^^ ^t <i 
 
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 OUR AUNT ROBERTINA 
 
 A COMEDIETTA IN ONE ACT 
 
 For Four Males and Three Females 
 
 gv AAi^V i^Vls Dallas 
 
 
 U 
 
 PRICE 15 CENTS ^' 
 
 NEW YORK 
 
 EDGAR S. WERNER 
 
 isei 
 Copyright, 1891, by Edgar S. Werner 
 
BeTABLISHZTD 1879. y^ , ^O 
 
 Werner'8 Voice Magiizine: 
 
 (Formerly "The Voice.") 
 
 A Monthly Journal for those Who Read, Who Speak, 
 and Who Sing. 
 
 For Teacher and Pupil ; Reader and Singer ; Lecturer and Preacher ; 
 
 Lawyer and Actor; Legislator and Physician; Parent and 
 
 Speech-Sufferer ; Theorist and Practician. 
 
 A Guide for the Restoring, the Cultivating and the Preserving of the Voice 
 
 FOR SPEECH AND FOR SONG. 
 
 Respiration, Phonation, Modulation, Intonation, Articulation, Enunci- 
 ation, Pronunciation, Conversation, Gesticulation, Personation. 
 
 lERKER'S VOICE MAGAZINE 
 
 Has the Leading Specialists of the World for its Contributors. 
 
 It is the press exponent of the human voice in its manifold phases ; 
 treats of its uses and CApabilities ; gives directions for its cultivation and 
 management, whether in singing, preaching, lecturing, reading, or 
 conversing ; points out the way to remedy its bad habits or defects and 
 to restore it to healthful action, organic and functional. 
 
 It is a journal which discusses pulpit and secular oratory ; the meth- 
 ods of teaching reading and declamation in schools ; the various 
 systems of cultivating the voice for singing ; elocution; the art of con- 
 versation; and, in fact, everything pertaining to the speaking and 
 the singing voice. 
 
 Published Monthly at $1.50 a Year in Advance; Single Copy, 20 cents. 
 
 Address the Editor and Proprietor, 
 
 EDGAR S. WERNER, 
 28 West 23d Street, New York. 
 
 TMP92-009029 
 
OUR AUNT ROBERTINA. 
 
 A COMEDIETTA 
 By Mary Kyle Dallas. 
 
 CHARACTERS. 
 
 Ma. Aspen, a retired merchant, living in a Western town. 
 
 Oladys, his daughter. 
 
 Aunt Robertina, a notable spinster. 
 
 Robert Aspen, an English cousin. 
 
 Emily, a maid. 
 
 PiiiBBS, a man-servant. 
 
 A Tramp. 
 
 Scene: Well-furnished room; open door w. c, garden view outside; 
 French window I. ; door with portiere r. 
 
 Furniture : Table, arm-chair, four small chairs, dwarf bookcase, hat- 
 rack, etc. 
 
 [Mr. AspJ':]S" at table, I. c; Gladys opposite r., pouring 
 coffee ; Emily waiting behi7id table.] 
 Mr. AsPEjq". Another cup of coffee, my dear. 
 Gladys. Yes, pa. 
 
 [Emily takes cup from Mr. Aspen, hands it to Gladys; 
 Gladys pours milk into it, adds coffee, takes lumps of 
 Siigar from botol loith sugar-tongs, p)uts iti three.] 
 Mr. A. [^starts up, gesticulates violeyitly]. Great heavens ! 
 stop ! Why, why, stop ! 
 
 [Siniulta7ieouslg Gladys drops cup and sugar-tongs, Emily 
 drops tray ; both shriek. Piiibbs rushes in, catches 
 Emily, ^uho seems about to faint.] 
 Gladys [hysterically]. AVhat is the matter, papa darling ? 
 Emily [rapidly]. Oh, what is it, Mr. Aspen ? 
 
2 OUR AUNT ROBERTINA. 
 
 Phibbs [sloivly']. Yes, sir, what is it, sir ? 
 
 Mr. a. [sitsdoivn, wipes forehead with handkerchief^. Tliree 
 lumps of sugar in my cup, three ! and if I hadn^t spoken when I 
 I did you would have put in four ! Why, the very thought makes 
 me quiver. [^Quiver s.^ 
 
 Gladys. I'm all of a quiver, too, pa ; you shouted so awfully, 
 [ Quivers. ] 
 
 Emily. Look at me, sir. [Quivers.] 
 
