^N 6371 jgfl§ jlgf ■B LIBRARY OF CONGRESS. ©lap ©tqtljttj^t If u t Shelf..T5-7-~ UNITEB STATES OF AMERICA. (JOUNG FOLKS' BNTERTaiNMBNTS, COMPRISING Motion SoNgs, Charades, Pantomimes, Tableaux, Concert Recitations, Drills, Etc., Etc., WRITTEN EXC£US^EI^> FO©' THIS WORK BY "There's no want of meat, sir! portly and curious viands are prepared to please all kinds of appetites." — MAssiNGERi Publication Department, \0£j waSH^ The National School of Elocution and Oratory, philadelphia. fHb3T Entered according to Act of Congress, in the'year 1886, by THE NATIONAL SCHOOL OF ELOCUTION AND ORATORY, In the office of the librarian of Congress, at Washington. /* 3Tofy PREFACE. "|l /TIJCH experience in the preparation of school enter- -"^- tainments, has shown the great difficulty of finding new material of just the right quality for presentation. These entertainments have multiplied to such an extent during the last few years, that the good and sprightly matter contained in the old books has been used and re-used, until a fresh supply seems to be an imperative demand. This little work has been prepared with the design of partially supplying this demand, and much care has been taken to make of it, a book meet for the purpose. School entertainments of the present time generally present a much more varied performance than of old, and the call for variety has been met in this book, by the careful preparation of motion-songs, drills, charades, concert recitations, and tableaux. The dialogues and recitations have also been prepared with care and thought, and the preservation of a pure, moral tone throughout them, has been kept ever in view, since it is not possible to be too careful in this re- spect, in preparing matter for use by young minds. 3 4 PREFACE. Nearly all the numbers given are suited to produc- tion on the common school stage, requiring not many auxiliaries in the form of dressing-room, costumes, or stage properties. In order to be sure that they are what they were designed and desired to be, many of the numbers have been given a practical trial upon the school stage at entertainments. Ample explanations have been given, wherever they were deemed necessary to simplify any difficulty in arrangement. A classification of the numbers, under appropriate heads, has been made to modify the task of " looking over " for just the style of article needed. With this statement of the aim and method of the work, Young Folks' Entertainments is sent forth to speak for itself. E. C. Kook, L. J. Kook. August, 1886. CONTENTS. ACTING CHARADES. PAGE Keystone, 5 Package, 8 Idolize, 12 Breakfast, 15 Pious , . . . 19 CHARADES IN PANTOMIME. Phantom, 26 Bandage, 27 Parent, 27 Waylaid, 28 Rainbow, 29 SHADOWS. Scenes, 30 MOTION SONGS. Old Time Plays, ^. . 31 The Snow Brigade, 34 The Rainy Day, t 36 Good Advice, 38 DIALOGUES. * Playing Store, 39 Tom's Practical Joke, , 42 Aunt Kitty's Shopping, 45 How the Quarrel Began, 49 Masquerading , 51 Unjust Suspicion, 53 An Illustrated Story, 59 Visitors from Story Land, 61 Poor Work Don't Pay 65 TABLEAUX. Going to the Train, 68 On the Train, 68 Evening Prayer, 68 Grandma's Schooldays, 68 Counterfeit Money, 69 He Loves Me : He Loves Me Not, 69 V VI CONTENTS. PAGE Too Hot, C9 Playing Doctor, 69 I Wonder Whom it is From ? 70 Playing Grandma, 70 Old Time Lovers, . . . 70 A Free Smoke, 71 Before the Explosion, 71 After the Explosion, 71 READINGS AND RECITATIONS. What they Said, T 72 My Best Friend, 73 Ned's Best Friend, 74 The New Toy 75 A Little Speech, 75 Catch the Sunshine, 76 Christmas Bells, 77 A Troublesome Visitor 78 Be Polite 80 My Dog, 80 Opening Address, 81 Who Made the Speech ? 82 Moving, ' 83 Baby's Drawer, 84 Phil's Complaint 85 The Lost Kitty, 86 Sixty Years Ago 87 Composition on Animals, 88 Sammie— Sallie, . . .^ 90 CONCERT RECITATIONS. Proverbs 91 The Kittens, 94 Our Flag, 95 Our Work, 97 The Farm Boys' Song, 97 MOTION RECITATIONS IN CONCERT. Little Housekeepers, • • 98 In the Morning, ]00 We are Four, 101 Looking Ahead, 104 DRILLS. Japanese Fan Drill, 106 Tambourine Drill, 109 A Simple March, 114 YOUNG FOLKS' ENTERTAINMENTS. ACTING CHARADES. KEYSTONE. Act First. — Key. Scene. — A school-room, with not less than thirteen scholars, some seated studying, others standing in groups, or walking up and down with their books open before them. Laura (looking up from a book and glancing at the clock). — Miss Marshall is late this morning, isn't she ? Lulu. — Yes. I wish she wouldn't come at all. Ned. — So do I ; then we wouldn't have to worry over our lessons to-day. Laura. — There comes Joe Watson. He looks as if he had been worrying about something. (Enter Joe.) What's the matter, Joe.? Joe. — Matter enough. Did any of you see the Key to my Arithmetic lying around loose as you came to school this morning ? Fanny. — Your key ? h'm ! No wonder you always have your examples right. Joe. — I don't copy the answers, anyhow. Lulu. — I suppose not. You only use the key as a sort of guide, don't you ? Joe. — Of course I do. But you haven't answered my question yet. Do you know anything about it? Fanny. — When did you lose it ? 5 6 YOUNG FOLKS ENTERTAINMENTS. Joe. — I think it must have slipped from under my arm when I was going home last night. Ned % — That just reminds me. I did see a man pick up a key last night as I was going down the street. Joe. — You did ? Who was it ? Do you know him ? Ned. — I do not know his name. He was an organ- grinder. Joe. — Are you sure it was a key ? Ned. — If it wasn't I'll never trust my eyes again, but I don't believe it was yours. Joe. — What kind of a key was it ? Had it a brown back? Ned. — No, it had a gray back. It was a mon-key. {All laugh.) Joe. — I've a great mind to throw this book at your head. {Holds the book as though going to throw it) Laura. — Wait until we get out of the way, please. [Curtain falls.] Act Second. — Stone. Same Scene. — Noon intermission — Scholars eating their lunch, reading, etc. \JEnter Joe, carrying a good sized stone."] Laura. — Oh, girls, look what Joe has. What are you going to do with that stone, Joe ? Fanny. — I hope you are not going to throw it at Ned for teasing you this morning. Joe. — Don't be frightened. This is my contribution toward the lesson we are to have this afternoon on Minerals. Ned. — Sure enough ! Miss Marshall did ask us to bring specimens. I forgot all about it. Laura. — And so did I. YOUNG FOLKS ENTERTAINMENTS. 