A Boy's Trials.

By Jean Blewett

        When I was but a little lad          One thing I could not bear,         It was to stand at mother's knee          And have her comb my hair.         They didn't keep boys' hair as short          As it's kept now-a-days,         And mine was always tangled up          In twenty different ways.         I'd twist my mouth and grit my teeth,          And say it wasn't fair -         It was a trial, and no mistake,          When mother combed my hair.         She'd brush and brush each stubborn curl          That grew upon my pate,         And with her scissors nip and clip          To make the edges straight.         Then smooth it down until it shone,          While I would grin and bear,         And feel a martyr through and through,          When mother combed my hair.         She'd take my round chin in her hand          And hold it there the while         She made the parting carefully,          Then tell me with a smile:         "Don't push your cap down on your curls          And spoil my work and care;         He is a pretty little lad          When mother combs his hair."         I'd hurry out and rumple up          That mop of hair so thick -         A vandal, I, for she had worked          So hard to make it slick -         And wish I were a grown-up man          So nobody would dare         To put a washrag in my ears,          Or comb my tangled hair.         Heigho! now that I'm bald and gray,          Methinks I would be glad         To have her smooth my brow and cheeks,          And whisper, "Mother's lad!"         A longing for the care-free days          Doth take me unaware;         To stand, a boy, at mother's knee          And have her comb my hair.

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Poem Details

Language: English
Keywords: Public Domain
Source: Public Domain Collection
Rights/Permissions: Public Domain

Analysis & Notes:
The poem, a nostalgic elegy for lost maternal care, uses a loose, conversational ballad form to contrast the speaker’s childhood resistance with his present longing. The structure forty-four lines of irregular tetrameter and trimeter, punctuated by a recurring refrain mirrors the rhythm of domestic routine, while the voice shifts from defiant boyhood to wistful adulthood. The imagery of tangled hair and disciplined grooming underscores the tension between rebellion and submission, with the speaker’s eventual baldness symbolizing the irreversible passage of time. The volta arrives in the final stanza, where the speaker’s mature regret transforms the once-dreaded ritual into a poignant wish for maternal comfort. The poem’s power lies in its ability to make the mundane combing hair into a metaphor for the fleeting, unappreciated bonds of childhood.

Understanding Limerick

A limerick is a five-line poem known for its jaunty rhythm, playful tone, and a punchline twist. It’s built for humor—often sly, sometimes downright silly.


Common characteristics of limericks:

  • Five Lines & Rhyme: The standard scheme is AABBA—the first, second, and fifth lines rhyme; the shorter third and fourth lines rhyme with each other.
  • Bouncy Meter: Typically anapestic (two short, one long beat). Lines 1, 2, and 5 are longer; lines 3 and 4 are shorter.
  • Tone & Humor: Lighthearted, mischievous, and built around a final gag or reversal.
  • Subject & Setup: Often starts with “There once was a … from …,” setting place and character before the comic turn.
  • Sound Play: Internal rhyme, alliteration, and rhythmic snap heighten the joke’s delivery.

The best limericks land like a good toast: quick, musical, and clinched by a memorable last line.