 Phibbs. Yes, sir, I am greatly agitated also, sir. [Bolt up- 
 right and immovable.] 
 
 Mr. a. I desire that this may never occur again. 
 
 Gladys. No, pa — I mean yes, pa. 
 
 Mr. a. Phibbs, you may go. 
 
 Phibbs. Yes, sir, certainly, sir. 
 
 [Uxit Phibbs. Emily picJcs up the broken china, Gladys 
 pours fresh coffee into another cup, hajids it to Mr. 
 Aspen.] 
 
 Mr. a. Well, well, I am glad that your Aunt Robertina is 
 coming to take care of you. 
 
 Gladys. Your Aunt Robertina, papa dear. 
 
 Mr. a. Our Aunt Robertina. A splendid woman, with great 
 executive ability. She will relieve you of all household duties, 
 Gladys, my child, and you can pay exclusive attention to the im- 
 provement of your mind. It needs it. 
 
 Gladys. Dear me, pa. 
 
 Mr. a. Your Aunt Robertina is one in ten thousand. A little 
 eccentric, somewhat peculiar, but notable, sensible, energetic. She 
 is the representative of a class of women almost passed away. Imi- 
 tate her, my child, imitate her. 
 
 Gladys. Yes, pa, I'll try to. 
 
 [Phibbs seen outside of window, calmly reading newspaper, ] 
 
 Mr. a. Why, bless me ! The morning paper is not here, and 
 it is eight o'clock. [Examines ivatch.] Eight, exactly eight. It 
 should be here by seven. [Phibbs enters slowly with paper.] 
 
OUR AUNT BOBERTINA. 3 
 
 Phibbs. Here is the paper, sir ; accident at the Junction ; full 
 ])articulars ; most interesting. 
 
 Mr. a. [snatching paper']. Shocking ! Horrible ! Gracious 
 heavens ! My nerves can't stand such things ! 
 
 Gladys. Oh, what, pa ? 
 
 Emily. Oh, what, sir ? 
 
 Mr. a. [reads]. ''At 2 a.m. this morning the 2.40 up-train 
 collided with the 2.40 down-train at Cross Road Junction, both be- 
 ing behind time.'' Shameful ! 
 
 Girls [together]. Shameful. 
 
 Mr. A. [reads]. ''Nobody to blame." Nobody ever is. Ah, 
 I'd hang 'em all if I had my way ! "Everybody on both trains — " 
 [Loses place; fails to find it.] 
 
 Gladys. Instantly killed ! Oh, heavens ! 
 
 Emily. Oh, heavens ! [Apjyears to faint ; Phibbs supports 
 her.] 
 
 Mr. a. Where is tlie paragraph .^ Great heavens ! Lives 
 hanging in the balance and I can't find the — Oh, here it is ! 
 "Everybody on both trains very much alarmed. Passengers rushed 
 from their sleeping compartments in their night-clothes ; baggage 
 smashed; checks lost — " [Door-hell rings violently ; all cry out.] 
 
 Phibbs [to Emily]. Are you able to suppiort yourself now. Miss 
 Emily ? 
 
 Emily. Thanks, yes, I think so, Mr. Phibbs. 
 
 [Exit Phibbs. Ret^crns tvith envelope.] 
 Phibbs. A telegram for you, sir. [Offers it to Mr. Aspect.] 
 Mr. a. [waving it off']. Oh, my nerves ! They can't stand 
 
 telegrams ; take it away ! 
 
 [Phibbs offers it to Gladys.] 
 Gladys. Mine can't, either. Take it away from me ! 
 Phibbs. Beg pardon, permit me? [Opens oivelope ; reads.] 
 
 ''Accident at Junction. Come at once. Robertixa AsPEiq-." 
 Mr. a. Aunt Robertina must have been upon that fated 
 
 train. 
 
4 OUR A UFT BOBERTINA. 
 
 Gladys. That fated train ! 
 
 Emily. That fated train ! 
 
 Phibbs. Most unfortunate, sir ! 
 
 Mr. a. My poor aunt ! I must fly to her at once. [Jumps 
 up.] 
 
 Gladys. Yes, fly to poor Eobertina at once. [Pushes him.l 
 
 Emily. Ely, Mr. Aspen ! Ely ! [Pushes him.] 
 
 Mr. a. "Whereas my coat ? Get the carriage out at once^ 
 Phibbs ; don't dawdle. 
 
