The Project Gutenberg eBook of The Peacock 'At Home' AND The Butterfly's Ball AND The Fancy Fair

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: The Peacock 'At Home' AND The Butterfly's Ball AND The Fancy Fair

Author: Catherine Ann Turner Dorset

William Roscoe

Release date: November 30, 2007 [eBook #23665]

Language: English

Credits: Produced by David Wilson and 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 THE PEACOCK 'AT HOME' AND THE BUTTERFLY'S BALL AND THE FANCY FAIR ***

[p3] THE
PEACOCK “AT HOME.”

BY A LADY.

TWENTY-THIRD EDITION.

THE BUTTERFLY’S BALL;
AN ORIGINAL POEM.

BY MR. ROSCOE.

AND

THE FANCY FAIR;
OR,
GRAND GALA AT THE ZOOLOGICAL GARDENS.

LONDON:
GRANT AND GRIFFITH,
SUCCESSORS TO
J. HARRIS, CORNER OF ST. PAUL’S CHURCH-YARD.

[p4] LONDON:
Printed by S. & J. Bentley, Wilson, and Fley
Bangor House, Shoe Lane.

[p5] THE
PEACOCK “AT HOME.”
BY A LADY.

  The Butterfly’s Ball and the Grasshopper’s Feasts

Excited the spleen of the Birds and the Beasts:

For their mirth and good cheer—of the Bee was the theme,

And the Gnat blew his horn, as he danced in the beam;

’Twas humm’d by the Beetle, ’twas buzz’d by the Fly,

And sung by the myriads that sport through the sky.

The Quadrupeds listen’d with sullen displeasure,

But the tenants of Air were enraged beyond measure.

  The Peacock display’d his bright plumes to the Sun,

And, addressing his Mates, thus indignant begun:

[p6]

  “Shall we, like domestic, inelegant Fowls,

As unpolish’d as Geese, and as stupid as Owls,

Sit tamely at home, hum-drum with our Spouses,

While Crickets and Butterflies open their houses?

Shall such mean little Insects pretend to the fashion?

Cousin Turkey-cock, well may you be in a passion!

If I suffer such insolent airs to prevail,

May Juno pluck out all the eyes in my tail!

So a Fête I will give, and my taste I’ll display,

And send out my cards for St. Valentine’s Day.”

  [p7] This determined, six fleet Carrier-Pigeons went out

To invite all the birds to Sir Argus’s Rout.

The nest-loving Turtle-Dove sent an excuse;

Dame Partlet lay in, as did good Mrs. Goose.

The Turkey, poor soul! was confined to the rip;¹

For all her young brood had just fail’d with the pip.

The Partridge was ask’d; but a Neighbour hard by

Had engaged a snug party to meet in a Pie:

And the Wheat-ear declined, recollecting her Cousins,

Last year, to a feast were invited by dozens,—

But, alas! they return’d not; and she had no taste

To appear in a costume of vine-leaves or paste.

The Woodcock preferr’d his lone haunt on the moor;

And the Traveller, Swallow, was still on his tour;

While the Cuckoo, who should have been one of the guests,

Was rambling on visits to other Birds’ nests.

But the rest all accepted the kind invitation,

And much bustle it caused in the plumed creation.

[p8]

  Such ruffling of feathers, such pruning of coats,

Such chirping, such whistling, such clearing of throats,

Such polishing bills, and such oiling of pinions,

Had never been known in the biped dominions!

The Tailor-Bird² offer’d to make up new clothes

For all the young Birdlings who wish’d to be Beaux:

[p9] He made for the Robin a doublet of red,

And a new velvet cap for the Goldfinch’s head;

He added a plume to the Wren’s golden crest,³

And spangled with silver the Guinea-Fowl’s breast;

While the Halcyon⁴ bent over the streamlet to view

How pretty she looked in her bodice of blue!

  Thus adorn’d, they set off for the Peacock’s abode,

With the guide Indicator,⁵ who show’d them the road:

From all points of the compass flock’d birds of all feather,

And the Parrot can tell who and who were together.

[p10] There was Lord Cassowary⁶ and General Flamingo,⁷

And Don Peroqueto, escaped from Domingo:

From his high rock-built eyrie the Eagle came forth,

And the Duchess of Ptarmigan⁸ flew from the North.

