A month came out of the fog
He took out a knife from his pocket:
"I will cut! I will beat!
Who will you be friends with?"

(Folklore. Children's rhyme)

Stylization cycle

Or, as the classics would say about the same thing:

1 Catullus (ancient Roman poet) 87-54 BC

Night! Among the stars, the moon hung like a slice of cheese,
A luminiferous path stretches into the sea,
As if the mist is dragging under the ledge...
It's time for the robber to come out with a knife!

Oh, and who did I foolishly invite, cudgel?
The silhouette of an alien is moving straight towards me!
Can beat! If he wants to slaughter - he will slaughter!
I need to do something right now!

Was it in vain that I learned the art of public speaking?
I'll confuse the guy with syllogisms!
The main thing is that he understands the language of Latin,
And he was inclined to dialogue on a slippery path!

Who are you? I'm ready to die! Just answer - who sent it?
Here's my chest! You will see the rider die!
- I'm a new slave! And your wife told me
To bring such mantle for you into dampness!

2 Basho (Japanese poet) 1644-1694

Moon in the fog...
Here the ninja looked out the window ...
Whether to poke a knitting needle in the eye?

3 Omar Khayyam (Persian poet) 1048-1131

dreams

The month has come quietly out of the fog...
Good start for a novel!
A purse of fogs wouldn't hurt me
For an extraordinary dastarkhan!

4 Shakespeare (English poet) 1564-1616

Through the eyes of an eyewitness

How brazenly the Spanish Armada marched!
It seemed that she could not resist!
And the month in the sky was like a reward to them, -
But suddenly Boreas turned them back!

Fog has crept in, a storm has screwed into the English Channel!
And the one who cut thought us and beat,
He ordered to anchor and frown his eyebrows,
He lowered the order - "So as not to leave the place!"

And we, of course, did not miss the chance,
They immediately set fire to their longboats,
And let the wind go without pity!
And how it blazed there in the distance!

... Tomorrow I will tell about this prank, -
And then there was no night left for sex!

5 Lomonosov (Russian poet) 1711-1765

Altercation

I almost slapped the count in the nose!
Naryshkin made a dressing, -
Like, damn it, Mikhailo, I'll dishonor it!
Leave the Academy!

But I answered the satrap:
"Are you out of your mind or not?
Leave me? Yes! Maybe!
It's impossible from me!

Open the window where the month is enough
In the cloudy fog, like a brother,
Leads with the stars for a long time
Your heartfelt conversation!

And just me with the students
I will be glorified, count, for centuries!
Open the window soon, Count,
To make sure - who is right here!

And in white paint latches
Raised with an unwavering hand!
The abyss of stars has opened up!
There are no stars! The abyss is the bottom!"

6 Pushkin (Russian poet) 1799-1837

creative search

"The month came out of the fog
He is a thief - but who is to blame?
He took a knife out of his pocket...
What to write next?

Dobre! If I'm alive
How to fast with success
Tomorrow for this etude
I will definitely return!

A lot of days have passed since then -
One for five and two for five!
Remembering the month, he went out into the hall,
I started writing about it again!

But the celestial
has grown exponentially,
And my sketch, unfortunately
had to correct

"Through the wavy mists
The moon is creeping
To sad glades
She pours a sad light!"

7 Lermontov (Russian poet) 1814-1841

(Chechen lullaby during Lermontov's stay in the Caucasus)

The moon has risen! He came out of the fog!
Illuminated the camp of the Uruses in the darkness!
The songs are screaming! On a drunk - drunk!
How this vile people is not dear to me!

They'll fall asleep soon!
Let's slaughter everyone like sheep later!
We will roll the guns away from the damned,
So that Yermolov would cry about that!

Month! Do you take the knife out of your pocket?
In vain! There is someone to avenge their relatives!
Crows are everywhere! Waiting for the death of the devils!
They sense a sure trap here!

Who burned villages - he is not worthy to live
The giaur will go to hell with tar!
... A month in the sky is both quiet and calm,
And the young warrior goes to battle!

8 Yesenin (Russian poet) 1895-1925

Out of the fog the moon went for a walk
Throwing a cream bun to orphan stars.

In the gateway I met a proud zhigan *.
Like a Zhigan, he took a knife out of his pocket.

"We will fight, boy, only until the first blood!
You know the rules! Nothing new for you!"

Dull steel flashed! A quiet rattle is heard!
Jokes are not jokes here! Who will kill whom?