 Phibbs. Yes, sir. [Exit slozvly.] 
 
 Mr. a. Come back, Phibbs ; I say, come back. [Dances with 
 excitement. Phibbs returns slowly.] 
 
 Mr. a. Did you hear me say don't dawdle ? 
 
 Phibbs [very slowly] . Yes, sir ; certainly, sir ; I will not, sir. 
 [Exit at slow pace, with dignity. Exit Emily through door r.] 
 
 Mr. a. Where's my coat Y [Flies about ; Gladys takes coat 
 from rack, runs after him.] Where's my coat ? Where's my 
 boots ? Great goodness ! My poor aunt alone at the depot all 
 night ! [Emily returns with hoots ; Mr. A. catches them from her. 
 Gladys j9W^5 on his coat tipside down, winding tails about his neck, 
 while Mr. A. hops about on one leg pulling boot on.] My hat, 
 where is my hat ? [Runs about room ; Emily takes hat from table 
 and runs after him. He snatches lamp-shade from ma^it el-piece and 
 puts it on. 
 
 Phibbs [enters]. Carriage, sir. Permit me, sir ? [Takes off 
 lamp-shade, substitutes hat which Emily hands him; arranges 
 coat.] 
 
 Mr. a. Good-bye, good-bye, girls. This will be the death of 
 me. Such excitement ! Bless me, such excitement ! 
 
 Gladys. So dreadful ! 
 
 Emily. So awful ! [All rush out of door u. c. Sound of 
 carriage-wheels and hoofs. Girls return to doorway, stand looking 
 out.] 
 
 Gladys. Oh, dear me ! Pa is making Phibbs drive as if he 
 were in a chariot-race at the circus. 
 
OUR AUNT liOBERTINA. 5 
 
 Emily. Yes, miss, it's awfully dangerous. 
 
 Gladys. They're going over the cliff ! [Shuts eyes.] I can't 
 bear to see it. 
 
 Emily. They've passed the cliff, miss ; they're out of sight, 
 miss. 
 
 Gladys. I shall know no peace until pa brings poor Aunt 
 Robertina back. 
 
 Emily [gathermg dishes on fray]. Do you think you shall like 
 your aunt for a regular constancy, miss ? 
 
 Gladys. Oh, I hope so, Emily, since she is coming to live here. 
 
 Emily. Yes, miss. Will she keep house ? 
 
 Gladys. Yes ; I am tired of it, I am sure. 
 
 Emily. I hope she won't be one of them that objects to a poor 
 girl having a word with the baker or milkman, or taking a bit of an 
 outing now and then. 
 
 Gladys. I don't believe she will, Emily. I fancy her a nice, 
 quiet, little old lady in a Quaker cap. 
 
 Emily. An old lady can make a lot of trouble in the kitchen 
 if she is so disposed. I know one that broke up a match between 
 the cook and the coachman. 
 
 Gladys. Well, I must go and water my flowers before the sun 
 gets to them. As soon as you have taken the tray to the kitchen, 
 come and help me. 
 
 Emily. Very well, miss. [Exit Gladys at French ivindotv, 
 Emily at door I. Knocking heard outside. Enters Egbert at door 
 c. u.y dragging trunk.] 
 
 Robert. Well, after running the risk of losing my life on that 
 confounded Western railroad, and spending half the night looking 
 up my trunk, here I find myself in an enchanted castle inhabited 
 by nobody. The sleeping beauty doesn't awake, the ogre doesn't 
 appear. Hullo, there ! I say, hullo ! Any one in ? All silent. 
 [Goes to mirror.] I am a sight, covered with dust, mud and 
 cinders. I wonder whether my respectable uncle will acknowledge 
 me when I say " Behold your unknown nephew ! " I should like 
 to make myself presentable before I meet them. I have it ! I'll take 
 
6 OUR AUNT ROBERTINA. 
 
 my trunk down to the little batli-house I passed just now, bathe, 
 make a toilet, and reappear in a condition to do credit to the Eng- 
 lish branch of the Aspen family. [Takes liolcl of truiik-handle.^ I 
 wonder why my trunk looks so much larger than it ever did before. 
 However, it's marked '' Robt. Aspen." There can't be any mistake 
 about it. [Exit dragging trunk.^ 
 
 [Tramp is see?i to pass window. Enter at door Emily luith 
 ivateri7ig-pot.'] 
 
