'^M.y^ COPYRIGHT, 1889, BY HAROLD ROORBACH 3£lODVbnd)'S full Df srvijptlbc €:atal03UC of Dramas. Comedies, Comediettas, Farces, Tableaux-vivants. Guide-books, Novel Entertainments for Church, School and Parlor Exhibitions, etc., containing complete and explicit information, will be sent to any address on receipt of a stamp for return postage. Address as above. ROORBACH'S AMERICAN EDITION. PRICE, 15 CENTS EACH. This .ene, embraces the best of V^^.^^^^^l^'^ 'Z'^ a^^tJ^I::^^^^ been rigidly compared %yith '^^ °"f "'^^f^h play is furnished with an mtroduct.ou text and stage business '^ 'z^'''^"^"'"'^- ^f" "s'taimng the argument or synopsis of of tht ereatlst value to the stage "^^"^^^''^""'^'""lia.rams of the stage settings Ti^ddents, complete lists of properties and. otum^^^^^^ ,^,^_^^ ,^^^^ and practicable scene-plots, \vith th^^J,"'',^ \y ' j^ readable type, on fine paper, homely printed .from new '=l^^';'™'yP^X«c;, and mechanical excellence render ;^:;^boZlr;r;:^±fin'::;;J;^r::ie:?;^tra^'editio„s of actmg plays hitherto - Alt'TH AT GLITTERS IS NOT GOLD A comic drama in two acts. Six '■ ""mJTe, three female characters. Time, two ^^n^' ^.^ ^,,,, ,;, female 2 A SCRAP OF PAPER. A comic drama in three acts. chawcteis. Time, two hours. Five male three female charac- , MY LORD IN LIVERY. A farce m one act. Five male, tn •'■ ters. Time, fifty minutes. ^ 1^ characters. .. CABMAN No. 93- A farce in one act. Two male. Time, lorly minuies. , ^ female char- , MILKY WHITE. A domestic drama m two acts. Four male, t =• acters. Time, one hour and three quarters Seven male, four female 6 PARTNERS FOR LIFE. A comedy in three acts. characters. Time, two hourb. j„ farre in two acts. Four male, 7 WOODCOCK'S LITTLE GAME A comedy-farce in two ac male, two female characters. 1 ime, th^irty n ^^^^^ ^^^^^^ 9 LADY AUDLEY'S SECRET. ^ drama in two acts. ^ characters. Time, one hour and a quarter. _ Six male, five female 10 NOT SO BAD AFTER ALL A comedy m three acts. Six male, '°- characters. Time, one hour and forty minutes. ^hree male, three female 11 WHICH IS WHICH? A comedietta in one act. 1 hree ma characters. Time, hfty minuteb Three male, four female 12 Id ON PARLE FRANgAlS. A fare in one act. Three ma ■ characters. Time, forty-hve minutes. ^^^ characters,. I, DAISY FARM. A drama in four acts. len male, to ^' Tin.e, two hours and twenty minutes characters. 14 MARRIED LIFE. A comedy in thre. acts. Five male, live t ,S TpRETTYTiECE OF BUSINESS. A cemedietta in one act. Two male, '^- drree female characters. Time, fifty minutes ^_^^j^ i5 LEND ME FIVE SHILLINGS. A farce m one act. Five mal , ■ ,, . UNctrTOM-S CABIN.-Origit^al Vor.ion. A drama in six acts. Fifteen ''■ S'Tevelremale characters. Time, three hours ,8. UNCLETOM-SCABIN.-New version A clr^^^^^^ ,9 Lo'nDON r SU'SCE. 'riomedy in five acts. Ten male, three female '^•^°raLrs. Time, t.o hours and thre^quarte. ,.„ female characters. Time. 20. ATCHI ! A comedietta in one act. 1 hree maie, iwu forty minutes. Tl,rpp male two female characters. 21. W;H0 IS WHO? A farce u. one act. Three male, two Time, forty minutes. Seven male, three female char- 22 THE WOVEN WEB. A drama in four acts. Seven male, i acters Time, two hours and twenty minutes. ^A.y o/^,u- a5o.. ..Ul I. sent !,r nmiUtost-pauL t. any aMress, on receipt " HAROLD ROORBACH, Publisher, 9 Murray St., New York. SOLON SHINGLE OR THE PEOPLE'S LAWYER A COMEDY IN TWO ACTS BY J. S. JONES New American Edition, Correctly Reprinted from the Original Authorized Acting Edition, with the Original Cast of the Characters, Argument of the Play, Time of Representation, Costumes, Scene and Property Plots, Diagrams of the Stage Set- tings, Sides of Entrance and Exit, Re- lative Positions of the Perform- ers, Explanation of the Stage Directions, ETC., and ALL OF the Stage Business. Copyright, 1890, by Harold Roorbach. NEW YORK HAROLD ROORBACH PUBLISHER THP96-306444 SOLON SHINGLE. CAST OF CHARACTERS. Robert Howard (^tke People's Lawyer) Hugh Winslow (a Merchant) Solon Shingle (« country Teamster) Charles Otis (« Clerk inWinslow' s service) John Ellsley {also a Clerk) John (a Porter) Tripper («« Attorney-at-law) Timid (a Lawyer) Judge of the Court Sheriff Clerk of the Court Thompson In/- jk QviKK ) Police officers Foreman of the Jury Eleven Jurymen Mrs. Otis {Charles' Mother) Grace {her Daughter) National Theatre, Boston, i8jg. Mr. Hudson Kirby. Mr. W. Marshall. Mr. G. H. Hill. Mr. W. M. Leman. Mr. C. H. Saunders. Mr. Simonds. Mr. G. H. Wyatt. Mr. Clapp. Mr. Haynes. Mr. Robinson. Mr. Beals. Mr. Samuels. Mr. Thomas. Mr. Sampson. Mrs. Pelby. Miss Anderson. Time of Representation — One Hour and a Half. THE ARGUMENT. Charles Otis and John Ellsley are fellow clerks in the service of Hugh Winslow, a merchant. Ellsley, the son of rich parents, is pro- digal and fast, while Otis is poor but respectable and honest, and enjoys the confidence of his employer. Winslow tempts Otis to give false testi- mony in a suit at law, offering an increase of salary as the price of the perjury; but on the latter's refusal to comply, he is discharged, with curses 'from his situation. Subsequently Ellsley goes to Winslow's office, there meeting Solon Shingle from whom he borrows fifty dollars with which to replace money that he had abstracted from the safe. Otis, meanwhile. returns to his comfortless home and recounts to his mother and sister the SOLON SHINGLE, the secret inviolate, to all of which Otis aeree? SWi a P'^serve appears and denounces his former employe, who deSe hrnrn^^r, of innocence, is hurried off to prison. ^ ' ^ "°' ^^^^P'^e his protestations Circumstantial evidence bearing verv strono-W crro,-r,cf i,- j , of befn/unS^rh a"o:^''^'°f ^ '^PPJ' -^"^ ^^^^^ findYthaUnS THE J^foPL^'S JwyET''' "''^'"""' ^'^ " ^^°"^ '^ b^^°«»^ ^he wife of COSTUMES. Solon SHiNGLE._Dark, drab, old-fashioned surtout with capes -^rav bro.d k'- 'f '°'°''^ '["iP^^ ^'^^^' °^d ^ty'« black stock; co3ebo?ts^ broad brim low crowned hat; bald flaxen wig co^^nlae t)oots. suifrAc"; hT"^"'^"^'""'' ^'"'^ "'^ ^'"^ '^'^^'^ '" A'^t I. Ordinary Other Characters— Costumes of the day. PROPERTIES. Howard ^^llslev. Sealed letter, containing bank note, for OR. THE PEOPLE'S LAWYER. 5 stage. Scene j. — Indictment and book for clerk. Whip for Solon. Watch for Officer. Document for Tripper. Scene ^. — Furniture, etc., ad libitum. Harp as in Act I, Scene 3. STAGE SETTINGS. Act I. Scene i. Interior Backing 'ZW' Safe Wesk t Oiair DeskW\ Table & ClaiTS Act I. Scene 3. •Harp Tahlc & ChwTS ^ Table & Chairs Act II. Scene 3. niaonrr Witness I Jury I Hette, SCENE PLOT. Act I. Scene i. — A counting room in 3 c, backed with an interior drop, repre- senting a loft, in 4 G. Door c. in flat, opening into the loft in which are seen barrels, cases, etc. Desk and chair r. Safe up R. Table and chairs L. Dry-goods case up L. Desk at L. 3 E. 6 SOLO.V SHINGLE. Scene 2. — A street in i g. Scene 3. — A plain chamber in 2 g. Doors R. I E. and L. I E. Tables and chairs R. and L. A harp up R. c. Act II. Scene i. — Same as Act I, Scene 3. Scene 2. — A street in i g. Scene 3. — A court-room in 4 o. Jury box c. against flat, with settee in front of it. Judge's bench R., with clerk's desk in front of it. Witness stand and prisoner's pen up R., between judge and jury. Long table (for lawyers) and chairs R. c, before clerk's desk. 12 chairs L. Scene 4. — A street in i g. Scene 5. — A drawing room in 4 g. Furniture, ornaments, pictures, etc., ad libitum. STAGE DIRECTIONS. In observing, the player is supposed to face the audience. R. means right ; L., left ; c, centre ; r. c, right of centre ; l. c, left of centre ; D. F., door in the flat or back scene ; r. f., right side of the flat; L. F., left side of the flat; R. D., right door; l. d., left door; c. D., centre door ; i E., first entrance ; 2 E., second entrance; u. E., upper entrance; 1,2 or 3 G., first, second or third grooves ; up stage, towards the back ; DOWN STAGE, towards the audience. R. R. C. C. L. C. L. Note. — The text of this play is correctly reprinted from the original authorized acting edition, without change. The introduction has been carefully prepared by an e.xpert, and is the only part of this book pro- tected by copyright. SOLON SHINGLE. ACT I. Scene I. — A counting-room, ope7iing into a loft, in which are seen barrels, cases, etc. ; a desk R. ; desk L. 3 E. ; table and chairs L. ; a dry goods case near the desk ; an iron safe R. Door C. Charles Otis discovered at r. desk writing; enter Mr. Tripper, c. D. from L. Trip. Mr. Winslow has not yet returned, Mr. Otis .-' Cha. I have not seen him, sir. He has not been in the counting- room since my return. Trip. Is Mr. Ellsley in the store ? Cha. No sir, but he soon will be in sir — (continuing writing') Trip. Smart young man is that, Ellsley. He will one day be a rich man ; I think, however, you are the favorite with Mr. Wins- low. Cha. I am happy to enjoy the confidence of my employer, and it shall be my constant effort to deserve it. Trip. Say to Mr. Winslow that I called, and if he wishes to see me, I shall remain an hour at my lodgings. Cha, I will sir — (exit. Tripper, c. d. and l., passing John Ellsley, who enters at the same time, C.from'L.) John. Charley, where's the old man? Cha. I don't know. John. Do you know who that man was that just went out? Cha. Mr. Winslow' s attorney. He has been complimenting you. John. Has he? I'm glad of it — I wish I could raise the wind somewhere ; or Lawyer Tripper, or some other lawyer, will be jogging my memory, I'm afraid. I must take the benefit of the act, Charley — how much do you think I spent last week ? Cha. I cannot guess ; I heard you say that you had been extrav- agant. John. A cool hundred — sleigh rides, balls, etc., hot suppers do 8 SOLON SHINGLE; melt up the cash. But you know nothing about it, you won't go in for a bit of fun. Cha. I cannot afford it, you know it. John. Didn't I offer to stand the blunt? it would not have cost you a red cent. Cha. Pleasures that I cannot afford to pay for, I cannot indulge in at the expense of others. John, there is one thing 1 cannot understand. Tell me how can clerks with small salaries spend so much money in imitating the habits of men of fortune ? You may indulge — your father is rich. John. Why Charley, my boy, it is not the salary the clerk depends upon, so much as his perquisites. They tell the story, Cha, Perquisites ! John. Yes, the