[p11] The Grebe and the Eider-Duck came up by water,

With the Swan, who brought out the young Cygnet, her Daughter.

From his woodland abode came the Pheasant, to meet

Two kindred, arrived by the last India fleet:

The one, like a Nabob, in habit most splendid,

Where Gold with each hue of the rainbow was blended;

In silver and black, like a fair pensive Maid

Who mourns for her love, was the other array’d.

The Chough⁹ came from Cornwall, and brought up his Wife;

The Grouse travell’d south, from his Lairdship in Fife;

[p12] The Bunting forsook her soft nest in the reeds;

And the Widow-Bird¹⁰ came, though she still wore her weeds:

Sir John Heron, of the Lakes, strutted in a grand pas.

But no card had been sent to the pilfering Daw,

As the Peacock kept up his progenitor’s quarrel,

Which Æsop relates, about cast-off apparel;

For Birds are like Men in their contests together,

And, in questions of right, can dispute for a feather.

  The Peacock, Imperial, the pride of his race,

Received all his guests with an infinite grace,

Waved high his blue neck, and his train he display’d,

Embroider’d with gold, and with emeralds inlaid;

Then with all the gay troop to the shrubbery repair’d,

Where the musical birds had a concert prepared.

[p13]

  A holly-bush form’d the Orchestra, and in it

Sat the Black-bird, the Thrush, the Lark, and the Linnet;

A Bullfinch, a captive almost from the nest!

Now escaped from his cage, and with liberty blest,

In a sweet mellow tone, join’d the lessons of art

With the accents of nature, which flow’d from his heart.

The Canary, a much-admired foreign musician,

Condescended to sing to the Fowls of condition;

While the Nightingale warbled and quaver’d so fine,

That they all clapp’d their wings and declared it divine!

[p14] The Sky-Lark, in ecstasy, sang from a cloud,

And Chanticleer crow’d, and the Yaffil¹¹ laugh’d loud.

  The dancing began when the singing was over:

A Dotterel first open’d the ball with the Plover;

Baron Stork in a waltz was allow’d to excel,

With his beautiful partner, the fair Demoiselle;¹²

[p15] And a newly-fledged Gosling, so fair and genteel,

A minuet swam with the spruce Mr. Teal.

A London-bred Sparrow—a pert forward Cit!

Danced a reel with Miss Wagtail and little Tom Tit.

And the Sieur Guillemot¹³ next perform’d a pas seul,

While the elderly bipeds were playing a pool.

The Dowager Lady Toucan¹⁴ first cut in,

With old Doctor Buzzard and Admiral Penguin;

[p16] From Ivy-bush tower came down Owlet the Wise,

And Counsellor Cross-bill¹⁵ sat by to advise.

Some birds past their prime, o’er whose heads it was fated

Should pass many St. Valentines—yet be unmated,

[p17] Sat by, and remark’d that the prudent and sage

Were quite overlook’d in this frivolous age,

When birds, scarce pen-feather’d, were brought to a rout,

Forward Chits! from the egg-shell but newly come out.

In their youthful days, they ne’er witness’d such frisking;

And how wrong in the Greenfinch to flirt with the Siskin!¹⁶

So thought Lady Mackaw, and her friend Cockatoo;

And the Raven foretold that no good could ensue!

They censured the Bantam, for strutting and crowing

In those vile pantaloons, which he fancied look’d knowing:

And a want of decorum caused many demurs

Against the Game Chicken, for coming in spurs.

  Old Alderman Cormorant, for supper impatient,

At the Eating-room door for an hour had been station’d,

[p18] Till a Magpie, at length, the banquet announcing,

Gave the signal, long-wish’d for, of clamoring and pouncing:

At the well-furnish’d board all were eager to perch,

But the little Miss Creepers were left in the lurch.

  Description must fail, and the pen is unable

To recount all the luxuries that cover’d the table.

Each delicate viand that taste could denote,

Wasps à la sauce piquante, and Flies en compôte;

[p19] Worms and Frogs en friture, for the web-footed Fowl,

And a barbecued Mouse was prepared for the Owl;

Nuts, grains, fruit, and fish, to regale every palate,

And groundsel and chickweed served up in a salad.

The Razor-bill¹⁷ carved for the famishing group,

And the Spoon-bill¹⁸ obligingly ladled the soup;

[p20] So they fill’d all their crops with the dainties before ’em

And the tables were clear’d with the utmost decorum.