7 Lulu.— I brought a little piece of soft coal. Mary. — And I have a beautiful variegated stone that I brought from Luray Cave last summer. Joe. — Good for you. Suppose I go around among all who are here, and see how many specimens I can collect for Miss Marshall. Ned. — That's a good idea. Take my hat. {Joe takes hat and passes it around among the scholars, collecting a number of stones, which he piles upon a table. The school bell is heard and curtain falls.} Act Third. — Keystone. Same Scene. — Morning before school-time. Kate. — Do you know your geography lesson, girls ? Lulu. — I don't. I haven't looked at it. Fanny. — Neither have I. What's it about ? Ned. — That's a pretty question. You had better ask Miss Marshall. Laura. — It is not a very difficult lesson — chiefly about the Keystone State. Lulu. — The Keystone State ! What's that ? I never heard of it before. Joe.— Nevertheless, you have lived in that State a number of years, I believe. Ned. — And in a state of ignorance, too. Imlu. — Oh, you mean Pennsylvania, do you ? Why didn't you say so in plain English ? Fanny. — Why do they give it such a name, I wonder. Kate. — Well, I will try to explain it to you. Laura. — I say, Kate, suppose we make a practical illustration of it. There's nothing like illustration for making a deep impression, you know. Doesn't that sound like Miss Marshall ? 8 YOUNG folks' entertainments. Ned.— A little. Kate. — Well, have we thirteen scholars here of about the same size ? Laura. — We'll want one tall one. Joe. — I'll count heads. Two, four, six, eight, ten, twelve. Oh, yes, we've lots of 'em. Now, what are you going to do with 'em ? Laura. — We're going to represent the Thirteen Original Colonies. We'll form an arch. You two, Joe and Ned, can be the end men. Ella Gray, being the tallest girl here, must take the central position — the highest point being the keystone of the arch. Ned. — Come forward, Ella, and let's see what kind of a Pennsylvania you'll make. Laura. — Very good. Now the rest take places form- ing an arch. ( They quickly do so.) Fanny. — Now I'm beginning to see what you mean. Kate. — Stand perfectly still, all of you. Here comes Miss Marshall. We'll give her a surprise. (The arch makes a pretty tableau, the effect of which may be heightened by having a red light thrown over it.) [Curtain falls.] PACKAGE. Scene 1— Pack. Scene 2— Age. Scene 3— Package. {Helen. Irene. Russell. Scene One. Helen (kneeling on the floor with an open valise before her, which she is packing). — Oh ! dear, I fear I can never get all these things into this small valise, and YOUNG folks' entertainments. 9 I do not want to take a trunk, as I am to stay so short a time. Irene (entering). — Why, Helen, what are you about ? Are you going away ? And why that distressed expression of countenance ? Helen. — One question at a time, please. Yes, I am to go to my grandfather's, a short distance out of town, for a few days, and my distress arises from my inability to pack all these clothes into this valise. Irene. — But why take so many ? Helen. — Because it is to be a time of festivity at the old homestead. My Cousin Russell, who has always lived at Grandpa's since his mother's death, attains his majority in three days, and there will be loads of com- pany to do honor to the occasion. Irene. — Ah ! then 'tis a duty as well as a pleasure for you to be well dressed, and, in such a case, I will offer my valuable assistance to help you pack. Do you know it is quite an art to pack a valise properly ? Helen. — An art in which I am woefully deficient, so lend a hand to help the needy in distress. Irene (proceeding to put things in neatly and com- pactly).— Practice makes perfect in this as in other things, and I have had my full share of practice. I've packed trunks, packed boxes, packed lunch-baskets, packed everything, till I'm perfectly at home in the work. Nothing like a large family of brothers and sisters to aid one in becoming an expert. Helen. — I have bought a birthday present for Russell, but it is to be sent out by express on the important day, so I do not have that to bother with. Irene.— There, your clothes are in, all right! Are you not glad I came in at the right moment ? 10 YOUNG FOLKS' ENTERTAINMENTS. Helen. — Yes, indeed! Thank you, thank you. I'll know where to turn for aid the next time I am in need of some one to help me — pack I Scene Two. Place — Grandpa 's parlor. Time — Morning. Helen. — So, Cousin Kussell, this day brings you to the title and estate of manhood ! Twenty-one to-day ! Don't you begin to feel the responsibility of your age ? Russell. — With my fair Cousin Helen to tutor me, how can I fail to realize that I am a man — legally a man. Not that I feel any older than I did yesterday ! This " coming of age" arrived just as easily and naturally as any event possibly could. Helen. — Why, of course ! But I think it must be just splendid to be a man, a young man with every good thing to look forward to, as the goal to which his own efforts may carry him. Not but that I am very well satisfied to be a girl, myself. Russell. — Yes, I must say, I am eager for the fray, for the contest with the world and Dame Fortune, which shall lead me to — success. Of course, I don't look for any other result. Helen. — I certainly wish you every good fortune. But I must not stand here talking. There's everything to be done to-day to make ready for that grand party of yours this evening, that is to celebrate your coming of age. Will you come and help me with the dining-room decorations? That is what I came to ask you. Russell. — Certainly, my dear cousin, I'll come ! I'm not proud, notwithstanding my great superiority in point of — age. young folks' entertainments. 