PRICE 15 CENTS THE PENN PUBLISHING COMPANY *~~ ' CM Successful Rural Plays A Strong List From Which to Select Your Next Play FARM FOLKS. A Rural Play in Four Acts, by Arthur lewis Tubbs. For five male and six female characters. Time of playing, two hours and a half. One simple exterior, two easy interior scenes. Costumes, modern. Flora Goodwin, a farmer's daughter, is engaged to Philip Burleigh, a young New Yorker. Philip's mother wants him to marry a society woman, and by falsehoods makes Flora believe Philip does not love her. Dave Weston, who wants Flora himself, helps the deception by intercepting a letter from Philip to Flora. She agrees to marry Dave, but on the eve of their marriage Dave confesses, Philip learns the truth, and he and Flora are reunited. It is a simple plot, but full of speeches and situations that sway an audience alternately to tears and to laughter. Price, 25 cents. HOME TIES. A Rural Plav in Four Acts, by Arthur Lewis Tubbs. Characters, four male, five female. Plays two hours and a half. Scene, a simple interior — same for all four acts. Costumes, modern. One of the strongest plays Mr. Tubbs has written. Martin Winn's wife left him when his daughter Ruth was a baby. Harold Vincent, the nephew and adopted son of the man who has wronged Martin, makes love to Ruth Winn. She is also loved by Len Everett, a prosperous young farmer. When Martin discovers who Harold is, he orders him to leave Ruth. Harold, who does not love sincerely, yields. Ruth dis- covers she loves Len, but thinks she has lost him also. Then he comes back, and Ruth finds her happiness. Price 25 cents. THE OLD NEW HAMPSHIRE HOME. A New England Drama in Three Acts, by Frank Dumont. For seven males and four females. Time, two hours and a half. Costumes, modern. A play with a strong heart interest and pathos, yet rich in humor. Easy to act and very effective. A rural drama of the "Old Homstead" and "Way Down East" type. Two ex- terior scenes, one interior, all easy to set. Full of strong sit- uations and delightfully humorous passages. The kind of a play everybody understands and likes. Price, 25 cents. THE OLD DAIRY HOMESTEAD. A Rural Comedy in Three Acts, by Frank Dumont. For five males and four females. Time, two hours. Rural costumes. Scenes rural ex- terior and interior. An adventurer obtains a large sum of money from a farm house through the intimidation of the farmer's niece, whose husband he claims to be. Her escapes from the wiles of the villain and his female accomplice are both, starting and novel. Price, 15 cents. A WHITE MOUNTAIN BOY. A Strong Melodrama in Five Acts, by Charles Townsend. For seven males and four females, and three supers. Time, two hours and twenty minutes. One exterior, three interiors. Costumes easy. The hero, a country lad, twice saves the life of a banker's daughter, which results in their betrothal. A scoundrelly clerk has the banker in his power, but the White Mountain boy finds a way to check- mate his schemes, saves the banker, and wins the girl. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Not a Bit Jealous A Comedy Sketch in One Act By FRANK DUMONT Author of "The Depot Lunch Counter," "A Quiet Hotel" "How a Woman Keeps a Secret" etc. PHILADELPHIA THE PENN PUBLISHING COMPANY 1918 4^ Copyright 1918 by The Penn Publishing Company •WR I7!9i8 OciD 49357 Not a Bit Jealous Not a Bit Jealous CHARACTERS George Schemer - - - - very suspicious Mrs. Bella Schemer - his wife — still more suspicious Hiram Soft a delivery clerk Time. — Thirty minutes. STORY OF THE PLAY Romantic Mrs. Schemer decides to test her hus- band's love. She hires Hiram Soft, a delivery clerk, to make love to her and thus arouse her husband's jealousy. " How big a man is your husband? " Mr. Schemer discovers the plot, and hires Soft to dress in women's clothes and make love to him. " Say, don't forget that I'm not the real thing." Bella sees the supposed woman in her husband's arms, and proves to everybody's satisfaction that she is more than a bit jealous. COSTUMES George. About thirty. Street costume, with hat, overcoat, gloves, etc. Bella. About twenty-five. Handsome afternoon dress. Soft. About twenty-five. At first entrance wears ordinary business suit, and a uniform cap. At second entrance is dressed in feminine attire, with short skirt, gay hat, hand-bag, fancy shoes, etc. PROPERTIES For Bella: Novel. For George : Hat and overcoat ; pistol. For Soft: Box, containing lady's waist, wrapped as though just from store. SCENE PLOT INTERIOR. &ACX//YG Scene. — Parlor or sitting-room of the Schemers. A handsome interior, with suitable furnishings. Doors up c. and at r. and l. Lounge or sofa l. Table and easy chair l. c. Chair up r. c, near door c. Pictures on walls. 