The Project Gutenberg eBook of Phebe, the Blackberry Girl

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Phebe, the Blackberry Girl

Author: Anonymous

Release date: May 2, 2009 [eBook #28660]

Language: English

Other information and formats: www.gutenberg.org/ebooks/28660

Credits: Produced by The Online Distributed Proofreading Team at

http://www.pgdp.net (This file was produced from images

generously made available by The Internet Archive/American

Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK PHEBE, THE BLACKBERRY GIRL ***

PHEBE,

THE BLACKBERRY GIRL.

UNCLE THOMAS’S

STORIES

FOR

GOOD CHILDREN.

UNCLE THOMAS.

PHEBE,

THE BLACKBERRY GIRL.

NEW-YORK:

LIVERMORE & RUDD

310 BROADWAY

1856.

Entered according to Act of Congress, in the year 1847

By EDWARD LIVERMORE,

In the Clerk’s Office of the District Court of Massachusetts.

INTRODUCTION.

Uncle Thomas’s Stories for Good Children.

THE design of this series of unpretending little books, is, to give to the Young information, joined with amusement.

They are prepared for young children, and if, from the reading of these stories, they acquire a love for good books, the compiler’s object will be accomplished.

CONTENTS.

PAGE

T   HE BLACKBERRY GIRL, PART I.,

9

T   HE BLACKBERRY GIRL, PART II.,

19

G   OOD CHILDREN,

23

P   OOR CRAZY ROBERT,

25

T   HE PET LAMB,

29

F   ATHER WILLIAM AND THE YOUNG MAN,

37

T   HE LITTLE GIRL AND HER PETS,

39

T   HE FLOWERS,

43

T   HE CHILD AND THE FLOWERS,

45

O   NE, TWO, BUCKLE MY SHOE,

49

W   ASHING AND DRESSING,

51

T   HE INDUSTRIOUS BOY,

55

W   E ARE SEVEN,

57

T   HE IDLE BOY,

63

C   ASABIANCA,

67

T   WINKLE, TWINKLE, LITTLE STAR,

71

THE BLACKBERRY GIRL.

PART I.

Phebe, the Blackberry Girl.

“WHY, Phebe, are you come so soon,

Where are your berries, child?

You cannot, sure, have sold them all,

You had a basket pil’d.”

“No, mother, as I climb’d the fence,

The nearest way to town,

My apron caught upon a stake,

And so I tumbled down.

“I scratched my arm, and tore my hair,

But still did not complain;

And had my blackberries been safe,

Should not have cared a grain.

Phebe and her Mother.

“But when I saw them on the ground

All scattered by my side,

I pick’d my empty basket up,

And down I sat and cried.

“Just then a pretty little Miss

Chanced to be walking by;

She stopp’d, and looking pitiful,

She begg’d me not to cry.

“‘Poor little girl, you fell,’ said she,

‘And must be sadly hurt’—

‘O, no,’ I cried, ‘but see my fruit,

All mixed with sand and dirt!’

“‘Well, do not grieve for that,’ she said

‘Go home, and get some more:’

Ah, no, for I have stripp’d the vines,

These were the last they bore.

“My father, Miss, is very poor,

And works in yonder stall;

He has so many little ones,

He cannot clothe us all.

“I always long’d to go to church,

But never could I go;

For when I ask’d him for a gown,

He always answer’d, ‘No.’

“‘There’s not a father in the world

That loves his children more;

I’d get you one with all my heart,

But, Phebe, I am poor.’

“But when the blackberries were ripe

He said to me one day,

‘Phebe, if you will take the time

That’s given you for play,

“‘And gather blackberries enough,—

And carry them to town,—

To buy your bonnet and your shoes,

I’ll try to get a gown.’

Phebe and Billy going to School.

“O Miss, I fairly jumped for joy,

My spirits were so light:

And so, when I had leave to play,

I pick’d with all my might.

“I sold enough to get my shoes,

About a week ago;

And these, if they had not been spilt,

Would buy a bonnet too.

“But now they are gone, they all are gone

And I can get no more,

And Sundays I must stay at home

Just as I did before.

“And, mother, then I cried again,

As hard as I could cry;

And, looking up, I saw a tear

Was standing in her eye.

“She caught her bonnet from her head—

‘Here, here,’ she cried, ‘take this!’

O, no, indeed—I fear your ’ma

Would be offended Miss.

“‘My ’ma! no, never! she delights

All sorrow to beguile;

And ’tis the sweetest joy she feels,

To make the wretched smile.

