We hear the sweet, low voice of the mother, singing soft lullabies to her darling, and see the kindly4, wrinkled face of the grandmother as she croons the old ditties to quiet our restless spirits. One generation is linked to another by the everlasting5 spirit of song; the ballads6 of the nursery follow us from childhood to old age, and they are readily brought from memory's recesses7 at any time to amuse our children or our grandchildren.
The collection of jingles8 we know and love as the "Melodies of Mother Goose" are evidently drawn9 from a variety of sources. While they are, taken altogether, a happy union of rhyme, wit, pathos10, satire11 and sentiment, the research after the author of each individual verse would indeed be hopeless. It would be folly12 to suppose them all the composition of uneducated[10] old nurses, for many of them contain much reflection, wit and melody. It is said that Shelley wrote "Pussy-Cat Mew," and Dean Swift "Little Bo-Peep," and these assertions are as difficult to disprove as to prove. Some of the older verses, however, are doubtless offshoots from ancient Folk Lore13 songs, and have descended14 to us through many centuries.
The connection of Mother Goose with the rhymes which bear her name is difficult to determine, and, in fact, three countries claim her for their own: France, England and America.
About the year 1650 there appeared in circulation in London a small book, named "Rhymes of the Nursery; or Lulla-Byes for Children," which contained many of the identical pieces that have been handed down to us; but the name of Mother Goose was evidently not then known. In this edition were the rhymes of "Little Jack15 Horner," "Old King Cole," "Mistress Mary," "Sing a Song o' Sixpence," and "Little Boy Blue."
In 1697 Charles Perrault published in France a book of children's tales entitled "Contes de ma Mére Oye," and this is really the first time we find authentic16 record of the use of the name of Mother Goose, although Perrault's tales differ materially from those we now know under this title. They comprised "The Sleeping Beauty," "The Fairy," "Little Red Riding-Hood," "Blue Beard," "Puss in Boots," "Riquet with the Tuft," "Cinderella," and "Little Thumb;" eight[11] stories in all. On the cover of the book was depicted17 an old lady holding in her hand a distaff and surrounded by a group of children listening eagerly. Mr. Andrew Lang has edited a beautiful English edition of this work (Oxford, 1888).
America bases her claim to Mother Goose upon the following statement, made by the late John Fleet Eliot, a descendant of Thomas Fleet, the printer:
At the beginning of the eighteenth century there lived in Boston a lady named Eliza Goose (written also Vergoose and Vertigoose) who belonged to a wealthy family. Her eldest18 daughter, Elizabeth Goose (or Vertigoose), was married by Rev19. Cotton Mather in 1715 to an enterprising and industrious20 printer named Thomas Fleet, and in due time gave birth to a son. Like most mothers-in-law in our day, the importance of Mrs. Goose increased with the appearance of her grandchild, and poor Mr. Fleet, half distracted with her endless nursery ditties, finding all other means fail, tried what ridicule21 could effect, and actually printed a book under the title "Songs of the Nursery; or, Mother Goose's Melodies for Children." On the title page was the picture of a goose with a very long neck and a mouth wide open, and below this, "Printed by T. Fleet, at his Printing House in Pudding Lane, 1719. Price, two coppers22."
Mr. Wm. A. Wheeler, the editor of Hurd & Houghton's elaborate edition of Mother Goose, (1870),[12] reiterated23 this assertion, and a writer in the Boston Transcript24 of June 17, 1864, says: "Fleet's book was partly a reprint of an English collection of songs, (Barclay's), and the new title was doubtless a compliment by the printer to his mother-in-law Goose for her contributions. She was the mother of sixteen children and a typical 'Old Woman who lived in a Shoe.'"
We may take it to be true that Fleet's wife was of the Vergoose family, and that the name was often contracted to Goose. But the rest of the story is unsupported by any evidence whatever. In fact, all that Mr. Eliot knew of it was the statement of the late Edward A. Crowninshield, of Boston, that he had seen Fleet's edition in the library of the American Antiquarian Society. Repeated researches at Worcester having failed to bring to light this supposed copy, and no record of it appearing on any catalogue there, we may dismiss the entire story with the supposition that Mr. Eliot misunderstood the remarks made to him. Indeed, as Mr. William H. Whitmore points out in his clever monograph25 upon Mother Goose (Albany, 1889), it is very doubtful whether in 1719 a Boston printer would have been allowed to publish such "trivial" rhymes. "Boston children at that date," says Mr. Whitmore, "were fed upon Gospel food, and it seems extremely improbable that an edition could have been sold."
Singularly enough, England's claim to the venerable[13] old lady is of about the same date as Boston's. There lived in a town in Sussex, about the year 1704, an old woman named Martha Gooch. She was a capital nurse, and in great demand to care for newly-born babies; therefore, through long years of service as nurse, she came to be called Mother Gooch. This good woman had one peculiarity26: she was accustomed to croon queer rhymes and jingles over the cradles of her charges, and these rhymes "seemed so senseless and silly to the people who overheard them" that they began to call her "Mother Goose," in derision, the term being derived27 from Queen Goosefoot, the mother of Charlemagne. The old nurse paid no attention to her critics, but continued to sing her rhymes as before; for, however much grown people might laugh at her, the children seemed to enjoy them very much, and not one of them was too peevish28 to be quieted and soothed29 by her verses. At one time Mistress Gooch was nursing a child of Mr. Ronald Barclay, a physician residing in the town, and he noticed the rhymes she sang and became interested in them. In time he wrote them all down and made a book of them, which it is said was printed by John Worthington & Son in the Strand30, London, in 1712, under the name of "Ye Melodious31 Rhymes of Mother Goose." But even this story of Martha Gooch is based upon very meager32 and unsatisfactory evidence.