  When they gaily had caroll’d till peep of the dawn,

The Lark gently hinted ’twas time to be gone;

And his clarion, so shrill, gave the company warning,

That Chanticleer scented the gales of the morning,

So they chirp’d in full chorus, a friendly adieu;

And, with hearts beating light as the plumage that grew

On their merry-thought bosoms, away they all flew.

  Then long live the Peacock, in splendour unmatch’d,

Whose Ball shall be talk’d of by Birds yet unhatch’d!

His praise let the Trumpeter¹⁹ loudly proclaim,

And the Goose lend her quill to transmit it to Fame.

1. The Rip. A machine used in poultry-yards, under which it is usual to confine the mother-bird with the young brood, till it has acquired strength to follow her. The word is derived from the Saxon Hrip, meaning a covering, or protection, for the young.

2. The Tailor-Bird. So called from the singular manner in which it constructs its nest, which is composed of two leaves, sewed together with wonderful skill by the little tailor, whose bill serves him for a needle, and the fine fibres of leaves furnish him with a substitute for thread, by which means he attaches a dead leaf to a living one, growing at the end of a branch. The Tailor-Bird is an inhabitant of India.

3. The Golden-crested Wren is the smallest of the British Birds; it takes its name from a circle of gold-coloured feathers, bordered with black, forming an arch above its eyes, which it has the power of raising or depressing; it is a native of every part of Europe, and is also to be found in Asia and America.

4. Halcyon, or Kingfisher. Esteemed the most beautiful of our native birds; but its form is clumsy, and its bill very disproportionate to its size. It inhabits the banks of rivers and streams, where it will sit for hours on a projecting branch, watching for its prey. The ancients relate many fabulous stories of this bird, as that of its laying its eggs in the depth of winter, and that during the time of its incubation the weather remains perfectly calm, whence the expression Halcyon days.

5. Cuculus indicator. A bird of the Cuckoo kind, found in the interior parts of Africa; it has a shrill note, which the natives answer by a soft whistle; and the birds repeating the note, the natives are thereby conducted to the wild Bee-hives, which this bird frequents.

6. Cassowary. A large singular bird found in the island of Java, in Africa, and the southern parts of India. The head of this bird is armed with a kind of natural helmet, extending from the base of the bill to near half-way over the head.

7. Flamingo. A bird of the crane kind, but web-footed, whose plumage is of a bright scarlet: when standing erect, it measures above six feet, though its body is not larger than that of a Goose; and is a native of Africa, Persia, and South America.

8. Ptarmigan. The white grouse, or white game, inhabits the Highlands of Scotland and the Western Islands; it prefers the coldest situations on the highest mountains, where it burrows under the snow. It changes its feathers twice in the year, and about the end of February puts on its summer dress of dusky brown, ash, and orange-coloured feathers; which it loses in winter for a plumage perfectly white, except a black line between the bill and the eye. The legs and toes are warmly clothed with a thick long coat of soft white feathers.

9. The Chough. This bird, which is about the size of the Daw, has a long curved bill, sharp at the point, which, as well as the legs and feet, is of a bright scarlet, contrasting beautifully with its black plumage, which varies, as the light falls on it, to a deep purple violet. Its general haunts are the crevices of high cliffs in Devonshire and Cornwall.

10. The Widow, or Widah Bird, is a species of Bunting, a native of Angola and other parts of Africa; and is remarkable for the feathers of its tail. The two middle ones are about four inches long, and ending in a long thread; the two next are thirteen inches in length, broad, and narrowing towards the points: from these proceeds another long thread.

11. Yaffil, the Woodpecker. The name Yaffil is provincial, but is so very expressive of the noise it continually makes, that I have preferred it on that account. It is a beautiful bird, and is sometimes called the English Parrot; the colour of its plumage, green, yellow, and scarlet, giving it some resemblance to that bird.

12. The Numidian Crane, or Demoiselle, from the elegance of its appearance, and its singular carriage, is called the Demoiselle, which means the Young Lady; for this bird walks very gracefully, and sometimes skips and leaps, as though it were trying to dance.