11 Scene Three. Time — Afternoon. Helen (alone, getting up to look out of the window). — Why doesn't that present for Russell come? I'm getting nervous over its delay. I will be so very much disap- pointed if it fail to arrive before night. ( Walking restlessly up and down.) Why don't it come? Russell {entering). — Ah! here you are. I've been looking for you. {Helen looks out of the window.) What are you looking for ? You seem excited. Helen. — Oh ! nothing, nothing ! {Looks again.) Russell.' — Are you expecting some " nearer one still, and dearer one yet than all other/' that you seem so impatient ? Helen. — No, of course, not. How absurd you are ! {Looks out again, and in a tone of relief) There he is now. How glad I am. {Runs out) Russell. — Well, that's cool! She expects no one, yet says, " There he is," as if a paradise had opened to her view. I wonder what is the matter with her. {Looks out.) I do not see any one who could possibly interest her. Helen {re-entering with a large package). — There, sir, you do not deserve it because of your teasing, but you have had my congratulations on this great occasion, and now you will find a more substantial token of my cousinly esteem, if you will condescend to accept and open this — package. 12 YOUNG folks' entertainments. IDOLIZE. For four girls and one boy— Bertha, Clara, May, Grace, and Fred. Scene First. — I (eye). Bertha (sitting in a large chair, with her eye bandaged). — Oh, dear ! Now for another long, tiresome day, I suppose. The doctor says I must not read, and I have nothing to do but sit here and grumble. I do wish something would happen, — I'd be willing to — (a knock is heard). Come in. (Aside.) I wonder who it is. \Enter Clara.'] Clara. — Why, my dear Bertha ! ( Going up to her and kissing her.) How are you to-day? I heard you were sick, and I've come to stay with you awhile. Bertha. — Oh, how delightful ! No, I am not exactly sick, but in some way I have hurt my eye and the doctor says I must not use it for a long time. I can't read, I can't write, I can't study, and I can't go out of the house. Clara. — My ! what a horrid lot of can'ts. Now let me hear what you can do. Bertha. — Well, I can talk, for one thing. The injury to my eye hasn't hurt my tongue any, I'm happy to say. Clara. — So I see, and I suppose you can play too — quiet plays, can't you ? Bertha. — Why, yes, anything that doesn't tax my eye. That's what the doctor said. Clara. — Well, I have a plan. You sit here and be an invalid — that's what they call a person that's not very YOUNG folks' entertainments. 13 sick, you know — and I'll bring a surprise party to your house. Bertha. — Whom will you bring ? Clara. — Oh, that's the surprise. You mustn't ask questions. Bertha. — Then how will I know how to play ? Clara. — All you have to do is to sit in this chair and receive us when we come in. I'm going now to get ready. I will be back soon. [Exit Clara.~\ Scene Second. — Dol {doll). {Bertha lying back in the chair with her eye still ban- daged. Enter Clara, followed by two little girls — May and Grace.) Bertha {springing up). — Why, Clara, this is a real surprise party. Where did you all come from ? Clara. — Not very far away. May {carrying a doll). — See what we have brought you, Bertha. Bertha. — Oh, how lovely. Is it for me ? All. — Yes, for you alone. Grace. — We thought it would be company for you while you are kept from school. Bertha. — How kind. I know I shall love my doll. What beautiful hair and eyes it has. May. — Take good care of it, and don't let it get sick. Scene Third. — Ize {eyes). Bertha {holding her doll, whose eyes are bandaged with a handkerchief, and humming softly) — " Hush, my dear, lie still and slumber, Holy angels guard thy bed." . - ' ' 14 YOUNG folks' entertainments. There, my darling, you will be better soon, I hope. Hark ! some one is knocking. Come in. \Enter Clara, May, and Graced] Bertha, — Oh, girls, my baby's very sick. Girls. — Why what's the matter with her, Bertha ? Bertha. — Oh, an awful thing — in-flam-ma-tion of the eyes. I saw that word in my speller. Grace. — Dreadful ! How did she get it ? Bertha.— Caught it from me, I guess. Such things are caughting, you know. May. — Catching, you mean. Bertha. — Yes, that's what I mean ; but she is worse than I am, for she has it in both eyes, while I have it only in one. {Pressing her doll close to her.) There, my little darling, don't you cry. What would I do if I should lose you ? Clara. — We will go now and send the doctor. Grace. — We will call again in a little while to see how your darling is. [Exit Clara, Grace, and May. Bertha retires by another door.~] Scene Fourth. — I-dol-ize. {Curtain rises, disclosing the four girls, kneeling around the doll, which is lying upon a small bed, or chair.) {Enter Doctor. Placing his hand upon the dolVs head.) Madam, the crisis is passed. Girls (rising). — Oh, doctor, what do you mean ? Doctor. — The child will live. Bertha. — Oh, I could cry for joy. Thank you, doctor, for saving my precious baby ; the baby I so idolize. Clara. — We all thank you, doctor, for that darling child is the idol of our hearts. YOUNG folks' entertainments. 15 Doctor.— That should not be. No mother should idolize her child. It's very wrong, ladies, very wrong. But I must be going ; other babies need me. Good-day. All. — Good-bye, doctor. Bertha (to the audience). — Now, you who this charade have heard, May have a chance to guess the word. [Exit all.