"Little Boy Blue ""Little Boy Blue"" is a popular English-language nursery rhyme, often used in popular culture. It has a Roud Folk Song Index number of 11318. A common version of the rhyme is: <poem>Little Boy Blue, come blow your horn, The sheep's in the meadow, the cow's in the corn. But where is the boy, who looks after the sheep? He's under a haystack, he's fast asleep. Will you wake him? No, not I, For if I do, he's sure to cry. </poem> The earliest printed version of the rhyme is in ""Tommy Thumb's Little Song Book"" (c. 1744),"
"her stepdaughter, the peasant's daughter by his sheep-wife. The witch-stepmother tells her husband to slaughter the sheep before it runs away. He agrees, but her stepdaughter hears and runs to the sheep, lamenting. Her mother tells her not to eat anything made from her body but bury the bones. She does so, and a birch tree grows on the grave. The king gives a festival, inviting everyone, and the witch sends off the husband with her younger daughter, throws a potful of barleycorns in the hearth, and tells the older stepdaughter that if she does not pick barley corns from"
"sheep which has been roasted during the day. It is thought the presentation of horns is associated with the custom of dressing up with horns as a symbol of cuckoldry (a cuckold is an old English term for a man whose wife has had an adulterous affair. It relates to the cuckoo, a bird which lays its eggs in another bird's nest). Centuries ago horn fairs were boisterous events where cuckoldry and seduction would not be unknown. The practice of dressing up with horns is alluded to in the traditional Horn Fair Song. The old saying ""All's fair at Horn"
"aber haben keine wolle mehr, sie werden geschoren; es geht ihnen noch schlechter als den rossen). Dies gehört-habend bog (entwich) [das] schaf [auf das] feld (es machte sich aus dem staube). ""The Sheep and the Horses"" [On a hill,] a sheep that had no wool saw horses, one of them pulling a heavy wagon, one carrying a big load, and one carrying a man quickly. The sheep said to the horses: ""My heart pains me, seeing a man driving horses."" The horses said: ""Listen, sheep, our hearts pain us when we see this: a man, the master, makes the wool"
"he is a rustic oxherd, he points out that gods such as Apollo, Pan, Fauns and Adonis feed herds of cattle. He refers to his youthful beauty and musical skill. The boys thus sing until evening, when they have to leave the woods and take their bulls to their stables. Karakasis considers that an """"intermingling of long-established pastoral features with elegiac dispositions is to be read throughout this poem"""" and that """"both characters ... prove, by means of their song performance, unable to overcome their elegiac passion, despite their pastoral identity"""". The poem begins with a description of what Heyworth"
"her wool, she replies that the shepherd is politer. The Crow and the Sheep The sheep and the crow is one of Aesop's Fables and is numbered 553 in the Perry Index. Only Latin versions of it remain. A sheep reproaches a crow that has perched on its back: 'If you had treated a dog in this way, you would have had your deserts from his sharp teeth.' To this the bird replies, 'I despise the weak and yield to the strong. I know whom I may bully and whom I must flatter; and I thus prolong my life to"
"meddlesome one. If not, it wil hang itself as a bloody coat at the crier's door. This corn demon also slaps people looking out of the window at night or takes part in the wild hunt, is also the mount of the devil. In heavy thunderstorm the ""Habergeiß"" bring cut grain from one field to another foreign field. The appearance of the ""Habergeiß"" causes bad luck. The corn will spoil, the cows will lose weight, give no milk and felt. When the cry of the ""Habergeiß"" is heard in autumn this means a long winter and lack of hay. Both"
"What Corn each Sheaf will yield, intent to hear, And guess from thence the Profits of the Year, He calls his Reapers forth: Around we stand, With deep Attention, waiting his Command. To each our Task he readily divides, And pointing, to our diff'rent Stations guides. As he directs, to distant Barns we go; Here two for Wheat, and there for Barley two. But first, to shew what he expects to find, These Words, or Words like these, disclose his Mind: "" So dry the Corn was carry'd from the Field, "" So easily 'twill thresh, so well 'twill yield;"