self-given privilege of investing the cash balances —helping themselves when they find themselves short, and their employers with something over. Cha. Stealing ? John, Stealing ! That's the name of the science of abstraction ; even, if a fellow is so unlucky as to be found out ; men who spend for their own purposes, funds entrusted to their care, are not called thieves, but defaulters— not stealing, Charley, but financier- ing. Well, how much longer are you going to stay, working here by candle light ? I shall close my books. Cha. Mr. Winslow requested me to stay till he returned ; as I must be here, I prefer work to idleness. John. You are a favorite of the old man's— I think the old man is in love with your pretty sister ; if he should marry her, and take you in as a partner, how you would flourish. Cha. Don't interrupt me, now. John. There's a great ball to-night, and that pretty Miss Blazon is to be there ; I am going, and the way I'll take the shine out of some of the boys will be high. I shan't go till nine. Charley, if Mr. Winslow wants me — I wish you'd go, I'll get you a ticket. Cha. I cannot go, I have no wish to go. John. You need not tell the old man that I am going to a ball. He's too religious to believe in dancing. We clerks know a thing or two ; and sometimes hear our master's voices through thin par- titions, in places that they don't carry their wives. I mean to publish a book — call it the Clerk's Guide, to show young men from the country how to forget ploughing, planting, sowing, hoeing, mowing. Well, Charley, if you won't go, I will ; I shall go out the back way ; leave a key for me, I may want to come into the store after the ball is over, I'll have a night of it ; good-bye, Charley. Exit, C. and R. Cha. {comes forivard) A night of it! He knows not of my poverty, or he would not have asked me to go to a ball, or wonder at my refusal. Daily, sums of gold and silver pass through my OK, THE PEOPLE'S LAW^VER. 9 hands, sufficient to purchase splendor and independence. Yet not mine. Nightly do I go to a home where poverty is ever present, and distress may suddenly come, with a temptation to use what is another's. The evil one shall not overcome me ; I can bear my privations. I will be honest, {goes again to desk, R.) Enter, Mr. WiNSLOW,/r^;« c. D. Win. Are you still here, Charles ? Where is Mr. EUsley ? Cha. He has just left the store, sir. Win. I will not detain you long. I wish to speak to you on a subject of some importance. Has my attorney called? Cha. He has, sir. \A^in. Charles, you recollect, I dare say, that some time smce. Colonel Spencer gave me a check on the Bank of Mobile ? Cha. I recollect seeing him sign a check, but I thought it was on a bank in the city. Win. No, 'twas the Bank of Mobile ; you remember he spoke of his extensive interest in it. Cha. He did speak of a bank, but I still have an impression that the check related to a bank here. Win. No doubt you think so, you are wrong — what are you doing now ? , Cha. There's a trifling error in Mr. EUsley's cash here, I m try- ing to trace. Win. Never mind that now. This check is of considerable con- quence to me ; and I assure you it will be greatly to your advan- tage to remember rightly ; for should the matter be made the sub- ject of a legal controversy, I must depend on your knowledge to evidence the facts in the case. Colonel Spencer is dead — I am apprehensive of trouble with his executors— just think again. Cha. I am thinking sir, but Win. The thing is undoubtedly coming to your mind as I rep- resent it. Cha. My memory is somewhat confused on the subject ; but reflection, seems only to confirm my first impression. Win. 'Tis strange. By the way, Charles, your work is hard, I will raise your salary, another hundred dollars. To-morrow, I believe, ends the quarter— take the advance. Cha. Sir, I thank you ; I will deserve your bounty. Win. But, about the check ; you will have no objection to tell the good Jury of the Court, should we have a trial, that you saw Colonel Spencer give me a Mobile check, signed by him ; remem- bering all the time, that in performing this little act of friendship, or I might sav duty, you are materially benefitting yourself. Cha. I will most cheerfully tell them all I know about it, for I should be glad to convince you of my devotion to your interests. lO SOLON SHINGLE; But not for worlds, would I testify to a circumstance, of the truth of which I'm not positive. Win. Of course not — in this case you testify upon my word ; should you make a small mistake, the blame be mine. The day may come, Charles, that will see you a partner in my establish- ment, as a reward for your devotion to my interests. There is profit and honor in connection with the name of Winslow, the merchant ; think of it, Charles. Cha. I cannot, for my life, sir, speak aught but the truth. Win. The truth should not be spoken at all times ; my lawyer shall instruct you what to say. He will lead you to the proper answers. Cha. You have mistaken my character, sir ; a lie is a lie, disguise it as you may. I am young, sir, but have not forgotten the pre- cepts of my father, or the example of my mother. Win, Your conscience, young man, is of too tender a kind to aid you in the acquirement of wealth ; you are poor — this over honesty will keep you so. Cha. I own, 1 do feel the pangs of poverty ; I have left this place of toil for a home, where no meal was ready to appease the cravings of hunger ; a fireless hearth, a mother with her children in tears, were my only welcome home. It was home, the home of honesty ; and sooner shall this body be consumed by hun- ger, sooner shall my tongue be torn out by the roots, than I infringe one little hair's breadth upon the law which says, " Thou shalt not bear false witness against thy neighbor." Enter, Robert Howard, c. ii.,from l., m a plain working-dress ; stops center. Win. Then may my curses fall on thee, thou base son of a baser father ; and they shall, if my influence over thy destiny is moved by hate. Hence, presume not again to set your foot within my door ; the character I will give you shall shut you from all hopes of another situation. You have goaded the lion, and may test his strength. (Charles, closing his books and preparing to leave) How. [aside) The Lion, no, the Viper, is disturbed, and he may feel his fangs. Cha. Mr. Winslow, I have ever done my duty — good night, sir — [aside) poor mother — poor sisters. Exit, c. D. and L. Win. Fool! [seeing Howard, %uho conies down R. ) You have listened to my conversation, sir? How. Unwillingly sir, to your harsh reproof to your clerk. I come, sir, on business. Will you give me an immediate answer to that proposition ? [holding a paper) I called this morning — you were out. Win. [7-eads) '' From the widow of Mr. Worthy." I have but OR, THE PEOPLE'S LAWYER. II one answer — all that the law compels me to pay is ready. I know my ground. She has no money ; I have. The time that must elapse before a judgment can be given against me, with the ex- penses contingent upon the continuance of the suit, will force her to abandon her claim ; you have my answer. How. And this is your answer? Do not deceive yourself, Mr. Winslow ; the battle is not always for the strong. I am instructed to inform you that the widow's claim will be defended by compe- tent counsel, who will, if necessary, furnish the requisite funds. I speak upon the authority of one who never pleads except where he sees oppression preying upon poverty and innocence. Win, I know whom you mean ; a demagogue, seeking political advancement, basing his ambitious views upon affected generosity and patriotism. The man they style the " People's Lawyer," the people's friend. His services may be bought by my gold. I will retain him myself., How. His services cannot be bought, sir. I have performed my duty, and will return your reply ; as a humble citizen I may speak my thoughts. Hugh Winslow, do right ; though you pile heaps of gold as stumbling blocks in the path of Justice, still will the righteous judgment overtake the evil doer. Win. Go, sir ; no longer insult me in my own house. I am determined. How. To do wrong. Win. Fellow, leave the place this instant, or I will throw you from a window to the street. How. I have little to fear from your threat ; I will spare you the attempt ; I shun an affray, sir, but will defend myself from any assault. You shall some day know who I am, and be sorry for this injustice. Exit C, and L. Win. So much for the education of the poor. Here is a com- mon mechanic, bullying a gentleman in college style. I thought Charles Otis had been more pliant to my will ; if I cannot have his testimony, I must make sure he's not used against me. His good' name is his pride, his honesty his great defense ; I must find means to blast this airy fabric ; Ellsley has a rich father — he is a profligate. I'll try him, and at once, {sits at desk, R. ) Enter, SoLON Shingle, C. Sol. Squire Winslow, how do you do ? I most broke my shanks on your stairs. Win. {interrupted^— aside) Quite well, sir. Sol. I kinder conjured that your shop would be shut up, but I see'd a hght through the winder, so I thought I'd come in. Win. When did you come to town ? {waiting) Sol. I come this morning, bright and early. Well, how do mat- ters and things stand with you, considerin' ? [takes chair) 12 SOLON SHINGLE; Win. Much as usual, sir. [still writing and betraying much embarrassment — 'So'L.O'H goes to desk and looks over writing) This is a private affair, Mr. Shingle. Sol. Jest so ; well, then, you don't keer about my reading on it. If I pester you any, jest say so ; I'll take the hint without the kick. Win. I'm happy to see you, but I wish you had come a little earlier ; if you can, call to-morrow. Sol. Call to-morrow — I shall be dreadful busy to-morrow. I'll wait till you get through your pucker. I've got a case in court about a brindle cow, and Squire Dingle asked me how I was going tu svvare, and I told him I should sware like lightning agin him ; these are revolutionary times — my father fit in the revolution, that is, he druv a baggage wagon. Win. [aside) What devil sent him here now ? Sol, Mr. Winslow, you are the head horse in the temperance team ; and as I Win. You have some business with me ? Sol. Jest so, Mr. Winslow — what's good to cure the mumps? Win. Mr. Shingle, I am engaged this evening, on very par- ticular business ; I am now going out and shall not return. Sol. Jest so, well; my cattle are outside there ; there's no dan- ger on 'em, is there? Win. I presume not ; what have you got to say ? Sol. I've got a little account agin your society, and I want tu know who foots it. Win. Some other time I'll see about it — John, you may close the store, Mr. Otis has gone home. Mr. Shingle, urgent business compels me to leave you — come to-morrow. Exit, Winslow, c. Sol. Jest so — [goes up to desk R., takes ledger, sits dotvn, puts on spectacles, and with candle in one hand is reading) Jest so ; [read- ing) Cash Dr. — Dr. Cash, for Rhubarb $2000 — what a dose ! Dr. Cash. He is a great doctor, he cures every disease. 