Finger plays for nursery and kindergarten — Story, Setting & Ideas
Edition facts
Before opening Finger plays for nursery and kindergarten — Story, Setting & Ideas, the edition data offers a quick orientation: 8,112 words, 36 min estimated reading time, and 2 detected text sections.
The text analysis averages about 17.5 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 “Games,” 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
What was their delight to see Dinner ready not far off-- Such a full and tempting trough!
Piggie Wig and Piggie Wee, Greedy pigs as pigs could be, For their dinner ran pell-mell; In the trough both piggies fell.
1. Piggie Wig and Piggie Wee, Hungry pigs as pigs could be, For their dinner had to wait Down behind the barnyard gate.]
2. Piggie Wig and Piggie Wee Climbed the barnyard gate to see, Peeping through the gate so high, But no dinner could they spy.
3. Piggie Wig and Piggie Wee Got down sad as pigs could be; But the gate soon opened wide And they scampered forth outside.
4. Piggie Wig and Piggie Wee, What was their delight to see Dinner ready not far off-- Such a full and tempting trough!
5. Piggie Wig and Piggie Wee, Greedy pigs as pigs could be, For their dinner ran pell-mell; In the trough both piggies fell.
VI.--A LITTLE BOY'S WALK.
A little boy went walking One lovely summer's day: He saw a little rabbit That quickly ran away;
He saw a shining river Go winding in and out, And little fishes in it Were swimming all about;
And, slowly, slowly turning, The great wheel of the mill; And then the tall church steeple, The little church so still;
The bridge above the water; And when he stopped to rest, He saw among the bushes A wee ground-sparrow's nest.
And as he watched the birdies Above the tree-tops fly, He saw the clouds a-sailing Across the sunny sky.
He saw the insects playing; The flowers that summer brings; He said, "I'll go tell mamma! I've seen _so many_ things!"
[Music: A LITTLE BOY'S WALK.
A little boy went walking One lovely summer's day: He saw a little rabbit That quickly ran away; He saw a shining river Go winding in and out, And little fishes in it Were swimming all about.
And slowly, slowly turning, The great wheel of the mill; And then the tall church steeple, The little church so still; The bridge above the water; And when he stopped to rest, He saw among the bushes A wee ground-sparrow's nest,
And as he watched the birdies Above the tree-tops fly, He saw the clouds a-sailing Across the sunny sky. He saw the insects playing; The flowers that summer brings; He said, "I'll go tell Mamma! I've seen _so many_ things."]
VII.--THE CATERPILLAR.
Fuzzy little caterpillar, Crawling, crawling on the ground! Fuzzy little caterpillar, Nowhere, nowhere to be found, Though we've looked and looked and hunted Everywhere around!
When the little caterpillar Found his furry coat too tight, Then a snug cocoon he made him Spun of silk so soft and light; Rolled himself away within it-- Slept there day and night.
See how this cocoon is stirring! Now a little head we spy-- What! Is _this_ our caterpillar Spreading gorgeous wings to dry? Soon the free and happy creature Flutters gayly by.
[Music: THE CATERPILLAR.
1. Fuzzy little caterpillar, Crawling, crawling on the ground! Fuzzy little caterpillar, Nowhere, nowhere to be found, Tho' we've looked and looked and hunted Everywhere around!
2. When the little caterpillar Found his furry coat too tight, Then a snug cocoon he made him Spun of silk so soft and light; Rolled himself away within it-- Slept there day and night.
3. See how this cocoon is stirring! Now a little head we spy-- What! is _this_ our caterpillar Spreading gorgeous wings to dry? Soon the free and happy creature Flutters gaily by.]
Here's a ball for Baby, Big and soft and round! Here is Baby's hammer-- O, how he can pound!
Here is Baby's music-- Clapping, clapping so! Here are Baby's soldiers, Standing in a row!
Here's the Baby's trumpet, Toot-too-toot! too-too! Here's the way that Baby Plays at "Peep-a-boo!"
Here's a big umbrella-- Keep the Baby dry! Here's the Baby's cradle-- Rock-a-baby-by!
[Music: ALL FOR BABY.
