Lullaby-Land: Songs of Childhood

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There is a sort of a garden—or rather an estate, of park and fallow and waste—nay, perhaps we may call it a kingdom, albeit a noman’s-land and an everyman’s land—which lies so close to the frontier of our work-a-day world that a step will take us therein. Indeed,{8} some will have it that we are there all the time, that it is the real fourth dimension, and that at any moment—if we did but know the trick—we might find ourselves trotting along its pleasant alleys, without once quitting our arm-chair. Nonsense-Land is one of the names painted up on the board at the frontier-station; and there the custom-house officers are very strict. You may take as much tobacco as you please, any quantity of spirits, and fripperies of every sort, new and old; but all common-sense, all logic, all serious argument, must strictly be declared, and is promptly confiscated. Once safely across the border, it is with no surprise at all that you greet the Lead Soldier strutting somewhat stiffly to meet you, the Dog with eyes as big as mill-wheels following affably at his heel; on the banks of the streams little Johnny-head-in-air is perpetually being hauled out of the water; while the plaintive voice of the Gryphon is borne inland from the margin of the sea.

Most people, at one time or another, have travelled in this delectable country, if only in young and irresponsible days. Certain unfortunates, unequipped by nature for a voyage{9} in such latitudes, have never visited it at all, and assuredly never will. A happy few never quit it entirely at any time. Domiciled in that pleasant atmosphere, they peep into the world of facts but fitfully, at moments; and decline to sacrifice their high privilege of citizenship at any summons to a low conformity.

Of this fortunate band was Eugene Field. He knew the country thoroughly, its highways and its byways alike. Its language was the one he was fondest of talking; and he always refused to emigrate and to settle down anywhere else. As soon as he set himself to narrate the goings-on there, those of us who had been tourists in bygone days, but had lost our return-tickets, pricked up our ears, and listened, and remembered, and knew. The Dinkey-Bird, we recollected at once, had been singing, the day we left, in the amfalula-tree; and there, of course, he must have been singing ever since, only we had forgotten the way to listen. Eugene Field gently reminded us, and the Dinkey-Bird was vocal once more, to be silent never again. Shut-Eye Train had been starting every night with the utmost punctuality; it was{10} we who had long ago lost our way to the booking-office (I really do not know the American for booking-office). Now we can hurry up the platform whenever we please, and hear the doors slam and the whistle toot as we sink back on those first-class cushions! And the Chocolate Cat,—why, of course the cats were all chocolate then! And how pleasantly brittle their tails were, and how swiftly, though culled and sucked each day, they sprouted afresh!

It is an engaging theory, that we are all of us just as well informed as the great philosophers, poets, wits, who are getting all the glory; only unfortunately our memories are not equally good—we forget, we forget so terribly! Those belauded gentlemen, termed by our fathers “makers”—creators, to wit—they are only reminders after all: flappers, Gulliver would have called them. The parched peas in their gaily-painted bladders rattle with reminiscences as they flap us on the ears; and at once we recall what we are rightly abashed beyond measure to have for one instant forgotten. At any rate, it is only when the writer comes along who strikes a new clear note, who does a{11} thing both true and fresh, that we say to ourselves, not only “How I wish I had done that myself!”—but also “And I would have done it, too—if only I had remembered it in time!” Perhaps this is one of the tests of originality.

Of course I am touching upon but one side of Eugene Field the writer. An American of Americans, much of his verse was devoted to the celebration of what we may call the minor joys which go to make social happiness in the life he lived with so frank and rounded a completion—a celebration which appealed to his countrymen no less keenly, that the joys were of a sort which, perhaps from some false sense of what makes fitness in subject, had hitherto lacked their poet—on that side at least. This, of course, was the fault of the poets. And though I spoke just now of minor joys, there are really no such things as minor joys—or minor thrushes and blackbirds. Fortunately this other aspect does not need to be considered here. I say fortunately, because it is not given to a writer to know more than one Land—to know it intimately, that is to say, so as to dare to write about it. This is the Law{12} and the Prophets. Even that most native utterance, which sings of “the clink of the ice in the pitcher that the boy brings up the hall,” appeals to us but faintly, at second-hand. That pitcher does not clink in England.

In this spheral existence all straight lines, sufficiently prolonged, prove to be circles: and a line of thought is no exception. We are back at the point we started from—the consideration of Eugene Field as a citizen; of a sort of a cloud-country, to start with; and later, of a land more elemental. In either capacity we find the same note, of the joy of life. We find the same honest resolve, to accept the rules and to play out the game accordingly; the same conviction, that the game is in itself a good one, well worth the playing. And so, with no misgiving, he takes his America with just the same heartiness as his Nonsense-land.

The little boy who should by rights have been lost in the forest, by the white pebbles he had warily dropped found his way back safely to sunlight and to home; and to keep in touch with earth is at least to ensure progression in{13} temperate and sweet-breathed atmosphere, as well as in a certain zone, and that no narrow one, of appreciation; the appreciation of our fellows, the world over; those who, whatever their hemisphere, daily find themselves pricked by a common sun, with the same stimulus for every cuticle, towards pleasures surprisingly similar.

KENNETH GRAHAME.