~\ BREAKFAST. For Two Little Girls and One Boy. Act First. — Break. Scene. — A sitting-room. (Mary standing in the centre of the floor holding the body of a doll in one hand and its head in the other. Grace, a little distance from her, looking sorrowfully at the doll and holding her own doll in her hand.') Mary (in a loud, angry tone). — You're a mean, hateful girl — I don't like you, and I'll never speak to you again. My beautiful, beautiful doll ! Grace. — Indeed, Mary, I didn't mean to break it. You don't know how sorry I am. Mary. — You're not sorry. I believe you did it on purpose, and I wish you would go home. Grace. — Can't you stick the head on ? Mary. — Stick it on ! No, it would fall right off again. I tell you it's a break, and that's the end of it. Grace. — I'm sorry you lent it to me. Mary. — So am I ; you're a naughty, careless little girl. 16 YOUNG FOLKS' ENTEETAINM. .NTS. Grace. — Will you have my Rosie, instead? (offering her own doll). She's not so pretty as yours was, but she's nice. Mary. — Have Rosie ? Why, she can't compare with my doll. No, I want my own, and you have spoiled it. Grace. — Maybe mamma will give me money to buy you a new one ; I'll go and ask her ; where's my hat ? {crying as she turns to go). [Enter George.~] George. — Hey-day ! What's the matter here ? This is a pretty tableau — gentle Gracie crying, and my spit- fire of a sister there looking like a small thunder-storm. Mary. — Oh, look, George, what Gracie did. She pulled my poor doll's head off. Grace. — I didn't mean to break it, George. I only took hold of its head with my hand and it came right off. George. — Oh, you wicked little executioner ! Let me see the doll (Mary hands the body to him). Where is the head? Mary.— Here it is. George (taking the head and trying to fit it on the body). — A compound fracture, I should say ; but I'll be the doctor, and soon set this all right. Mary. — Can you mend it, George ? Grace. — I will be so glad if you can. George. — A little glue is all that it needs. Mary. — Then it isn't a very bad break ? George— I've seen worse. I just now saw one that beat this all hollow. Grace. — Where ? What was it, George ? George. — A break-down, or rather a break-up, on the car track', — carriage rtin into by a passenger car. It YOUNG folks' entertainments. 17 was on a down-grade, and the driver couldn't put the brake on in time to prevent the crash. Mary, — Was any one hurt ? George. — No ; but the carriage was broken into flinders. I heard the driver say (he was an Irishman) he would take an axe and break his own shtupid pate before he would ride in front of the bloonderin' cars again. But I must be off now, and madam {turning to Mary), lend me the loan of your baby, and in a few hours she shall be restored to you, whole, and in her right mind. ( Goes out) [Curtain falls.] Act Second. — Fast Scene. — Same as first (Mary sewing baby clothes ; Grace sitting near her hold- ing her doll, Rosie, on her lap.) Mary. — See, this little dress is nearly done. Isn't it pretty ? Grace. — Very. How soon do you think George — I mean the doctor — will bring your daughter home? Mary. — I am looking for him every minute. Oh, there he comes, now. See how fast he is walking. (Enter George, carrying a doll like the one he took away. Cheap dolls can be used.) George. — Good afternoon, ladies. I have come as fast as my horses could bring me to restore to your arms, madam (addressing Mary), your precious babe, which I have been the means of rescuing from the very jaws of death. Mary. — Oh, thank you, doctor (takes the doll). 18 YOUNG folks' entertainments. Grace. — Are you sure her head is quite fast ? George. — Try it and see. Mary (holding it by the head). — Look, Gracie, it seems to be as fast — George. — As a fish on a hook. Grace. — What a good George you are. George. — " What a good doctor you are," I guess you meant to say. ( Turning to Mary.) Do you think, madam, that your child is worth a thousand dollars to you ? for that is the amount of my bill. Mary. — You are rather fast in making your bill, I think. I shall not be £0 fast in paying you. George. — Well, we won't quarrel about it now — take your own time. I must go now (pulling out a watch). It's six o'clock, and I've had no dinner to-day. Quite a long fast for me. Good-bye. Both. — Good-bye. L ~ [Curtain falls.] Act Third. — Breakfast Same scene. ( The two girls sitting with their dolls. Small table set for three.) ^ Mary. — I'm so glad you stayed all night, Gracie. You and George and I will have breakfast all by ourselves, for mamma and papa had theirs two hours ago, and have gone to New York (name the nearest town) to do some shopping. Grace. — Where is George ? Mary. — Not up yet. He's an awful lazy boy, Grace. Grace. — Is he lazy? I think he's a good brother, anyhow. I'm so glad he mended your doll. Mary. — Yes, he's good enough. (Enter George.) So YOUNG folks' entertainments. 19 you've come at last, have you ? We are waiting break- fast for you. (All sit down at table. Mary pours out; they spread napkins on their laps and go through the motions of eating.) George. — This is what I like — to have breakfast ready for me just when I am ready for it. (Glancing at clock.) Eight o'clock, is it ? Well, that's time enough to break one's fast, isn't it, Gracie ? Grace. — It's time enough for me. Mary. — But remember school begins at nine, and we've some lessons to look over yet. George. — Bother the lessons ! I like coffee and bread better than books, and I am going to enjoy them while I can. Mary (rising). — Well, help yourself — we are going. Are you ready, Grace ? Grace (rising). — Yes, I'm ready. George (also rising).