13. Guillemot. A sea-bird, of which there are several species numerously spread over the northern world; from whence they come towards winter to the British shores, and remain till they have reared their young. It is sometimes called “the foolish Guillemot,” from its stupidity; for when their companions are shot one after another, they have so little sense of danger, that they make a small circuit, and then return and settle in the same place, to share the same fate.

14. Toucan. A native of America, where it builds in the hollows of trees, and sits at the entrance, ready to peck at the monkeys, who often endeavour to destroy and eat the young. It is about the size of a Magpie, but the head large in proportion, to enable it to support its immense bill, which is six inches and one-half in length, but extremely thin. It is a mild inoffensive bird, and easily tamed, but cannot endure the cold of our climate. The feathers of the breast are highly esteemed by the natives.

15. Cross-bill. So called because the two mandibles cross each other in different directions. They feed chiefly on the seeds of fir-trees; the singular construction of their bills being admirably adapted to separate the seeds of the cones. The pips of apples are also a favourite food, and, to obtain them, they split the apple with one stroke of their bill; they are consequently found to be very injurious to orchards. It has been observed that they have been more frequently seen in England since the fir-tree has been more generally planted than formerly.

16. Siskin. A migratory bird, which is seen in the southern parts of England at the time of the barley harvest, and is sometimes called the Barley-bird. It has a pleasing note, and is sold as a singing-bird in the London bird-shops by the name of the Aberdevine. The accusation of its flirtation with the Greenfinch is to be understood as pure scandal, the most prying naturalists never having discovered any particular attachment between them.

17. Razor-bill. A migratory sea-bird, which visits the northern shores in spring, and leaves them in winter: they lay a single egg on the ledges of the rocks without any nest, and on which it is said to be fixed with a cement.

18. Spoon-bill. So called from the construction of the bill, which is flat the whole length, but widens towards the end in the form of a spoon or spatula; and is equally remarkable in its substance, not being hard like bone, but flexible like whalebone. They feed on snakes, worms, frogs, and fish, even on shell-fish, which they first break with their bills.

19. The Agami, or Trumpeter. A native of America, remarkable for a singular noise, resembling the instrument from which it takes its name.

[p21] THE
BUTTERFLY’S BALL,
AND THE
GRASSHOPPER’S FEAST.
By Mr. ROSCOE.

  Come, take up your hats, and away let us haste

To the Butterfly’s Ball and the Grasshopper’s Feast:

The Trumpeter, Gadfly, has summon’d the Crew,

And the Revels are now only waiting for you.

  So said little Robert, and pacing along,

His merry Companions came forth in a throng,

And on the smooth Grass, by the side of a Wood

Beneath a broad Oak that for ages had stood,

Saw the Children of Earth, and the Tenants of Air,

For an Evening’s Amusement together repair.

And there came the Beetle, so blind and so black,

Who carried the Emmet, his Friend, on his back

[p22] And there was the Gnat, and the Dragon-fly too,

With all their Relations, Green, Orange, and Blue.

And there came the Moth, with his plumage of down,

And the Hornet, in Jacket of Yellow and Brown;

Who with him the Wasp, his Companion, did bring,

But they promised that Evening to lay by their Sting.

And the sly little Dormouse crept out of his hole,

And brought to the Feast his blind Brother, the Mole.

And the Snail, with his Horns peeping out of his Shell,

Came from a great distance, the Length of an Ell.

A Mushroom their Table, and on it was laid

A Water-dock Leaf, which a Table-cloth made.

The Viands were various, to each of their taste,

And the Bee brought her Honey to crown the Repast.

Then close on his haunches, so solemn and wise,

The Frog from a corner look’d up to the Skies;

And the Squirrel, well pleased such diversions to see,

Mounted high over-head, and look’d down from a Tree.

Then out came the Spider, with finger so fine,

To show his dexterity on the tight line.

[p23] From one branch to another his Cobwebs he slung,

Then quick as an arrow he darted along;

But just in the middle,—Oh! shocking to tell,

From his rope in an instant poor Harlequin fell.

Yet he touch’d not the ground, but with talons outspread

Hung suspended in air, at the end of a thread.

Then the Grasshopper came with a jerk and a spring;

Very long was his Leg, though but short was his Wing:

He took but three leaps, and was soon out of sight,

Then chirp’d his own praises the rest of the night.

With step so majestic the Snail did advance,

And promised the Gazers a Minuet to dance.