1. Here's a ball for Baby, Big and soft and round! Here is Baby's hammer-- O, how he can pound!]
2. Here is Baby's music Clapping, clapping so! Here are Baby's soldiers, Standing in a row!
3. Here's the Baby's trumpet, Toot-too-toot! too-too! Here's the way that Baby Plays at "Peep-a-boo!"
4. Here's a big umbrella-- Keeps the Baby dry! Here's the Baby's cradle-- Rock-a-baby by!
Five little mice on the pantry floor, Seeking for bread-crumbs or something more;
Five little mice on the shelf up high, Feasting so daintily on a pie--
But the big round eyes of the wise old cat See what the five little mice are at.
Quickly she jumps!--but the mice run away, And hide in their snug little holes all day.
Right hand brought behind the back [Mice run away]]
"Feasting in pantries may be very nice; But home is the best!" say the five little mice.
Emilie Poulsson’s Finger Plays for Nursery and Kindergarten (1893) presents eighteen coordinated activities that pair short verses with specific hand motions, each accompanied by a musical setting from Cornelia C. Roeske. The book opens with a Froebel epigraph—"What the child imitates, he begins to understand"—which frames the plays as tools for cognitive development rather than mere entertainment. Poulsson’s preface notes that finger plays have been "a delight of childhood" across cultures, citing the familiar "Here is the church" as an example. She also claims that the motions can assist "the development of strength and flexibility in the tiny lax fingers" and serve as "the first awakening call" to dormant thought. The volume includes detailed illustrations by L.J. Bridgman, which Poulsson describes as "charming and expressive."
From Field to Table: Sequential Work in Three Plays
Three consecutive plays—"How the Corn Grew," "The Mill," and "Making Bread"—trace a single foodstuff from planting to consumption, each building on the previous step. "How the Corn Grew" opens with a field "all hard and brown and bare" and proceeds through ploughing, harrowing, planting, rain, crows, harvest, and the song of "Harvest Home." "The Mill" personifies a river that "went singing day by day" until it reaches a mill-dam, then turns a wheel that grinds corn "to golden meal" and wheat "to flour." "Making Bread" shows the mother sifting flour "white as snow," adding yeast, kneading, and baking. The sequence reinforces cause-and-effect and the labor behind a common food, a pattern that aligns with Froebel’s idea that imitating work leads to understanding its meaning.
Sound and Motion: The Role of Music and Rhythm
Each finger play is set to music composed by Cornelia C. Roeske, with the digital edition providing MIDI, PDF, and MusicXML files. The verses use consistent meter and rhyme—for example, "A merry little river / Went singing day by day"—which makes them easy to chant or sing while performing the gestures. Poulsson notes that some plays suit babies as young as ten months, who "pound and clap gleefully," while older children enjoy more complex ones like "The Caterpillar." The combination of sung words, hand movements, and narrative sequence creates a multisensory experience that reinforces vocabulary and story structure. The music is not merely decorative; it sets the tempo for the motions and helps children anticipate the next action.
Illustration as Instruction: Bridgman’s Visual Cues
L.J. Bridgman’s illustrations are integral to the book’s design, as Poulsson urges readers to study them for guidance on the hand motions. The preface mentions that the pictures are "charming and expressive," and the table of contents notes that the image for "The Lambs" is missing in the original, indicating that each play had a dedicated illustration. The digital edition advises viewing the pictures at "normal or medium text size" for best effect. These images likely show the exact finger positions for each verse, serving as a visual script. By linking the abstract words to concrete visual and kinesthetic actions, the illustrations help bridge the gap between hearing a story and physically enacting it, a method consistent with Froebel’s emphasis on learning through imitation.
Readers may find it useful to first review the illustrations and music for a play before attempting the motions with a child. The plays vary in complexity, so starting with simpler ones like "All for Baby" can build confidence. The sequential grouping of "How the Corn Grew," "The Mill," and "Making Bread" offers a natural unit for exploring how food reaches the table. Because the excerpts do not include all eighteen plays, the full range of themes—such as animals, nature, and daily tasks—remains to be discovered in the complete text.
Holding Poulsson’s little finger plays, I remembered how gently it taught tiny hands to shape a story. It made me think of that other quiet volume, Study of Child Life — Story, Setting & Ideas, which seems to sit beside it on a shelf, sharing the same patient breath—each one trusting a child’s day to unfold slowly, like a rhyme half-remembered.
There are no reviews for this eBook.
How will you remember this book?
Save your reaction, strongest insight, and memorable passage.