'Enter, John, the porter; replaces books ; blows out candle ; having finished, he comes to Shingle. Sol. John, how du you du ? John. Very well, sir — when you have done with that book, sir, I should like to put it in the case. Sol. Just so, pretty writing, ain't it, now? whose is it? John. Mr. Ellsley's, sir. Sol. The dogs it is ! Old Zack Ellsley's boy, John ? His father and I were old cronies, and between you and me, John EUsley come pretty near being my son instead of Zack's. John. Indeed, sir, how so? [Joh'n brings chair and sits next to him — Solon rests his leg on John's /a/) Sol. How so? Why, Zack and I courted the same gal, Patty OR, THE PEOPLE'S LAWYER. 1 3 Bigelow ; and she had Zack instead of me— if she hadn't gin me the bag John EUsley might have been John Shingle ; however, my gal Nabby and John are going to get married. John. 1 want to shut up the store and go home. Sol. Jest so, well, take the light and see if my team has started. John. I can't spare the time, Mr. Shingle. Enter, Ellsley, c from L. El. Where's Mr. Otis? Sol. Gone home, sir. Mr. Winslow wants to see you at his house immediately. El. {aside) The devil he does ! I shall be too late for the ball, and I have no money ; [aloud) ah, daddy Shingle, I'm glad to see you. {aside) What the devil sent him here ? Sol. How de do ? where's Nabby? El. Nabby, yes, — she's well. John, go and tell Mr. Winslow that I will come to him directly. I will shut up the store and bring you the key. John. Yes, sir. [gives him keys and e-idt C. audi..) El. What does Winslow want with me to-night ? Has he dis- covered the error in my account? Charles has made a memor- andum ; I will destroy that, (goes up to desk v.. , finds paper left by Otis, tears it up atid puis the pieces in his pocket. Shingle has followed him about) Mr. Shingle, have you got any money? Sol. No great amount in value. El. I want fifty dollars. The key of the safe is not here. I'll give you an order on my father for it. Sol. You shall have it, as you are going tu marry my darter. [takes out a very large bladder, inside of which is the bag with bank notes) Here's the money. El. [has written tite order at table L.) Thank ye, sir ; {hands Shingle the paper and takes the bills) this must replace the sum I spent last night. Mr. Shingle, just be kind enough to go into the loft, and bring me a small case, you will find there. 'Tis a pre- sent for Nabbv, a very small case. Sol. {having read the order, &^c., lights a candle) A very small case, John ? Exit, c. and L. El. What the devil sent that fool here this time of night ? I wish he would fall through the scuttle— now for it. {opetis the safe and deposits the money) All safe for this time ; now to know what Mr. Winslow wants, {crash heard c. D.) Sol. {without, c. D.) Hollo, Mr. Ellsley ! the light's gone out. (enter CD.) I can't find no very small case there, [he is all over lampblack and flour) El. What have you been about? Sol. I went tu reach upon a shelf, the light went out, my foot slipped, and 14 SOLON SHINGLE; El. Lampblack and whiting fell upon you. Sol. Jest so, but I didn't find the case. El. [aside) That's not strange, as there is none there, [aloud) I advise you to take a warm bath. This way — I'll show you the way. Exit, c. and L. Sol. Don't be so pesky quick. [^O'LOti goes up io desk, i^., and examines it, and finds a revolver; takes it out — looks at it) What on earth is this ? &c., &c. (re-enter, Ellsley, c. from L., slaps him on the shoulder — the pistol goes off^scene closes quickly) Scene II. — A street in i G.- — Night. Enter, Robert Howard, in a blue cloak, folloiued by a man, R. I E. How. Be sure that Thompson follows the directions I have given ; remember that I do not wish it known that I am in the city, (exit Man, l. i e. ) She is indeed a charming girl ; I blushed for the unfeeling senseless blocks that treated her thus rudely ; how- ever, good may come out of it ; in my disguise I shall try her affections, though I cannot doubt the purity of her heart, in any situation or under any trial. My friends may deride my low-born bride — but she may decline my offer when 'tis made. If I do get a wife, I am determined it shall be my personal attractions, how- ever slight their value, that shall win her. I'll make the trial. (Solon outside, r.) Sol. Whoa, there, Buck ! go along ! whoa, darn your skins ! run, will you ? I'll make you step out. Enter, SOLON, R. I E. How. What's the matter, friend ? Sol. Them cattle of mine are acting like fried snakes ; they ain't used to staying out late nights. How. Why, Mr. Shingle, is this you ? Sol. Jest so, Mr. Howard ; can you tell me a good tavern tu go tu, and put up the darned critters ? 1 went tu Mr. Winslow, just now, on business, and I left my cattle afore the door, and while I was gone somebody's gal, over the way, begun tu play on the planner, and that got Satan into my team tu look in and see what made the music ; and when I come out, I found the cattle all over the sidewalk, trying tu get into the winder. How, I am sorry for your trouble ; I will show you a good place to put up for the night. Sol. I knew you would. I'm always unlucky when I come to the city — I'm on law business, too. How. Indeed ! Sol. Yes ; I wonder who is the best lawyer tu go tu, on a cow case. Squire Dingle offered to leave it out, if I'd gin him ten dol- lars — there's my cattle dancing agin — they don't know city fash- ions ! whoa ! darn ye, Buck! 0A\ THE PEOPLE'S LAWYER. 1 5 How. Come, sir, shall I show you a house for your accommoda- tion ? It is late. bol. Jest so; I'm going into a bath, head and heels ; then I'll see you. Whoa I there! &c., &c. Exeunt, R. i E. Scene III. — A plain apartment, table with ornaments, L.; 2 chairs R,; 2 chairs l. ; table K., on it drawings and books — a harp, R. c. Enter, Grace, l. i e — takes off her bonnet and shawl, placing them on a chair R. — enter Mrs. Otis, R. I E. Mrs. O. Grace, what detained you so long ? I was alarmed ; you are weeping! Grace, (l.) Am I ? Mrs. O. What has happened, Grace? Grace. Have the rich no feelings, or do they suppose the poor have no hearts ? Mother, my blood hath run as molten lead through my veins. Mrs. O. Did you not see the lady that advertised for the draw- ings ? Grace. I did see the lady. I was shown into a room where were assembled a large party of the lady's friends. My threadbare dress was the mark for their ridicule, and their glasses were leveled at it. 1 blushed for the things, wearing the forms of men, that could thus cruelly insult a female for her poverty. I shall hate the rich. Mrs. O. They are not all alike, my child. Grace. I conquered my feelings, and calmly walked to the table to display my drawings. As they passed from hand to hand, the lady asked her daughter what she thought of them. In most con- temptous terms she replied — they looked like her first attempts. My heart was bursting with suppressed emotion, when a voice, in manly tones, replied to her : "Then your first attempts were very beautiful, and I advise your mother to collect them immediately." But for this kind rehef I should have fallen on the floor. Mrs. Germain will send what she thinks the pictures worth. Mrs. O. Don't weep, Grace. Ought we longer to keep that harp ? Our best friends have hinted that so valuable a piece of furniture looks like extravagance in our humble dwelling. Grace. Don't ask me to part with that — the only present from my dear father. I wish I knew who the gentleman was that spoke for me at Mrs. Germain's ; I owe him double thanks. Mrs. O. Did you not see him ? Grace. I did not Enter, Charles Oicis, pale and dejected,!.. I E. Mrs. O. Are you ill, Charles ? 1 6 SOLON SHINGLE ; Cha. No, mother, I am well. I have been strangely tempted to be dishonest, and rich. Mrs. O. And you resisted ? Cha. I did, mother — I did resist — but heaven knows it may be the ruin of us all. Mr. Winslow has discharged me from his service. Mrs. O. Discharged you ? for what .'' Cha. Because I would not lie. Mrs. O. You have done well. Cha. Mother, was my father an honest man? Mrs. O. Who doubts it ? Cha. Mr. Winslow, in his rage at my refusal to do his wicked will, called me the base son of a baser father. 'Twas in my mind to kill him for the word, but I forebore. Mrs. O. He uttered a falsehood, Charles. Your father's inflexi- ble honesty was a bar to his specious plans for wealth. Grace, [ivho has been at the harp, coines down R. ) Mother, we must sell the harp. Mrs. O. Grace, Charles has had no supper. Be composed ; the storm of adversity is gathering over our heads, 'tis true, but there is a Power above that can dispel the clouds, and make all sunshine and brightness. Exeunt, both, R. Cha. {a knock heard at door, L. IE.) Come in. (enter, Ellsley) John, is that you ? El. Yes ; I have just heard that we are to lose you ; I was going to the ball, but as soon as I heard of your quarrel with Winslow, I hastened to see you. Cha. Quarrel — -we have had no quarrel. El. 'Tis the same thing. I'm sorry to lose your society. Mr. Winslow will be sorry, too, before long — and that reminds me of a secret I want you to help me keep. Cha. I don't like secrets ; they are apt to make mischief. El. Not if they are well kept ; this will hurt nobody ; now promise not to reveal what I am going to tell you. Cha, I do. El. Then here, {taking- out watch and chain) here is the eye-tooth of our hard-hearted master. Cha. Why, John, it cannot be possible that you have really prac- ticed El. Hocus-pocus, you mean ? agrimento, presto, cockolorum, change, as the jugglers say ; nothing truer — master by this time has missed his time-keeper. He will suspect me, and I want you to keep it till the first fuss is over, then you shall have half its worth. Cha. Not for the world ! take it back, John, to Mr. Winslow — confess your fault. He will forgive you. I will not receive it. El. Do vou think that I am an idiot , take this back and ask for- Olt THE PEOPLE'S LAWYER. 