But they all laugh’d so loud that he pull’d in his head,

And went in his own little chamber to bed.

Then, as Evening gave way to the Shadows of Night,

Their Watchman, the Glowworm, came out with a light.

  Then Home let us hasten, while yet we can see,

For no watchman is waiting for you and for me.

So said little Robert, and pacing along,

His merry Companions return’d in a throng.

[p24] THE
FANCY FAIR;
OR,
GRAND GALA
OF THE
ZOOLOGICAL GARDENS.

  Some years are elapsed, and some worthies are gone,

Since Peacocks and Butterflies mimick’d the ton,

And gave, in a manner becoming their station,

Their fêtes and their balls to their fellow-creation.

Then Roscoe and Dorset, high-talented elves,

Amused other people and solaced themselves,

In describing the revels, the gibes, and the jokes,

Of the creatures of earth, and the feathery folks;

Of their fashion and fancy, the ebbs and the flows,

And the beauty and wit of their belles and their beaux.

But the world has spun round like a peg top since then,

And imparted more knowledge to brutes and to men;

New lights and perceptions old customs explode,

And what is done now, must be done à-la-mode.

[p25] Old fashions are fled, and what more can we say

Than that Dorset and Roscoe might do for that day,

But that Poets must deck in more dignified rhymes

The wonderful deeds of these wonderful times?

That Augusta may spread her renown and her glory,

Her famed Fancy Fairs must be studded in story,

And ages unborn learn the elegant Games

Of the Gardens that bloom on the south of the Thames.

Old Dryden the bard was at best but a gander,

In singing the Feast of the great Alexander;

For what breast with the fumes of a banquet is fired

Two thousand years after the guests have retired?

Our happier bard takes the season that suits,

At the spur of the moment he puts on his boots,

All hot for Parnassus, and cries in a hurry,

“Prepare me my Pegasus! ‘Saddle white Surrey!’”

It is clear that he feels what his numbers prolong,

That he warms with his subject, and soars in his song.

But whether his lot be unhonour’d and low,

Or the wreath of the Laureat encircles his brow,

[p26] With the world to admire him, mysterious elf!

Is a secret of state that he keeps to himself.

But come! Zoological wonders require

The strains of his genius, his force and his fire;

He burns with impatience the scene to display:

Hark away, to the Gardens of Taste! Hark away!

  The sun, as he rose, was received with a cheer,

From the Herald at Arms, the renown’d Chanticleer,

Who proclaim’d, with a feeling of pride in his breast,

That the Gardens of Surrey were fairest and best.

Then at once the shrill tidings were borne on the air,

That the dawn had arrived of the famed Fancy Fair,

And that all that was lovely, and beauteous, and bright,

Was summon’d to honour that day of delight.

The sunbeam was clear on that lovely retreat;

The breath of the morning was balmy and sweet;

Fair flowrets, that vied with the rainbow, were seen,

And trees in their livery of liveliest green.

The voice of rejoicing, from children of earth,

Was so mingled with cheerfulness, music, and mirth,

[p27] That the mind, and the eye, and the ear, and the heart

Were saluted with pleasure from every part.

A thousand gay faces appear’d in the throng,

And crowds of fair creatures came trooping along.

Till the place, all enliven’d with joy and surprise,

Was lit up with sunbeams and Beauty’s bright eyes.

The groups of all ages were gather’d so well,

That they threw o’er the poet and painter a spell,

And the flashes of fancy, wit, feeling, and fire,

Resistless compell’d them to pause and admire.

  Much pains had been taken to add to the grace,

And preserve from disorder the pride of the place;

To keep the fair flowrets from wandering away,

As well as the things that were fairer than they,

For placards were posted near every spot,

You may stand to “admire” me, “but gather me not.”

  The Beasts and the Birds were so fresh and so fair,

That they call’d forth the wonder of all who came there,

And the Boa Constrictors so slimy and gay,

That they seem’d to have painted themselves for the day.

[p28] The Green-bonnet Monkey, with speckles bespread,

Was proud of the verdigris tuft on his head;

For it look’d, as he leap’d in his frolic and joy,

Like the top of the turban of Rammohun Roy.

Dame Tortoise roam’d over the green and beyond,

For she pass’d on her pilgrimage right to the pond.

As she gazed on the Crocodile softly she sigh’d,

Though she thought that his mouth was a little too wide.