 Emily. How lonely the house does seem without Mr. Phibbs ! 
 Ah ! [Sighs and hums sentimental tune ; exit door r.] 
 
 [Cries outside.] 
 
 Stop thief ! Stop thief ! Bring back those clothes ! Stop, I say, 
 stop ! [Tramp s?ieaks in at door with hundle of clothes, shakes 
 them out displaying coat, vest, pants, hoots, etc. Rolls them up, 
 grins, chuckles. Exit at French ivindoiu. Enter at door c. u., 
 Gladys ; at door r., Emily.] 
 
 Gladys. I thought I heard some one calling for help. 
 
 Emily. So did I, miss, but there ain't nobody here. It might 
 be a warning, miss. 
 
 Gladys. A warning ? 
 
 Emily. Sometimes when there's to be trouble in a family 
 voices is heard calling. When uncle died Aunt Hannah heard a 
 voice shouting up the garret stairs '^ Hannah !" 
 
 Gladys. Oh, my ! oh ! [ Creeps close to Emily. They put 
 their heads together. Emily whispers ; Gladys tremUes. Robert 
 As PEN" appears at door dressed as old lady : skirt very short for him, 
 prunella slippers, honnet, long green veil.] 
 
 Robert [aside]. Why did I yield to an impulse of vanity ? 
 This is the result : that tramp has got away with my clothes. 
 When I opened my supposed trunk I found that it was full of 
 feminine garments. I had to put something on, and here I am. I 
 must inquire for my uncle ; I can't take those girls into my con- 
 fidence — some men could, but I am too bashful. 
 
OUR AUNT ROBERTINA. 7 
 
 Emily [aloud with horrified gesture]. And that very night — 
 Oh! 
 
 Gladys. What ? 
 
 Emily. There's a ghost ! [Gladys shrieks, hides face.'] 
 
 Rob. \_adva}icing]. I beg pardon, ladies, I have alarmed you 
 I fear. Is Mr. Aspen in ? [Gladys looks up.] 
 
 Emily. No, ma'am ; he is out, ma'am. 
 
 Rob. Is there no other gentleman in the family ? 
 
 Emily. No, ma'am ; there is not, ma'am. 
 
 Rob. Do you keep a man-servant ? A coachman ? A foot- 
 man ? A gardener ? 
 
 Emily. Yes, ma'am, we keep them all, but he's gone to drive 
 master to the depot, Mr. Phibbs is. [Aside.] If it wasn't a lady 
 I should say it was the census being took. 
 
 Gladys. Pray walk in ; I am Miss Aspen, and if you have 
 ■come about the cottage pa has to let I can tell you all about it. 
 [Offers chair.] 
 
 Rob. [declines chair]. Thanks, very much, but [greatly em- 
 barrassed] I should rather see a gentleman. 
 
 Emily [aside]. What a funny old lady. [Giggles.] 
 
 Gladys. If you choose to wait for pa, then — but it is quite 
 uncertain when he will be back. 
 
 Rob. Then, Miss Aspen, painful as it is to me I must confide 
 in you. This morning, I might say last night, I was upon a train 
 which met with an accident at a junction. Awakened in our sleep- 
 ing compartments we rushed into the — 
 
 Gladys. What ! is it possible ? 
 
 Emily. My gracious ! 
 
 Gladys. Your name is ? 
 
 Rob. My name is Robert — 
 
 Gladys. Then you are my Aunt Robertina Aspen ! [Throws 
 herself into his arms.] I knew it at once. 
 
 Emily. Miss Robertina, I am so thankful ! 
 
 Gladys. Oh, poor, dear auntie ! What a night you must have 
 
8 OUR AUNT ROBERTINA. 
 
 had ! Pa was simply terrified and flew instantly to your rescue. 
 [Holds his hayid tenderly. ] 
 
 Emily- Like a comet, miss. 
 
 Gladys. But how thoughtless of me ! You have been injured; 
 you must be suffering ; I must do something for you at once. Get 
 the medicine-chest, Emily. \^mtly flies out of the room.] Gra- 
 cious goodness ! You may be injured internally ! Sit down. 
 
 KoB. [dreadfully confused']. You are so good, but, really — 
 
 Gladys. Oh, they never feel it at first. Let me take off 
 your bonnet, auntie, dear. 
 
 KoB. No, pray, I never take it off. [Holds it fast.'] 
 
 Emily [entering with box and bottle]. My sakes ! [Puts 
 box and bottle on table.] 
 