1 7 giveness of a man whose creed is revenge ? No. if you fefuse, I must talie my chance. He has wronged you, and if you had any spirit, you would set fire to his store, or in some way make him feel your revenge. Cha. If you ever mention such things to me agam, we cease to be friends. El. I did this thing for you ; at any rate, you will not betray me. Cha. I have given my word, and you must return the property. El. I will ; what way shall I return it and save myself a mortify- ing acknowledgement? Cha. Write a confession. I would. El. Do it for me, Charles, will you ? Cha. I will, with pleasure— (.?zV5 down at the table, R., anU writes: Ellsley, looking over him, slips the watch and chain into Charles' pocket) , , . ^ El. This will make all right, Charles ; I am sorry I entered into the business ; but as I have begun I must finish. Cha. There John.-that is enough. El Nothing could be better, keep it for me, until the morning ; I am going to the ball, in the dance I might drop it ; mind. Charles, you let no person see it. Cha. It shall be sacred— (/^/^« the paper, folds it, and puts it into his pocket) El. Thank you ; Charles, good night. I am sorry you can t come to the ball. Cha. Good night, John. Exit, Ellsley, l. i e. Enter, Grace, r. i e. Grace. Charles, your supper is ready ; 'tis not an inviting meal. Enter, Mrs. Otis. R. i e. Mrs. O. Charles, what did John Ellsley want with you ? I never liked that young man. Cha. A friendly injunction of secrecy is imposed upon me. Grace, I have no appetite for food, [a knock at the door, L. i e.) Come in Enter, Howard, l. i e., a^ a workman. How. Mrs. Otis, I have a note from Mrs. Germain to your daughter. Mrs. O. (taking it) Grace, read it. , , -, , Grace, [opens and reads; Howard observing Charles ai table) "Mrs Germain begs Miss Otis to accept the enclosed bank note ; upon a second examination of her drawings, she is pleased to say, she discovered their beauties, and will feel obliged if Miss Otis, will permit her to select from her collection still undisposed of. 1 8 SOLOiX SHINGLE ; Mrs. O. Well, Grace, that is kind after all. Grace. Will you say to Mrs. Germain, I am gratified for her notice and kind enclosure? How. I will do so. Miss Otis, in your own words. Grace. That voice — 'tis he that saved me, mother— can it be? Sir, accept my thanks for your timely assistance this evening, I should have acknowledged the obligation at the door, but my escape, and the circumstances embarrassed me. How. I am repaid, Miss Otis, and regret the cause that needed a manly arm to protect, in the street of a city, a helpless woman from insult. I am most proud that from me the succor came. Cha. What insult was this? How. A drunken brawler, that annoyed your sister on her return from Mrs. Germain's. 'Twas my fortune to be near, and it re- quired a blow to convince him that he was a brute. Cha. Sir, I thank you for my sister ; though we are strangers, I trust I may know you better. Grace. 'Tis the voice of the gentleman — Sir — do you know — I mean — seen — Mrs. Germain ! Mrs. O. But for your appearance, my daughter had thought, she met you at Mrs. Germain's. How. Appearance ! I am what I appear ; a mechanic ! I have learned my trade. I have, in this capacity, served Mrs. Germain, and shall be glad to work for your family. Still I lose not, I trust, my right to the title of a gentleman, because my hands are hard- ened by labor. Mrs. O. She is in error — you speak not like a mechanic— one bred to toil ; but have more the manner of one that has studied in the halls of science. How. What should hinder the son of toil, when genius stimulates, from acquiring the highest fund of knowledge that science gives? Our country is a free one, and education flows from the pubhc fountain for all who thirst for its refreshing streams. Good night. {is going — a loud knock, L. IE.) Shall I open the door? Mrs. O. If you please. (Howard opens the door, L. i E.) Enter, THOMPSON a«^QuiRK, L. I E. The. Which is Charles Otis ? Cha. I am the person. Tho. Then sir, you are my prisoner. Cha. Prisoner? Tho, Yes, sir, to execute our duty, we must search your person. Cha. Stand off, would you treat me as a thief? Tho. A charge of theft is alleged against you. How. Young man, offer no resistance to the officers in the dis- charge of their duty. OR, THE PEOPLE'S LAWYER. 19 Cha. I have a paper entrusted to my care, which they must not see. How. Give it to me. Grace and Mrs. O. Charles, what does this mean ? (QuiRK takes the w ate }i from the pocket ^Charles) Tho. The property described in the warrant is here, [shows watch) Cha. I am innocent. Grace. How comes the watch in your possession ? Cha. I know not wliat this means. Tho. Sir, I demand to see that paper. How. Is that your brotlier's writing? Grace. It is. Charles, explain this. (Howard, after reading; hands paper to Thompson) Mrs. O. Charles Otis, am I the mother of a thief? Have I endured the sdngs of want, to rear a felon ! speak — if you are guilty, may you fall dead at my feet! Cha. Mother, 1 ain not guilty. Mrs. O. I believe you. How. So do I. Enter, WiNSLOW, L. I E. Win. I do not. (Thompson hands paper to Wmshow) Why is not that thief in prison? Madam, he is like his father. By death he escaped my vengeance ; so shall not the son. Cha. Speak of me as you will ; assail not the good name of my father. I am innocent. W^in. A jury's verdict will satisfy me better than your words — away with him ! How. Go not too far, Mr. Winslow. Win, What I do here, is no concern of yours. How. I may choose to make it so. Win. To prison with him ! A virtuous family is here ! Cha. Slanderous villain ! (Grace and Mrs. Otis holding him) Hold me not (Charles seizes a chair and is in the act of striking Winslow, when Howard interferes) TABLEAU. Thomp, Charles. Quirk. Grace. Howard. Mrs. Otis. Winslow. QUICK DROP. 20 SOLON SHINGLE ; ACT II. Scene I. — Same as last scene of Act isi, except that there is no harp on — Grace discovered — in her hands an open letter which she is reading. Enter, Mrs. Otis, l. i e. Grace. So soon returned, mother ? Mrs. O. Yes child. I have seen Charles. The lawyer gives me but little hope ; circumstances are so strong against him, and Mr. Winslow urges the trial. Grace. Who purchased the harp ? Mrs. O. A stranger. I saw Robert. He assures me that Charles will be acquitted. Grace. Then there is hope. Should Robert call in my absence, I will soon return — (a^ Grace is going L., enter Winslow, l. i e. ) Win. Do not. leave the room, Miss Otis; I have something to say, which I wish you to hear. Grace. Excuse me, sir. Win. I may be of service to you. (Grace turning away) Madam, in my zeal to bring the guilty to punishment, I may have gone too far. If you wish your son's release, it may be well to listen. Mrs. O. Well, sir, be seated, we may listen, [all seated, Wins- low in center) Win. It is needless for me to allude to the peril which Charles is now in, or for me to mention your praise-worthy efforts in his defense. I have heard that you have disposed of part of your furniture to enable you to retain the services of a lawyer. Grace. (R. ) Sir, you will spare our feelings by confining your conversation to that which we do not know so well. My mother has reproved you ; she is unable to bear calmly our mortifying and painful situation. Win. I came in friendship, I wish not to wound your feelings ; you deem me, I know not why, your enemy — why is this so? Grace. Go to my brother's cell ; ask that innocent boy, torn from home, confined with thieves, ruffians, and murderers, hardened in crime, and amid the clank of chains — listen to his answer. Win. I can save him from the verdict which will for years doom him to the horrors of a prison. I alone can save him ; there is a way. I can point that way. Mrs. O. Save my child, and buried be all former wrongs, for- gotten present feelings. Grace. Save my brother and Heaven will reward you. Win. I look for the reward here. OR, THE PEOPLE'S LAWYER. 21 Grace. The means of his deliverance, sir ? do not deceive us, the means f Win. I am the prosecutor — with my concurrence there are many ways, a principal witness may be absent ; I will not appear against him. Mrs. O. This is evading Justice and may fail. Win. Let him be convicted and appeal to another tribunal ; I will assert my belief that he is not guilty, and be myself his bail ; then send him in one of my vessels on a foreign voyage, to con- vince the world I believe him honest, and shield him from punish- ment. Grace. I am ignorant of the forms of law, but the principles of justice are deeply rooted here. I do not approve of your proposed means. Flight implies guilt. His good name is tarnished, motlier ; his country's verdict alone can wash clean the stain. Win. So shall it be : your scruples are those of virtue, and they please me. I know he is innocent. I would have it appear so. Mrs. O. With the feelings of a mother strong within me, I would welcome any means that gives Charles his liberty. Grace. I must go to him, and comfort him in his affliction. Win. Stay, Miss Otis ; if we both construe alike our thoughts, I may share your distress and relieve it; again I tender you my hand, which if you take, you take my wealth, and your brother's safety. Grace. I must decline the hand ; I could not accept, if my life depended upon the act ; there are reasons which render it impos- sible. \A^in. Reasons ! Madam, advise your daughter ; you know her ; you know me ; much depends upon her answer. Mrs. O. Her acts are free. I cannot bias her in such a choice. Grace. Mr. Winslow, I once before answered such a question. I am now betrothed to Win. Do 1 understand that you now reject me ? Mrs. O. Not so harshly, sir. Grace ! Win. The form of words affects not me ; if you do reject me, your brother is a convicted thief ere the sun sets. Will your new lover marry the sister of a sentenced felon — who is he? answer me. Enter, Howard, l. i e. How. He is here, sir, and will answer for himself. Win. Indeed ! a powerful rival ! A poor mechanic dares to thwart the wishes of a merchant ! Have a