4 Not a Bit Jealous SCENE. — Parlor or sitting-room in the home of the Schemers. {Discovered: Bella Schemer, l. c, in easy chair, reading a book.) Bella {reading). " ' Who was that man who bowed to you ? ' demanded Alonzo, when they were alone. ' Why, Alonzo, how strangely you speak/ ' Huh, you try to evade the question. I demand an answer.' {Dramatically.) 'Who is that man?'" {Lets novel fall in her lap, and repeats.) Who is that man? Oh, if George would only talk to me like that once in a while. This is a beautiful story. The young bride's husband is insanely jealous of her. He makes love to her all day and won't let her look at another man. And they have been married nearly two months. {Rises and throws novel on table.) Oh, if George were only like that — if I could only make him insanely jealous of me! He neglects me — that's what he does — he doesn't care for me any more. {Leans against table, l. Picks up novel again and opens it. Reads.) " Who is that man? " {Lays book on table, thinking.) Ah-ha. That's it. That's the answer. If he once saw another man making love to me George would wake up. Now — {crosses r., thinking hard) now — who is that man ? {Enter Hiram Soft, up c, carrying a box containing a silk waist.) Soft. Who, me? (Bella turns, startled.) Were you talking to me, ma'am ? 5 6 NOT A BIT JEALOUS Bella. No, certainly not. Who are you — where are you from? Soft. From Yard and White's, ma'am (or name a local firm). Are you Mrs. Bella Schemer? (Looking at name on box.) Bella. That's my name. Soft (coming down r. a). A package for you from our store. A gentleman bought it and ordered it sent here to this address. (Gives box. She opens it and holds the waist up to view. ) Bella. The very shirt-waist that I admired yes- terday. It's very pretty — but, oh, why didn't he let me go and buy it for myself? Soft. Search me ! Bella (glaring at him). Sir! Of course it's very pretty but I want to do my own shopping. Soft. Uh-huh ! Ladies are never satisfied ! I hear the same story wherever I go. (Goes l. and looks at pictures on wall.) Bella (dramatically). That's because men do not understand women — and never will. Soft. You're right! They don't even understand themselves. Bella (crossing l. to Soft). Have you ever been in love? Soft (edging away). Now, now, I've got my fingers crossed. I came near falling in love once, but when I looked at my pay envelope I found I couldn't afford such luxuries. Bella. Would you like to earn a little money ? Soft. Say — would a duck swim? What's the game? I'm in it. Bella. Very well. I'll unravel the plot. You will laugh when you hear it. I want you to make love to me! Soft (looking at her doubtfully). I don't see NOT A BIT JEALOUS *r where the laugh comes in. Nothing doing. I'll make love to you and you will sue me for breach of prom- ise Oh, no. I'm not taking any chances. {He retreats warily up l. c. behind table.) Bella. Don't be ridiculous. This is business. I want to make my husband jealous. Soft {coming down r.). How big a man is your husband ? Bella {crossing to R. c). Oh! He is quite an invalid. You need not be afraid of him at all. Soft (r.). Are you sure that he wouldn't do me some bodily harm? Bella (r. c). I am quite sure! I wish to arouse his jealousy — that's all. You pretend to make love to me. If it works, and we make him jealous, I'll protect you. Soft. Well, it sounds all right. How much ? Bella. Well, really {smiling at him), don't you think that considering the pleasure and Soft {firmly). This is in business hours. Our price for making love in business hours is ten dollars — cash. Bella {sighing). Oh, you business men. How- ever {Takes purse from table and hands him a bill.) Now, let's begin. Soft {not quite sure whether to humor her or to run) . Well, what are we going to I hardly Bella. Don't forget, this is business. Now, make love to me. Soft. Well, you're a perfect stranger to me. Er — what kind of love do you like ? Bella. Have you a sweetheart ? Soft. Oh, yes, three or four. Bella {going to sofa, l.). Well, then just imagine I'm your best girl. Come, now — start in. Come on. (Soft takes a step toward her.) My, but you're slow. Come here. (Soft runs to her, stops suddenly.) That's right. You're getting the idea. Soft. Certainly. What do I do next? 8 NOT A BIT JEALOUS Bella. Stupid. Sit down here by me. {Makes room for him on sofa. He sits on end toward audi- ence.) Now then. We'll rehearse a love scene, like they do in the movies. You are the bashful lover. Soft. Yes. I'm bashful, all right. Bella. And I am not