The Moon has broken!.. And the zhigan? That one is hilarious!
Above Murka's window, he hung the enemy.

The flown poplar is silvery and bright
Above the moon window. Under the window wind.

Matthew Arlidge

A month has come out of the fog ...

Copyright © 2014 M. J. Arlidge

© Publication in Russian, translation into Russian, design. Publishing house "Sinbad", 2016

* * *Chapter 1

Sam is sleeping. There's nothing to kill him now. He lies, turned away from me - it would not be difficult. Will he wake up if I move? Will he try to stop me? Or will it even glad get rid of the nightmare?

You can't think like that. We must try to remember something from real life, something good. But the days in captivity drag on endlessly, and hope dies first.

I strain my mind, looking in my memory, so as not to think about the terrible, happy memories. But finding them is getting harder and harder.

We've only been here for ten days (or eleven?), and normal life already seems like a distant past. We were returning from a gig in London when it happened. The rain poured down like a bucket, cars rushed by, but not one slowed down. We were soaked to the skin and were about to turn back when a minivan picked us up. It was warm and dry inside. We were offered coffee from a thermos, and the smell alone cheered us up. The coffee tasted even better. Who would have thought that this would be our last sip of freedom.

When I woke up, my head was buzzing and splitting with pain. There was blood on the lips. I was no longer in the warm interior of the car, but in some cold dark room. Fell asleep? I flinched at the sound behind me. It was Sam trying to get to his feet.

Robbed. We were robbed and thrown out of the car. Leaning against the wall, I moved forward. Cold tiles at hand. I bumped into Sam and held on to him for a second or two, breathing in the scent I love so much. Gradually, the full horror of what had happened dawned on me.

We were in an abandoned pool. Abandoned for a long time and thoroughly gutted. There was nothing left: no springboard, no scoreboard, no ladders. Only a deep hole with smooth walls and a slippery floor, from which it is impossible to get out.

Did this scum hear us scream or not? Probably heard. Because as soon as we shut up, how it happened. The cell phone rang, and for a deliciously brief moment we believed that help was on its way. And then we looked at the lit screen of the phone, which was lying on the floor of the pool, not far from us. Sam did not move, and I ran to the apparatus. Why me? Why always me?

- Hello, Amy.

The distorted voice on the other end of the wire bore little resemblance to a human. You have to beg. Ask for mercy. Explain that they are making a terrible mistake. “But they know my name,” I realized, and all my fuse faded. I said nothing, and the voice continued with its former impassive ruthlessness:

- Do you want to live?

- Who you are? What do you want from us...

- Do you want to live?

I am silent for a full minute. I can not talk. The tongue seems to have dried up.

Finally I squeeze out:

There is a pistol on the floor, next to the telephone. It has one bullet. For Sam or for you. This is the price of freedom. To live, you must kill. Do you want to live, Amy?

I can't say a word. I'm going to throw up now.

Do you want it, Amy?

And the phone turns off.

- What did they say? Sam asks.

Sam sleeps next to him. I could do it right now.

Chapter 2

The woman gave a short cry of pain. Purple welts swelled across her back. Jake raised the whip again and lowered it with a sharp click. The woman arched her back and sighed.

She rarely said anything other than that word. Not the chatty ones. Not like his other clients. Administrators, accountants, secretaries… Sexually unsatisfied, starving for live communication, they all desperately wanted to please the man who treated them with a whip for money. This one was different. Closed book. She never mentioned how she came across him. What brought her. She gave clear and precise instructions - explained what she needed - and ordered to proceed.

He always started by fixing his wrists. He tied them tightly with two studded leather straps and fastened them to the wall. Then he put on bracelets with chains around his ankles and chained his feet to the floor. She carefully folded her clothes on a chair and, remaining in her underwear, stood in anticipation of punishment.

No role playing. No: "Please, daddy, don't, it hurts!" or "I'm a very, very bad girl." She just wanted him to hurt her. In a sense, it even suited him. Any work turns into a routine after some time, and for a change it was pleasant for him to deal with a client who did not require him to play along with her sad fantasies. Nevertheless, he was upset by her persistent unwillingness to make contact with him. The most important element of a BDSM session is trust. The sub must be sure that he is in good hands, that the dominator understands his needs and has enough experience to ensure that the session is satisfactory for both parties. Otherwise, the game escalates into violence, if not abuse of position, which was not in Jake's interests at all.

