere a BAA;

With a GEE-WO here, and a GEE-WO there,

&c., &c., &c.

Says I,  My pretty lass, will you come to the banks of the Aire oh?

240 View larger image

241 View larger image

242 View larger image

243 View larger image

When I was a farmer, a Farmer’s Boy,

I used to keep my master’s PIGS,

With a GRUNT-GRUNT here, and a GRUNT-GRUNT there,

And here a GRUNT, and there a GRUNT,

And everywhere a Grunt;

With a CHUCK-CHUCK here, and a CHUCK-CHUCK there,

And here a CHUCK, and there a CHUCK,

And everywhere a CHUCK;

With a BAA-BAA here, and a BAA-BAA there,

&c., &c., &c.

With a GEE-WO here, and a GEE-WO there,

&c., &c., &c.

Says I,  My pretty lass, will you come to the banks of the Aire oh?

244 View larger image

Mary

Mary

View larger image

246 View larger image

When I was a farmer, a Farmer’s Boy,

I used to keep my master’s DUCKS,

With a QUACK-QUACK here, and a QUACK-QUACK there,

And here a QUACK, and there a QUACK,

And everywhere a QUACK;

With a GRUNT-GRUNT here, and a GRUNT-GRUNT there,

&c., &c., &c.

With a CHUCK-CHUCK here, &c.

With a BAA-BAA here, &c.

With a GEE-WO here, &c.

Says I,  My pretty lass, will you come to the banks of the Aire oh?

247 View larger image

248 View larger image

249 View larger image

250 View larger image

When I was a farmer, a Farmer’s Boy,

I used to keep my master’s DOGS,

With a BOW-BOW here, and a BOW-WOW there,

And here a BOW, and there a WOW,

And everywhere a WOW;

With a QUACK-QUACK here, and a QUACK-QUACK there,

&c., &c., &c.

With a GRUNT-GRUNT here, &c.

With a CHUCK-CHUCK here, &c.

With a BAA-BAA here, &c.

With a GEE-WO here, &c.

Says I,  My pretty lass, will you come to the banks of the Aire oh?

251 View larger image

252 View larger image

253 View larger image

254 View larger image

When I was a farmer, a Farmer’s Boy,

I used to keep my master’s CHILDREN,

With a SHOUTING here, and a POUTING there,

And here a SHOUT, and there a POUT,

And everywhere a SHOUT;

With a BOW-BOW here, and a BOW-WOW there,

&c., &c., &c.

With a QUACK-QUACK here, &c.

With a GRUNT-GRUNT here, &c.

With a CHUCK-CHUCK here, &c.

With a BAA-BAA here, &c.

With a GEE-WO here, &c.

Says I,  My pretty lass, will you come to the banks of the Aire oh?

255 View larger image

256 View larger image

257 View larger image

When I was a farmer, a Farmer’s Boy,

I used to keep my master’s TURKEYS,

With a GOBBLE-GOBBLE here, and a GOBBLE-GOBBLE there,

And here a GOBBLE, and there a GOBBLE,

And everywhere a GOBBLE;

With a SHOUTING here, and a POUTING there,

&c., &c., &c.

With a BOW-WOW here, &c.

With a QUACK-QUACK here, &c.

With a GRUNT-GRUNT here, &c.

With a CHUCK-CHUCK here, &c.

With a BAA-BAA here, &c.

With a GEE-WO here, &c.

Says I,  My pretty lass, will you come to the banks of the Aire oh?

258 View larger image

259 View larger image

End of the Project Gutenberg EBook of R. Caldecott's First Collection of

Pictures and Songs, by Various

*** END OF THIS PROJECT GUTENBERG EBOOK PICTURES AND SONGS ***

***** This file should be named 20777-h.htm or 20777-h.zip *****

This and all associated files of various formats will be found in:

http://www.gutenberg.org/2/0/7/7/20777/

Produced by K. Nordquist, Jacqueline Jeremy and the Online

Distributed Proofreading Team at http://www.pgdp.net. This

file is gratefully uploaded to the PG collection in honor

of Distributed Proofreaders having posted over 10,000

ebooks.

