Happy Mother Goose Day! (May 1st)

Mother Goose, art for a Fisk Tires ad by Maxfield Parrish, 1919

National Mother Goose Day is observed each year on May 1.  This day honors Mother Goose, the imaginary author of a collection of fairy tales and nursery rhymes we loved as children.  Mother Goose is often illustrated as an elderly country woman in a tall hat and shawl, but she is also sometimes depicted as a goose wearing a bonnet.  (From NationalDayCalendar.com)

Mother Goose Day was founded in 1987 by Gloria T. Delamar in tandem with the publication of her book, Mother Goose; From Nursery to Literature.

In honor of today, we thought we'd share some of the illustrations from a lesser known book by L. Frank Baum, Mother Goose in Prose. Here's the blurb from the original dust jacket:

If ever a writer and an artist were an unbeatable team, it's on these pages. Put that team to work on the most famous characters in the English language and the result can be nothing less than classic. 

Here two giant imaginations take on Little Boy Blue, The Cat and the Fiddle, Old King Cole, Mistress Mary, Jack Horner, The Man in the Moon, Hickory Dickory Dock, Bo-Peep, Tommy Tucker, Humpty Dumpty, The Woman Who Lived in a Shoe, Miss Muffet and others. 

To create Mother Goose in Prose, the man who gave us The Wonderful Wizard of Oz started with the bare bones of the celebrated nursery rhymes and embroidered them as only a master storyteller could. Now Mary Quite Contrary lives in a real house, has a mother and is visited in her garden by a Squire. Humpty Dumpty is far from just a five line verse here and, once read, his will never be a five lines story again. Did you ever wonder how the old woman's house for to resemble a shoe? In case the reader doesn't get the picture, Baum departs from his storytelling to draw it himself. 

This is a charming book, with a warm introduction by Baum, who takes care to trace the vague but fascinating history of the rhymes back to 1650, through the three countries that claim Mother Goose for their own. But "the songs that cluster around her name are what we love." he reminds us. "Many of these nursery rhymes," Baum says, "are complete tales in themselves, telling their story tersely 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 children might like the stories told at a greater length, that they may dwell the longer upon their favorite heroes and heroines. 

"For that reason I have written this book."

You can read the book online HERE.

And from Amazon:

The volume begins with an historical overview written by Baum himself, in which he notes that the first use of the name "Mother Goose" was by the great French author of fantasies, Charles Perrault -- the inventor of Sleeping Beauty, Little Red Riding Hood, Cinderella and Puss in Boots. Each tale begins with the nursery rhyme, and then a tale that illustrates the rhyme follows -- told in Baum's charming, natural fashion. Mother Goose in Prose is a delight for children of all ages. The book's last selection features a girl named Dorothy who can talk to animals — an anticipation of the Oz books. When Baum later included this story in his Juvenile Speaker (1910) and The Snuggle Tales (1916–17), he changed the girl's name to Doris, to avoid confusing her with Dorothy Gale. 

           

Book in the Works: "Mother Goose Refigured"

Consider this an official 'heads-up" from us, for your fairy tale studies and folklore libraries:

Coming in November from Wayne State University Press is a fascinating new book on a topic that has had quite a bit of attention in the past coupe of years. It's titled Mother Goose Refigured, written by Christine A. Jones, and, unlike most people's impressions that Mother Goose is a nursery rhyme figure only, the character and archetype often made appearances alongside fairy tales as well, especially in the French fairy tale salon era, of which Charles Perrault was a member. His collection of fairy tales was actually titled Stories or Tales from Times Past; or, Tales of Mother Goose (1697). This book looks at the translations and adaptations of this volume and how that affected the tales themselves.

About the author, who is no newbie to critical writing on fairy tales (we still have our eye on Feathers, Paws, Fins and Claws: Fairy Tale Beasts!):

Christine A. Jones is a specialist of seventeenth- and eighteenth-century France at the University of Utah with interests in the luxury trades and the fairy tale. She has authored Shapely Bodies: The Image of Porcelain in Eighteenth-Century France as well as numerous articles on trade history. With folklore scholar Jennifer Schacker, she has coedited Marvelous Transformations: An Anthology of Fairy Tales and Contemporary Critical Perspectives and Feathers, Paws, Fins, and Claws: Fairy Tale Beasts, illustrated by Lina Kusaite (Wayne State University Press, 2015).

And we must mention: we adore the cover with Red in the wolf-en forest!

Here's the write-up. Included are two images from the book:

Charles Perrault published Histoires ou Contes du temps passé ("Stories or Tales of the Past") in France in 1697 during what scholars call the first "vogue" of tales produced by learned French writers. The genre that we now know so well was new and an uncommon kind of literature in the epic world of Louis XIV’s court. This inaugural collection of French fairy tales features characters like Sleeping Beauty, Cinderella, and Puss in Boots that over the course of the eighteenth century became icons of social history in France and abroad. Translating the original Histoires ou Contes means grappling not only with the strangeness of seventeenth-century French but also with the ubiquity and familiarity of plots and heroines in their famous English personae. 

From its very first translation in 1729, Histoires ou Contes has depended heavily on its English translations for the genesis of character names and enduring recognition. This dependability makes new, innovative translation challenging. For example, can Perrault’s invented name "Cendrillon" be retranslated into anything other than "Cinderella"? And what would happen to our understanding of the tale if it were? Is it possible to sidestep the Anglophone tradition and view the seventeenth-century French anew? Why not leave Cinderella alone, as she is deeply ingrained in cultural lore and beloved the way she is? Such questions inspired the translations of these tales in Mother Goose Refigured, which aim to generate new critical interest in heroines and heroes that seem frozen in time. The book offers introductory essays on the history of interpretation and translation, before retranslating each of the Histoires ou Contes with the aim to prove that if Perrault’s is a classical frame of reference, these tales nonetheless exhibit strikingly modern strategies. 

Designed for scholars, their classrooms, and other adult readers of fairy tales, Mother Goose Refigured promises to inspire new academic interpretations of the Mother Goose tales, particularly among readers who do not have access to the original French and have relied for their critical inquiries on traditional renderings of the tales.