"the raven some. When he came to the cottage, he thanked the maiden for her advice, though he did not take it. He followed the cows and sat down when they came to pasture. There he heard music and listened to it. A boy ran to him and claimed his cows were in the corn; Covan said he could have driven them out in the time it took to come to him. Then the boy returned with the claim that dogs were worrying the cows; Covan said he could not have driven the dogs out in the time it took"
"the book seems, according to Western scholars, to clearly describe the Maccabean revolt of 167 BC against the Seleucids. The following two quotes have been altered from their original form to make the hypothetical meanings of the animal names clear. And I saw in the vision how the (Seleucids) flew upon those (faithful) and took one of those lambs, and dashed the sheep in pieces and devoured them. And I saw till horns grew upon those lambs, and the (Seleucids) cast down their horns; and I saw till there sprouted a great horn of one of those (faithful), and their"
"of the sheep into a warm garment for himself. And the sheep has no wool."" Having heard this, the sheep fled into the plain. Owis, jesmin wьlənā ne ēst, dedork’e ek’wons, tom, woghom gʷьrum weghontm̥, tom, bhorom megam, tom, gh’ьmonm̥ ōk’u bherontm̥. Owis ek’womos ewьwekʷet: k’ērd aghnutai moi widontei gh’ьmonm̥ ek’wons ag’ontm̥. Ek’wōses ewьwekʷont: kl’udhi, owei!, k’ērd aghnutai vidontmos: gh’ьmo, potis, wьlənām owjôm kʷr̥neuti sebhoi ghʷermom westrom; owimos-kʷe wьlənā ne esti. Tod k’ek’ruwos owis ag’rom ebhuget. Gʷərēi owis, kʷesjo wl̥hnā ne ēst, eḱwōns espeḱet, oinom ghe gʷr̥um woǵhom weǵhontm̥, oinomkʷe meǵam bhorom, oinomkʷe ǵhm̥enm̥ ōḱu bherontm̥. Owis nu eḱwobh(j)os (eḱwomos)"
"The Crow and the Sheep The sheep and the crow is one of Aesop's Fables and is numbered 553 in the Perry Index. Only Latin versions of it remain. A sheep reproaches a crow that has perched on its back: 'If you had treated a dog in this way, you would have had your deserts from his sharp teeth.' To this the bird replies, 'I despise the weak and yield to the strong. I know whom I may bully and whom I must flatter; and I thus prolong my life to a good old age.' In Marie de France's 12th"
"do you know, I think her father was mistaken, and that she had.” “The Cow With Golden Horns” is a story of a farmer and his daughter Drusilla who have a cow with two gold horns. Drusilla and her father live in a small cottage, and Drusilla tends to the cow day and night so that they can sell her precious milk to those eager to buy it. One day, when Drusilla is watching the cow in the meadow, she dozes off and when she wakes the cow is nowhere to be found. Frantically looking for him, Drusilla crosses paths"
"the land. When the sun comes up every member of the family has their chores to do. Little Henry goes to milk the cow, this is the first year they had a cow. His sister goes to feed the chickens, which are good layers, and the ones that aren't are good ""eaters"". Mrs. Brown tends the garden. There is little in the garden that will be sold, the narrator says, but much that will be eaten. Henry looks out into his field. He is not planting what he usually plants, but peanuts like the government man asked. The peanuts will"
"bass lines. Of the song's three pigs, the only one directly identified is morality campaigner Mary Whitehouse, who amongst other things is described as a ""house-proud town mouse"". ""Sheep"" contains a modified version of Psalm 23, which continues the traditional ""The Lord is my shepherd"" with words like ""he maketh me to hang on hooks in high places and converteth me to lamb cutlets"". Towards the end of the song, the eponymous sheep rise up and kill the dogs, but later retire back to their homes. Wright played the song's introduction unaccompanied on the electric piano, but did not receive"
"gives Alice a pair of her knitting needles, and asks her if she can row. As Alice begins to answer, she realizes that they are in a little boat, and that the needles have turned into oars. As they glide along the water, the Sheep repeatedly shouts out ""Feather"", which means to lift the oar blades out of the water, turn them to a horizontal plane and swing them toward the bow so they don't get 'caught' in the water. The sheep then tells Alice that they will be catching 'crabs' (which is rowing terminology for getting one's blades stuck"