 Gladys [aside]. Papa said she was most peculiar. [Aloud.] 
 The first thing I shall do will be to rub your back with Pad way's 
 Ready, unless you prefer Pond's Extract. [ Tries to take off Rob- 
 ert's cloah ; he resists violently.] 
 
 Gladys. Don't try to conceal your injuries from me ; let me 
 alleviate them. 
 
 Rob. All I need is rest. [TJiey force him into arm-chair.] 
 
 Gladys. Oh, auntie, dear, at least I must bathe your feet in 
 hot water to draw the blood from the head. Get the foot-bath, 
 Emily ; put lots of mustard in it. [Emily goes to door.] 
 
 Rob. Stop ! Don't ! I never bathe my feet ! 
 
 Gladys. Never ! 
 
 Emily. Lor'! 
 
 Rob. When I have had a shock to my nerves, I mean. It's 
 dangerous. 
 
 Gladys. Oh ! then you must rest, auntie. Get some pillows 
 and a quilt, Emily. [Exit Emily.] Put your feet up on this 
 chair. [Pushes one ; 'Robert obeys. 'E^iily returns tuith pillows 
 and quilt; both pile pillows under head, tuck quilt about Robert. 
 
 Gladys. Now which shall I give her, Emily, pulsatilla or 
 nux vomica ? [Opens medicine- chest.] 
 
 Emily. Both, miss. 
 
OUR AUNT ROBERTINA. 9 
 
 Gladys. Open your m«uth, auntie ; I'll try pulsatilla. [Ap- 
 proaches Robert counting 2iellets. Egbert tahes bottle, swallows 
 conte7its. ] 
 
 Gladys. Oh, heavens ! she has killed herself, and I the cause I 
 Get an emetic ! Bring brandy ! Go and borrow a stomach-pump I 
 Where is '' Dr. Boggs' Domestic Practice ?" Oh ! [Ru7is to slielves, 
 gets booJc.] Antidote for pulsatilla — oh, where ? [Furls leaves 
 violently ; Emily ricns round room screaming. ] 
 
 Gladys. Oh, dear ! dear ! Where is P ? Where is P ? [Reads.} 
 ''Measles, Mumps, Nettle-Rash, Old-Fashioned Croup." P — Oh, 
 dear ! '' Poisoning.'' Fan her, Emily ! [Emily gets fan from shelf. 1 
 Oh— oh— 
 
 Rob. Don't be alarmed ; I always take a full vial of pulsa- 
 tilla at a time — always. 
 
 Gladys. Oh I how relieved I am ! 
 
 Emily. Thank Providence ! [Gladys sits doion hy Robert; 
 I^JJLU.Y fans Mm.] 
 
 Gladys [putting head on Robert's shoulder]. How nice 
 you are, auntie. I was afraid you might be stiff and cross, but 
 you are just lovely ! [Kisses cheek.] There, you dear thing ; you 
 make me do all the kissing. 
 
 Rob. I'm not quite equal to it yet. 
 
 Gladys. You are injured — I know it. Won't you let me put 
 a porous plaster on your chest ? 
 
 Rob. Great heavens ! No ! 
 
 Gladys. Well, then, try to rest. Oh, what a pretty auntie 
 you are ; such nice little down on your upper lip. You never had 
 a son, had you, auntie ? It's a pity ; he would have been so hand- 
 some. [Smoothes his hand. Enter at door Tramp.] 
 
 Tramp. Nothing here but women. Well, I'm in luck. 
 
 Gladys. What do you want ? 
 
 Tramp. Fur you to give me no bother. See ? 
 
 Gladys. He wants to rob us ! 
 
 Emily. We'll all be murdered ! 
 
 Tramp. Come, fork over your jewelry ; tell me where you 
 
10 OUM AUNT ROBERTINA. 
 
 keep your silver ; hand out your pocketbooks, and be sharp 
 :about it. 
 
 Gladys. Oh, here are my rings ! 
 
 Emily. The silver is in the parlor pantry. [Robeet starts 
 lip, pushes girls heJiind Mm. ] 
 
 Tramp. Come, old lady, you simmer down or you'll repent it. 
 
 Gladys. Oh, don't hurt darling auntie ! Take all we have, 
 but don't hurt auntie ! 
 