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The Rock-a-By Lady	Page 21
Garden and Cradle	29
The Night Wind{16}	35
The Dinkey-Bird	44
So, so, Rock-a-by so!	47
The Duel	53
Good-Children Street	59
The Bottle Tree	65
Lady Button-Eyes	71
The Ride to Bumpville	79
Shuffle-Shoon and Amber-Locks	85
The Shut-Eye Train	91
Little-Oh-Dear	99
The Fly-Away Horse	105
“Fiddle-Dee-Dee”	113
The Sugar-Plum Tree	Page 123
Krinken	131
Pittypat and Tippytoe	137
Little Blue Pigeon	145
Teeny-Weeny{17}	151
Buttercup, Poppy, Forget-me-not	159
Wynken, Blynken, and Nod	165
Little Mistress Sans-Merci	173
Hi-Spy	179
Little Boy Blue	183
Heigho, my Dearie	189
Fairy and Child	195
Child and Mother	201
Ganderfeather’s Gift	207
Telling the Bees	Page 217
in “The Holy Cross and Other Tales.
Contentment	Page 225

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“THERE IS ONE LITTLE DREAM
OF A BEAUTIFUL DRUM”—

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THERE’s a dear little home in Good-Children street—
My heart turneth fondly to-day
Where tinkle of tongues and patter of feet
Make sweetest of music at play;
Where the sunshine of love illumines each face
And warms every heart in that old-fashioned place.{62}

For dear little children go romping about
With dollies and tin tops and drums,
And, my! how they frolic and scamper and shout
Till bedtime too speedily comes!

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Oh, days they are golden and days they are fleet
With little folk living in Good-Children street.

See, here comes an army with guns painted red,
And swords, caps, and plumes of all sorts;
The captain rides gaily and proudly ahead
On a stick-horse that prances and snorts!
Oh, legions of soldiers you’re certain to meet—
Nice make-believe soldiers—in Good-Children street.

And yonder Odette wheels her dolly about—
Poor dolly! I’m sure she is ill,
For one of her blue china eyes has dropped out
And her voice is asthmatic’ly shrill.
Then, too, I observe she is minus her feet,
Which causes much sorrow in Good-Children street.

’Tis so the dear children go romping about
With dollies and banners and drums,
And I venture to say they are sadly put out{64}
When an end to their jubilee comes:
Oh, days they are golden and days they are fleet
With little folk living in Good-Children street!

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A BOTTLE TREE bloometh in Winkyway land—
Heigh-ho for a bottle, I say!
A snug little berth in that ship I demand
That rocketh the Bottle-Tree babies away
Where the Bottle Tree bloometh by night and by day
And reacheth its fruit to each wee, dimpled hand;{68}
You take of that fruit as much as you list,
For colic’s a nuisance that doesn’t exist!

So cuddle me close, and cuddle me fast,
And cuddle me snug in my cradle away,{69}
For I hunger and thirst for that precious repast—
Heigh-ho for a bottle, I say!

The Bottle Tree bloometh by night and by day!
Heigh-ho for Winkyway land!{70}
And Bottle-Tree fruit (as I’ve heard people say)
Makes bellies of Bottle-Tree babies expand—
And that is a trick I would fain understand!
Heigh-ho for a bottle to-day!
And heigh-ho for a bottle to-night—
A bottle of milk that is creamy and white!
So cuddle me close, and cuddle me fast,
And cuddle me snug in my cradle away,
For I hunger and thirst for that precious repast—
Heigh-ho for a bottle, I say!

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“TO THE BALOW-FOLK WHO LOVE US”

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Shut-Eye Town is passing fair—
Golden dreams await us there;
We shall dream those dreams, my dear,
Till the Mother Moon goes down—
See unfold
Delights untold!
And in those mysterious places
We shall see beloved faces{97}
And beloved voices hear
In the grace of Shut-Eye Town.

Heavy are your eyes, my sweet,
Weary are your little feet—
Nestle closer up to me
In your pretty cap and gown;
Don’t detain
The Shut-Eye train!
“Ting-a-ling!” the bell it goeth,
“Toot-toot!” the whistle bloweth;
Oh, the sights that we shall see!
All aboard for Shut-Eye Town!

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“A SILVER-BIRD SINGETH
  AS ONLY CAN SHE”

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“THE MOON IN THE SKY,
AS HE GALLOPETH BY,
CRIES: ‘OH! WHAT A MARVELLOUS SIGHT!’”

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Out came then Dear-Mother-Mine, saying: “My son,{120}

Right well have you wrought with your little red gun!
Hereafter no evil at all need I fear,
With such a brave soldier as You-My-Love here!”
She kissed the dear boy.
[The bird in the tree
Continued to whistle his “Fiddle-dee-dee”!]

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It blooms on the shore of the Lollipop sea
In the garden of Shut-Eye Town;{127}

The fruit that it bears is so wondrously sweet
(As those who have tasted it say)

That good little children have only to eat
Of that fruit to be happy next day.
{128} When you’ve got to the tree, you would have a hard time
To capture the fruit which I sing;
The tree is so tall that no person could climb
To the boughs where the sugar-plums swing!
But up in that tree sits a chocolate cat,
And a gingerbread dog prowls below—
And this is the way you contrive to get at
Those sugar-plums tempting you so:

You say but the word to that gingerbread dog
And he barks with such terrible zest
That the chocolate cat is at once all agog,
As her swelling proportions attest.
And the chocolate cat goes cavorting around
From this leafy limb unto that,
And the sugar-plums tumble, of course, to the ground—
Hurrah for that chocolate cat!

There are marshmallows, gumdrops, and peppermint canes,
With stripings of scarlet or gold,
And you carry away of the treasure that rains
As much as your apron can hold!

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“AS MUCH AS YOUR APRON CAN HOLD!”

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“INTO THE WHITE MOON’S HALO”

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