care, sir, or I will prove you an accomplice in crime, with the one whose cause you espouse ! How. Sir, I know you— the difference of our positions in society gives me no cause of fear. 22 SOLON SHINGLE J Win. Miss Otis, I congratulate you on your proposed alliance with this vagabond How, Vagabond, sir — (sfniltng) Win. Vagabond, yes, I repeat the word — who are you ? Marry him. Lady Otis. He is your brother's friend — the champion of a thief; himself no better. Mrs. O. You are a brave man, sir, thus to inflict abuse upon two helpless women. I envy you not the delicacy of feeling you possess. Win. There is the defender of the virtue of the name of Otis ; let him redress your grievances. Why does he not answer for himself and you ? How. I make no hasty answers, to angry men's words of pas- sion ; my answer will come, and like the thunder of Heaven, it shall silence your voice of impotence — my tongue in this presence shall not speak your proper name. Win. Beware how you glance at my character ; speak, if you dare, aught against me. Grace. For heaven's sake, Robert, let him not anger you I Win. Spiritless hind! even the weapon of speech he dare no longer use. How dare you, sir, hint aught against me. How. Go on, sir. Win. Retreat, sir, or with a blow I'll chastise you. How. Vent your rage in words, and I will hear it ; raise your arm to strike, and in mine own defense I stand ; beware the conse- quences ; no child's strength is here. Grace. Robert — Mr. Howard ! Win. A word with you. Here are the weapons gentlemen use, even in encounters with those beneath them, {produces pistols) To chastise you, I will raise you to my level. I talk not of vulgar blows. Mrs. O. This is my house! Commit no murder here. Win. If the ladies will withdraw, I will settle with the coward. How. Coward ! Do not hold my hand, madam ! Stand from before him ! I have listened to his insulting language ; but for your presence, I had shown him that he was but man, and I his equal ; leave us ; he dare not die in any cause. I promise that no blood shall be spilled. Grace. You promise that ? How. I do. Mrs. O. Robert, be not rash. Grace. He has promised, mother ; come. Exeunt, Grace «««(' Mrs. Otis, r. i e. How. We are alone, sir. The right of choice, by the barbarous code which governs men in their misnamed honorable meetings, is mine. If in this act I engage, I break my country's law and OR, THE PEOPLE'S LAWYER. 23 heaven's. You say I have wronged you ; I will give you satisfac- tion ; give me a weapon. (Winslow ^zt/« him a pistol) Now, sir, prove your manly spirit ; give me your hand ; we are strangers ; now, breast to breast, I fight you, thus : fire, if you dare ; I give you the word — fire ! Win. Hold ; this is murder. How. Indeed ! Give me your weapon, and talk of courage and honor elsewhere. I ask from you no degrading apology ; you must respect me. I ask no more from friend or foe. Win. I will take early opportunity to convince you, sir, what I dare do. I will have revenge for this, [aside and exit L. i E.) How. 'Tis well. I know the limits of his power. Mrs. Otis and Grace re-enter, R. i e. Grace. I am glad he is gone. Mrs. O. I hope .you have made no rash promise to meet this man. How. Fear not ; he will no more offend you by his presence here. Grace. Mr. Howard, we thank you. How. Grace, dearest Grace, call me Robert, still ; you have not known me long, 'tis true ; I trust his offer has not made mine, humble as it is, of less value. Grace. Robert, your prospects in life may be blasted by a union with the sister of a felon. How. Dearest Grace, let our marriage depend upon Charles' acquittal, and the measures I have taken will not be in vain. Grace. Prove my brother's innocence, and I am yours. How. I will do so. You will pardon me for inquiring too closely into your affairs. Charles has told me his story ; it shall be used to his advantage. This must be your home no longer. Take this letter, Grace, to the house with the Grecian Portico — that which pleased you so well, in our walk last Sunday — wait till the owner arrives ; he will serve you and Charles. He has heard of your misfortunes, and would see you. When the trial is over I will bring you tidings of the result. Let no anxiety tempt you into the Court House ; the forms of a criminal trial are too harsh for a sensitive mind — much less a mother's or a sister's, when a brother is arraigned. Grace. I hope all will go well. But for your persuasion I would have found the People's Lawyer and begged him to act in Charles' cause ; you know Mr. Winslow has threatened that he shall be against him at the trial. How. I am sure he will not. Fear not. Our laws are just, our judges honest men, our jurors are our equals. The right will pre- vail. 'Tis near the hour ; in our next meeting, Grace, I shall 24 SOLON SHINGLE J claim you for my wife. Mother, let me call you so, be of good heart, (exit Mrs. Otis and Grace, b. i e.) Now, Hugh Win- slow, beware ! The snare your subtle thought set for the innocent shall close upon the guilty one. Exit, L. l E. Scene II — A street, with signs of attorneys, &^c., represented as Court street, in Boston. Solon Shingle enters, L. , with an old plaid cloak and umbrella — citizens, male and female, cross to R. and\,., and exeunt. Sol. I wish I could catch the plaguy critter that stole my apple- sarse. Where' bouts am I ? [reading- signs) I'm among the law shops — jest the right place to find rogues. I wonder where the Court House is. By Jove, I'll let folks know I fout in the revolu- tion, [goes up stage and talks to a man that is passing from R. to L. ) Enter Winslow, r. Win. Just as I expected. The forgery is detected — the draft returned, and it will be traced to me, and from the obstinacy of this boy I may be ruined ; I must hasten his conviction, [the man leaves Solon laughing, undent, L. i. E.) Sol. Jest so. [laughs, sees Winslow) Ah, Mr. Winslow, how dey do ? By Cain, I got lost this morning, or I should have been in to see you. Win. [aside] I wish, with all my heart, you had never been found. Sol. That ain't all ; I've lost my apple sarse out of the tail end of my waggin ; it is sich a prime lot, tu ; as good as that I sold tu the chap from the Southard, and in your store. Win. Man from the Southard — I remember — do you know what we were talking about that day, Mr. Shingle? Sol. Yes, about the revolution ; how the fellers had to eat off the head of a barrel, without knives or forks. Mr. Winslow, are you a judge of clothes? I bought this coat at a vendue and this umbrella — what is it worth ; cash down ? \A^in. I don't know, indeed ; do you think you could tell the story in Court, if I wished it, about the check Col. Spencer gave me that day ? Sol. The day I sold him the apple sarse ? — guess I could ; your clerk was there — he could tell better than me. I was figuring out how much caliker it would take tu make my Nabby a fashionable gown. But, I say, they du tell me that your clerk was a rogue. Win. To-day his trial comes on ; after 'tis over, come and see me. I should hke to talk the matter over with you, about Col. Spencer. Sol. How he laughed when I told him about the battle of Bunker Hill, [belt rings) OR, THE PEOPLE'S LAWYER. 25 Win. You had better come into court. I'll be there. Exit, WiNSLOW, R. Sol. Jest so, thank you ; tell the judge I'll be there. Whenever I hear that bell, I always consate there is trouble brewing. When- ever I du go tu court, I'm sure tu make some alfired mistake or other ; once I drove right strait intu the prisoner's stall ; they told me tu stand up, and I did ; they asked me if I had anything tu say ; says I, no ; and while they were trying me, the real rogue got off. But if this Otis boy stole the watch he might have stole my apple sarse. I'll go in, and if there's any barin on the case, I'll speak. I don't like tu make a speech among these law chaps. They work a feller up so he don't know his head from his heels ; I shall have law enough, I 'spose, for that John EUsley won't marry my Nabby ; I considered her as good as married, and now her markit's spoiled ; my darter and the apple sarse may work for the Lawyers yet — jest so. Exit, R. Scene III. — Coiirt room, in 4 G. ; f/te judge discovered on the bench R. ; before him the c/erk,Jury sitting ; r 2 lawyers, CHARLES Otis in prisoner s box ; sheriff in his place ; Ellslev, Thomp- son a«^ Quirk on seat near witness stand— WiNSLOW enters and sits near Ellslev as scene changes — the clerk is standing read- ing the indictment ; the prisoner is also standing. Clerk, [fnishing indictment) What say, you, Charles Otis — guilty or not guilty ? Cha. Not guilty. Trip, {rises) May it please your honor, gentlemen of the jury, in this case, Commonwealth, versus Charles Otis, for stealing a watch and chain, the property of Hugh Winslow, we shall occupy but little of your time. The evidence offered will be found so conclu- sive that I shall probably not find it necessary to detain you with any argument. I shall proceed at once to the examination of the witnesses. The witnesses in this case will please come forward. Clerk. Hugh Winslow, Peter Thompson, John Quirk, John Ellsley. (enter Solon Shingle — he goes to table quietly, and shoves them all aside ; lays down hat and whip, and offers to lay down utnbrella ; is prevented by officers) Sol. I've got in, by Cain ! Clerk. Are you concerned in this case ? Sol. Well, r spose its likely I am, or I ought to be. Clerk. Your name, sir ? Sol. Solon Shingle. Clerk. Solon Shingle ? Sol. Jest so. [business) Clerk. Hold up your right hands, [they do) You solemnly swear etc . ( all arc srvorn ) 26 SOLON SHINGLE; Trip. Mr. Winslow, will you take the stand, sir ? {^he does so) You have had your watch stolen ? Win. I have, sir. Trip. Is the watch in Court ? [an officer hands the watch to hiDi) Is that your watch ? Win. It is, sir. Trip. That is all, for the present, Mr. Winslow. Mr. Thompson, take the stand if you please, {he does so) You arrested the prisoner .'' The. I did. Trip. State to court, if you please, what you know. Tho. I had a warrant for the arrest of the prisoner ; I found him at his house. When I made known my business he was agitated and denied the charge. I proposed to search him, he resisted. Solon by this time has fallen asleep, and snores occasionally. Trip. He resisted — well ? Tho. We searched him, and upon his person found the lost property. Trip. This is the watch you found in the pocket of the prisoner ? Tho. It is, sir. (SOLON snores) Trip. Very well. Mr. Quirk, take the stand. Quirk, [takes the stand) I went with Mr. Thompson, We found the watch and a paper, which he first gave to a young man who was there. Trip. Did he refuse to give you that paper ? Quirk. He did, sir. Trip. Very well, sir, stand down. Tim. I should like to ask the witness the nature of that paper, and that is if Trip. In time, sir, I will produce it soon enough for your client's good. Tim. The paper having been mentioned, I should like to know what it has to do with the case. Trip. I will not produce it now ; I know my duty, and shall per- form it ; next witness. Winslow a«i^ Tripper are in conversation; Shingle being next in order, an officer awakens him, and he goes to the stand. Sol. Jest so. Trip. Ah, Mr. Shingle, what do you know of this affair? Sol. Well, sir, I can't say ; you know there's no telling who's Governor till arter 'lection. So I guess. Trip. Mr. Shingle, I think I had the pleasure of examining you once before in a case. Sol. Yes, and you didn't get much ahead on me, did you ? Trip. This time you may tell what you know in your own way. OR, THE PEOPLE'S LAWYER. 