The History of Tom Thumb To Which Are Added the Stories of the Cat and the Mouse and Fire! Fire! Burn Stick! — Text and Context

(6 User reviews)   815
In Category - Fantasy Classics
Altemus, Henry [Editor] Project Gutenberg 1999 Not confirmed
Children's stories; Fairy tales -- England Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 7,155
Reading time 32 min
Text sections 1

For The History of Tom Thumb To Which Are Added the Stories of the Cat and the Mouse and Fire! Fire! Burn Stick! — Text and Context, the stored edition analysis reports 7,155 words, 32 min estimated reading time, and 1 detected text section.

The text analysis averages about 26.6 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 “Children's stories,” connecting these edition facts with the source record’s subject description.

Henry Altemus's collection pairs the Arthurian-origin tale of Tom Thumb with two cumulative folk stories, 'The Cat and the Mouse' and 'Fire! Fire! Burn Stick!', revealing how catalog subjects like 'Fairy Tales' and 'Children's stories' encompass varied narrative structures—from a framed fairy tale to repetitive chain narratives.
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Editorial Edition Score 4.3/5

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Merlin was much pleased with this homely repast and the kindness of the ploughman and his wife; but he could not help seeing that though everything was neat and comfortable in the cottage, they seemed both be sad and much cast down. He therefore questioned them on the cause of their sadness, and learned they were miserable because they had no children.

The poor woman declared, with tears in her eyes, that she should be the happiest creature in the world if she had a son; and although he was no bigger than her husband's thumb, she would be satisfied.

Merlin was so much amused with the idea of a boy no bigger than a man's thumb, that he made up his mind to pay a visit to the queen of the fairies, and ask her to grant the poor woman's wish. The droll fancy of such a little person among the human race pleased the fairy queen too, greatly, and she promised Merlin that the wish should be granted. Accordingly, a short time after, the ploughman's wife had a son, who, wonderful to relate! was not bigger than his father's thumb.

The fairy queen, wishing to see the little fellow thus born into the world, came in at the window while the mother was sitting up in bed admiring him. The queen kissed the child, and, giving it the name of Tom Thumb, sent for some of the fairies, who dressed her little favorite as she bade them.

"An oak-leaf hat he had for his crown; His shirt of web by spiders spun; With jacket wove of thistle's down; His trowsers were of feathers done.

His stockings, of apple-rind they tie With eyelash from his mother's eye: His shoes were made of mouse's skin Tann'd with the downy hair within."

It is remarkable that Tom never grew any larger than his father's thumb, which was only of an ordinary size; but as he got older he became very cunning and full of tricks. When he was old enough to play with the boys, and had lost all his own cherry-stones, he used to creep into the bags of his playfellows, fill his pockets, and, getting out unseen, would again join in the game.

One day, however, as he was coming out of a bag of cherrystones, where he had been pilfering as usual, the boy to whom it belonged chanced to see him. "Ah, ha! my little Tommy," said the boy, "so I have caught you stealing my cherrystones at last, and you shall be rewarded for your thievish tricks." On saying this, he drew the string tight around his neck, and gave the bag such a hearty shake, that poor little Tom's legs, thighs, and body were sadly bruised. He roared out in pain, and begged to be let out, promising never to be guilty of such bad practices again.

A short time afterwards his mother was making a batter-pudding, and Tom being very anxious to see how it was made, climbed up to the edge of the bowl; but unfortunately his foot slipped and he plumped over head and ears into the batter, unseen by his mother, who stirred him into the pudding-bag, and put him in the pot to boil.

The batter had filled Tom's mouth, and prevented him from crying; but, on feeling the hot water, he kicked and struggled so much in the pot, that his mother thought that the pudding was bewitched, and, instantly pulling it out of the pot, she threw it to the door. A poor tinker, who was passing by, lifted up the pudding, and, putting it into his budget, he then walked off. As Tom had now got his mouth cleared of the batter, he then began to cry aloud, which so frightened the tinker that he flung down the pudding and ran away. The pudding being broke to pieces by the fall, Tom crept out covered over with the batter, and with difficulty walked home. His mother, who was very sorry to see her darling in such a woeful state, put him into a tea-cup, and soon washed off the batter; after which she kissed him, and laid him in bed.

Henry Altemus's edition brings together three distinct narratives under a single cover: the Arthurian-origin fairy tale of Tom Thumb, and two shorter cumulative stories, 'The Cat and the Mouse' and 'Fire! Fire! Burn Stick!'. While the catalog classifies the work under 'Fairy Tales' and 'Children's stories', the excerpts reveal a notable structural range. The Tom Thumb tale opens with a framed narrative involving Merlin and the fairy queen, establishing a magical origin, while the other two stories rely on repetitive, chain-like sequences where characters refuse requests until a condition is met. This editorial note examines how the collection's content aligns with—and complicates—its catalog subjects.