Updated editions will replace the previous one--the old editions

will be renamed.

Creating the works from public domain print editions means that no

one owns a United States copyright in these works, so the Foundation

(and you!) can copy and distribute it in the United States without

permission and without paying copyright royalties.  Special rules,

set forth in the General Terms of Use part of this license, apply to

copying and distributing Project Gutenberg-tm electronic works to

protect the PROJECT GUTENBERG-tm concept and trademark.  Project

Gutenberg is a registered trademark, and may not be used if you

charge for the eBooks, unless you receive specific permission.  If you

do not charge anything for copies of this eBook, complying with the

rules is very easy.  You may use this eBook for nearly any purpose

such as creation of derivative works, reports, performances and

research.  They may be modified and printed and given away--you may do

practically ANYTHING with public domain eBooks.  Redistribution is

subject to the trademark license, especially commercial

redistribution.

*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free

distribution of electronic works, by using or distributing this work

(or any other work associated in any way with the phrase "Project

Gutenberg"), you agree to comply with all the terms of the Full Project

Gutenberg-tm License (available with this file or online at

http://gutenberg.org/license).

Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm

electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm

electronic work, you indicate that you have read, understand, agree to

and accept all the terms of this license and intellectual property

(trademark/copyright) agreement.  If you do not agree to abide by all

the terms of this agreement, you must cease using and return or destroy

all copies of Project Gutenberg-tm electronic works in your possession.

If you paid a fee for obtaining a copy of or access to a Project

Gutenberg-tm electronic work and you do not agree to be bound by the

terms of this agreement, you may obtain a refund from the person or

entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be

used on or associated in any way with an electronic work by people who

agree to be bound by the terms of this agreement.  There are a few

things that you can do with most Project Gutenberg-tm electronic works

even without complying with the full terms of this agreement.  See

paragraph 1.C below.  There are a lot of things you can do with Project

Gutenberg-tm electronic works if you follow the terms of this agreement

and help preserve free future access to Project Gutenberg-tm electronic

works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"