“‘She taught me when I had enough,

To share it with the poor:

And never let a needy child

Go empty from the door.

The Church the Blackberry Girl went to.

“‘So take it, for you need not fear

Offending her, you see;

I have another, too, at home,

And one’s enough for me.’

“So then I took it,—here it is—

For pray what could I do?

And, mother, I shall love that Miss

As long as I love you.”

THE BLACKBERRY GIRL.

PART II.

Phebe with a Basket of Berries.

“WHAT have you in that basket, child?”

“Blackberries, Miss, all pick’d to-day;

They’re very large and fully ripe;

Do look at them, and taste them pray.”

“O yes: they’re very nice, indeed.

Here’s fourpence—that will buy a few:

Not quite so many as I want—

However, I must make it do.”

“Nay, Miss, but you must take the whole;”

“I can’t, indeed, my money’s spent;

I should be glad to buy them all,

But I have not another cent.”

“And if you had a thousand, Miss,

I’d not accept of one from you.

Pray take them, they are all your own,

And take the little basket, too.

“Have you forgot the little girl

You last year gave a bonnet to?

Perhaps you have—but ever will

That little girl remember you.

“And ever since, I’ve been to church,

For much do I delight to go;

And there I learn that works of love

Are what all children ought to do.

“So then I thought within myself,

That pretty basket, Billy wove,

I’ll fill with fruit for that dear Miss,

For sure ’twill be a work of love.

“And so one morning up I rose,

While yet the fields were wet with dew

And pick’d the nicest I could find,

And brought them, fresh and sweet, for you.

“I know the gift is small indeed,

For such a lady to receive;

But still I hope you’ll not refuse

All that poor Phebe has to give.”

GOOD CHILDREN.

Good Children learning their Hymn.

HOW lovely, how charming the sight

When children their Savior obey!

The angels look down with delight,

This beautiful scene to survey.

Little Samuel was holy and good;

Obadiah served God from his youth,

And Timothy well understood,

From a child, the Scripture of truth.

But Jesus was better than they:

From a child he was spotless and pure,

His parents he loved to obey,

And God’s perfect will to endure.

Like Samuel, Lord, I would be.

Obadiah and Timothy, too;

And oh! grant thy help unto me,

The steps of my Lord to pursue.

Make me humble, and holy, and mild,

From the wicked constrain me to flee,

And then though I am but a child,

My soul shall find favor of thee.

POOR CRAZY ROBERT.

POOR Robert is crazy, his hair is turn’d gray,

His beard has grown long, and hangs down to his breast;

Misfortune has taken his reason away,

His heart has no comfort, his head has no rest.

Poor man, it would please me to soften thy woes,

To soothe thy affliction, and yield thee support;

But see through the village, wherever he goes,

The cruel boys follow, and turn him to sport.

Poor Crazy Robert.

’Tis grievous to see how the pitiless mob

Run round him and mimic his mournful complaint,

And try to provoke him, and call him old Bob,

And hunt him about till he’s ready to faint.

But ah! wicked children, I fear they forget

That God does their cruel diversion behold,

And that in his book dreadful curses are writ,

For those who shall mock at the poor and the old.

Poor Robert, thy troubles will shortly be o’er,

Forget in the grave thy misfortunes will be;

But God will his vengeance assuredly pour

On those wicked children who persecute thee.

THE PET LAMB.

The Pet Lamb.

THE dew was falling fast, the stars began to blink

I heard a voice: it said, Drink, pretty creature, drink!

And, looking o’er the hedge, before me I espied

A snow-white mountain Lamb with a maiden at its side.

No other sheep were near; the Lamb was all alone,

And by a slender cord was tethered to a stone;

With one knee on the grass did the little maiden kneel,

While to that mountain Lamb she gave its evening meal.

The Lamb, while from her hand he thus his supper took,

Seemed to feast with head and ears; and his tail with pleasure shook.

Drink, pretty creature, drink, she said in such a tone

That I almost received her heart into my own.

’Twas little Barbara Lethwaite, a child of beauty rare!

I watched them with delight, they were a lovely pair:

Now with her empty can the maiden turned away;

But ere ten yards were gone her footsteps did she stay.

Towards the Lamb she looked; and from that shady place

I unobserved could see the workings of her face;

If nature to her tongue could measured numbers bring,

Thus, thought I, to her Lamb that little maid might sing!

What ails thee, young one? what? why pull so at thy cord?