Framed Origins vs. Cumulative Chains

The Tom Thumb story begins with a historical framing: 'in the days of the famed Prince Arthur, who was king of Britain, in the year 516'. This situates the tale within a legendary past, introducing Merlin as a 'great magician' who visits a ploughman's cottage. The narrative then shifts to a fairy queen granting the wish for a child 'no bigger than a man's thumb'. In contrast, 'The Cat and the Mouse' and 'Fire! Fire! Burn Stick!' lack such framing. They open abruptly—'A cat and a mouse' and 'An old woman was sweeping her house'—and proceed through strict cumulative patterns. Each character refuses to act until a prior condition is fulfilled, creating a chain of demands. This structural divergence suggests that the collection does not present a uniform type of 'fairy tale'; rather, it juxtaposes a literary fairy tale with folkloric cumulative rhymes.

Verse, Repetition, and Oral Rhythm

Within the Tom Thumb section, a poem describes the fairy queen's gifts: 'An oak-leaf hat he had for his crown; / His shirt of web by spiders spun'. This verse, with its consistent meter and rhyme, contrasts with the prose that surrounds it. The cumulative stories, however, rely on rhythmic repetition rather than verse. In 'Fire! Fire! Burn Stick!', each refusal follows the same pattern: 'Stick! stick! beat dog; dog won't bite pig; piggy won't get over the stile, and I shan't get home to-night.' The repetition builds a predictable oral rhythm, suitable for chanting or call-and-response. The mouse story similarly repeats 'mouse gave... and... gave mouse' until the tail is returned. These differing techniques—one employing formal verse, the other iterative prose—highlight how the collection blends literary and oral traditions, a nuance not captured by the broad 'Fairy Tales' subject.

Moral Lessons and Practical Resolutions

The Tom Thumb tale includes moral commentary: Tom's 'cunning and full of tricks' leads him to steal cherry-stones from playfellows. This behavior is presented as mischievous but not explicitly condemned, leaving the moral ambiguous. In contrast, the cumulative stories resolve through practical exchanges. The mouse retrieves its tail by trading bread, meat, hay, and milk in a chain of barter. The old woman in 'Fire! Fire! Burn Stick!' finally succeeds when the cat demands 'a saucer of milk', which she obtains by giving hay to a cow. These resolutions emphasize cooperation and meeting others' needs, rather than punishment or reward. The catalog subject 'Children's stories' implies didactic content, but the excerpts show varied approaches: Tom Thumb's trickery goes unchecked, while the cumulative tales model problem-solving through negotiation. This suggests the collection offers multiple, sometimes conflicting, lessons.

Readers approaching this collection should note that its three tales operate under different narrative logics. The Tom Thumb story invites attention to its Arthurian frame and poetic interludes, while the shorter pieces reward oral reading and pattern recognition. The catalog subjects provide a starting point, but the excerpts reveal a richer interplay of structure, rhythm, and moral framing. Consider how each story's form shapes its effect—whether through legendary origins, cumulative chains, or practical resolutions.

Reading the chain tales in The History of Tom Thumb, I felt a childlike patience, each repetition a small anchor. It reminded me of evenings spent with Celtic Tales, Told to the Children — Reading Companion, where the old stories also unfold slowly, as if spoken by a fire. There is a kinship in their unhurried cadence, a shared trust in the telling itself.

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4.5 out of 5 (6 User reviews )

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    Julie Baker - 1 month ago
    This charming collection of classic tales, including the adventures of Tom Thumb, is a delightful journey into folklore. The stories are well-paced and full of whimsy, perfect for bedtime reading with children. The inclusion of 'The Cat and the Mouse' and 'Fire Fire Burn Stick' adds variety, making this a treasure trove of timeless narratives that will captivate young minds and spark their imagination.

  • ...
    Darren Smith - 1 month ago
    While the tales are historically interesting, the storytelling feels dated and lacks the polish of modern collections. The narratives are simple and predictable, and the moral lessons are heavy-handed. Parents might find the language too archaic for today's children, making it a challenging read-aloud. There are better anthologies of fairy tales available today.

  • ...
    Samuel Paul - 1 week ago
    A decent assortment of old-fashioned stories, with Tom Thumb being the standout. The language is slightly archaic but adds to the authenticity. The other tales are enjoyable but a bit uneven in pacing. A good choice for those interested in traditional folklore, though younger readers might need some help with the older vocabulary.


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