 EoB. [affected voice']. You wouldn't hurt a poor old lady, 
 would you ? [Tramp advances. Robert knocks Mm doivn. He 
 rises, knocks Mm doiun again; takes Mm hythe throat, shakes Mm.] 
 You cur ! \^Kicks him out-of-doors. Tramp is heard roaring for 
 mercy down garden. Girls scream, cling to each other. Re-enter 
 Robert, dress disheveled, lonnet on one side.] 
 
 Gladys. Oh, you wonderful woman ! You noble woman ! You 
 grand woman ! No wonder papa said you were one in a thousand. 
 
 Emily. Oh, hov/ you must have cultivated your athletics, 
 miss ! You make me proud of my sect. 
 
 Gladys. Oh, I could hug you ! [Before she does so enter at 
 door AuJTT RoBERTiKA in tall hat, man's long overcoat, crying.] 
 
 Aunt Rob. Oh, dear me ! What a dreadful time I have had ! 
 I've been collided and blown up and lost and thrown out into the 
 cruel world without a friend and without a trunk and nothing to 
 put on but these things that belong to some horrid man. Oh, where 
 am I ? Is this Mr. Aspen's house ? Is this Miss Aspen ? No wonder 
 you don't know me in this disreputable costume. Oh — oh — oh ! 
 
 Emily. It must be a crazy gentleman. 
 
 Aunt Rob. I am Miss Robertina Aspen. 
 
 Gladys. Oh, poor thing, she is crazy ! [Stands amazed. 
 Unter at door Mr. Aspen. ] 
 
 Mr. a. Oh, my dear children, I can't find your aunt. All I 
 Iiave brought home to you is her trunk, the last sad relic of one 
 I)eloved and lost. [Eiiter Phibbs, solemnly, trunk on shoulder; 
 sets it down. Mr. A., turning from Robert to Aunt Robertina.] 
 Who is this ? Who is that ? 
 
OUE A UNT ROBERTINA . 11 
 
 Aunt Hob. That woman has got my bonnet and gown on — 
 why, she's wearing all my things ! 
 
 Rob. And surely that is my overcoat ! 
 
 Phibbs [whispers to Emily, who holds up hands']. Beg pardon, 
 permit me. [Takes Robert hy arm, whispers. Emily takes Miss 
 RoBERTiNA hy arm. whispers. Exit Emily, Phibbs, Robert, 
 Miss R., Phibbs dragging trunk.] 
 
 Mr. a. Great heavens ! What does this mean ? 
 
 Gladys. Oh, pa, I thought he was Aunt Robertina ;. but I am 
 afraid she is the crazy gentleman, and what will he think of me ? 
 I kissed him and wanted to— to — Oh, dear ! [ Weeps.] 
 
 Mr. a. What — hey — Oh, my nerves ! 
 
 [Enter Phibbs.] 
 
 Phibbs. Miss Robertina Aspen. [Enter Miss Robertixa, 
 properly dressed.] 
 
 Mr. a Aunt Robertina ! Thank Heaven, you are alive ! [Em- 
 braces her.] 
 
 Gladys. It's the crazy gentleman ! 
 
 Phibbs. Mr. Robert Aspen, of London, England. [Enter 
 Robert in his own clothes. ] 
 
 Mr. a. Well, surprises will never cease ! Welcome, Robert, 
 welcome ! Why don't you welcome your aunt, Gladys ? 
 
 Gladys. And this is really our Aunt Robertina ? [Kisses 
 her.] 
 
 Mr. a. [Shaking hands loith Robert.] And this is your 
 cousin, Robert Aspen. Why don't you welcome him '^ [Gladys 
 shakes hands in confusion. Mr. Aspen comes foriuard icith 
 Miss Robertina on his arm.] 
 
 Mr. a. Well, this has been a dreadful day, but it ends hap- 
 pily, and after this my house will be kept perfectly. 
 
 Aunt Rob. Be assured there shall be nothing wanting in that 
 respect, nephew. [Robert offers his arm to Gladys, brings Jier 
 foriuard r.] 
 
 Rob. If my Cousin Gladys will promise to be only half as kind 
 
13 
 
 OUR AUNT ROBERTINA. 
 
 to Cousin Eobert as she was to Aunt Robertina, I shall be the hap- 
 piest man living. 
 
 Gladys. You must try to deserve it, cousin, then, perhaps. 
 
 Emily. This place ain^t going to suit me much longer, Mr. 
 Phibbs ; I shall look for another. 
 
 Phibbs. I know of one if you will take it, Miss Em.ily. 
 