"by the IUCN as least concern, due to the species widespread distribution and a large global population estimated to be twice that of all other bear species combined. Order: Artiodactyla, Family: Bovidae Occurrence: Open mountainous areas E W A Bighorn sheep (""Ovis canadensis"") is a species of sheep in North America with large horns. The horns can weigh up to , while the sheep themselves weigh up to . Recent genetic testing indicates that there are three distinct subspecies of ""Ovis canadensis"", one of which is endangered: ""Ovis canadensis sierrae"". Order: Artiodactyla Family: Bovidae Occurrence: Eastside parklands and prairies, E"
"Robin Hood and the Bishop of Hereford Robin Hood and the Bishop of Hereford is Child ballad 144 (Roud 2338). Robin Hood, knowing the bishop is coming, has his men kill a deer, puts shepherd's clothing on himself and six others, and dresses the deer by the road. The bishop threatens to have them all hanged. Robin summons the rest of his men with his horn, compels the bishop to dine with them, and either robs him or forces him to say mass for them. This ballad was published as a broadside by C. Shepherd, of London, in 1791. It"
"learns of the younger brother's adventure. They then set out to deliver the body to the king, but on passing a bridge, the older kills the younger and buries his body beneath it. He takes the boar himself to the king and marries the king's daughter as prize. One day a shepherd sees a bone under the bridge and uses it to make a mouthpiece for a horn, which sings of the brother's fate: ""Ah! Dear shepherd, you are blowing your horn With one of my bones, which night and morn Lie still unburied, beneath the wave Where I was"
"is thrown by him into the river to teach him better manners. The tale with its three episodes does not present illustrators with many possibilities other than showing the two animals looking at each other and showing various emotional states. The possibilities of the Mediaeval convention of showing all the episodes in a composite design is made use of in the late 15th century Greek manuscript known as the Medici Aesop. Thereafter one had to wait until the convention was revived towards the end of the 19th century. In 2011 the fable was set for narrator, horn and piano by"
"The Farmer and the Stork The Farmer and the Stork is one of Aesop's fables which appears in Greek in the collections of both Babrius and Aphthonius and has differed little in the telling over the centuries. The story relates how a farmer plants traps in his field to catch the cranes and geese that are stealing the seeds he has sown. When he checks the traps, he finds among the other birds a stork, who pleads to be spared because it is harmless and has taken no part in the theft. The farmer replies that since it has been"
"when the weather is favourable, a great number is drawn together from the neighbouring villages … [The fair] is annually announced three or four weeks previously by all the little urchins who can procure and blow a cow's horn, parading the streets in the evenings, and sending forth the different tones of their horny bugles, sometimes beating an old saucepan or a drum, to render the sweet sound more delicious, and not unfrequently a whistle-pipe or a fife is added to the band. The clock's striking twelve on the Sunday night previous, is the summons for ushering in the fair"
"cows for her per day. The prince her brother hears of it and comes for her, despite his stepmother's attempt to keep him away, by magic and by force of arms. Spindlestone Heugh (or Heughs) is a dolerite crag on the Great Whin Sill escarpment in the parish of Easington, Northumberland. The Spindlestone itself is a natural stone column standing out from the crag, which is also known as ""Bridle Rock"". According to a local legend, Child Wynd threw his horse's bridle over the rock before tackling the worm. The ballad describes a cave and a stone trough used by"
"into the woods. In the woods Alice meets Tweedledum and Tweedledee, who sing and dance about the proper edict of greeting one another (""Shake Hands""). After confirming that they aren't in the least bit tired they sing Alice the story of (""The Walrus and the Carpenter""). After realizing that the Walrus and the Carpenter ate all the Oysters, she runs back into the woods. She bumps into The White Queen again, who sings of the logic of (""Jam Tomorrow, Jam Yesterday"") ""but never ever jam today"" as a consequence of living backwards and ends up turning herself into a sheep."