— I'm not going to be left here alone. That was a good breakfast, but you girls wouldn't let a fellow half appreciate it. Mary. — You can eat a double one to-morrow, George. Let's go into the library and study a few minutes, and then w T e'll get ready for school. [Exit.] PIOUS. For Three Girls and One Boy. Scene First. — Pie. (Julia standing at a table, ivith pie-board, flour, rolling- pin, etc., before her, holding an unbaked pie.) Jxdia. — There ! don't that look nice ? I know mamma thought I couldn't do this, and won't she be surprised 20 YOUNG folks' entertainments. when she comes home and sees this pie all nicely baked. Who couldn't make a pie, I'd like to know ! It's the easiest thing in the world. Now, I never made one before, and I don't believe even mamma herself could have done better. (Voices are heard — Julia, where are you f) There come those troublesome children. I wonder what they want. [Enter Lulu and Oscar.~\ Lulu. — Oh, Julia, have you seen — (catching a glimpse of the pie) — Why, what are you doing ? Where did you get that pie ? Oscar. — You didn't make that, did you ? Julia. — Yes, children, I did ; and now I am going to put it in the oven, and when it is done you shall both have a piece. Lulu. — Let us look at it again, sister. Doesn't it look nice, Oscar ? Oscar. — Beautiful. Who showed you how to make it, sis ? Julia. — No one. Don't you suppose I know how to make a pie ? ( Carrying it away as if to put it in the oven.) Lulu. — Is it green apple ? Julia. — Yes, it's green apple, your favorite pie, Lulu. Oscar. — I say, sis, you're a jewel; but are you sure you put all the ingredients in ? Julia. — If by ingredients you mean salt and pepper, of course I did. I saw mamma season the pot-pie the other day, so I knew very well how to do that part of it. Oscar. — Well, the proof of the pudding — the pie, I mean — is in the eating ; and I'll be ready and willing to prove it well as soon as it's cool. Lulu. — You won't forget us when it's done, will you, Julia? YOUNG folks' entertainments. 21 Julia. — No, Go out now and finish your game, and in about half-an-hour I think you can have a taste of it. Scene Second. — Us. {Julia sitting near the table, on which stands a baked pie.) Julia. — I wish mamma would come now, I am so anxious to show her this pie. I think she will be so pleased to know that I can do such things. [Enter Lulu and Oscar."] Oscar. — I say, Jule, is that pie baked yet ? Oh, yes ; here it is, Lulu ; just look at it. Lulu. — It's for us, Julia, isn't it ? Oscar. — Yes, sis, .you'll give it all to us, w T on't you ? We're so hungry. Julia. — That is just like you two. Give it all to us, indeed. Don't you think anybody else wauts a taste of my first pie ? Lulu. — You promised it to us. Julia. — Now, Lulu, that's not so. But you and Oscar are so selfish ; you think of no one but yourselves. It's " us, us " with you all the time. First, it's u Julia, won't you take us to the Park?" Then, "Please write an excuse for us for being late to school ;" or " Treat us to ice-cream," or do something else for us ; and now it's " Give the pie to us," and I'm tired of hearing that word " us " fifty times a day. Oscar. — Well, then, give the pie to we. Does that suit you any better? Julia. — Don't be pert. I'll give you each a piece now, although I did not want to cut it until mamma had seen it. ( Takes a knife and proceeds to cut it ) Oscar. — Cut good, generous slices, that's a dear, for I feel awful empty and faint. 22 YOUNG folks' entertainments. Julia (handing each a piece). — There ; I hope that will satisfy you. (They both take a bite, bid evidently find it very tough, and after getting a mouthful they make very wry faces, and commence spitting it out and wiping their mouths, as if to get rid of the taste.) Julia (aghast). — What's the matter? Are you chok- ing? Oscar. — I say, Jule, what do you call this ? Lulu. — Oh, it's dreadful, Julia. Oscar. — You made this of old leather, and seasoned it well to make it go down, didn't you. Lidu. — I guess you forgot the sugar, Julia, and it doesn't taste as if it had any shortening in, either. Oscar. — Help yourself, Julia. You needn't save any more for us, for we, I mean. We won't be greedy. Come on, Lulu. [Exit Lulu and Oscar. .] Jxdia. — They're right, I never once thought of the sugar or lard. And I don't believe salt and pepper were just the right things to put in it, either. How glad I am that mamma hasn't come yet. I'll get rid of it right away, before she has a chance to see it. What a failure I have made, and I suppose I will never hear the last of it, either, from Oscar. I shall have to endure hearing him say a dozen times a day, at least, " Julia, have you any pie for us, for we, I mean." He's such a tease. (Picks up the pie and retires. ) Scene Third. — Pious. (Julia reclining in a chair. Enter Oscar and Lulu.) Oscar. — Oh, Julia, " if you have any tears, prepare to shed them now." Here comes that saintly Aunt Keziah from the village, and she's in her saintliest mood, too, judging by the way she walks. YOUNG folks' entertainments. 23 Julia. — Oh, dear ! I wonder what sin we have com- mitted now, that she is coming to lecture us about. Oscar. — Maybe she has heard of that pie you baked this morning, and is coming to have you arrested for cruelty to children. Lulu. — Oh, Oscar, don't tease Julia. Julia. — Hush, children, here she is. {Enter Aunt Keziah, wearing a plain dress, and looking very solemn.) Julia. — Good afternoon, Auntie, here's a chair. Are you well? Aunt K. — As well as I ought to be. I never com- plain. Where's your mother ? Julia. — She's gone out to spend the day. Can I do anything for you ? Will you have a glass of water ? Osear.