 Emily. Oh, where, Mr. Phibbs ? 
 
 Phibbs. In my heart ! 
 
 Curtain". 
 
THE ART OF BREATHING 
 
 As the Basis of Tone-Production. 
 
 *A. Book Indispensable to all Educators, Teachers, 
 Preachers, Lawyers, Singers and Elocutionists, 
 and to Every one Desirous of Having a 
 Pleasant Voice and Good Health. 
 
 By LEO KOFLER, 
 
 Organist and Choirmaster of St. Paul's Chapel, Trinity Parish, New York. 
 \Ban^ a Revised and Enlarged Edition of " The Old Italian School of Singing." 
 
 SOME OF THE SUBJECTS TREATED. 
 
 ^^' m^ 2! ^^^ ?^J^ ' A^^^^l^^^P^i^^l Sketch of the Author's Professional Career • 
 The Study of Physiology Indispensable to the Vocal Teacher ; Imitation or Cultiva- 
 tion by Means of the Ear an Important Agency ; Singing-Lessons by Mail an Unn iti- 
 gated Humbug; Nationality no Criterion of a Teacher's Merit ; Vocal Critics and 
 Critical \ ocahsts ; The Act of Inspiration ; Clavicular or HighrChest Breathing; 
 Costa or Rib-Breathing ; Diaphragmatic Breathing ; Take Breath with the Combined 
 Breathing-Muscles— -—the Full Breath ; Can a Woman Accustom Herself to this 
 Full Diaphragmatic Breath-Taking : The Vagueness of Physiological Terms the 
 Cause of Confusion in Determining the Method of Breathing ; Take Breath Throuch 
 the Nostrils; Obstructed Nostrils; The Regular Process of Respiration Outside of 
 Singing and Speaking ; The Short or Quick Taking of the Breath ; The Act of Exni- 
 ration During Singing ; Retain the Breath a Little While ; The Larynx and the Vocal 
 Ligaments Controlled Automatically by the Breathing-Muscles ; Method of Relaxine 
 the Lungs During Singing ; General Rule for Taking Breath and for Manaein<' it 
 Durinj? Singing and Speaking; Method of Relaxing the Lungs Durme 
 Speaking; Advice to Singers and Elocutionists; Breathing-Gymnastics the 
 Source of Health ; Breathing-Gymnastics Indispensable to Every Vocalist • Direc- 
 tions for the Healthful Use of Breathing-Gymnastics; The Positions 'of the 
 Body for Practicing the Breathing-Gymnastics ; Laws of Tone-Production : The So- 
 called Singing Methods or Manuals; Preliminary Steps in Voice-Culture; Time of 
 Life when Cultivation of Voice should Begin ; Selection of a Singing-Teacher • The 
 Easy Range of Tones and Classification of Voices ; Resonance-Chambers for the 
 Formation of Vowels and Consonants ; The Immovable and the Movable Parts of 
 the Resonance-Cavities ; How to Form Pure Vowels ; Reading at Sight ; Vocaliza- 
 tion or Articulation Exercises ? The Vowels that should first be Practiced; The Com- 
 pletion of a Tone ; Humming Exercises ; I»ractice of the Trill ; Swell Tones ; Messa 
 di Voce ; The Staccato ; How to Equalize the Vocal Registers or Breaks of Both 
 Men and Women ; The Mixed Voice, tlie Falsetto and the Male Alto ; Male Sopra- 
 nos and Altos of the Old Italian School ; Remedies for Faulty Tone-Production and 
 Other Defects, such as Lisping, Stuttering, Defective r, etc.: Treatment of the Coa- 
 sonants. 
 
 SOME OF THE EXERCISES. 
 
 The Full Breath with the Combined Breathing-Muscles ; The Healthful Lung-Sweeper; 
 To Gain Control of the Air in SIo;sv Expansion of the Lungs ; Holdintr of the 
 Breath ; Opening the Lung-Cells by Percussion of the Upper Chest, Shoulders and 
 Back ; Improving the Elasticity of the Rib-Cartilages ; Expanding the Upper Chest: 
 The Slow Relaxation of the Lungs ; Control of the Breath both in Inspiration and 
 in Expiration ; Tension of the Vocal Ligaments; Muscle-Practice for Loud, Sus- 
 tained Tones ; Control of the Slow Relaxation of the Lungs During Speaking and 
 Soft Singing ; Practice of the Explosives and the Repeated Retention of the Breath ; 
 Marcato; Staccato ; Muscle-Practice for the Crescendo and Decresceudo ; Muscle- 
 Practice for the Swell Tones, or the Crescendo and Decresccndo in one Breath ; etc. 
 