Is it not well with thee? well both for bed and board?

Thy plot of grass is soft, and green as grass can be;

Rest, little young one, rest; what is’t that aileth thee?

What is it thou wouldst seek? what is wanting to thy heart?

Thy limbs are they not strong? And beautiful thou art:

This grass is tender grass; these flowers they have no peers;

And that green corn all day is rustling in thy ears!

If the sun be shining hot, do but stretch thy woollen chain;

This beech is standing by, its covert thou canst gain!

For rain and mountain storms, the like thou need’st not fear;

The rain and storm are things that scarcely can come here.

Rest little young one, rest; thou hast forgot the day

When my father found thee first in places far away;

Many flocks were on the hills, but thou wert owned by none,

And thy mother from thy side forevermore was gone.

He took thee in his arms, and in pity brought thee home!

A blessed day for thee! then whither wouldst thou roam?

A faithful nurse thou hast; the dam that did thee yean

Upon the mountain tops no kinder could have been.

Thou knowest that twice a day I brought thee in this can

Fresh water from the brook, as clear as ever ran;

And twice in the day, when the ground is wet with dew,

I bring thee draughts of milk, warm milk it is and new.

Thy limbs will shortly be twice as stout as they are now;

Then I’ll yoke thee to my cart, like a pony in the plough;

My playmate thou shalt be; and when the wind is cold

Our hearth shall be thy bed, our house shall be thy fold.

It will not, will not rest! poor creature, can it be

That ’tis thy mother’s heart which is working so in thee?

Things that I know not of belike to thee are dear,

And dreams of things which thou canst neither see nor hear.

Alas, the mountain tops that look so green and fair!

I’ve heard of fearful winds and darkness that come there:

The little brooks that seem all pastime and at play

When they are angry, roar like lions for their prey.

Here thou need’st not dread the raven in the sky;

Night and day thou art safe,—our cottage is hard by.

Why bleat so after me? why pull so at thy chain?

Sleep—and at break of day I will come to thee again.

As homeward through the lane I went with lazy feet,

This song to myself did I oftentimes repeat;

And it seemed, as I retraced the ballad line by line,

That but half of it was hers, and one half of it was mine.

Again, and once again, did I repeat the song;

Nay, said I, more than half to the damsel must belong;

For she looked with such a look, and she spake with such a tone,

That I almost received her heart into my own.

FATHER WILLIAM AND THE YOUNG MAN.

Father William and the Young Man.

YOU are old, Father William, the young man cries

The few locks which are left you are gray:

You appear, Father William, a healthy old man,

Now tell me the reason, I pray.

When I was a youth, Father William replied,

I remembered that youth would fly fast:

I abused not my health and my vigor at first,

That I never might need them at last.

You are old, Father William, the young man said,

And pleasures, with youth, pass away;

And yet you repent not the days that are gone

Now tell me the reason, I pray.

When I was a youth, Father William replied,

I remembered that youth could not last:

I thought of the future, whatever I did,

That I never might grieve for the past.

You are old, Father William, the young man still cries,

And life is swift hastening away.

You are cheerful, and love to converse upon death!

Come tell me the reason, I pray.

I am cheerful, young man, Father William replied;

Let the cause your attention engage:

In the days of my youth I remembered my God!

And he hath not forgotten my age.

The little Girl and her Pets.

Girl.

SWALLOW, thou dear one! now thou, indeed,

From thy wandering dost reappear,

Tell me, who is it to thee that hath said

That again it is spring-time here.

Swa.

The fatherly God, in that far-off clime,

Who sent me, he told me ’twas sweet spring-time.

And though she had come so far and wide,

She was not deceived in time or tide.

The snow it was gone, the sun shone warm,

The merry gnats danced in many a swarm,

The Swallow knew neither want nor care,

She found for her children enough and to spare.

Girl.

Come, little Dog, ’tis your master’s will

That you learn to sit upright and still.

Dog.

Learn must I? I’m so small, you see,

Just for a little while let it be!

Girl.

No, little Dog, it is far best to learn soon,

For later it would be more painfully done.

The little Dog learned, without more ado,

And soon could sit upright and walk upright too;

In deepest waters unfearing could spring,

And whatever was lost could speedily bring.

The master saw his pleasure, and he too began

To learn, and thus grew up a wise, good man.

THE FLOWERS.

SAY, Ma! did God make all the flowers

That richly bloom to-day?

And is it he that sends sweet showers

To make them look so gay?