at all bashful. Soft. You're right you aren't. {Confused.) I mean, yes, ma'am. Bella. Don't say " yes, ma'am." Call me darling. Soft {in a ridiculous small voice). Darling! Bella {taking his hand). Oh, not that way. More warmly, like this. {Languishingly.) Darling! Soft {still stiffly). Darling! Bella. You're getting the idea. Now put your arm around me. {He does so, timidly. She puts her head on his shoulder.) That's the way. {Looking up at him and speaking dramatically.) Oh, Armand, my loved one, how I have longed for your kiss. ( Soft hugs her and gives her a kiss. She springs away from him. ) Oh, that was a real one ! Soft. Certainly. I'm getting the idea now. Bella. Not — not too warmly, you know. This is business. Soft {laughing). All right. {Takes her hand.) Now begin again. Bella. All right. Warm, you understand, but not too warm. Now. {Dramatically.) Oh, Armand, no tongue could tell the depth of my love for you. {In natural voice.) Put your arms around me. {He does so.) That's it. A little closer. Oh! {She nestles against his shoulder. Enter, up c, George Scfiemer. He looks at them in astonish- ment.) Soft {tenderly). Oh, my darling, my dearest one. (George, enraged, takes off hat and overcoat and throws them on chair up r.) Bella. Armand, you are my only comfort. My husband treats me cruelly. (George takes a step to- NOT A BIT JEALOUS 9 zvard them and stops, clenching fists.) Take me away from here. I will fly to the end of the world with you. Soft. Sweetheart S Nothing shall part us again — nothing, I say — no one, no — (looks up and sees George, and stammers) er — that is, hardly any one. (Takes arm from Bella's waist.) I — I think we have company. Bella (tkrozving herself on his shoulder). Oh, you must not leave me, Armand. I would die for you. (George takes out a pistol. Soft hastily rises. George puts pistol in pocket.) Armand! You re- pulse me! You cannot be so cruel. (Throws herself on her knees, seises his hand and kisses it, while Soft frantically tries to take it away.) Armand, speak to me ! You are the only man I love. (George, up r. c, makes threatening preparations.) Soft. I know, but I've got to get away from here. Let go of me. Bella (with tender reproach). Why, my darling, have you ceased to love me? Why are you so cold? (Rises.) Soft. Well, two is company, but three is a crowd. Bella. Three. What do you mean? No one will ever come between us and separate us. George. Except your husband! (Speaks as he comes down between them, hurling Soft to r. Bella screams.) Soft. Look out who you are pushing! George (c, to Bella). Madam, who is this fellow Armand ? Soft (r.). Excuse me. My name is not Armand. My name is Hiram Soft. The lady asked me George. Asked you, eh ? You scoundrel ! You come into my home like a serpent and make love to my wife, do you ? You — miserable worm ! Say your prayers ! IO NOT A BIT JEALOUS Soft. I don't know any. I was brought up in Phcenixville. (Use name of neighboring town.) George. You miserable excuse for a shrimp ! Prepare to die at the hands of a wronged husband. (Seises Soft, who yells for help, and flings him around as he shouts.) I'll kill you — I'll break every bone in your body, etc. Bella (screaming). Oh, George! Don't kill him ! Soft (loudly). George! Don't kill little Hiram. (George picks Soft up and throws him down on the floor and produces the revolver. Bella screams again. ) George (a). Madam, go to your room. You know that I am a jealous man — but now I am crazy. Go — go ! Leave me with your lover. You will never see him again. (Takes out pistol.) Bella. George, listen. You must not (Bella wishes to remain, but George in his insane fury drives her out l. Then Soft, down r., sits up.) Soft. Georgie, calm yourself. Let's talk this thing over. George (up c). Not until I have killed you. Soft. It may be too late then. (Rises.) Point that pistol the other way. Now, Georgie, have sense. George (coming down c). Don't dare call me Georgie ! Soft. Now don't, Georgie. (George threatens him.) All right, I won't call you that, Georgie. Now ( let me explain this business before you send for the undertaker. George. Go ahead. Your life hangs by a thread. Soft. First of all your wife engaged me to make love to her. (George points pistol.) Now, Georgie, stop fooling with that gun. She engaged me to make love to her to make you jealous. George. Who are you ? Soft. My name is Hiram Soft. I'm a delivery clerk for the big department store. (Mention local NOT A BIT JEALOUS II firm.) I came here to deliver a package and your wife fell in love with me — no — no — I don't mean that. I mean that she is romantic and wanted to