Of course, he was trying to break the ice - here is an innocent question, there is a non-binding remark. And in time I found out that she was not from Southampton, single, under forty. And no complexes in this regard. He also realized that she only needed pain, and sex was unnecessary. She didn't ask for stimulation or flirting. All she needed was punishment. Jacking her with a whip, Jake was not too zealous, but he did not hack, he worked to the fullest. She held herself well, and her body was to match: strong, muscular, seriously pumped up. Old scars suggested that the client was no stranger to BDSM.

But all his tricks and cunning questions led to nothing. There was only one thing Jake knew about her for sure. One day, while she was getting dressed, a photo ID slipped out of her jacket pocket. She immediately picked him up - she thought he would not notice. But he noticed. Jake always thought he was good with people, but here he was in for a surprise. If not for this ID, he would never have guessed that she was from the police.

Chapter 3

Amy is squatting a few feet away from me, pissing on the floor without any hesitation. None of us are embarrassed anymore. I watch as a thin stream of urine, hitting the tile, stains the already stale panties with splashes. A couple of weeks ago I would have turned away. Now there is no.

Urine crawls like a lazy snake along the slightly sloping bottom of the pool to flow into the stinking puddle that has gathered at the far end. I watch Amy urinate without taking my eyes off her, but soon the show ends. Amy returns to her corner. No apology, no simple nod. We have become animals - we do not pay any attention to each other.

You don't care naked .

And after the month the moon.

The devil hung the sorcerer.

And the sorcerer hung, hung

And flew into the trash.

And Boris lived in the garbage -

Chairman of dead rats.

And his wife - Larisa –

wonderful rat.

He is different fell in love

He took an ax and killed it.

BUT wife didn't die

Took money and left.

He loved another,

He took the perfume and gave it to her.

A month came out of the fog

He took a knife out of his pocket

You don't care drive.

And the next night

He stabbed your daughter.

This is not my daughter

And someone else's king.
There are also other endings:

And the next night

He stabbed your daughter.

Elena is not mine

This is the king's daughter.

And the king in the market

Sold shoes.

And the wife on the bench

Sells pins.
This is a daughter not mine,

And someone else's king.

And the king is on the bench

Eats goats.
And the king in the market

Eats shoes.

And the wife on the bench

Eats pins.
“The car was driving through a dark forest…”
This story has a short and two long versions:
Went (went) dark forest car

For some interest.

Inte-inter-inter-res,

Come out with the letter es.
Went (went) dark forest car

For some interest.
Inte-inter-inter-res,

Come out with the letter es.

And on the letter there is a star, (1)

Trains pass there.

If the train doesn't pass

The driver will go crazy.

And the train didn't pass.

The driver is crazy.
Went (went) dark forest car

For some interest.

Inte-int-inter-res, (2)

Come out with the letter es.

letter es did not fit (we do not need),

Come out to the letter A.
In some cases, the first line of the short version looks like this:
The cuckoo walked past the forest
While the short version is virtually unchanged, both long versions have variations. The long version - 1 is joined by various continuations that are not widely used. Here is one of them:
He climbed up to the ceiling

He pinched his belly button.

And his wife answered him:

I don't have green.

And greenery on the floor

It plays a kangaroo.
Continuations of the long version - 2 are more common, but not too varied:
We don't need the letter A

Come out on the letter I.
And on the letter a star

Come out on the letter I.
"On the golden porch..."
A striking feature of the texts related to this plot is the presence traditional and contemporary versions.

The traditional version has complete and truncated forms:

Both forms of the traditional version involve not the usual single pronunciation of a rhyme, but a kind of game that requires an answer to a question. (Who will you be?) and repeated reproduction of the text of the rhyme. “The one pointed out by the speaker of the counting rhyme calls “king”, “king”, “shoemaker”. The counting is read again to the named word, and the one to whom it fell out comes out ”3. After that, the recalculation is repeated; the game is repeated until one player remains: he becomes the leader.

There are many counting rhymes that, like this one, involve not a simple recount (one-time execution with an indication of the leader), but a kind of game that requires a reaction passive part of the players (those who are counted). Such, for example, are the counting rhymes "There was a cuckoo ...", "A bag was rolling" and "Dora, dora, tomato." Rules of the game in different counting rhymes X different. It is no coincidence that G.S. Vinogradov named counting rhymes game preludes.“This kind of counting rhyme,” writes G.S. Vinogradov, - they present an opportunity for players to try their luck twice and exclude deception” 4 .