Did he make all the mountains

That rear their heads so high?

And all the little fountains

That glide so gently by?

And does he care for children small?

Say, ma! does God love me?

Has he the guardian care of all

The various things we see?

Yes! yes! my child, he made them all—

Flowers, mountains, plants and trees.

No man so great, no child so small,

That from his eye can flee.

THE CHILD AND THE FLOWERS.

“Put up thy work, dear Mother.”

PUT up thy work, dear mother;

Dear mother, come with me,

For I’ve found within the garden

The beautiful sweet-pea!

And rows of stately hollyhocks

Down by the garden-wall,

All yellow, white and crimson,

So many-hued and tall!

And bending on their stalks, mother

Are roses white and red;

And pale-stemmed balsams all a-blow,

On every garden-bed.

Put up thy work, I pray thee,

And come out, mother dear!

We used to buy these flowers,

But they are growing here!

O, mother! little Amy

Would have loved these flowers to see;

Dost remember how we tried to get

For her a pink sweet-pea?

Dost remember how she loved

Those rose-leaves pale and sere?

I wish she had but lived to see

The lovely roses here!

Put up thy work, dear mother,

And wipe those tears away!

And come into the garden

Before ’tis set of day!

ONE, TWO, BUCKLE MY SHOE.

ONE, two,

Buckle my shoe;

Three, four,

Shut the door;

Five, six,

Pick up sticks;

Seven, eight,

Lay them straight;

Nine, ten,

A good fat hen;

Eleven, twelve,

Who will delve?

Thirteen, fourteen,

Maids a courting;

Fifteen, sixteen,

Maids a kissing;

Seventeen, eighteen,

Maids a waiting;

Nineteen, twenty,

My stomach’s empty.

WASHING AND DRESSING.

AH! why will my dear little girl be so cross,

And cry, and look sulky and pout?

To lose her sweet smile is a terrible loss,

I can’t even kiss her without.

You say you don’t like to be washed and be drest

But would you be dirty and foul?

Come, drive that long sob from your dear little breast,

And clear your sweet face from its scowl.

If the water is cold, and the comb hurts your head,

And the soap has got into your eye,

Will the water grow warmer for all that you’ve said?

And what good will it do you to cry?

It is not to tease you, and hurt you, my sweet,

But only for kindness and care,

That I wash you and dress you, and make you look neat,

And comb out your tanglesome hair.

I don’t mind the trouble, if you would not cry,

But pay me for all with a kiss;

That’s right, take the towel and wipe your wet eye;

I thought you’d be good after this.

THE INDUSTRIOUS BOY.

IN a cottage upon the heath wild,

That always was cleanly and nice,

Liv’d William, a good little child,

Who minded his parents’ advice.

’Tis true he lov’d marbles and kite,

And spin-top, and nine-pins, and ball;

But this I declare with delight,

His book he loved better than all.

In active and useful employ

His youth gayly glided away

While rational pleasures and joy

Attended his steps every day.

And now let us see him grown up;

Still cheerfulness dwelt in his mind,

Contentment yet sweeten’d his cup,

For still he was active and kind.

His garden well loaded with store,

His cot by the side of the green,

Where woodbines crept over the door,

And jessamines peep’d in between.

These fill’d him with honest delight,

And rewarded him well for his toil:

He went to bed cheerful at night,

And woke in the morn with a smile.

WE ARE SEVEN.

BY WM. WORDSWORTH.

A SIMPLE child,

That lightly draws its breath,

And feels its life in every limb.

What should it know of death!

I met a little cottage girl:

She was eight years old, she said,

Her hair was thick with many a curl

That clustered round her head.

She had a rustic woodland air,

And she was wildly clad:

Her eyes were fair, and very fair

Her beauty made me glad.

Sisters and brothers, little maid,

How many may you be?

How many? Seven in all, she said,

And wondering looked at me.

And where are they? I pray you tell.

She answered seven are we;

And two of us at Conway dwell,

And two are gone to sea.

Two of us in the churchyard lie,

My sister and my brother;

And in the churchyard cottage, I

Dwell near them with my mother.

You say that two at Conway dwell,

And two are gone to sea,

Yet ye are seven!—I pray you, tell,

Sweet maid, how this may be.

Then did the little maid reply,

Seven boys and girls are we;

Two of us in the churchyard lie,

Beneath the churchyard tree.

You run about, my little maid

Your limbs they are alive;

If two are in the churchyard laid,

Then ye are only five.

Their graves are green, they may be seen.