- — Or a piece of pie, Aunt Keziah ? Julia, bring in the pie — and a hatchet. Aunt K. — No, Oscar, I never indulge in pie. Oscar. — Don't like it, eh ? Why, Auntie, I've always heard that you w r ere very pious. Aunt K. — And I trust I am ; I trust I am. And that's the reason I deny myself such expensive luxuries. The money they cost would be better spent on the poor. Oscar. — But, Auntie, you would really be doing a very pious act in helping us to get rid of the " expensive luxury " that Julia baked this morning. Julia. — Now, Oscar, be still, or I shall complain to mamma when she comes home. You are very unkind. Aunt K. — Your brother means nothing but kindness to me, I'm sure, and you should keep your temper under better control. You need piety, Julia, piety. 24 YOUNG folks' entertainments. Oscar. — Didn't I tell you so, sis ? Aunt K. — And Lulu, I was astonished to see you smiling in church last Sunday ; — it was entirely out of place — entirely out of place. Lulu. — Why, Auntie, I can't help laughing and being happy, and mamma doesn't think it's wrong. Julia. — No, Aunt Keziah, mamma likes to see her children cheerful and happy; but I hope you don't think we have been rude to you ? Aunt K. — Not a bit more rude than I should expect from children raised as you have been. I can do you no good, so I will take my departure. the others following.) [Curtain falls.] YOUNG folks' entertainments. 59 AN ILLUSTKATED STORY. CHARACTERS. Two boys— George and James. In this dialogue James is to illustrate what he speaks by appropriate drawings, either on a slate or blackboard. When completed, the draw- ings form the rude outlines or a pig. James draws while George is speaking, and then turns the slate or steps aside from the blackboard, that the audience may see his work, while he himself is speaking. Use chalk-crayon, even if a slate be used, that the drawing may be quite distinct. A very faint outline, imperceptible to the audience, might be prepared beforehand. George. — I know a nice new play, James. James. — Do you ? What is it ? George. — We must have a blackboard. James. — Here is one. Now what do we do ? George. — I tell a story, and you draw the pictures about it. James. — That isn't play. . That's work. George. — O, you will like it. It is fun. Will you try it ? James. — Yes, I'll try, but I do not believe I can draw much. George. — Are you ready ? Shall I begin the story ? James. — Yes, go on. George. — Once on a time there was a poor man, who owned a little odd-shaped, three-cornered piece of land. {James draws a three-cornered figure to represent the head of a pig.) James. — This is the farm as it appears Where this man lived for many years. George. — He built himself a little house on his bit of land, in which he lived in peace and comfort. 60 YOUNG folks' entertainments. (James draws a small circle in the head, for the pig's eye.) James. — This is the house the poor man made, And here year after year he stayed. George. — He had a barnyard near the house, in which he kept his pigs and chickens. The poor man took much pleasure in caring for his dumb creatures, to which he became very much attached. (James draws the ear of the pig in the upper right-hand corner to represent the barnyard.) James. — This is the yard of the poor man, And here his pigs and chickens ran. George. — One morning, when the man ariose, he dis- covered that one of his pigs had strayed away, so he started out to find it. He left no path nor lane unex- plored in his search for his lost pet. (From the lower part of the head, draw a continuous line forming the four legs and lower part of body, extending to the tail.) James. — This is the road the poor man took, As for his pig he went to look, And these the lanes that he did search When piggy left him in the lurch. George. — At length he came to a very winding road, and he thought he would surely find the pig in there, so in he went, and after winding in and out and round about he got back to the very point from which he had started in, without having found his pig. (James draivs the pig's tail with a kink in it, curving it, and drawing back from the end, without lifting the crayon.) YOUNG folks' entertainments. 61 James. — This is the very winding way The poor man trod that weary day. George. — The man was now so much discouraged that he determined to give up the search and go home at onee, so he took the nearest road to his home, and — {James draws the back of the pig from tail to head.) James. — When this road he had traveled o'er, He -found the pig at his own door, And this is that pig's photograph. Now look, but do not dare to laugh. (Shows pig completely drawn.) VISITORS FROM STORY LAND. For six children— One large boy or girl, who acts as manager ; four smaller girls and one smaller boy. Manager. — Whom do you suppose I have here this evening to meet you ? Good friends of yours they are, and many a happy hour you have spent in their com- pany, and yet I think you have never seen them look just as they will look to-night. I have brought them together with much labor and expense, but if you enjoy seeing them, as I think you wifl, I shall feel fully repaid and satisfied. Everywhere throughout the land they are the friends of the children, and not only of the children of to-day, but when your parents and your grandparents were young they too enjoyed the company of these little people ; for, strange to say, they never grow old. Many years have they lived, and many more shall they live, but ever with the grace of youth at- 62 YOUNG folks' entertainments. tending them. But I do not mean to mystify you, so let me introduce to your notice Little Red Riding-Hood. {Little Red Riding-Hood appears dressed in a scarlet hood and cloak, carrying a small basket) Good evening, friends, I'm glad to be here, And I'll say just a word To these children dear. If e'er you should meet A wolf as you walk, I pray you, beware ! Do not list to his talk. He means to devour you. Am I understood ? I know what I say, I'm " Red Riding-Hood." Manager. — The next little visitor I have to introduce to you is Little Silverhair. {Silverhair should be a little girl, with long, fair hair, which should be loose upon her shoulders?) I hope, little friends, You'll recognize me ; Tho' I did not do right, I'm sorry, you see. I meddled* you know, With pudding and chairs, And tumbled the bed Of each of the " Bears." I know it was wrong, But I'm willing to own, Poor Silverhair's sorry, She'll try to atone. YOUNG folks' entertainments. 