The Zebra look’d sprightly, as every one saw,

And the African Sheep and white-footed Nyl Ghau;

And that leaper of leapers, the strange Kangaroo,

That is biped and triped and quadruped too,

Who out-juggles the Juggler, by hill and by dale;

For he makes, when he pleases, a leg of his tail.

With a soft, silky, aspect, demure and profound,

A tabby Cat wander’d the Gardens around,

And purr’d her applause with a quiet delight,

As she gazed half-entranced on the heart-cheering sight.

Among the rare wonders that caught every eye,

Demanding a glance from the gay passer-by,

[p29] Was the Alpaca, Zebu of Indian race,

And the Camel, brought up in that beautiful place.

A dome in the centre, deservedly praised,

Transparent as crystal, was artfully raised,

Where African Lions, and Tigers untamed,

And Sloths and Hyænas, for savageness famed,

And Leopards and Ladies, and Monsters and Men,

Securely might meet in the very same pen.

  The crowd still increased on that magical ground,

And thousands and thousands came trooping around.

The haut ton and beau monde paced about debonair,

Tall and short, enbonpoint, slender, sunburnt, and fair,

While Hatred and Anger and Care fled away,

And light hearts and bright eyes were the charm of the day.

Then the painted balloon in its glory was bright,

And it mounted on high till it sail’d out of sight.

The Juggler, with tricks and illusions came forth,

And the Russians with musical horns from the North,

Transporting enough to make Orpheus mute:

As loud as the trumpet, as soft as the lute,

[p30] They fill’d every bosom, absorbing them quite,

And the reeds seem’d to burden the air with delight.

Such strains have rung round me in seasons gone by,

When escaped from the cloister I mused with a sigh,

And listed awhile to the balm-shedding breeze,

As it fitfully swept through the sedge and the trees,

And plaintively whisper’d with musical power,

O’er the “soft-flowing Avon,” at evening hour.

  And now the fair parties, with Mirth for their guide,

And light-hearted Laughter, a moment divide,

And gaze on the Eagles, the old ruin’d wall,

The Boat-house, the Temple, the Hermitage, all;

Reproved, when their pleasure too freely they quaff,

By that memento mori, the Afric Giraffe.¹

  Some visit the laughing-bird, called Cockatoo,

Who drops them a courtesy, and cries “How d’ ye do?”

Or Mungo, the negro, who quaintly and sly

Takes his tea, Cayenne pepper, and cold apple-pie.

[p31] Some gaze on the Cygnets that glide like a dream,

And bend down to admire their fair forms in the stream;

Some laugh at their fancies, or muse on a flower,

And all are delighted, so happy the hour.

Wouldst thou gaze with emotions far purer than mirth

On one of the fairest creations of earth,

Go at even, and breathe the pure breath of the breeze,

From the seat by the Lake, ’neath those wild Willow-trees.

  New pleasures succeeded; the spell was of power

That Variety threw o’er the varying hour,

[p32] And a change of enjoyment was found by the train

In losing and finding each other again.

The dancing commenced, and the Fair, beyond praise,

As light as the gossamer, tripp’d through the maze.

What warm salutations! what laughing aloud!

What sounds of enjoyment were heard in the crowd!

But who were the worthies who moved with a grace

And demeanour, as though they belong’d to the place?

Prince Eglantine Eagle, with lightning-like glare,

Threw a glance all around him to see who was there;

[p33] To the Pelican Princesses bent his head low,

As they proudly pass’d by with their bosoms of snow.

Duke Emu, too, gazed on the heart-cheering sight,

And Earl Hildebrand Harpy, so famous in fight;

While the figure that walk’d so erect, I suppose,

Was Sir Peregrine Penguin,—I judge by his nose.

Viscount Stork, as he strutted about, gave a beck

To Earl Vulture, who wears no cravat round his neck;

And the Bishop was there, though he stood rather back,

Array’d in his robes of red, orange, and black,

Sir Archibald Ostrich moved on rather chary,

And lean’d on his cousin the Count Cassowary,

Discoursing of Java, and far distant lands,

And African Deserts, and hot burning sands.

Old warrior Flamingo came limping along,

And with Commodore Cormorant join’d in the throng,

Profoundly debating, with Major Macaw,

The merits of martial and maritime law.