The earliest English edition of Mother Goose's Melodies that is absolutely authentic was issued by[14] John Newbury of London about the year 1760, and the first authentic American edition was a reprint of Newbury's made by Isaiah Thomas of Worcester, Mass., in 1785.
None of the earlier editions, however, contained all the rhymes so well known at the present day, since every decade has added its quota33 to the mass of jingles attributed to "Mother Goose." Some of the earlier verses have become entirely34 obsolete35, and it is well they have, for many were crude and silly and others were coarse. It is simply a result of the greater refinement36 of modern civilization that they have been relegated37 to oblivion, while the real gems38 of the collection will doubtless live and grow in popular favor for many ages.
While I have taken some pains to record the various claims to the origin of Mother Goose, it does not matter in the least whether she was in reality a myth, or a living Eliza Goose, Martha Gooch or the "Mére Oye" of Perrault. The songs that cluster around her name are what we love, and each individual verse appeals more to the childish mind than does Mother Goose herself.
Many of these nursery rhymes are complete tales in themselves, telling their story tersely39 but completely; there are others which are but bare suggestions, leaving the imagination to weave in the details of the story. Perhaps therein may lie part of their charm, but however that may be I have thought the[15] children might like the stories told at greater length, that they may dwell the longer upon their favorite heroes and heroines.
For that reason I have written this book.
In making the stories I have followed mainly the suggestions of the rhymes, and my hope is that the little ones will like them, and not find that they interfere40 with the fanciful creations of their own imaginations.
L. FRANK BAUM.
Chicago, Illinois, July, 1899.
点击收听单词发音
1 tenaciously | |
坚持地 | |
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2 myriads | |
n.无数,极大数量( myriad的名词复数 ) | |
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3 slumbering | |
微睡,睡眠(slumber的现在分词形式) | |
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4 kindly | |
adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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5 everlasting | |
adj.永恒的,持久的,无止境的 | |
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6 ballads | |
民歌,民谣,特别指叙述故事的歌( ballad的名词复数 ); 讴 | |
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7 recesses | |
n.壁凹( recess的名词复数 );(工作或业务活动的)中止或暂停期间;学校的课间休息;某物内部的凹形空间v.把某物放在墙壁的凹处( recess的第三人称单数 );将(墙)做成凹形,在(墙)上做壁龛;休息,休会,休庭 | |
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8 jingles | |
叮当声( jingle的名词复数 ); 节拍十分规则的简单诗歌 | |
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9 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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10 pathos | |
n.哀婉,悲怆 | |
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11 satire | |
n.讽刺,讽刺文学,讽刺作品 | |
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12 folly | |
n.愚笨,愚蠢,蠢事,蠢行,傻话 | |
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13 lore | |
n.传说;学问,经验,知识 | |
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14 descended | |
a.为...后裔的,出身于...的 | |
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15 jack | |
n.插座,千斤顶,男人;v.抬起,提醒,扛举;n.(Jake)杰克 | |
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16 authentic | |
a.真的,真正的;可靠的,可信的,有根据的 | |
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17 depicted | |
描绘,描画( depict的过去式和过去分词 ); 描述 | |
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18 eldest | |
adj.最年长的,最年老的 | |
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19 rev | |
v.发动机旋转,加快速度 | |
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20 industrious | |
adj.勤劳的,刻苦的,奋发的 | |
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21 ridicule | |
v.讥讽,挖苦;n.嘲弄 | |
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22 coppers | |
铜( copper的名词复数 ); 铜币 | |
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23 reiterated | |
反复地说,重申( reiterate的过去式和过去分词 ) | |
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24 transcript | |
n.抄本,誊本,副本,肄业证书 | |
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25 monograph | |
n.专题文章,专题著作 | |
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26 peculiarity | |
n.独特性,特色;特殊的东西;怪癖 | |
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27 derived | |
vi.起源;由来;衍生;导出v.得到( derive的过去式和过去分词 );(从…中)得到获得;源于;(从…中)提取 | |
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28 peevish | |
adj.易怒的,坏脾气的 | |
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29 soothed | |
v.安慰( soothe的过去式和过去分词 );抚慰;使舒服;减轻痛苦 | |
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30 strand | |
vt.使(船)搁浅,使(某人)困于(某地) | |
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31 melodious | |
adj.旋律美妙的,调子优美的,音乐性的 | |
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32 meager | |
adj.缺乏的,不足的,瘦的 | |
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33 quota | |
n.(生产、进出口等的)配额,(移民的)限额 | |
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34 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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35 obsolete | |
adj.已废弃的,过时的 | |
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36 refinement | |
n.文雅;高尚;精美;精制;精炼 | |
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37 relegated | |
v.使降级( relegate的过去式和过去分词 );使降职;转移;把…归类 | |
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38 gems | |
growth; economy; management; and customer satisfaction 增长 | |
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39 tersely | |
adv. 简捷地, 简要地 | |
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40 interfere | |
v.(in)干涉,干预;(with)妨碍,打扰 | |
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