63 Manager, — Poor, little Silverhair ! She did not be- have so very badly, did she, children ? Next I have the pleasure of presenting Jack, the Giant-Killer. (Jack carries a heavy club [a base-ball bat will answer the purpose], which he swings occasionally while speaking. He may also wear a toy sword.) The giants I've slain If you could but see, Of course, you at once Would recognize me. Now, will you believe, You have giants to kill More real than mine ? One's name is Self-will, Another is Sloth ; Bad Temper's a third, And there are others Of whom I have heard. That you may succeed In crushing these foes Is " Jack's " earnest wish, As from you he goes. Manager. — Jack's wish is a good one, children, and I think we all hope it will be fulfilled, do we not? Now we are ready to greet Cinderella. ( Cinderella wears a plain outer-garment [a gossamer water- proof will do~\ entirely concealing her under dress, which may be as gay and beautiful as possible. At the appro- priate time she throws aside or drops the outside gar- ment.) 64 YOUNG folks' entertainments. In my cindery dress I make you my bow, For ne'er was I vain, Nor vain am I now. My proud sisters two Would glad be to see My return to this dress Which shows poverty. But my kind god-dame's wand Is hovering near {drops cloak). And in my fair garments I now will appear. Manager. — The last little visitor that I shall present this evening is Little Bo-Peep. {Bo-Peep wears a broad-brimmed straw hat ana carries a shepherdess' crook. An ordinary crook-handled cane fitted into a piece of a fishing-rod will make a long enough crook.) I'm glad to rest awhile From seeking my lost sheep, And you shall hear a word From wandering Bo-Peep. How often we pursue Some fleeting, shadowy good, And fail to take the wealth We might have if we would. We dream of purpose gained, As I, I'd found my sheep, But waking, find a blank, So on our search we keep. But I did not mean To moralize to you, Yet if you'll think upon My words, you'll find them true. YOUNG folks' entertainments. 65 POOR WORK DON'T PAY. For two boys and two girls. Scene — A sitting-room. Lynn, writing ; Marion, sewing. Marion. — How fast you write, Lynn. Lynn. — Yes, I'm in a hurry to get this done. I want to play a game of ball with the boys before supper. M. — Is it a parsing exercise ? L. — O, no, it's a letter to mother (picking it up and glancing carelessly over it). It doesn't look very nice, and I suppose it's full of mistakes — but she won't care, so long as she hears from me. M. — I'm not so sure of that. I think she will care. She doesn't like to see any of her children forming careless habits. By the way, did you finish your draw- ing exercise ? It was to go in to-day, wasn't it ? L.— Yes, I finished it ; but if I could have had more time, it would have looked better. I had to finish it in such a hurry. M. — More time? Why, you had three weeks. I should think that was long enough to do it well. L. — But I didn't get at it until yesterday ; and then father wanted me to mend the pig-pen ; — but that didn't take much time, it only required a nail or two. M. — Are you sure ? I heard father say several days ago, that you had better fix it at once, for if it were neglected much longer, the pig would be sure to get out, and perhaps do a great deal of damage to the garden. L. — He only said that to hurry me a little. Master Piggy is a prisoner. Let him get out if he can. I tell 66 YOUNG folks' entertainments. you, Marion, I had a good time fishing yesterday. I caught five suckers, three eels, and about half a dozen catfish. Pretty good luck, wasn't it ? M. — I suppose so ; but I am surprised that you had time to go fishing. I don't see when you got your drawing done. L. — Why, this morning, I tell you, at recess. If the boys hadn't been nudging me all the time and hurrying me up to go out, it would have looked first-rate, too. M. — If you had worked at it last Saturday as I wanted you to, you wouldn't have been disturbed by the boys. However, we will hope that it will take a prize, for mother's sake. L. Oh, I guess it is as good as the other boys'. It don't worry me, anyhow. M. — No, I wish you would worry a little more about some things ; — L. — If you're going to begin to preach, please excuse me, while I go on with my writing. Time's precious, you know. (Enter Mabel, carrying a roll) — O, Lynn, here is your drawing paper. Mr, J asked me to give it to you to do over. He says it's a disgrace to his school, and you ought to be ashamed to send in such work. (Hands him the paper.) Ben pushing in). — I say, Lynn, the big pig is out, and is racing all over the garden. All of the school-boys are after him, but they can't catch him, and oh, you ought to see the peas and beans and things. I don't know what papa will say. L. — Nor I, either. I say, Marion, can't you help me out of this scrape ? Here's my drawing to be done over, the pig to catch, and the garden to put in order. YOUNG folks' entertainments. 