Despite the widespread use among modern children of the traditional version of the plot “On the golden porch ...”, the game type of performance of this rhyme, requiring the reaction of the “public”, is very rare: usually the last word indicates the driver. Thus , we can talk about the unification of the functioning of rhymes in modern gaming practice 5 .

This type of recalculation, which has become the only one, manifests itself especially clearly in contemporary versions of this story: the question that requires the reaction of the public has disappeared from the text:
On the golden porch sat:

Gummy Bears , Tom and Jerry,

Scrooge McDuck and three ducklings.

Come out, you'll be Ponca!
On the golden porch sat:
Winnie the Pooh , and Tom and Jerry,

Mickey Mouse , three ducklings.

Come out, you'll be Ponca!
Meanwhile, preserved in the modern version enumeration heroes reminds of the previous game practice, in which this rhyme was included.

The modern version is also characterized by the introduction of new characters (in this case, the heroes of popular cartoons): we have already observed this phenomenon in the example of the plot “A month has passed ...”. Variation here also occurs in weak places (words located inside lines). Rhyming words "hold on" stronger: a well-found rhyme goes from option to option (“sat” - “Jerry”, “duckling” - “Ponca”).

The modernization of this rhyme was especially pronounced in the change in rhythm.

The fact is that all the popular counting plots we have considered are sustained in the rhythm of syllabic-tonic versification (four-foot trochee):
Out \ month \ out of \ mana \

He took out \knife\izkar\mana\.
V.V. Merlin, a researcher of the metrics of children's counting rhymes, also points out that the most numerous group of texts in this genre is in four-foot chorea 6 . Perhaps this is due to the widespread use of this meter in modern children's poetry.

Analyzing early children's poetry, K.I. Chukovsky notes the sharp predominance of this size in children's compositions. “No matter how much I have heard similar rhymes, they all have the same rhythm - trochee. Why this is so, I do not know. Maybe because the children of the whole world are jumping and dancing the trochee” 7 .

The traditional version of the rhyme "On the golden porch ..." has a different rhythm:
-\\-\-\-\-\-\\-\\-\\-\\- + - + - + -\\-\\-\\-\\-\\-\\-\\-

Apparently, this tactician, a variation of tonic verse 8: "the volume of unstressed intervals between ikts (stressed syllables) varies in the range of three options: 1-2-3 syllables (rarely 0-1-2)" 9 . In our case, the number of unstressed syllables between stressed ones ranges from 0 to 2.

This is the only one of the most popular counting plots we have considered that has preserved the rhythm of folk verse, which probably indicates its archaism.

It is no coincidence that the rhythm of the modern version of this rhyme is a four-foot trochee. Perhaps this rhythm is suggested by the first line, which is common to the traditional and new versions and is close to the chorea 10 .

We also note that the modern version, unlike the traditional one, is presented brief and long options (brief options are given above).

Long options:
On the golden porch sat:

Gummy Bears , Tom and Jerry,

Scrooge McDuck and three ducklings.

Come out, you'll be Ponca!

And Ponochka has a star,

Trains pass there.

If the train doesn't pass

Scrooge McDuck is going crazy.

On the golden porch sat:

Gummy Bears , Tom and Jerry,

Scrooge McDuck and three ducklings.

Come out, you'll be Ponca!

If Ponca doesn't come,

Scrooge McDuck is going crazy.
Sometimes instead of the last lines is added:
If I don't like Ponka

Come out, beauty!
Or:
I don't want to be Ponka.

Ponka did not go to school

Ponka found the money.
We see that the long version is made up of the short version and its continuation; in most cases, the continuation is also sustained in four-foot trochaic. In one of the texts, one can feel the influence of Chukovsky's fairy tale "The Fly-Sokotuha".

The four scenarios discussed are the most common. The rest of the counting rhymes are less common and vary less actively.
"There was a cuckoo..."
Walked cuckoo past networks ,

And behind her small children .

Everyone was screaming : "Ku-ku-mak!"

Pull out (take away) one fist!
Walked the car dark forest ,

And behind her two boobies .

Everyone was screaming : "Ku-ku-mak!"

push up one fist!
Previously, this rhyme was used in the same way as the rhyme "On the golden porch ..." - it was repeated many times until one player remained, who became the driver. G.S. Vinogradov writes: “Each player puts two fists in front of him, and the reader touches them with each stressed syllable. The one whom he touched when pronouncing the last word removes one fist, and the count continues again - until one player remains with an unlowered fist. He will lead. A rhyme is usually read in cases where there are few players” 11 .

