More dollies — Edition Insights
Edition facts
Before opening More dollies — Edition Insights, the edition data offers a quick orientation: 4,249 words, 19 min estimated reading time, and 1 detected text section.
The text analysis averages about 20.0 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Children's poetry,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
There was a bold cowboy Came out of the west; Of all the bold riders, This cowboy's the best.
The horse he brought with him Will not run away; But stands by the side of His master all day.
This is the long and The short of it too: One dolly stood still, The other one grew.
She who is little Prefers to be tall; Blackman the giant Would like to be small.
If one were not blue, While the other is red, You'd fancy that Su- San was Mary instead.
If one were not red, While the other is blue, 'Twould surely be said, That Miss Mary was Sue!
Right about, left about, Halt and stand at ease! Shoulder arms, attention, Steady, if you please.
Order arms, present arms, Forward, by your right! Double, double, double, Double to the fight!
When little dolls in Nurs'ry Street, Do anything that's wrong; Throw stones, or knock each other down, Policeman comes along.
"Move on, move on," Policeman cries; Be sure they never fail; For if they did not move at once, He'd take them off to jail.
Mollie's frock is crimson, Her petticoat's of lace; Mollie's hair is golden, And curls about her face.
Mollie's friends are many, She's off to visit one; Mollie takes her sunshade, To keep away the sun.
Swing up! Swing down! Here goes the clown.
Swing left! Swing right! Mind you hold tight.
Swing low! Swing high! Right to the sky.
Dolly's home's far away, Far away in Algiers, On the African coast, She won't see it for years.
But she whispers at night, And her eyes fill with tears; "How I wish--how I wish, I were back in Algiers!"
Some dolls are ev'ry bit as good As little girls and boys; They never pout or shake themselves, And never make a noise.
But other dollies make mistakes; Won't do as they are told; Won't stand upright, or shut their eyes, However much you scold!
And then's the time for old Dame Crump To enter with her stick, And make them mind their p's and q's; 'Tis well if they are quick!
This is Prince Charming, Whom often you meet, Riding or walking In Nursery Street.
See the red feather He wears in his hat, Always you know he's Prince Charming by that.
He's always standing on his toes, And never on his heels; He's always holding up his arms-- I wonder how it feels.
Two balls are always in his hands, He never lets them drop; He's always smiling just like this, And never seems to stop.
Dinah's cheeks are black as coal; Dinah's lips are red; Dinah's eyes are bright, although Dinah's off to bed.
Dinah's bows are green and blue; Dinah's teeth are white; Dinah's bottle's meant to feed Dinah in the night.
He smiles throughout the morning, And all the afternoon; He smiles whene'er the sun shines, And also at the moon.
He smiles upon the carpet, Or when you pick him up; He smiles all through his dinner, And when he goes to sup.
There was a grand coachman, Who drove the Lord Mayor; And never drove less than A carriage and pair.
He wore a red waistcoat, He carried a whip, And when the boys saw him, They shouted "Hip! hip!"
Little Yam Mango Has beautiful eyes, Also the brightest Of scarlet neckties.
Little Yam Mango Will never go out; Being so lazy, He's grown very stout.
There is a brown dolly Who has a guitar; She plays on it always, Tra lal, tra lal la!
She has a new ditty For every day; I wish you could hear it, Tra lal, tra lal lay!
You may call him an imp, Or a gnome or a sprite; And whate'er you call him You are sure to be right.
He is here, he is there, He will never stay long; If you think he is caught, You are sure to be wrong.
This 1903 volume, the twenty-fifth in the Dumpy Books for Children series, pairs Ruth Cobb's illustrations with Richard Hunter's verses. The catalog subjects list dolls, toys, and children's poetry, but the excerpts reveal a broader range: the dolls are not merely playthings but assume distinct identities—Saint Nicholas, a shepherdess, a cowboy, even a giant named Blackman. The poems vary in form, from the quatrain of 'Saint Nicholas' to the limerick-like 'Punch' and the repetitive chant of 'The Shepherdess.'
Hunter's verse often incorporates specific details that go beyond generic toy descriptions. 'Jujuba' mentions Uncle Jujuba's sweet tooth and sugar cane from South Carolina, while 'Blue-Coat' describes a dressing-gown, girdle, and candle. These details suggest the poems may have been written to accompany Cobb's pictures, each doll defined by a distinctive visual attribute.
Verse Forms and Rhythmic Patterns
The poems in the excerpts employ several distinct metrical structures. 'Saint Nicholas' uses a simple ABAB quatrain with alternating lines of eight and six syllables, typical of nursery rhymes. 'Ping-Pong' adopts a more playful trochaic rhythm with internal repetition: 'Sing a song of Ping-pong, / Fast away he ran.' The limerick form appears in 'Punch,' with its characteristic anapestic meter and AABBA rhyme scheme. 'The Shepherdess' uses a repetitive, almost incantatory structure, repeating 'Shepherdess!' at the start of each line. This variety suggests the book was designed to be read aloud, with each poem offering a different auditory experience.
Geographical and Cultural References
Several poems include specific geographical or cultural markers that extend beyond the domestic toy world. 'Jujuba' locates Uncle Jujuba's youth in South Carolina, where sugar cane grows—a detail that ties the character to a real place and industry. 'The Cowboy' comes 'out of the west,' evoking the American frontier. 'Blackman the Giant' introduces a figure whose name and description may carry racial connotations, though the excerpt is truncated. These references indicate that the dolls are not confined to a nursery setting but are placed in broader, sometimes exotic, contexts. The inclusion of 'Saint Nicholas' and 'Punch' (a traditional puppet character) further roots the collection in cultural traditions beyond the immediate world of children's play.
Illustration and Text Interplay
The title page credits Ruth Cobb as illustrator and Richard Hunter as versifier, suggesting the pictures likely preceded or were created concurrently with the poems. The verses often describe visual details that would be shown in the illustrations: the sea-side doll carries 'a pail and / A spade in her hands'; Blue-Coat wears a 'dressing-gown's blue' with a 'girdle is red' and carries a candle. These descriptions function as captions or prompts for the images. The Dumpy Books format—small, cloth-bound volumes with colour illustrations—indicates that the visual component was central to the reading experience. Without the pictures, the poems feel incomplete, as they frequently rely on visual cues for their full effect. The text thus serves as a verbal complement to Cobb's artwork, not a standalone literary work.
Readers approaching More Dollies should consider it as a collaborative work where verse and illustration are interdependent. The poems are short and rhythmic, suited for reading aloud, but their full meaning often depends on the pictures. The catalog subjects accurately reflect the content, though the dolls' roles extend beyond simple toys into characters with distinct backgrounds and cultural references. The excerpts provide a representative sample of the book's variety, but the complete work likely contains additional dolls and verses that expand on these patterns.
Flipping through More Dollies, I lingered on the little cowboy verse, its gentle rhythm a comfort. That quiet, almost prayerful tone reminded me of how a simple rhyme can hold a deeper hope. It made me think of A Christmas prayer — Edition Insights, whose soft words carry a similar, unhurried warmth.
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