Earl Heron walk’d stately with Caroline Crane,

And Field-marshal Falcon, of valour so vain;

[p34] While Captain Crown Pigeon, so odd in his tread,

Shook the quaking-grass tuft on his fanciful head.

Lord Peacock, from Asia, came dress’d very fine—

His musical taste ne’er accorded with mine;

And the learn’d Baron Buzzard, who gravely decided,

That game, when once caught, should be fairly divided.

The grenadier, Captain Curassow, was drest

In his helmet, and held up his head with the best;

While Fatima Pheasant, from China, display’d

Her Pekin pelisse of bright silver brocade.

Count Turkey expanded the finery that bound him,

And gabbled high Dutch to the people around him.

His Honour the Hawk loved a lark and a race,

So he hover’d about near the courts of the place.

Colonel Kite spoke of sporting—of young Ducks and Widgeons,

And plann’d a new pent-house for Ring-doves and Pigeons.

At the edge of the water, and hard by the sluice,

Tête-à-tête Doctor Drake sat with old Gammer Goose.

[p35] And Sir Christopher Crow wore a coat on his back,

Of a true Day and Martin-like polish of black.

Mother Magpie and Priscilla Parrot, in spite,

Could talk without ceasing from morning to night;

Spread abroad Entre nous and On dits by the score,

All the news they had heard, and a hundred times more.

  A multitude muster’d, escaped from the plains,

Of sight-loving lasses and holiday swains:

[p36] Bob Bantam push’d forward and strutted before;

Will Woodpecker modestly tapp’d at the door;

Poor Robin, the rustic, a countrified clown,

As he blush’d, look’d too simple by half for the town,

There were scores in brown mantles, black, yellow, or green,

From the villages round, and among them were seen,

Luke Linnet, Sam Swallow, Mat Martin, and then,

Bill Bullfinch, Tom Titmouse, and Rosanna Wren.

But however select the fair party may be,

Where beauty and fashion preside, we shall see

Some characters doubtful that all should beware,

And it can’t be denied that a few such were there.

Those cut-throats the Sparrows, that robber the Daw,

Who was pluck’d for his open contempt of the law;

The pilferer Cuckoo, whom all must despise,

And the chattering Jay, who tells nothing but lies;

While the green-mantled, light-hearted Love-birds, ’tis said,

Had been sipping too much, for their noses were red.

  How often it is, when the sun is most bright,

That a dark cloud approaches, obscuring his light!

[p37] Alas! ’tis the same with all earthly affairs,

And pleasure gives place to a dark crowd of cares.

The Trees were all lively, the Beasts were content,

And the beautiful Birds on their pleasure were bent,

Nothing doubting the multitude, struck with amaze,

Came to gaze on their beauty and speak in their praise

When they saw that the crowd by degrees had retired,

And that they left alone were no longer admired;

They gazed on the Booths that were aptly design’d

To display the fair merchandize art had combined;

They look’d on the spot in wrath, spleen, and despair,

Rank, Beauty, Taste, Fashion, and Fancy were there,

And the multitudes round such attractions preferr’d

To a gambolling beast or a chattering bird.

Now Envy first enter’d the fair feather’d race,

And invective and dissonance rung round the place;

Their pleasure, their pride, and contentment were o’er,

And Discord presided where Peace was before.

  In the midst of the hubbub and riot around,

The Trees were absorb’d in a silence profound,

[p38] Till the busy Dwarf Medlar began to explain

His rooted dislike to the booth-loving train.

He branch’d out in florid descriptions to show

That they all ought to stand on their stumps in a row

In defence of their rights, now that underlings drew

That applause and renown which had long been their due.

Then the Oak raised his head, rather hoary with age,

And shook his broad arms in the air in a rage,

And exhorted them all with a feeling of pride,

To maintain their ground firmly, whate’er might betide.

The Giant Elm follow’d and proudly look’d down

On the pitiful plots of their foes with a frown.

The Ash, pale with anger, derided “the crew,”

And the smooth-temper’d Purple Beech look’d rather blue.

The Chesnut grew heated, and roasted them well;

And bitter the taunts of the Almond-tree fell.

The Apple and Pear both maintain’d, in their spleen,

That the fruit of their folly would shortly be seen.

The Laburnum, the Lime, and the Beech seem’d afraid,

But the Hawthorn was pointed in all that she said,

[p39] And the threats of the Elder were heard to abound—

Like pellets from popguns they rattled around.