 Finely Prinied and Bound. Numerous cuts and music Illustrations. 
 TEACHERS' NET PRICE. $2.00 POSTPAID, 
 
 Address the Publisher. 
 
 EDGAR S. WERNER, 
 28 West 23d Street, New York. 
 
LIBRARY OF CONGRESS 
 
 iiliililllililililllliillliii 
 
 016 102 917 8 
 
 DELSARTE''""EXPRESSION 
 
 By OEBfEVIEVE ISTEBBI]^^. 
 
 PRESENTED^ FOR THE FIRST TIME IN A WAV 
 
 PLAIN, PRACTICAL, HELPFUL. 
 
 * * 
 
 * * Designed Especiilly for a Text-Book and for Self-Instruction, * * 
 
 A BOOK OF £STHETIG PHYSICAL TRAINING FOR ALL PER- 
 SONS OF CULTURE. 
 
 AND PARTICULARLY FOR THE 
 
 Elocutionist, Orator, Actor, Public Reader, LaAV- 
 yer, Preacher, Painter, Sculptor, and all 
 Others who wish to give Expres- 
 sion to their Bodies or to 
 their Work. 
 
 A uthor and Publisher have spared neither labor nor expense in their endeavor to produce 
 a work that shall satisfy the -widespread desire for something tangible and serviceable on 
 the Delsarte System. Every exercise has been subjected to repeated personal test^ and great 
 care given to the description of attitude and vtoveinent. 
 
 The writings and teachings of Delaumosne, Arnaud and Mackaye (pupils of Delsarte) the 
 luthor has supplemented with years of study under other masters — in different capitals, at tht 
 Paris Conservatoire, etc., — and has drawn from various additional sources, ancient and mod- 
 ern. She has taken all they had to give, pruning, analyzing, comparing, adapting, formula- 
 ting, constructing, and testing theories, principles, rules and methods by years of persona!, 
 practical experience as teacher, elocutionist, public reader, and actress. So far as the Delsarte 
 System is known, so far as it can be reduced to definitions and exercises, both author and pub- 
 lisher do now place this book before the public as the best that can be written ; trusting that» 
 besides being a guide and help to the oratorical and dramatic student, it will contribute toward 
 rescuing the life-work of Fran9ois Delsarte from the threatening oblivion and from the misun-> 
 derstanding, mysticism and contempt into which it has fallen. 
 
 Delsarte's gymnastics differ 
 from others in that they are not 
 mechanical. Each has a men- 
 tal, emotional, aesthetic value 
 and intent. No exercise is prac- 
 ticed simply for the physical 
 result, but for the purpose of 
 developing body, mind and 
 soul, and harmonizing their re- 
 ciprocal relations, influences 
 and effects. 
 
 By a happy, mdicious ming- 
 ling of philosophy and drill ex. 
 ercises, the author.has avoided 
 making the book either 'oo 
 metaphysical or too mechani- 
 cal. Both the reasoning stu- 
 dent and the practical stud*r/ 
 will be satisfied. Every g ni- 
 nastic has its philosophical ex- 
 planation, cverv principle its 
 physical application 
 
 The book is arranged in div^ 
 sions and lessons ; with head- 
 ings, sub-headmgs, numbered 
 paragraphs, the gymnastics 
 grouped and classified, type of 
 various sizes and differently dis- 
 played, an order of exercises f' r 
 svstematic practice and blank, 
 pages for explanations and re- 
 marks an exhaustive index ; it 
 is well suited for class-work. 
 
 SIXTEEN CHARTS (drawn expressly lor this book from living models) ; NINETEE^^ 
 SETS OF ESTHETIC GYMNASTICS, INCLUDING DECOMPOSING EX- 
 ERCISES, RECOMPOSING EXERCISES, HARMONIC POISE OF 
 BEARING, A GAMUT OF EXPRESSION IN PANTOMIME, 
 SPIRAL MOVEMENT, FEATHER MOVEMENT, Etc. 
 
 Clotli, ^a.OO, postpaid.. 
 
 Address the Publisher, EDGAR S. WERNER, 
 
 28 W^«st 28d Itreet. JSew York. 
 
LIBRftRY OF CONGRESS 
 
 016 102 917 8 ^