Cotsen Curatorial | Cotsen Children’s Library

The nursery rhyme about Cock Robin may have inaugurated the genre of true crime fiction for children. This little biblio-mystery, which was first run in 2017, shows why curators should always, but always, do their own independent research before and after purchase!.

Cock Robin, the tale of a murder without a motive is one of the most famous English nursery rhymes and its text has been a showcase for many gifted artists. Some very fine watercolors for the illustrations to a John Harris Cock Robin were up for grabs at the Sotheby’s New York December on-line auction of artwork for children’s books. Harris, the successor to the Newbery firm, was a pioneering picture book publisher and the Cock Robin in the celebrated Cabinet of Amusement and Instruction series of the 1820s, is one of the most famous. The drawings in the Sotheby’s sale were not for this edition, but even so I was concerned they would catch more eyes than mine. With a trove of nearly three hundred drawings for Harris children’s books in Cotsen, I was very keen to add them to the collection. Cotsen turned out to be the only bidder, so the six drawings are safe in Firestone, thanks to the generous support of the Friends of the Princeton University Library.

After unpacking them, I went to the vault to reconfirm the attribution and discovered instead that the drawings were “not as described,” which is code in the antiquarian book trade for “wrongly cataloged.” The drawings were too lovely to return (to the right is the one of the pipe-puffing owl tolling the bell), so the only alternative was to cross my fingers and go in search of the book they did illustrate. The mystery was unraveled quickly, thanks to three gems from the collection of Marjorie Moon, author of the Harris bibliography.

The drawings are for an 1808 Harris pamphlet that survives in just four copies: The Tragi-comic History of the Burial of Cock Robin; with the Lamentation of Jenny Wren; the Sparrow’s Apprehension; and the Cuckoo’s Punishment. The title page spread is on the right below and the drawing for the frontispiece on the left. Look closely and you’ll see that the engraver of the frontispiece edited out the blood pooling underneath the robin in the watercolor.

When I started matching up drawings with the passages they represent, it became clear that the Tragi-comic History was faithful in its fashion to both of the traditional nursery rhymes about the robin’s death and its marriage to the wren. Take a second look at the title page spread. The frontispiece depicts the grieving widow Jenny Wren, which is a departure from the death and burial of Cock Rbin where the wrens are the pall bearers and the dove chief mourner as the robin’s “love.” On the other hand, Jenny’s role in the Tragi-comic History is consistent with the title page declaration that the pamphlet is a sequel to the Harris’s 1806 gay two-part retelling of the rhyme about the union of the robin and wren, The Happy Courtship, Merry Marriage and Pic-nic Dinner of Cock Robin and Jenny Wren.

The Tragi-comic History departs from the prequel by the third stanza, when the birds “lug in” the sparrow to be punished for “his sin.” Notice how the owl secures the cord around the sparrow’s neck with a stout staff. (What bird has concealed itself in the hollow tree trunk to the right?) Stanza four reveals that the author of TheTragi-comic History conflated the traditional rhyme of Cock Robin’s death and burial with the Harris retelling of the marriage and, more importantly, devised a water-tight alibi for the sparrow’s crime that exonerates him of accidental manslaughter.

The sparrow pleads for mercy, saying he has been unable to eat since “shooting in defence / Of Jenny Wren, Bob’s wife, / He’d sav’d her innocence, / But robb’d his friend of life.” In order to understand exactly what happened, we have to backtrack to The Happy Courtship, Merry Marriage and Pic-nic Dinner. Here is Robin, sporting a very jaunty plumed hat, walking his blushing bride to church.

The happy couple exchange vows with Parson Rook presiding.

Friends of all species bring dainties to the feast and dog Tray’s offering is a bone with plenty of good meat for the picking.

The cuckoo, that “wicked elf,” disrupts the festivities by trying to tumble the bride.

Still inflamed by “her charms” in The Tragi-Comic History, the cuckoo had the audacity to visit Jenny in the nest and try to “seize a kiss” when he knew her husband was away. Seeing the wren in distress, the sparrow, “aimed at Wantonness,/ But hit Fidelity,” being a bad shot. Now that the birds know the whole story, “on the culprit they fell,/ With talons, wings, and beaks,/ and drubb’d him very well,/ With scratches, slaps, and pecks.” The climax of the poem (and prelude to the robin’s funeral) is the invention of The Tragi-comic History’s author.

A word about the artist is in order. The drawings are attributed to Irish-born Victorian painter William Mulready(1786-1863). In the nineteen teens, he was studying at the Royal Academy and partly support his young family of three children by designing illustrations for the children’s publishers Harris and William Godwin. The drawings for The Tragi-comic History are in the same style as Mulready’s better-known ones for another fanciful poem about partying animals, William Roscoe’s The Butterfly’s Ball and Grasshopper’s Feast (1806).

Back to our story… After the sparrow is pardoned, the swallow delivers to every bird an invitation to the “obsequies of their dear worthy friend.” Unfortunately, only one of the three illustrations for the burial are here: the one of the owl ringing the bell (shown above). The invitation scene and the one of the robin’s body being borne to the grave with the jay, magpie, dove, and pigeon flying over it with the pall are missing.