2/ Sol. Jest so. But I don't tell all I know, for nothing— as I said in the last war, for my father fit in the revolution. Trip. Never mind that, sir — an article has been stolen, as you are aware ; now confine yourself to this fact. Sol. Jest so. I was in Mr. Winslow's the other night ; I left my team in the street — two yoke o' cattle and a horse. Trip. Why tell us of that ? let your team go. Sol. That's what I'm coming to — my team did go, for I couldn't bring 'em up into the shop ; so I was talking to Mr. Ellsley there, about matters and things — my Nabby's getting married and soon, and how things worked ; Squire, I wish you'd hand me a pen there tu pick my tooth, I eat three cent's worth of clams, afore I came into court, and really believe there's a clam atween my eye tooth, and 'tother one next tu it. Judge. Mr. Shingle, this has nothing to do with the case. Sol. Well. I didn't say it had. Squire. Trip. Just confine yourself to the facts in the premises, if you please, Mr. Shingle. Sol. Well, — I don't exactly understand what you mean by premises. Trip. Why, sir, I thought every fool knew as much as that. Sol. Jest so ; well, as I come out of the store, I knew that my cattle vvould natrally look tu me, and I took off the chain. Jud. The watch chain, Mr. Shingle ? Sol. No, Squire, the back chain. Trip. The back chain, what's that? Sol. Why I tliought every fool knew what a back chain was. I had him there, Squire, by Cain. Jud. Mr. Shingle, the loss of the article is proved without your evidence. 'Twas found in the prisoner's pocket — as you doubt- less heard. Sol. In his pocket? Jud. So said the witness. Sol. Then his pocket must have been as big as a hog pen, to hold my barrel of apple sarse. Jud. 'Tis a watch that has been stolen. Sol. A watch — Then I must have been asleep while you have been goin' on. I know nothing about any watch. Jud. Then you know nothing about this case, it appears — there is some mistake, Mr. Tripper. Trip. So it appears, Mr. Shingle, how came you here ? Sol. Well, I come to see about my apple sarse ; but either the clams that I eat, or a little rum toddy that I took arterwards made me sleepy. Jud. You may stand down, Mr. Shingle, for the present. Sol. Jest so ; you've swar'd me then for nothing, however I'm ready for the next time, [stands do7vn) 28 SOLON SHINGLE ; Trip. John Ellsley. Mr. EUsley, please to take the stand ; you have been sworn, sir ? El. I have, sir. Trip. You are a clerk in the employment of Mr. Winslow ? El. I am, sir. Trip. You have been intimate with the prisoner ? El. Prisoner ? I — you mean — yes, sir. Trip. Give us if you please a history of your knowledge of this affair. Cha. John Ellsley — tell the truth. Jud. Silence, prisoner — go on, Mr. Ellsley. El. On the morning that Charles was discharged, I called on him at his house. He said he had a secret he wished me to keep. I declined — he then offered me a watch and chain, which I knew to be the property of our master. He told me he had taken it, and offered to give me half, if I would keep it for him, which I refused. Trip. Did you not advise him to return it ? El. I did. He promised to do so and wrote a confession. Trip. Which I will now read, — [reads) " To my wronged mas- ter ; tempted by circumstances, which I will hereafter explain, I took from you your watch and chain. Conscience will not let me keep the ill-gotten bauble, and penitently, I implore you to receive it, and forgive the commission of the crime." Timid. Let me see the paper, — it is not signed, or proved to have been written by my client. Trip. 'Twas found in his possession — we will soon settle that. Mr. Ellsley, is that the handwridng of the prisoner? El. It is, sir — I saw him write it. Cha. I did write the confession. I do not deny it. Timid. Do not speak, sir — admit nothing. Trip. Mr. Ellsley, you may stand down. I shall rest the case here, without remark. Mr. Timid, any question you may wish to propose, I am ready to hear. Timid. May it please the Court — the case appears circumstan- tially to be this. I mean to say that if evidence of good character can avail, I can fill this court-room with such testimony. (Howard enters and comes forward — speaks to Chaklks and s/iakes /its /land — t/ien comes to TiMiD and w/iispets) I am not exactly prepared, but I do not doubt that if a little delay Trip. Certainly, sir, — by all means. How. I thank you, sir, — may it please your Honor, I have lis- tened to some of the evidence m this case, as well as the remarks of the learned gentlemen for the Government. I am here to speak in defence of that innocent young man. Trip. This is unfair, sir. I appeal to the Court, if this interfer- ence is not improper. OR, THE PEOPLE'S LAWYER. 29 How. I shall be pleased to meet any fair argument against my appearance here, as counsel for that young man, the victmi, in my opinion, of a base conspiracy — which I think I shall be able to prove, unless my right to practice in this Court be denied me. Jud. Go on, Mr. Howard, there can be no good excuse for objection. Sol. Why, that's the People's Lawyer — things will turn, I reckon. Mr. Howard, I've lost a barrel of apple sarse. Sheriff. Silence in the Court. Sol. Jest so. {sih down) How. John Ellsley, take the stand again, {he does so with evi- dent unwillingness) Though the law may sometimes shield a vil- lain with its broad hand of power, in honest hands 'tis an engine the evil-doer dreads. John Ellsley, you are under oath, a solemn oath, and upon the words spoken by you — under the penalty of broken oaths — rests the fate of one who was your companion, your friend. I charge you, sir, with uttering what is untrue, and advise you to recall the dark deed which you have here committed. Trip. Is this brow-beating a witness — this sermonizing to be allowed, sir ? How. Speak not, sir ; by courtesy — by right — the witness is mine. I will use him till he speaks the truth. Look at me, sir ; knowest thou not that the eye of the eternal Judge is on you, that he has this day, with his pen of fire, written perjury, against thy soul. WiNSLOW a«tandings follow one another in rapid succession, and the mystery grows deeper and still deeper. Finally, when everybody gets into a hopeless tangle, it is discovered that all three are v'„tims of a practical joker, who has made them "April Fools." MISS MADCAP. A comedietta in one act, by Charles Townsend, for two male and one female characters. Time of playing, 20 minutes. This bright and breezy little play sparkles like champagne, and is just the thing for a curtain- raiser or an afterpiece. The story is well lold, and the characters are well drawn. The youth who pretends to be a " tough," the young man who pretends to be a "dude," and the young lady who pretends to be a "tomboy," all give scope for excellent acting. The piece has been played with pronounced success under the author's man.^gemeIit. THE DARKEY WOOD DEALER. A farce in one act, by Charles Townsend, for two male and one female characters. Time of playing, 20 minutes. A ro iring farce in this author's happiest vein, totally unlike the ordinary "Ethi- opian" plays. Each character IS first-class. The "wood-dealer," beyond doubt, is one of the best negro parts on the stage. The Deacon is a highly-amusing, old man, and Mrs. Deacon (this p' . t may be played by a young man), a tremen- doushit as a "strong-minded" femt.e. 1 his farce is certain to keep an audience in a roar, and has proved a sure hit as played under the author's management. AN OLD PLANTATION NIGHT. PRICE, 25 CENTS. A musical and dramat'c entertainment for four male and four female characters, forming a double quartet. This is not a ne^ro minstrel show, contains no boisterous jokes nor conundrums, and is without a vestige of "Tambo" or " Bones," or the conventional stage darkey. It is a simple but vivid representation of life "inde quarters," embellished with song and sto y illustrating some of the quaint super- stitions and frolicsome merry-makings of the mellow-voiced race. Thoroughly bright throu'ihout, the text is uncommoidy well written, and the succession of inci- dents skilfully contriv d, while its transitions from grave to gay can be made wonder- fully effective by intelligent actors. The scene, a simple interior, can be arranged on any platform without set scenery; some old garments and a little discarded finery will suffice for the costumes ; the " properties are few and simple, and the music is within the capacity of fairly good voices, such as any ordinary church choir contains. Wholly novel in conception, and singularly clever in arrangement. An Old Planta- tion Night will prove highly acceptable to audiences of all kinds in church, school, lyceum, or parlor. Synopsis: Uncle 'Rastus and Thomas Jefferson. — " Befo' de Wah." — "Swing Low, Sweet Chariot." — An influx of visitors. — Aunt Marthy's Story of the little possum. — The rabbit cross. — Limber Jim. — The Sunflower Song. — The stylishness of some folks. — The little white goat on the mountain.— " The Gospe* Train." — Polly and the screech-owl. — A husking bee. — The Corn Song. — Little Aaron's battlements. — Ol d Da n Tucker. ^^" Copies of the above will be jnailed, post-paid, to any address, on receipt of the specified prices. .