The little maid replied,

Twelve steps or more from mother’s door

And they are side by side.

The Churchyard.

My stockings there I often knit,

My kerchief there I hem;

And there upon the ground I sit—

I sit and sing to them.

And often after sunset, sir,

When it is light and fair,

I take my little porringer,

And eat my supper there.

The first that died was little Jane;

In bed she moaning lay,

Till God released her of her pain;

And then she went away.

So in the churchyard she was laid;

And when the grass was dry,

Together round her grave we played,

My brother John and I.

And when the ground was white with snow,

And I could run and slide,

My brother John was forced to go,

And he lies by her side.

How many are you, then, said I,

If they two are in Heaven?

The little maiden did reply,

O master! we are seven.

But they are dead, those two are dead!

Their spirits are in heaven!

’Twas throwing words away; for still

The little maid would have her will,

And said, Nay, we are seven.

THE IDLE BOY.

THOMAS was an idle lad,

And loung’d about all day;

And though he many a lesson had,

He minded nought but play.

He only car’d for top or ball,

Or marbles, hoop or kite:

But as for learning, that was all

Neglected by him quite.

The Idle Boy.

In vain his mother’s kind advice,

In vain his master’s care;

He follow’d ev’ry idle vice,

And learnt to curse and swear!

And think you, when he grew a man,

He prosper’d in his ways?

No; wicked courses never can

Bring good and happy days.

Without a shilling in his purse,

Or cot to call his own,

Poor Thomas grew from bad to worse

And harden’d as a stone.

And oh, it grieves me much to write

His melancholy end;

Then let us leave the dreadful sight,

And thoughts of pity send.

But may we this important truth

Observe and ever hold:

“All those who’re idle in their youth

Will suffer when they’re old.”

CASABIANCA.

THE boy stood on the burning deck,

Whence all but him had fled!

The flame that lit the battle’s wreck,

Shone round him o’er the dead.

Yet beautiful and bright he stood,

As born to rule the storm;

A creature of heroic blood,

A proud though childlike form.

The flames rolled on—he would not go,

Without his father’s word;

That father, faint in death below,

His voice no longer heard.

He called aloud—Say, father, say

If yet my task is done?

He knew not that the chieftain lay

Unconscious of his son.

Speak, father! once again he cried,

If I may yet be gone;

And but the booming shots replied,

And fast the flames rolled on.

Upon his brow he felt their breath,

And in his waving hair;

And looked from that lone post of death

In still, yet brave despair,

And shouted but once more aloud,

My father! must I stay!

While o’er him fast, through sail and shroud,

The wreathing fires made way.

They wrapt the ship in splendor wild,

They caught the flag on high,

And streamed above the gallant child,

Like banners in the sky.

There came a burst of thunder sound:

The boy—O, where was he?

Ask of the winds, that far around

With fragments strewed the sea—

With mast, and helm, and pennon fair,

That well had borne their part;

But the noblest thing that perished there

Was that young faithful heart.

Twinkle, twinkle, little Star.

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 traveller 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 through my curtains peep

For you never shut your eye

Till the sun is in the sky.

As your bright and tiny spark

Lights the traveller in the dark,

Though I know not what you are,

Twinkle, twinkle, little star.

*** END OF THE PROJECT GUTENBERG EBOOK PHEBE, THE BLACKBERRY GIRL ***

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

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license.

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

1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

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

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg

Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

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

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg electronic works

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

Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

PHEBE, THE BLACKBERRY GIRL.

UNCLE THOMAS’S STORIES FOR GOOD CHILDREN.

PHEBE, THE BLACKBERRY GIRL.

NEW-YORK: LIVERMORE & RUDD 310 BROADWAY 1856.

INTRODUCTION.

Uncle Thomas’s Stories for Good Children.

CONTENTS.

THE BLACKBERRY GIRL.

PART I.

THE BLACKBERRY GIRL.

PART II.

GOOD CHILDREN.

POOR CRAZY ROBERT.

THE PET LAMB.

FATHER WILLIAM AND THE YOUNG MAN.

The little Girl and her Pets.

THE FLOWERS.

THE CHILD AND THE FLOWERS.

ONE, TWO, BUCKLE MY SHOE.

WASHING AND DRESSING.

THE INDUSTRIOUS BOY.

WE ARE SEVEN.

THE IDLE BOY.

CASABIANCA.

Twinkle, twinkle, little Star.

THE FULL PROJECT GUTENBERG™ LICENSE