The grieving widow returns to her “uncheering home” only to find herself subject to the unwelcome attentions of yet another suitor, this time the “vain and smart” Goldfinch all in scarlet and gold (he had been attentive during the wedding). Jenny Wren being no Lydia Bennett, neither his bold uniform nor his “sweet love-tales…could not gain her heart.”

Thank heavens in the little republic of children’s literature, it is possible with some close reading to establish the facts and nothing but the facts about this famous nursery crime…

J. K. Rowling is the only major fantasy English-language fantasy writer to have completely saturated the market with merchandise described in her books: her imagination is naturally commodifying. Diana Wynne Jones wrote more books revolving around magical powers, but the plots and characters are not contained in one world. There are seven volumes by Ursula K. Le Guin about the great archipelago of Earthsea, where wizards and ordinary people live frugally without the assistance of technology or pleasures of many creature comforts. Things are central to the imaginative realm of Rowling in a way they never were in those of Wynne Jones and Le Guin. Say “Harry Potter” and chances are a product she dreamed up as likely to pop into your head; there is no comparable reaction when hearing “Chrestomanci” or “Sparrowhawk.”

Only those immersed in the Harry Potter series as youngsters will put on their bucket list a visit to Platform 9 ¾, the flagship of official licensed Harry Potter shops in King’s Cross Station. Somewhere among the wizarding world collectibles for Muggles may be found for that petite madeleine—or rather Bertie Bott’s Every-Flavour Beans—that will keep the memories ever green of reading the books, listening to the audio-recordings, and watching the films. A jar of Bobotuber pus cannot be had there for love or money, but there is more than enough swag to cram full an expandable bag. A set of Horcruxes? An LGBT pride tee shirt? A Divination tea set? A Gringotts bank? A Final Challenge chess set? What will you have?It’s even possible to imagine Rowling’s characters visiting Platform 9 ¾ as a shadowy simulacrum of Diagon Alley. Draco would stalk down the aisles looking for merch from the dark side— the Death Eaters’ masks or the movie prop replica of his wand authenticated by Warner Brothers in an Ollivander’s box plus a Slytherin wand stand—that might stir his pure blood and uncurl his lip very slightly.

Ron would deny the existence of knock-offs of his mother’s infamous Christmas sweaters. Being chronically short of pocket money, he would have to be contented with picking up some cheap Quidditch memorabilia or trying to complete his set of chocolate frog wizard cards.There isn’t anything quirky enough in the shop to catch Luna’s eye. If witches used mobile phones, she could search Etsy for unique items like customized cake decorations, a polymer clay statue of Dobby and the sock that liberated him, or a full-scale model of Harry’s cupboard while waiting for her friends to finish browsing. The attempts to copy her personal style, on the other hand, she might not take as a compliment, even if the prices were reasonable.What about Hermione? It’s hard to imagine her wearing a charm bracelet with miniatures of the winged key or the Tri-wizard Tournament cup. But the best witch of her generation can’t resist a good reference book, so she might just not be able to resist a copy of the Unofficial Harry Potter Character Compendium compiled by Mugglenet bound in “premium leather accented in true 22K gold” from Easton Press for $147.00 (payment in three convenient installments is also an option). And her preference for books is, surprisingly enough, the soundest in terms of investment value. The books that started the tsunami of authorized merchandise, have held their value relative to the tchotchkes: thousands of dollars separate the priciest lots of merch on EBay from the seven titles in the series. Buying a first edition of Harry Potter and the Goblet of Fire on Ebay would be foolhardy, given the very brief descriptions posted there, but armed with Phillip W. Errington’s updated edition of J. K. Rowling: A Bibliography (London: Bloomsbury Academic, 2015), I can examine any copy at hand and be confident of identifying one of the several million copies of the first printing of the American edition. In fact, there’s one in my basement, but it’s been handled too much to realize full market value. Pity.

Errington succeeds in bestowing upon Rowling’s body of writing literary legitimacy, but fails to give any indication of the existence of the parallel collecting universe she has authorized to extend the wizarding world’s reach far beyond the printed page. Legions of devout fans haunt Ebay for Harry Potter memorabilia because it’s affordable. It can be bought in lots sold by weight or acquired painstakingly item by item. For a Hagrid completist, it would be necessary to track down all forms of Fang, Fluffy, Norbert, Buckbeak, Blast-ended skrewts, Aragog, etc. Having gone that far down the path to the Forbidden Forest, the passionate collector would then be obligated to add all the different versions of his hut (that’s a lot of Legos) and the peculiar objects inspired by the birthday cake he baked for Harry…. All this activity raises the dementors of storage versus display–and either option eats up space and tests the forbearance of loved ones. It has even wider ramifications. Best-selling books may be the heart and soul of any campaign to exploit their commercial potential as a beloved cultural property, but overlooking all the merch (however sane a decision it may be on the bibliographer’s part) fails to come to terms with the cataclysmic changes marketing and branding have wrought in the literary landscape of late twentieth and early twenty first centuries. To understand the impact of Rowling’s imagination, it is important to take into account her fans’ powerful desire to acquire solid, displayable, wearable tokens of the wizarding world.