or PGLAF), owns a compilation copyright in the collection of Project

Gutenberg-tm electronic works.  Nearly all the individual works in the

collection are in the public domain in the United States.  If an

individual work is in the public domain in the United States and you are

located in the United States, we do not claim a right to prevent you from

copying, distributing, performing, displaying or creating derivative

works based on the work as long as all references to Project Gutenberg

are removed.  Of course, we hope that you will support the Project

Gutenberg-tm mission of promoting free access to electronic works by

freely sharing Project Gutenberg-tm works in compliance with the terms of

this agreement for keeping the Project Gutenberg-tm name associated with

the work.  You can easily comply with the terms of this agreement by

keeping this work in the same format with its attached full Project

Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern

what you can do with this work.  Copyright laws in most countries are in

a constant state of change.  If you are outside the United States, check

the laws of your country in addition to the terms of this agreement

before downloading, copying, displaying, performing, distributing or

creating derivative works based on this work or any other Project

Gutenberg-tm work.  The Foundation makes no representations concerning

the copyright status of any work in any country outside the United

States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate

access to, the full Project Gutenberg-tm License must appear prominently

whenever any copy of a Project Gutenberg-tm work (any work on which the

phrase "Project Gutenberg" appears, or with which the phrase "Project

Gutenberg" is associated) is accessed, displayed, performed, viewed,

copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with

almost no restrictions whatsoever.  You may copy it, give it away or

re-use it under the terms of the Project Gutenberg License included

with this eBook or online at www.gutenberg.org

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived

from the public domain (does not contain a notice indicating that it is

posted with permission of the copyright holder), the work can be copied

and distributed to anyone in the United States without paying any fees

or charges.  If you are redistributing or providing access to a work

with the phrase "Project Gutenberg" associated with or appearing on the

work, you must comply either with the requirements of paragraphs 1.E.1

through 1.E.7 or obtain permission for the use of the work and the

Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or

1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted

with the permission of the copyright holder, your use and distribution

must comply with both paragraphs 1.E.1 through 1.E.7 and any additional

terms imposed by the copyright holder.  Additional terms will be linked

to the Project Gutenberg-tm License for all works posted with the

permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm

License terms from this work, or any files containing a part of this

work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without

prominently displaying the sentence set forth in paragraph 1.E.1 with

active links or immediate access to the full terms of the Project

Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,

compressed, marked up, nonproprietary or proprietary form, including any

word processing or hypertext form.  However, if you provide access to or

distribute copies of a Project Gutenberg-tm work in a format other than

"Plain Vanilla ASCII" or other format used in the official version

posted on the official Project Gutenberg-tm web site (www.gutenberg.org),

you must, at no additional cost, fee or expense to the user, provide a

copy, a means of exporting a copy, or a means of obtaining a copy upon

request, of the work in its original "Plain Vanilla ASCII" or other

form.  Any alternate format must include the full Project Gutenberg-tm

License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg-tm works

unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg-tm electronic works provided

that

- You pay a royalty fee of 20% of the gross profits you derive from

the use of Project Gutenberg-tm works calculated using the method

you already use to calculate your applicable taxes.  The fee is

owed to the owner of the Project Gutenberg-tm trademark, but he

has agreed to donate royalties under this paragraph to the

Project Gutenberg Literary Archive Foundation.  Royalty payments

must be paid within 60 days following each date on which you

prepare (or are legally required to prepare) your periodic tax

returns.  Royalty payments should be clearly marked as such and

sent to the Project Gutenberg Literary Archive Foundation at the

address specified in Section 4, "Information about donations to

the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies

you in writing (or by e-mail) within 30 days of receipt that s/he

does not agree to the terms of the full Project Gutenberg-tm

License.  You must require such a user to return or

destroy all copies of the works possessed in a physical medium

and discontinue all use of and all access to other copies of

Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any

money paid for a work or a replacement copy, if a defect in the

electronic work is discovered and reported to you within 90 days

of receipt of the work.

- You comply with all other terms of this agreement for free

distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm

electronic work or group of works on different terms than are set

forth in this agreement, you must obtain permission in writing from

both the Project Gutenberg Literary Archive Foundation and Michael

Hart, the owner of the Project Gutenberg-tm trademark.  Contact the

Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable

effort to identify, do copyright research on, transcribe and proofread

public domain works in creating the Project Gutenberg-tm

collection.  Despite these efforts, Project Gutenberg-tm electronic

works, and the medium on which they may be stored, may contain

"Defects," such as, but not limited to, incomplete, inaccurate or

corrupt data, transcription errors, a copyright or other intellectual

property infringement, a defective or damaged disk or other medium, a

computer virus, or computer codes that damage or cannot be read by

your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right

of Replacement or Refund" described in paragraph 1.F.3, the Project

Gutenberg Literary Archive Foundation, the owner of the Project

Gutenberg-tm trademark, and any other party distributing a Project

Gutenberg-tm electronic work under this agreement, disclaim all

liability to you for damages, costs and expenses, including legal

fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT

LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE

PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE

TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE

LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR

INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH

DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a

defect in this electronic work within 90 days of receiving it, you can

receive a refund of the money (if any) you paid for it by sending a

written explanation to the person you received the work from.  If you

received the work on a physical medium, you must return the medium with

your written explanation.  The person or entity that provided you with

the defective work may elect to provide a replacement copy in lieu of a

refund.  If you received the work electronically, the person or entity

providing it to you may choose to give you a second opportunity to

receive the work electronically in lieu of a refund.  If the second copy

is also defective, you may demand a refund in writing without further

opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth

in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER

WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO

WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.

If any disclaimer or limitation set forth in this agreement violates the

law of the state applicable to this agreement, the agreement shall be

interpreted to make the maximum disclaimer or limitation permitted by

the applicable state law.  The invalidity or unenforceability of any

provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the

trademark owner, any agent or employee of the Foundation, anyone

providing copies of Project Gutenberg-tm electronic works in accordance

with this agreement, and any volunteers associated with the production,

promotion and distribution of Project Gutenberg-tm electronic works,

harmless from all liability, costs and expenses, including legal fees,

that arise directly or indirectly from any of the following which you do

or cause to occur: (a) distribution of this or any Project Gutenberg-tm

work, (b) alteration, modification, or additions or deletions to any

Project Gutenberg-tm work, and (c) any Defect you cause.

Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of

electronic works in formats readable by the widest variety of computers

including obsolete, old, middle-aged and new computers.  It exists

because of the efforts of hundreds of volunteers and donations from

people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need, is critical to reaching Project Gutenberg-tm's

goals and ensuring that the Project Gutenberg-tm collection will

remain freely available for generations to come.  In 2001, the Project

Gutenberg Literary Archive Foundation was created to provide a secure

and permanent future for Project Gutenberg-tm and future generations.

To learn more about the Project Gutenberg Literary Archive Foundation

and how your efforts and donations can help, see Sections 3 and 4

and the Foundation web page at http://www.pglaf.org.

Section 3.  Information about the Project Gutenberg Literary Archive

Foundation

The Project Gutenberg Literary Archive Foundation is a non profit

501(c)(3) educational corporation organized under the laws of the

state of Mississippi and granted tax exempt status by the Internal

Revenue Service.  The Foundation's EIN or federal tax identification

number is 64-6221541.  Its 501(c)(3) letter is posted at

http://pglaf.org/fundraising.  Contributions to the Project Gutenberg

Literary Archive Foundation are tax deductible to the full extent

permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.

Fairbanks, AK, 99712., but its volunteers and employees are scattered

throughout numerous locations.  Its business office is located at

809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email

business@pglaf.org.  Email contact links and up to date contact

information can be found at the Foundation's web site and official

page at http://pglaf.org

For additional contact information:

Dr. Gregory B. Newby

Chief Executive and Director

gbnewby@pglaf.org

Section 4.  Information about Donations to the Project Gutenberg

Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide

spread public support and donations to carry out its mission of

increasing the number of public domain and licensed works that can be

freely distributed in machine readable form accessible by the widest

array of equipment including outdated equipment.  Many small donations

($1 to $5,000) are particularly important to maintaining tax exempt

status with the IRS.

The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United

States.  Compliance requirements are not uniform and it takes a

considerable effort, much paperwork and many fees to meet and keep up

with these requirements.  We do not solicit donations in locations

where we have not received written confirmation of compliance.  To

SEND DONATIONS or determine the status of compliance for any

particular state visit http://pglaf.org

While we cannot and do not solicit contributions from states where we

have not met the solicitation requirements, we know of no prohibition

against accepting unsolicited donations from donors in such states who

approach us with offers to donate.

International donations are gratefully accepted, but we cannot make

any statements concerning tax treatment of donations received from

outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation

methods and addresses.  Donations are accepted in a number of other

ways including checks, online payments and credit card donations.

To donate, please visit: http://pglaf.org/donate

Section 5.  General Information About Project Gutenberg-tm electronic

works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm

concept of a library of electronic works that could be freely shared

with anyone.  For thirty years, he produced and distributed Project

Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed

editions, all of which are confirmed as Public Domain in the U.S.

unless a copyright notice is included.  Thus, we do not necessarily

keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

http://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,

including how to make donations to the Project Gutenberg Literary

Archive Foundation, how to help produce our new eBooks, and how to

subscribe to our email newsletter to hear about new eBooks.

Table of Contents

R. CALDECOTT’S

first collection of

PICTURES AND SONGS

CONTAINING THE DIVERTING HISTORY OF JOHN GILPIN THE HOUSE THAT JACK BUILT AN ELEGY ON THE DEATH OF A MAD DOG THE BABES IN THE WOOD THE THREE JOVIAL HUNSTMEN SING A SONG FOR SIXPENCE THE QUEEN OF HEARTS THE FARMER’S BOY

FREDERICK WARNE AND CO., LTD.

THE DIVERTING HISTORY OF JOHN GILPIN:

THE HOUSE THAT JACK BUILT

AN ELEGY ON THE DEATH OF A MAD DOG

THE BABES IN THE WOOD

THE THREE JOVIAL HUNTSMEN

SING A SONG FOR SIXPENCE

THE QUEEN OF HEARTS

THE FARMER’S BOY