make you feel jealous and I'm the object selected to get your goat. George. My wife engaged you to make love to her just to make me feel jealous? Soft. Yes — so help me New Jersey. Here's the money she paid me. (Shows bill) George. And you're not in love with my wife ? Soft. I wouldn't have her for a gift. Look out with that pistol. George. So that's the little scheme, is it? Soft. That's the whole scheme, and I came near getting killed for it. George (laughing) . Now here's where I get even. You are going to be a lady. Soft. Not me — I'm bad enough as I am. George. Dress as a lady and make love to me. Soft. Say, what is this — the crazy house? George. Come ! Do as I say and I'll pay you well. It will be a good joke on my wife and enable me to pay her back in her own coin. Here! (Gives money.) Soft (pocketing the money). All right. Where's my equipment — my upholstery — my feminine glad rags? George. Go into that room. (Points r.) You will find everything needed. Now hurry up, and we'll have lots of fun out of this. Soft (starting r.). I hope so — but remember th^t I'm a lady. George (r. of table). I won't forget it. (Partially forces him out r., bidding him to hurry and be care- ful.) Now, Mrs. Schemer, we'll turn the tables on you. I'm not a bit jealous, but I'll test you. (Enter Bella, l.) Bella (coming down l.). Where is your victim? George (a, coolly). I killed him and buried his body in the coal cellar. 12 NOT A BIT JEALOUS Bella. George — be sensible. I'm glad he's gone. And you were jealous — admit you were awfully jealous. George. I've never been jealous in my life. It's you, madam, who are jealous. Bella. I ? There's not a jealous bone in my body. I wouldn't be jealous of you, anyway. George (r. of table). And you are nobody to be jealous of, either. You read novels and moon around here kissing the cat. Bella. I'd rather kiss the cat than kiss you. George. Two of a kind. But I pity the cat. Bella. I hate you. George. Fine. That suits me. I'm the best little hater you ever met. Bella (furiously) . I'm going home to my mother. George (calmly). It's better than bringing her here. Bella. Oh ! You monster ! George. Oh, you Vixen! (They scowl at each other across the table and Bella flounces out l., burst- ing into tears as she does so. George laughs, r. of table.) I've got her started. (Enter Soft, r., attired as a lively female. Short dress, gay hosiery, fancy shoes, a very bright colored hat and hand-bag. He flounces in ad lib.) Soft (coming down R.). Say! How do I look? George (at table a). Splendid! You look the part. Soft. But I feel rather uncomfortable in these togs. George. Never mind. It won't last long. Your name is Mabel. Come here. (Sits in chair r. of table and takes Soft upon his lap.) Soft. Say! Don't forget that I'm not the real thing. George. Oh, Mabel darling ! I have loved you for so long that you are part of my very existence. NOT A BIT JEALOUS 13 (Bella appears at l.) This is the first time I have ever loved any one. Bella (at door l.). He told me the same thing. Oh ! (Clutches the air in her anger.) George. We shall elope and live like two canary birds. Oh, Mabel — Mabel darling — give me one sweet kiss to bind our hearts together. Oh, my affinity ! (Bella, frantic with jealousy, now dashes down and seizes Soft and flings him to r. George rises.) Bella (c.). Well, hussy! Right in my own house, too. Leave here this instant. George. Oh, a little jealous, eh ! Bella. What, jealous of a painted doll like that? Not a bit! (To Soft.) Go — do you hear me — go! (Makes a frantic dash at Soft as she screams. She pulls off the supposed woman's hat, then her wig, then seizes the skirt or gown that is made apron like to be pulled off and expose a white skirt beneath it. Soft is yelling Police! and Murder! and running about to escape the frantic woman. He stops at last down c.) Soft (a). Hold on! Hold on! Are you all crazy ? Bella (r. c.). Oh! It's the man I hired to make love to me. George (l. c). And I hired him to represent a woman and make love to me. Bella (sobbing). Oh! George! I'm a fool. George (smiling and crossing to her). Bella, I'm a bigger fool than you are. (They fall into each other's arms, saying, "Forgive . me," as they embrace. Soft limps to the door R. with battered hat, etc., turns and "blesses" them.) CURTAIN Unusually Good Entertainments Read One or More of These Before Deciding on Your Next Program GRADUATION DAY AT WOOD HIIX SCHOOL. An Entertainment in Two Acts, by Ward Macauley. For six males and four females, with several minor parts. Time of playing, two hours. Modern costumes. Simple interior scenes; may be presented in a hall