It might surprise you to learn that Winnie the Pooh was a swan before he was a bear. A real, cheeky swan who became, A. A. Milne (January 18, 1882 – January 31, 1956) tells us in his first book of children’s verse When We Were Very Young, a particular friend to Milne’s young son.
Christopher Robin who feeds this swan in the mornings, has given him the name of “Pooh.” This is a very fine name for a swan, because, if you call him and he doesn’t come (which is a thing swans are good at), then you can pretend that you were just saying “Pooh!” to show how little you wanted him. Well, I should have told you that there are six cows who come down to Pooh’s lake every afternoon to drink, and of course they say “Moo” as they come. So I thought to myself one fine day, walking with my friend Christopher Robin, “Moo rhymes with Pooh! Surely there is a bit of poetry to be got out of that?”
With the simplicity of truth as his starting point, British writer A. A. Milne created the jolly, whimsical book of verse When We Were Very Young that set the tone for his subsequent, beloved Pooh characters. 1
There is a bear in this collection too, but he only appears as “Teddy Bear” (although he demonstrates the curious, adventurous personality of the yet to be created Winnie the Pooh).
A bear, however hard he tries,
Grows tubby without exercise.
Our Teddy Bear is short and fat
Which is not to be wondered at;
He gets what exercise he can
By falling off the ottoman,
But generally seems to lack
The energy to clamber back.
Now tubbiness is just the thing
Which gets a fellow wondering;
And Teddy worried lots about
the fact that he was rather stout.
He thought: “If only I were thin!
But how does anyone begin?”
He thought: “It really isn’t fair
To grudge me exercise and air.”
From “Teddy Bear”
Not to fear, Bear soothes his concerns by chancing upon a picture of a rather rotund King of France and notes if such a Royal be tubby, he is in good company.
Roald Dahl once suggested that his popularity as a children’s book author came from the fact that he never underestimated his audience. Children were as smart and strong and curious as adults.
If Dahl makes adults of children, Milne does the opposite. He proposes to return us to our own young innocence.
Take this lovely delight of a poem:
John had a
John had a
Milne’s repetition of “Great Big” indicates that it – not the boots nor the hat – is the source of happiness. (What parent hasn’t done the same? Time to put on your yellow boots and your fluffy hat! I said this very morning.)
Or this poem about a girl who disappears for days and returns terribly dirty but keeps her hands clean (and is so thoroughly proud of that accomplishment).
Came slipping between
the two tall trees at the end of the green.
We all ran up to her. “Emmeline!
Where have you been?
Where have you been?
Why, it’s more than a week!” And Emmeline
Said, “Sillies, I went and saw the Queen.
She says my hands are purkickly clean!”
From “Before Tea”
In his childhood memoirs, British writer Laurie Lee stepped back into his child shoes and imagined that world anew as an adult. He saw its immediate boundaries “The village was the world and its happenings all I knew” Lee wrote in Cider with Rosie.
Milne similarly narrows his poems to a child’s point of view. A child that goes to market and regrets there are no rabbits; a child who visits Buckingham Palace and imagines tea with the King; a child who sits on the middle stair because it is halfway there.
There is little in this collection which I cannot imagine my own daughter doing, and through that proxy, my own young self.
I never did, I never did, I never did like
“Now take care, dear!”
I never did, I never did, I never did want
I never did, I never did, I never did think much of
“Not up there, dear!”
It’s no good saying it. They don’t understand.
To write for children, of children, we must step into the place of children. Of course we cannot go home (and when we try we are greatly disappointed) so instead we must suspend our adult selves and listen to children. Milne accompanied his son Christopher Robin and imagined his son’s beautiful, curious mind. 23
“Then there is another thing,” Milne explains in When We Were Very Young, “You may wonder who is supposed to be saying the verses.”
Is it the Author, that strange but uninteresting person, or is it Christopher Robin, or some other boy or girl, of Nurse or Hoo?… You will have to decide for yourselves. If you are not quite sure, then it is probably Hoo. I don’t know if you have ever met Hoo, but he is one of those curious children who look four on Monday, and eight on Tuesday, and are really twenty-eight on Saturday, and you never know whether it is the day when he can pronounce his “r’s.” He had a great deal to do with these verses.
To keep one’s child self so present, what a gift!
It is difficult to read When We Were Very Young and not be struck by the difference in childhood one hundred years ago versus today (cuddling bears at the zoo?!).4
Some things, however, remain very much same and that is the preciousness of this book. You will see your own kids in the lines, perhaps even yourself when you were very young.
Halfway down the stairs
is a stair
where i sit.
there isn’t any
i’m not at the bottom,
i’m not at the top;
so this is the stair
Halfway up the stairs
And it isn’t down.
It isn’t in the nursery,
It isn’t in town.
And all sorts of funny thoughts
Run round my head.
It isn’t really
It’s somewhere else
Accompany this classic with Robert MacFarlane’s call for curiousness, Roald Dahl’s memoirs Boy (which are equally – sometimes awkwardly – silly). T. S. Eliot’s odes to cats and my own study of wonder and the delight of being read to.