Today, this form of recalculation is practically non-existent. The demand to "squeeze out" or "remove" the fist is perceived formally; the last foot in the counting rhyme, as usual, indicates the driver. In some variants, the "modernization" of game practice leads to changes in the text:
Walked cuckoo past networks ,

And behind her small children .

Cuckoos are asked to drink.

Come out - you drive!
Unlike plots characterized by a high degree of activity, this rhyme does not have short and long versions, the variation most often occurs at the level of individual words.

Noteworthy is the interweaving of this rhyme with the plot “There was a car ...” (Walked the car dark forest, / And behind it - two dunce).
"Behind Glass Doors"
This story has 2 versions - brief and complete.
Short version options:
Behind the glass doors

Bear walks with pies.

- Mishka, Mishenka , buddy,

How much does a pie cost?
Behind the glass mountains

Released Vania with pies.

- Vania , Vanechka , buddy,

How much does a pie cost?
Behind the glass carpets

Worth Dima with pies.

- Dima, Dima, buddy,

How much does a pie cost?
Full version options:
Behind the glass doors

Sat bear with pies.

- bear , Mishenka , buddy,

How much does a pie cost?

- My pie costs three,

And you will be naked!
The full version has other sequels:
-The pie is cheap

It costs a ruble forty.
- My pie costs two,

And I'll be naked!
It can be assumed that the short version of this rhyme is the original one, since it ends with a question that may have previously required an answer “from the public”. This assumption is confirmed by the variants of this plot published in the collection "Children's poetic folklore" 12: the oldest of them, recorded in the 20s - 30s, end with a question (short version).

After the tradition of repeating the rhyme disappeared, the answer to the question was included in the text of the rhyme itself.
There is also an abbreviated version of this plot (without dialogue):
Behind the glass doors

Hedgehog trades pies.

The pie is cheap

It costs a ruble forty.
"The rooster was sitting..."
The most moving part in this rhyme is the last line (output):
Sat rooster on lavas points ,

Counted my clubs glasses .

One two Three -

Come out, pin, you!

Sat rooster on lavas points ,

Counted my clubs glasses .

One two Three -

You will be the captain!
Sat old man on lavas ke ,

Counted my clubs ki .

One two Three -

Come out, pin, you!
Sat rooster on lavas points ,

Counted my clubs glasses .

- Ko-ko-ko,

Come out on the letter "O".
This plot, unlike the previous ones, does not have long and short versions; the text is quite stable and varies at the level of individual words.

This plot is used in the long version of the rhyme "The month has come out ...", common in Zhukovsky.
"The tangerine rolled"

rolled orange

By name Marinka .

Didn't learn lessons ,

And I got two.

And when I went for a walk

Got number five.
rolled orange

By city Marinka .

Didn't learn lessons ,

Got number five.
rolled orange

By name Marinka .

Didn't learn lessons ,

Received a double.

BUT when I came home

Received zero.
rolled orange

By name Marinka .

Didn't go to school

Received a double.

BUT when left for a walk,

Got number five.

These options clearly show main part and ending (two types). The main part and the ending are contrasted rhythmically. The rhythmic model of the main part is a tactician with inter-ict intervals of 2-3 syllables:

/-///-//-///-//-///-//-///-/
The rhythmic harmony of the main part is achieved due to the strict alternation of two-syllable and three-syllable intervals between the beats.

The ending is in four-foot trochaic.

The discrepancy between the rhythm of the main part and the ending is already familiar to us from the rhyme "On the Golden Porch". The distribution of rhythmic patterns is also similar: in the main part taktovik 13, in the end - a four-foot trochee.

The combination of modern themes (a school theme is not characteristic of traditional counting rhymes) and archaic rhythms is a kind of oddity that needs to be explained. The novelty of this plot is confirmed by the absence of this rhyme in the records of the early - mid-20th century. fourteen
The following options are also common:
rolled tangerine

By name Irinka .

Didn't learn lessons ,

Received a double.

And when I went for a walk

Got number five.

BUT when I went home

Received zero.
rolled tangerine

By name Irinka .

Didn't go to school ,

Got a deuce

BUT when I went home

Received zero.

And when I went for a walk

Got number five.
rolled tangerine

By name Irinka .

Didn't learn lessons ,

Got number five.

And the five is not mine,

And someone else's king.

BUT then went home

Received zero.