without scenery. The unusual com- bination of a real "entertainment," including music, recitations, i etc., with an interesting love story. The graduation exercises ' include short speeches, recitations, songs, funny interruptions, and a comical speech by a country school trustee. Price, 15 cents. EXAMINATION DAY AT WOOD HIIX SCHOOL. An Entertainment in One Act, by Ward Macauley. Eight male and six female characters, with minor parts. Plays one hour. Scene, an easy interior, or may be given without scenery. Cos- tumes, modern. Miss Marks, the teacher, refuses to marry a trustee, who threatens to discharge her. The examination in- cludes recitations and songs, and brings out many funny answers to questions. At the close Robert Coleman, an old lover, claims the teacher. Very easy and very effective. Price, 15 cents. BACK TO THE COUNTRY STORE. A Rural Enter- tainment in Three Acts, by Ward Macauley. For four male and five female characters, with some supers. Time, two hours. Two scenes, both easy interiors. Can be played effectively with- out scenery. Costumes, modern. All the principal parts are sure hits. Quigley Higginbotham, known as "Quig," a clerk in a country store, aspires to be a great author or singer and decides to try his fortunes in New York. The last scene is in Quig's home. He returns a failure but is offered a partnership in the country store. He pops the question in the midst of a surprise party given in his honor. Easy to do and very funny. Price, 15 cents. THE DISTRICT CONVENTION. A Farcical Sketch in One Act, by Frank Dumont. For eleven males and one female, or twelve males. Any number of other parts or super- numeraries may be added. Plays forty-five minutes. No special scenery is required, and the costumes and properties are all ■?nsy. The play shows an uproarious political nominating con- vention. The climax comes when a woman's rights cham- pion, captures the convention. There is a great chance to bur- lesque modern politics and to work in local gags. Every part will make a hit. Price, 15 cents. SI SLOCUM'S COUNTRY STORE. An Entertainment in One Act, by Frank Dumont. Eleven male and five female characters with supernumeraries. Several parts may be doubled. Plays one hour. Interior scene, or may be played without set scenery. Costumes, modern. The rehearsal for an entertain- ment in the village church gives plenty of opportunity for specialty work. A very jolly entertainment of the sort adapted to almost any place or occasion. Price, 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Unusually Good Entertainments Read One or More of These Before Deciding on Your Next Program A SURPRISE PARTY AT BRINKLEY'S. An En- tertainment in One Scene, by Ward Macauley. Seven male and seven female characters. Interior scene, or may be given with- out scenery. Costumes, modern. Time, one hour. By the author of the popular successes, "Graduation Day at Wood Hill School," "Back to the Country Store," etc. The villagers have planned a birthday surprise party for Mary Brinkley, recently graduated from college. They all join in jolly games, songs, conundrums, etc., and Mary becomes engaged, which surprises the surprisers. The entertainment is a sure success. Price, 15 cents,. JONES VS. JINKS. A Mock Trial in One Act, by Edward Mumford. Fifteen male and six female characters, with supernumeraries if desired. May be played all male. Many of the parts (members of the jury, etc.) are small. Scene, a simple interior ; may be played without scenery. Costumes, modern. Time of playing, one hour. This mock trial has many novel features, unusual characters and quick action. Nearly every character has a funny entrance and laughable lines. There are many rich parts, and fast fun throughout. Price, 15 cents. THE SIGHT-SEEING CAR. A Comedy Sketch in One Act, by Ernest M. Gould. For seven males, two females, or may be all male. Parts may be doubled, with quick changes, so that four persons may play the sketch. Time, forty-five minutes. Simple street scene. Costumes, modern. The superintendent of a sight-seeing automobile engages two men to run the machine. A Jew, a farmer, a fat lady and other humorous characters give them all kinds of trouble. This is a regular gat- ling-gun stream of rollicking repartee. Price, 15 cents. THE CASE OF SMYTHE VS. SMITH. An Original Mock Trial in One Act, by Frank Dumont. Eighteen males and two females, or may be all male. Plays about one hour. Scene, a county courtroom ; requires no scenery ; may be played in an ordinary hali. Costumes, modern. This entertainment is nearly perfect of its kind, and a sure success. It can be easily produced in