^jri, HAROLD ROORBACH, Publisher, 9 Murray St., New York. UNCLE TOM'S CABIN (NEW VERSION.) A MELODRAMA IN FIVE ACTS, BY CIIAS. TOWNSEND. PRICE, 15 CENTS. Seven male, five female characters (some of the characters play two parts). Time of playing, 2ji hours. This i-; a new acting edition of a prime old favorite, so .simplified in the stdgc-setting as to be easily represented by dramatic clubs and travelling companies with limited scenery. Uncle 'J'om's Cabin is a play that never grows old ; being pure and faultless, it commands the praise of the pulpit and sup- port of the press, while it enlists the favor of all Christians and heads of families. It will draw hundreds where other plays draw dozens, and therefore is sure to fill any hal , Synopsis of Incidents : Act I. — Scene /.—The Shelby plantation in Kentucky. — George and Eliza. — The curse of Slavery. — The resolve. — Off for Canada. — " I won't be taken — I'll die first." — Shelby ?nd Haley. — Uncle Tom and Harry must be sold. — • The poor mother. — "Sell my hoy!" — The faithful slave. Scene !I. — Gumption Cute. — " By Gum !"— Marks, the lawyer. — A mad Yankee. — George in disguise. — A friend in need. — The human bloodhounds. — The escape. — " Hooray fer old Var- mount ! " Act II. — St. Clare's elegant home. — The fretful wife. — The arrival. — Little Eva.— Aunt Ophelia and Topsy. — " O, Golly! I'se so wicked!" — St. Clare's opinion. — " Benighted innocence."— The stolen gloves. — Topsy in her glory. Act III. — The angel child. — Tom and St. Clare. — Topsy's mischief. — Eva's re- quest. — The promise.— pathetic scene. — Death of Eva. — St. Clare's grief. — " For thou art gone forever." Act IV. — The lonely house. — Tom and St. Clare. — Topsy's keepsake. — Deacon Perry and Aunt Ophelia. — Cute on deck. — A distant relative. — The hungry visitor. — Chuck full of emptiness." — Cute and the Deacon. — A row. — A fight. — Topsy to the rescue. — St. Clare wounded. — Death of St. Clare. — "Eva — Eva — I am coming " Act V. — Legree's plantation on the Red River. — Home again. — Uncle Tom's noble heart. — " My soul ain't yours, Mas'r." — Legree's cruel work. — Legree andCassy. — The whiteslave. — A frightened brute. — Legree's fear. — A life of sin. — Marks and Cute. — Anew scheme. — The dreadful whipping of Uncle Tom. — Legree punished at last. — Death of Uncle Tom. — Eva in Heaven. THE WOVEN WEB. A DRAMA IN FOUR ACTS, BY CHAS. TOWNSEND. PRICE, 15 CENTS. Seven male, three female characters, viz. : leading and second juvenile men, so- ciety villain, walking gentleman, eccentric comedian, old man, low comedian, leading juvenile lady, soubretie and old woman. Time of playing, ? hours. 'I "j Woven '^'5U IS a flawless drama, pure in thought and action, with excellent characters, and pre- senting no difficulties in costumes or scenery. The story is captivating, with a plot of the most intense and unflagging interest, rising to a natural climax of wonderful power. The wit is bright and sparkling, the action terse, sharp and rapid. In touch- ing the great chord of human sympathy, the author has expended that rare skill which has given life to every great play known to the stage. This play has been produced under the author's management with marked success, and will prove an unquestionable attraction wherever presented. Synopsis of Incidents: Act I. — Parkhurst & Manning's law office, New York. — Tim's opinion. — The young lawyer. — " Majah Billy Toby, sah ! " — Love and law. — Bright prospects. — Bertha's misfortune. — A false friend. — The will destroyed. — A cunning plot. — Weaving the web. — The unseen witness. — The letter. — Accused. — Dishonored. Act II. — Winter quarters. — Colonel Hastings and Sergeant Tim. — Moses. — A message. — Tim on his dignity. — The arrival. — Playing soldier. — The secret. — The promise. — Harry in danger. — Love and duty. — The promise kept. — " Saved, at the loss of my own honor ! " Act III. — Drawing-room at Falconer's. — Reading the news. — " Apply to Judy ! " — Louise's romance. — Important news. — Bertha's fears. — Leamington's arrival. — Drawing the web. — Threatened. — Plotting. — Harry and Bertha. — A fiendish lie. — Face to face. — " Do you know him ? " — Denounced. — " Your life shall be the penalty ! " — Startling tableau. Act IV. — At Uncle Toby's. — A wonderful climate. — An impudent rascal. — A bit of history. — Woman's wit. — Toby Indignant. — A quarrel. — Uncle Toby's evidence. — Leamington's iSst trump. — Good news. — Checkmated. — The telegram. — Breaking the web. — Sunshine at last. %^ Co/lies mailed, postpaid, to any address, on receipt */ the annexed prices. ^^ SAVED FROM THE WRECK. A DRAMA IN THREE ACTS, BY THOMAS K. SERRANO. PRICE, 15 CENTS. Eight male, three female characters : Leading comedy, juvenile man, genteel villain, rough villain, light comedy, escaped convict, detective, utility, juvenile lady, leading comedy lady and old woman. Two interior and one landscape scenes. Modern costumes. Time of playing, two hours and a half. The scene of the action is laid on the New Jersey coast. The plot is of absorbing interest, the "business" effective, and the ingenious contrasts of comic and serious situations present a con- tinuous series of surprises for the spectators, whose interest is increasingly maintained up to the final tableau. SYNOPSIS OF INCIDENTS. Act 1. The Home of thk Light-housb Keepek. — An autumn afternoon. — The insult. ^True to herself. — A fearless heart. —The unwelcome guest. — Only a foundling. — An abuse of confidence. — The new partner. — Tlie compact. — The dead brought to life. — S.ived from the wreck. — Legal advice. — Married for money. — A Rolden chance. — The intercepted letter. — A vision of wealth. — The forgery. — Within an inch of his life. — The rescue. — Tableau. Act II. ScENB as bkfork ; time, night. — Dark clouds gathering. — Changing the jackets. — Father and son. — On duty. — A struggle for fortune. — Loved for himself. . — The divided greenbacks. — The agreement.— An unhappy life. — The detective's mis- take. — Arrested. — Mistaken ideniity. — The likeness again. — On the right track — The accident. — "Will she be saved ? " — Latour's bravery. — A noble sacrifice. — The secret meeting. — Another case of mistaken identity. — The murder. — " Who did it ? " — The torn cuff. — "There stands the murderer!" — " 'Tis false!" — The wrong man mur- dered. — Who was the victim ? — T.-\bleau. Act III. Two Dav.s Later. — Plot and counterplot. — Gentleman and convict. — The price of her life. — Some new documents. — The divided banknotes. — Sunshine through the clouds. — Prepared for a watery grave. — Deadly peril. — Father and daugh- ter. — The rising tide. — A life for a signature. — True unto death. — Saved. — The mys- tery solved. — Denouement. — Tableau. BETWEEN TWO FIRES. A COMEDY-DRAMA IN THREE ACTS, BY THOMAS K. SERRANO. PRICE, 15 CENTS. Eight male, three female, and utility characters : Leading juvenile man, first and second walking gentleman, two light comedians (lawyer and foreign adventurer), Dutch and Irish character comedians, villain, soldiers ; leading juvenile lady, walk- ing lady and comedienne. 'I'hree interior scenes ; modern and military costumes. Time of playing, two hours and a half. Apart from unusual interest of plot and skill of construction, the play affords an opportunity of representing the progress of a real battle in the distance (though this is not necessary to the action). The comedy business is delicious, if well worked up, and a startling phase of the slavery question is sprung upon the audience in the last act. SYNOPSIS OF INCIDENTS. Act I. At Fort Lee, on the Hudson. — News from the war. — The meeting. — The colonel's strange romance. — Departing for the war. — The intrusted packet. — An honest man. — A last request. — Bitter hatred. — The dawn of love. — A northerner's sympathy for the South. — Is he a traitor ? — Held in trust. — La Creole mine for sale. — Financial agents. — A brother's wrong. — An order to cross the enemy's lines. — For- tune's fool. — Love's penalty. — Man's independence. — Strange disclosures. — A sha- dowed life. — Bepgared in pocket, and bankrupt in love. — His last chance. — The re- fusal. — Turned from home. — Alone, without a name — Off to the war. — Tableau. Act II. On the Battlefieu^. — An Irishman's philosophy.— Unconscious of danger. — Spies in the camp. — The insult. — Risen from the ranks. — The colonel's prej- udice. — Letters from home. — The plot to ruin. — A token of love. — True to him. — The plotters at work. — Breaking the seals. — The meeting of husband and wife. — A forlorn hope. — Doomed as a spy. — A struggle for lost honor. — A soldier's death.— Tableau. Act III. Before Richmond. — The home of Mrs. De Mori. — The two docu- ments. — A little misunderstanding. — A deserted wife. — The truth revealed. — Brought to light. — Mother and child. — Rowena's sacrifice. — The American Eagle spreads his wings.