Discontented and moody the Drooping Larch lower’d,

The Crab knit his brows, for his temper was sour’d;

While the Birch-tree declared that the ill-fated elves,

Their opponents, were making a rod for themselves.

With wrath and vexation the Maple ran o’er;

The Aspen-tree trembled, the Willow wept sore;

The Tulip-tree blush’d, and the Sumach-tree sigh’d,

And the Dyer’s Oak thought it a stain on their pride.

The Fir stood erect, for he seem’d to opine

That their sun for a very brief season would shine;

While the well-meaning Walnut, foreboding their fall,

Crack’d a joke, for he cared not a fig for them all.

The Poplar drew up with a feeling of scorn,

And the Cypress looked sad, and the Yew was forlorn.

The Plane smoothly spoke, and the Hazel the same,

But the Scarlet Oak redden’d with anger and shame.

At last they resolved, to blot out the disgrace,

To stand fast by each other adorning the place;

[p40] No longer their loss of applause to bemoan,

But to come out next spring with a Fair of their own.

  While the war-whoop was raised by the Birds and the Trees,

The Beasts were impatient to blow up a breeze.

The Lion began with a royal bewail,

And furiously lash’d both his sides with his tail.

As he stalk’d through his den, his wild eyes glared around,

And his roar seem’d to come from far under the ground.

His anger, disdain, and despair wanted scope,

So he wish’d himself back at the Cape of Good Hope.

The Tiger extended, in uttering a roar,

A mouth that you might have mistook for the door;

But in such a dilemma, I warn you, beware

How you enter in haste such a dark thoroughfare;

For all who have pass’d through the passage they say,

Have terribly painted their coats by the way.

Poor Bruin declared it was unbearable quite,

And was in a brown study till day turn’d to night;

The Axis turn’d round in his rage, and just then

The Sloth look’d as black as the ink in my pen.

[p41] The soft, silky, self-colour’d Puma felt pain,

Pale as ashes with anger he could not restrain;

The Llama indignantly felt the disgrace,

And spirted saliva in every one’s face;

In fury the Mastiff bark’d loud for relief;

The poor patient Camel was laden with grief;

The Antelope wisely eloped from the fray,

But the Springbok was booked for the rest of the day.

The wrath of the Leopard then rose on the gale,

And broke out in dark spots from his head to his tail;

The Civet Cat mew’d, and did nothing but fret,

And the stripes of the Zebra were blacker than jet;

The Opossum was posed, and looked wondrously sage,

And the Red Coati Mondi turned sallow with rage;

The Hyæna declared in a quarrelsome mood,

He would instantly break through his den—if he could:

And the Moose Deer in ire would have bit his lip through,

But he found it already divided in two.

The Schoolmaster Porcupine rang, too, the chimes,—

He declar’d that he’d send an address to “the Times;”

[p42] Nay, write all his quills to their stumps, ere he’d stand

As a laughing-stock thus to the rest of the land.

  When the Fair was concluded, and all the gay throng

Had abandon’d the feast and the dance and the song,

In quest of a calmer enjoyment to roam,

For “Home,” after every enjoyment, “is Home!”

The Trees toss’d their heads ’tween the earth and the heavens,

And the Birds and the Beasts were at sixes and sevens.

  But amid the confusion, the hubbub, and din,

All remember’d the proverb, “They laugh most who win!”

This was certainly true at the famed Fancy Fair;

Mr. Cross² was, they say, the most pleasant man there.

Let us hope, then, his genius was happily led

To allay the rude storm that hung over his head;—

That the future his spirited plans will repay

Through many a gladsome and prosperous day;

Make true the old saw, “All is well that well ends,”

And Bipeds and Quadrupeds once more be friends.

1. The skeleton of the Giraffe was exhibited in the Gardens on this occasion.

2. The late spirited proprietor of the Surrey Zoological Gardens.

THE END.

Transcriber’s Note:

The original book has no publication date but does bear a handwritten inscription on the title page—

Walter Francis Clinton
June 2d 1848 from Aunt Lou

*** END OF THE PROJECT GUTENBERG EBOOK THE PEACOCK 'AT HOME' AND THE BUTTERFLY'S BALL AND THE FANCY FAIR ***

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 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. 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.