any place or on any occasion, and provides almost any number of good parts. Price, 15 cents. THE OLD MAIDS' ASSOCIATION. A Farcical Enter- fcainment in One Act, by Louise Latham Wilson. For thirteen females and one male. The male part may be played by a female, and the number of characters increased to twenty or more. Time, forty minutes. The play requires neither scenery nor properties, and very little in the way of costumes. Can easily be prepared in one or two rehearsals. Price, 25 cents. BARGAIN DAY AT BI*OOMSTEIN'S. A Farcical Entertainment in One Act, by Edward Mumford. For five males and ten females, with supers. Interior scene. Costumes, mod- ern. Time, thirty minutes. The characters and the situations which arise from their endeavors to buy and sell make rapid-fire ifun from start to finish. Price, 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Successful Plays for All Girls In Selecting Your Next Play Do Not Overlook This List YOUNG DOCTOH DEVINE. A Farce in Two Acts, by Mrs. E. J. H. Goodfellow. One of the most popular plays for girls. For nine female characters. Time in playing, thirty minutes. Scenery, ordinary interior. Mod- ern costumes. Girls in a boarding-school, learning that a young doctor is coming to vaccinate all the pupils, eagerly con- sult each other as to the manner of fascinating the physician. When the doctor appears upon the scene the pupils discover that the physician is a female practitioner. Price, 15 cents. SISTER MASONS. A Burlesque in One Act, by Frank Dumont. For eleven females. Time, thirty minutes. Costumes, fantastic gowns, or dominoes. Scene, interior. A grand expose of Masonry. Some women profess to learn the secrets of a Masonic lodge by hearing their husbands talk in their sleep, and they institute a similar organization. Price, 15 cents. A COMMANDING POSITION. A Farcical Enter- tainment, by Amelia Sanford. For seven female char- acters and ten or more other ladies and children. Time, one hour. Costumes, modern. Scenes, easy interiors and one street scene. Marian Young gets tired living with her aunt, Miss Skinflint. She decides to "attain a commanding positron." Marian tries hospital nursing, college settlement work and school teaching, but decides to go back to housework. Price, 15 cents. HOW A WOMAN KEEPS A SECRET. A Comedy in One Act, by Frank Dumont. For ten female characters. Time, half an hour. Scene, an easy interior. Costumes, modern. Mabel Sweetly has just become engaged to Harold, but it's "the deepest kind of a secret." Before announcing it they must win the approval of Harold's uncle, now in Europe, or lose a possible ten thousand a year. At a tea Mabel meets her dearest friend. Maude sees Mabel has a secret, she coaxes and Mabel tells her. But Maude lets out the secret in a few minutes to another friend and so the secret travels. Price, 15 cents. THE OXFORD AFFAIR. A Comedy in Three Acts, by Josephine H. Cobb and Jennie E. Paine. For eight female characters. Plays one hour and three-quarters. Scenes, inter- iors at a seaside hotel. Costumes, modern. The action of the play is located at a summer resort. Alice Graham, in order to chaperon herself, poses as a widow, and Miss Oxford first claims her as a sister-in-law, then denounces her. The onerous duties of Miss Oxford, who attempts to serve as chaperon to Miss Howe and Miss Ashton in the face of many obstacles, furnish an evening of rare enjoyment. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA LIBRARY OF CONGRESS The Power of E: »-'*■ a i* • u a- u 017 401315 9 Expression and efficiency go hand in hai. The power of clear and forceful expression brings confi- dence and poise at all times — in private gatherings, in public discussion, in society, in business. It is an invaluable asset to any man or woman. It can often be turned into money, but it is always a real joy. In learning to express thought, we learn to command thought itself, and thought is power. You can have this power if you will. Whoever has the power of clear expression is always sure of himself. The power of expression leads to: The ability to think "on your feet" Successful public speaking Effective recitals The mastery over other minds Social prominence Business success Efficiency in any undertaking Are these things worth while? They are all successfully taught at The National School of Elocution and Oratory, which during many years has de- veloped this power in hundreds of men and women. A catalogue giving full information as to how any of these accomplishments may be attained will be sent free on request. THE NATIONAL SCHOOL OF ELOCUTION AND ORATORY Parkway Building Philadelphia