^The spider's web. — True to himself. — The reconciliation. — A long divided home reunited. — The close of the war. — Tableau. \^~ Copies tnailed^ postpaid , to any address, an raceipt of the annexed prices. „^^ H. THEYRE SMITH'S PLAYS. Price, 1 5 Cents Each. A CASE FOR EVICTION. One male and two female characttrs— light comedian, lady comedian and servant. Interior scene ; modern costumes ; lime of playing, thirty minutes. This breezy little play is so true to life that everybody enjo) s it and, as a matter of course, it is always highly successful. A young husband and wife have a visitor who makes them twice glad — glad when he comes and doubly glad when he goes. The difficulties that the young couple experience in getting rid of their guest, without hurting his feelings, are laughable in the extreme. The guest, by the way, is heard but not seen—v,\\\c\ fact gives rise to much comical business. No scenery whatever is required; and as every-day costumes are worn, the piece can be produced successfully without the slightest trouble. CUT OFF WITH A SHILLING. Two male and one female characters- juvenile man, old man and lady comedian. Scene, a sitting-room ; modern cos- tumes ; time of playing, forty-five minutes. An exceedingly popular play, offering unusual opportunities lor good acting. A young man who has married without his uncle's consent is cut off with a shilling. But the uncle meets, his nephew's wife — not knowing who she is — and is so captivated by her wit, grace and beauty that, on learning who she is, he changes his mind, reinstates his nephew and allows the latter to return the shilling. The dialogue is witty, the action rapid, and the situations effective. A HAPPY PAIR. One male, one female character — both light comedy. Scene, a nicely furnished room ; modern costumes ; time of playing, forty-five minutes. A brisk little play, full of action and giving numerous opportunities for clever work. While entirely free from all "low-comedy" business, it contains enough humor to be highly diverting. The quarrels of the "happy pair," and their final recon- ciliation can not fail to please, and the play is sure to give entire satisfaction either in the parlor or as a " curtain raiser" or afterpiece. MY LORD IN LIVERY. Four male and three female characters — light comedian, low comedian, old man, utility, lady comedian and two walking ladies. Parlor scene; modern costumes ; time of playing, fifty minutes. An unusually bright piece brimming over with wit and humor. The three young ladies who permit a comic servant to meet them on terms of equality under the belief that he is a nobleman masquerading like themselves — the happy-go-lucky young nobleman who is mistaken for a burglar — the comical old butler — all have a vast deal of laughable by-play and business. This play w^s a pronounced success in New York, and has been presented to crowded houses in all the principal cities of this country. The ease with which it may be staged, and the invariable success which attends it, make My Lord in Livery peculiarly adapted to the use of amateurs. UNCLE'S WILL. Two male and one female characters — juvenile lead, rid man and lady comedian. Scene, a sitting-room ; costumes, modern ; time of playing, thirty minutes. This brilliant little play is a prime favorite in both Europe and America, and is admirably adapted to the use of amateurs. The wit flashes like a diamond, and the dainty bits of humor scattered here and there keep up a constant ripple of pleased excitement. Each character is a star part. The dash- ing young naval officer, the comical old man — in which Mr. Davidge made t pronounced hit at the Fifth Avenue Theatre, New York — and the bright and spirited young lady, all are first class and worthy of the best talent in any dramatic club. WHICH IS "WHICH. Three male, three female characters— juvenile man, old man, utility, two juvenile ladies and old woman. Scene, a studio ; costumes, modern ; time of playing, fifty minutes. Excellent and much patronized by amateurs. The amusing perplexities of the poor artist, who can not tell which of his visitors is the heiress and which her penniless friend — who mistakes one for the other — who makes love to the rich girl, supposing that she is poor, and deter- mines to marry her in spite of her supposed poverty — and who finally discovers that he has proposed to the heiress after all — combine to make this a delightful play. C^" A ny of the above ■will be sent by ma ily postpaid, to a ny address . on receipt of the annexed prices. As there are several editions oj" these plays offered /or sale, gjod, bad and indifferent^ purchasers -will co?isult their own interests, when order- ing, l>y specifying Koorbach's edition. _^gS HAROLD ROORBACH, Publisher, 9 Murray St,, New York. NEW ENTERTAINMENTS. THE JAPANESE WEDDING. A costume pantoininie represecitatioii of the Wedding Curenioiiy in Japanese high life. The company consists of the brid'.- and groom, their parents, six bridesmaids, and the officiating personage appropriately called the " Go-between." There are various formalities, including sahiams, tea-drinking, eating rice-cakes, and giving presents. No words are spoken. The ceremony (which occupies about 50 minutes), with the "tea-room," tills out an evening well, though music and other attractions may be added. Can be represented by young ladies alone, if preferred. Price, 25 Cents. AN EVENING WITH PICKWICK. A Literary and Dr.unatic Dickens Entertainment. — Introduces the Pickwick Club, the W'ardles of Dingley Dell, the Fat Boy, Alfred Jingle, Rlrs. Leo Hunter, Lord Mntanhed and Count Smorltork, Arabella Allen and Kob Allen, Bob Sawyer, Mrs. and Master Bardell, Mrs. Cluppins, Mrs. Wellc-r, Stiggins, Tony Weller, Sam Weller, and the Lady Traveller. Price, 25 cents. AN EVENING WITH COPPERFIELD. A Literary and Dramatic Dickens Entertainment. — Litroduce.s Mrs. Coppertield, Davie, the Peggotys, the Murdstones, Mrs. (iummidge. Little Em'l\-, Barkis, Betsey Trotwood, Mr. Dick and his kite, Stecrforth, the Creakles, 'I'raddles, Rosa Dartle, Miss Mowcher, Uriah Heep and his Mother, the Micawbers, Dora and Gyp, and the wooden-legged Gatekeeper. Price, 25 cents. These " Evenings with Dickens " can be represented in whole or in part, require but little memorizing, do not demand experienced actors, are not troublesome to pre- pare, and are suitable for performance either on the plaltorm or in the drawing room. THE GYPSIES' FESTIVAL. A Musical Entertainment for Voiing People. Introduces the Gypsy Queen, Fortune Teller, Yankee Peddler, and a Chorus of Gypsies, of any desired number. The scene is supposed to be a Gypsy Camp. The costumes are very pretty, but simple; the diakgue bright ; the music easy and tuneful ; and the drill movements and calisthenics are graceful. Few properties and no set scenery required, so that the entertainment can be represented on any pljtform. Price, 25 cents. THE COURT OF KING CHRISTMAS. A CHRISTMAS ENTERTAINMENT. The action takes pU^ce in Santa Claus land on Christmas eve, and represents the bustling preparations of St. Nick and his attendant worthies for the gratification of all children the next day. The cast may include as many as 36 characters, though fewer will answer, and the enter- tainment represented on a platform, without troublesome properties. The cos- tumes are simple, the incidental music and drill movements graceful and easily managed, the dialogue uncommonly good, and the whole thing quite above the average. A representation of this entertainment will cause the young folks, from six to sixty, fairly to turn themselves inside out with delight, and, at the same time, enforce the important moral of Peace and Good Will. Price, 25 cents. RE CEN TL 3 " PUBL I SHED. ILLUSTRATED TABLEAUX FOR AMATEURS. A new series of Tableaux- yi7>an/s, by Martha C. Weld. In this series each description is accompanied with a full-page illustration of the scene to be represented. PART I.— MISCELLANEOUS TABLEAUX.— Contains General Introduction, 12 Tableaux and 14 Illustrations. Price, 25 Cents. PART II.— MISCELLANEOUS TABLEAUX.— Contains Introduction, 12 Ta- bleaux and 12 illustrations. Price, 25 Cents. SAVED FROM THE WRECK. A drama in three acts. Eight male, three female characters. Time, two hours and a half. Price, 15 Cents. BETWEEN TWO FIRES. A comedy-drama in three acts. Eight male, three fi-male characters. Time, two hours and a half. Price, 15 Cents. BY FORCE OF IMPULSE. A drama in five acts. Nine male, three female characters. Time, two hours and a half. Price, 15 Cents. A LESSON IN ELEGANCE. A comedy in one act. Four female characters. Time, thirty minutes. Price, 15 Cents. WANTED, A CONFIDENTIAL CLERK. A farce in one act. Six male characters. Time, thirty minutes. Price, 15 Cents. SECOND SIGHT. A farcical comedy in one act. Four male, one female charac- ter. Time, one hour. Price, 15 Cents. THE TRIPLE 'WEDDING. A drama in three acts. Four male, four female characters. Time, one hour and a quarter. Price, 15 cents. VS^A ny 0/ the ahpTe tvil! be sent by inail^ postpaid, to any addresSy on receipt vfthe annexed prices. ^^,^^ HAROLD ROORBACH. Publisher, 9 Murray St., New York. LIBRftRY OF CONGRESS HELMER'S ACTOR'S MAKE-UP , ,,3 ,,3 ^3^-., yt Pratlical and Systtntaiic Guide to the Art o/ Making vj> /jr the Siagt, PRICE, 25 CENTS. With exhaustive treatment on the Use of Theatrical "Wigs and Beards, The Make-up and its requisite materials, the different features and their management, typical character Masks, etc. With Special Hints to Ladies. Designed for the 'USE OF Actors and Amateurs, and for both Ladies and Gentle- men. Copiously Illustrated. CONTENTS. \. Theatrical Wigs. — The Style and Form of Theatrical Wigs and Beards. The Color and Shading of Theatrical Wigs and Beards. Directions for Measuring the Head. To put on a Wig properly. H. Theatrical Beards. — How to fashion a Beard out of crep6 hair. How to make Beards of Wool. The growth of Beard simu- lated. HL The Make-up — A successful Character Mask, and how to make it. Perspiration during performance, how removed. IV. The Make-up Box. — Grease Paints. Grease paintL in sticks; Flesh Cream; Face Powder; How to use face powder as a Irquid cream ; The various shades of face powder. Water Cos- jnfetrque. Nose Putty. Court Plaster. Cocoa Butter. CrSpe Hair ^nd Prepared Wool. Grenadine. Dorin's Rouge. " CMd Man's'* Rouge. "Juvenile" Rouge. Spirit Gum. Email Noir. Bear's Grease. Eyebrow Pencils. Artist's Stomps. Powder Puffs. Hares* J"eet. Camels'-hair Brushes. V. The Features and their Treatment. — The Eyes : blind- ness. The Eyelids. The Eyebrows : How to paint out an eyebrow or -moustache ; How to paste on eyebrows ; How to regulate bushy eye- trows. The Eyelashes : To alter the appearance of the eyes. The Ears. The Nose : A Roman nose ; How to use the nose putty ; A pug nose ; An African nose; a large nose apparently reduced in size. The Mouth and Lips : a juvenile mouth ; an old mouth ; a sensuous mouth ; a satirical mouth ; a one-sided mouth ; a merry mouth ; A sullen mouth. The Teeth. The Neck, Arms, Hands and Finger- nails : Fingernails lengthened. Wrinkles: Friendliness and SuUen- ness indicated by wrinkles. Shading. A Starving character. A Cut in the Face. A Thin Face Made Fleshy. VI. Typical Character Masks. — The Make-up for Youth : Dimpled cheeks. Manhood. Middle Age. Making up as a Drunk- ard : One method ; another method. Old Age. Negroes. Moors. •Chinese. King Lear. Shylock. Macbeth. Richelieu. Statuary. Clowns. Vn. Special Hints to Ladies. — The Make-up. Theatrical "Wigs and Hair Goods. Sent by mail, postpaid, to any address, on receipt of the price. HAROLD ROORBACH, Publisher, 9 Murray Street, New York.