One two three four,

The mice lived in the apartment.

Drinking tea, cups beat ,

They paid three bucks.

Who doesn't want to pay

To that and drive (bare).

One two three four,

The mice lived in the apartment.

Drinking tea, cups beat ,

In Turkish they said:

Chabi, chabi, chabi, chabi.

One two three four,

The mice lived in the apartment.

Drinking tea, cups washed ,

They paid three bucks.

Who does not want to wash the cups,

That's why you drive.
Rhythm is a tactician with an interval between beats from 0 to 2.
"Aty-baty ..."
Aty-baty, the soldiers were walking,

Aty-baty, to the market,

Aty-baty, what did you buy?

Aty-baty, samovar.

Aty-baty, how much does it cost?

Aty-baty, three rubles.

Aty-baty, who's coming out?

Aty-baty, you and me.

(this is me)

(I went out)

Aty-baty, to the market,

Aty-baty, what did you buy?

Aty-baty, samovar.

Aty-baty, to the market,

Aty-baty, what did you buy?

Aty-baty, samovar.

Aty-baty, what is he like?

Aty-baty, golden.
This rhyme is widely distributed, but the degree of variation is very small. In the first part of the rhyme, apparently due to the severity of the form, there is no variation. The second part in each variant is special, the only common element is the question-answer form and the “abstruse” introductory combination “Aty-baty”; in one of the variants, the second part is missing.

All variants are in four-foot chorea.

The counters below are not very common.

dora, dora, tomato,

We caught a thief in the garden.

How to punish the thief.

We tied our hands and feet

And let them go down the road.

The thief walked, walked, walked

And I found a basket.
In some variants, a small ending is added to it:
In this little basket

There are drawings and pictures.

One two Three -

To whom you want - give.
* * *

One two three four,

Me literacy was taught.

Only across the field jump.

I jumped, I jumped

She broke her leg.

The leg began to hurt,

My mother began to feel sorry.

Regretted, scolded

And she sent for the doctor.

Doctor rides a bull

With a balalaika in hand.

One two three four,

cat literacy was taught.

And behind the mice jump.
(long and short versions, variation at the level of individual words)

* * *
An apple rolled in the garden

And fell right into the water.

Boole!

An apple rolled in the garden

And fell right into the water.

Bulk!

Water - red dawn!

An apple rolled in the garden

And fell right into the water.

And a snake lived in the water,

Come out on the letter "I"!

(a constant main part and ending options; the words “come out with the letter “I” echo the ending of the rhyme “There was a car ...”).

* * *
Eni, beni, ricky, did,

Turba, urba, sintibryaki,

Eus, beus, krasnobeus,

Bang!
Eni, beni, ricky, fakie,

Turba, urba, eki, faki,

Eus, beus, cosmobeus,

Bang!
Eni, beni, ricky, paki,

Bull-bul-bul, kalyaki, shmaki,

Eus, beus, cosmobeus,

Bang!
Eni, beni, ricky, fakie,

Til, bul-bul, cinnamon, shvaki,

Deus, deus, cosmodeus

Bang!
(abstruse rhyme; variation at the level of sounds)

* * *
Zealous horse

With a long mane

Jumping, jumping through the fields:

Here and there, here and there!

He's rushing over here!

You go out of the circle!
Horse zealous, golden-maned

Rides the field, rides the cornfield.

How does he jump

Get out of the circle!
* * *
glass, lemon,

Get out!
Hey Ivan,

Get into the glass

cut off lemon

And come out out!
Polkan dog,

Get into the glass

grab lemon

Get out out!
(increment to the beginning of the text; short and long versions)

* * *
Shel ram

Over steep mountains.

pulled out (took) weed,

He put it on the bench.

Who will take the weed

That out (drive) go!
(stable, unpopular text)

* * *
Shishel-myshel,

Took (kicked) yes came out.
Shishel-myshel,

took, went,

I found a tobacconist.

Tobacco in a box.

Who found

That one will come out!
Shel crocodile,

Smoked a pipe.

Tube dropped

And wrote:

Shishel-myshel,

……, released.
(far divergent variants, in some cases connected only by the words: “shishel-myshel”)

* * *
These stories are found no options:

Chiki-briki, where are you?

Chiki-briki, to the market.

Chiki-briki, why are you?

Cheeky-briki, for oats.

Chiki-briki, who are you?

Chiki-briki, I'm a horse.

Chiki-briki, what are you?

Chicky-bricks, black.