![]() In the 19th century a story began to gain currency that the rhyme is actually about Thomas Horner, who was steward to Richard Whiting, the last abbot of Glastonbury before the dissolution of the monasteries under Henry VIII of England. The book’s main purpose is to follow its hero’s career after he has left childhood behind. However, it has been observed that the story is based on the much earlier Tudor tale of The Fryer and the Boy, and that this insertion is merely to justify the use of Jack Horner's name. In the chapbook The History of Jack Horner, Containing the Witty Pranks he play'd, from his Youth to his Riper Years, Being pleasant for Winter Evenings (mid-18th century), there is a summarised version of the nursery rhyme which Jack himself is said to have composed. Kratz’s Humorous Quartets for Men’s Voices (Boston, 1905) in which the pie is stolen by a cat. Other humorous uses of the nursery rhyme include a comic variation in Guy Wetmore Carryl’s Mother Goose for Grown Ups (New York, 1900) in which Jack breaks his tooth on a plum stone, and one of Lee G. In other contexts the rhyme was applied to Australian politics in the Melbourne Punch to a Canadian railway scandal to income tax relief in Ireland and to David Lloyd George’s use of his party political fund. And in the following century a copy of the Tacoma Times pictured a Japanese Jack pulling a battleship from the Russian pie during the Russo-Japanese war. In an 1862 issue of Punch, Abraham Lincoln pulls the captured New Orleans out of his pie. Jack Horner’s adventures with his pie have frequently been referenced in humorous and political cartoons on three continents. The rhyme used as the basis for a cartoon about a Japanese naval victory in the Russo-Japanese War In De La Rue's Little Jack Horner Snap (1890), thirteen different nursery rhymes form the suits to be collected. In the American version, originating with the McLoughlin Brothers in 1888, the object was to collect suits in the form of four different varieties of plum in their respective pies. There was an educational aim in the card games where Jack Horner figured too. Īfter such an onslaught, it is something of a reformed Jack Horner, harnessed to educational aims, who appears on the Staffordshire Potteries ABC plates of the 1870s and 1880s, as well as on a Mintons tile for the nursery, where the feasting Jack is accompanied by a parental figure carrying keys. Yet another collection of rewritten rhymes published in 1830 features a Jack Horner who is unable even to spell the word 'pie' (spelled 'pye' in the original version). Lacy in the first of the expanded Juvenile Songs of her composition. And in America the same recommendation to share with friends was made by Fanny E. ![]() The poem was republished later with different illustrations as The Amusing History of Little Jack Horner (1830–1832) and again with different illustrations as Park's Amusing History of Little Jack Horner (1840). ![]() ![]() But eventually the children rise up to defend him: The schoolboy Jack Horner is put in the corner for resisting the racist and self-regarding interpretation of history given by his teacher. Such social criticism was reapplied in earnest to the 20th century in an antiauthoritarian lyric from Danbert Nobacon’s The Unfairy Tale (1985). Claiming to trace back the rhyme of Little Jack Horner to its " Low Saxon" origin, he then 'translates' the social criticism he discovers there and adds an anti-clerical commentary of his own. ![]() John Bellenden Ker Gawler charged the mediaeval legal profession with similar interested motives in his Essay on the Archaiology of Popular English Phrases and Nursery Rhymes (Southampton, 1834). The privileged little boy grows up to become "John, Esquire" and goes in search of richer plums, where he is joined in his quest by "female Horners". Who would not be ensconced in thy snug corner?Įach in turn then describes the nature of his sharp practice in his particular profession, followed by the general chorus "And we'll all have a finger, a finger, a finger, / We'll all have a finger in the CHRISTMAS PIE." Īdeline Dutton Train Whitney likewise applied the nursery rhyme to opportunism in American society in Mother Goose for grown folks: a Christmas reading (New York 1860). Jack Horner's CHRISTMAS PIE my learned nurseįrom thence a plum he drew. ![]()
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