"and the ten horns are ten kings who have not yet received kingdoms. Of the seven kings, five have fallen, one is, the other has not yet come. The beast itself is an eighth king who is of the seven and was and is not and shall ascend out of the bottomless pit, and go into perdition."" The second beast is primarily described in Revelation chapter thirteen. This second beast comes out of the earth whose overall appearance is not described, other than having ""two horns like a lamb"", and speaking ""like a dragon"". His purpose is to promote the"
"if he stamps twice there are two, and if he begins to paw the ground there'll be a whole pile. [...] Ordinary goats have two horns, but this one's got antlers, with five tines. Unlike other goats' horns, Silver Hoof's horns are not shed in winter, and that is how Kokovanya is planning to recognize him. Daryonka begs the old man to take her hunting, and he reluctantly agrees. The cat follows them too. In the forest, Kokovanya goes hunting every day and comes back with a lot of regular goat meat and skins. Soon they have so much meat"
"to ask his killers to bury his body by the sheep's pen. She is to then tell the rest of his sheep that he had married a princess during a ceremony attended by the elements of nature, and marked by the falling of a star. However, there is no rite of passage metaphor with heavenly manifestations in the version of the story the ewe is to tell the shepherd's mother: she is to hear only of her son having married a princess. This poem was quoted extensively by Patrick Leigh Fermor in his account of the second part of a"
"or derived from the Old Norse ""ager-hoene"", meaning ""cock of the field""; variants include ""drake"", ""drake Hen"" and ""gorse drake"". Corn crakes are the subject of three stanzas of the seventeenth century poet Andrew Marvell's ""Upon Appleton House"", written in 1651 about the North Yorkshire country estate of Thomas Fairfax. The narrator depicts the scene of a mower cutting the grass, before his ""whistling Sithe"" unknowingly ""carves the Rail"". The farmhand draws out the scythe ""all bloody from its breast"" and ""does the stroke detest"". It continues with a stanza that demonstrates the problematic nature of the corn crake's nesting"
"was included in ""A Collection of National English Airs"", edited by William Chappell and published in 1840. Robin Hood and the Bishop of Hereford Robin Hood and the Bishop of Hereford is Child ballad 144 (Roud 2338). Robin Hood, knowing the bishop is coming, has his men kill a deer, puts shepherd's clothing on himself and six others, and dresses the deer by the road. The bishop threatens to have them all hanged. Robin summons the rest of his men with his horn, compels the bishop to dine with them, and either robs him or forces him to say mass"
"Horned Serpents were major components of the Southeastern Ceremonial Complex of North American prehistory. The Canaanite gods Baal and El were likely originally horned bull gods. ""I will cut off the horns of all the wicked, but the horns of the righteous will be lifted up."" In majesty he (Jacob) is like a firstborn bull; his horns are the horns of a wild ox. With them he will gore the nations, even those at the ends of the earth. Then I saw a second beast, coming out of the earth. It had two horns like a lamb, but it spoke"
"the matter, ""I didn't sign on to kill grandpaws and little boys."" After the horrific events at Shelton Laurel family members discovered the shallow grave of their relatives was being exhumed and eaten by wild hogs. When Inman awakens in the novel he discovers ""feral hogs descended from the woods, drawn by the tang of the air. They plowed at the ground with their snouts and dug out arms and feet"". When the captors at Shelton Laurel captured Henry and George Grooms they asked Henry to play a tune on his fiddle before his execution. He played ""Bonaparte's Retreat"". Before"
"Horn (anatomy) A horn is a permanent pointed projection on the head of various animals consisting of a covering of keratin and other proteins surrounding a core of live bone. Horns are distinct from antlers, which are not permanent. In mammals, true horns are found mainly among the ruminant artiodactyls, in the families Antilocapridae (pronghorn) and Bovidae (cattle, goats, antelope etc.). One pair of horns is usual; however, two or more pairs occur in a few wild species and domesticated breeds of sheep. Polycerate (multi-horned) sheep breeds include the Hebridean, Icelandic, Jacob, Manx Loaghtan, and the Navajo-Churro. Horns usually have"
"""Haferbock"" and ""Habergeiß"" steal, hit or kill children. A corn spirit shaped as a bird is the ""Weizenvogel"" (""wheat bird"") or ""Rätschvogel"". The ""Getreidehahn"" or ""Troadhân"" (both ""grain rooster"") is a rooster-shaped corn demon who sits in corn field and waits for children to peck out their eyes. Other names are ""Arnhahn"", ""Erntehahn"", ""Bauthahn"" (all ""harvest rooster""), ""Herbsthahn"" (""autumn rooster"") ""Schnitthahn"" (""cut rooster""), ""Stoppelhahn"" (""stubble rooster""), ""Kornhahn"" (""corn rooster"") or ""Saathahn"" (""seed rooster""). The female equivalent of the ""Getreidehahn"" is the ""Erntehenne"" or ""Aarhenne"" (both ""harvest hen""). Other corn spirits are shaped as rabbits, deers or roe deers and also"