67 v M. — And this letter to finish. L. — Yes ; I'll soon finish that {picking it up and tearing it into pieces), and the next time I undertake to do a thing," I don't think I'll be in such a hurry. M. — You mean, you'll begin in time. That's where your trouble is, Lynn. You put off your work until the last minute, and then it's all rush and hurry to get through. What are you going to do now ? L. — Drive that crowd of hooting boys out of the garden, fix up the pig-pen in a little better style, and then politely invite Mr. Pig to walk in. Maybe he didn't like the looks of his house, and that's the reason he walked out. M. — I will do what I can to help you. I was afraid your "nail or two" wouldn't stand the test; and, you see, you have made for yourself double work, by not keeping in mind the fact that " Poor work don't pay." 68 YOUNG folks' entertainments. TABLEAUX. HINTS FOR TABLEAUX. Be sure to have a strong light thrown on all tableaux. A poor light makes of the best picture, a partial failure. A large frame, makes an effective setting for tableaux of a single figure. To show a bust picture, have the frame so arranged on a stand or other base, that drapery will conceal the lower part of the figure. For this style you may have portraits, or typical figures, as Purity, Innocence, Prayer, etc., etc. Colored lights thrown upon a tableau make it vastly more effective. Do not do this in a hurry. Let the picture be fully seen by the plain light, before the colored light is thrown. Scenes. 1. Going to the Train. Characters : Two ladies, one gentleman, one child. Gentleman with valise ■ and umbrella in hand and duster over arm. First lady with numerous bundles and baskets. Second lady with bird-cage in one hand, holding child by the other. All apparently hastening to catch a train. 2. On the Train. Characters : Lady and gentleman. The lady wears a long trained dress. On the train the gentleman has his foot. He is in the act of bowing apologetically. She has her head half turned toward him with a look of scorn at his awkwardness. 3. Evening Prayer. Little girl in long, white night- dress — kneeling — hair flowing. Her hands are clasped in attitude' of prayer, her eyes uplifted. A position side wise to the audience is prettier than full face. 4. Grandma's Schooldays. A little girl in old-time dress and bonnet. A frilled cap under bonnet— slate YOUNG folks' entertainments 69 under her arm, reticule in one hand — umbrella in the other. In the act of walking — body sidewise, face full toward the audience. 5. Counterfeit Money. Characters : An old woman and a little girl. The little girl has a well-filled market- basket on her arm, carrots and other vegetables showing beneath the lid. She wears a shawl over her head, and on her face is a look of distress as her grandma examines the change she has brought from the market, she having evidently taken a " bad coin." The old lady, in old lady's dress of the poorer class, has a tin basin on her lap in which are turnips which she has been paring. On her face is a look of severe disapproval as she examines the coin. 6. " He loves me : he loves me not." A young girl in simple dress w T ith a daisy in her hand, from which she is pulling the petals to try her fortune. TOO HOT. A small boy is seated on a high stool holding a bowl in one hand and a large spoon in the other. His eyes are very wide open. He holds the spoon near his mouth, and his lips are fixed as in the act of blowing. His legs should be twined around the legs of the stool in boy fashion. PLAYING DOCTOR. small boy (the patient) is seated, with bare feet in a pail, a handkerchief tied around his head, and a shawl thrown over his shoulders. A large boy (the doctor) has 70 YOUNG folks' entertainments. on a high hat and a man's coat. He is feeling the pa- tient's pulse, with a very wise look. A girl (the sick boy's mother), with long dress and cap, holds cup and spoon, and looks anxiously at the doctor. Several bottles are on a stand near by. I WONDER WHOM IT IS FROM? A girl in old woman's dress, is holding a letter off from her and scrutinizing the superscription, while a boy, dressed as her husband, looks on with evident in- terest. PLAYING GRANDMA. A little girl is sitting on a high, straight-backed chair. She has on an old lady's cap, with frill around the front, a kerchief pinned across her breast, and spec- tacles. She holds a partly knit stocking, with the needles in it, in her hands as though at work. OLD TIME LOVERS. Large boy and girl dressed in the costume of the Revolutionary period. Boy with knee breeches, having a frill of lace at the knee, a ruffled shirt front, a white wig (which can be made of cotton), and carrying a cocked hat. Girl in white wig or powdered hair, wearing a court train, elbow sleeves, and silk mitts. The boy, bowing low to the girl, is holding the tij>s of her fingers and stooping, as if kissing her hand. YOUNG folks' entertainments. 71 A FEEE SMOKE. A gentleman is having his boots polished by a street boot-black^ He stands with his hand behind him, in which is a lighted cigar (a candy imitation cigar to be used). A street gamin, in ragged hat and jacket, is in the act of taking a whiff of the unconscious gentleman's choice Havana. BEFORE THE EXPLOSION. An old lady, w T ith a peaceful expression of face, is asleep in an easy-chair, while her grandson, with a mis- chievous smile, stands near holding an inflated paper bag close to her ear, his empty hand held in position for exploding the bag. AFTER THE EXPLOSION. The old lady, with a bewildered, scared look on her countenance, is standing with her hands covering her ears. The boy is seated, and with a solemn face, is dili- gently reading a book or newspaper, which is upside down. 72 YOUNG folks' entertainments. READINGS AND RECITATIONS. WHAT THEY SAID. Dear little Madge went out one day, Into the old barnyard to play ; Among the flocks and herds she walked, And this, she says, is how they talked. " Moo, moo," said the cow, " moo, moo, I give nice sweet milk to you ; Butter and cheese from me you get, ; Beef and tallow and more things yet, ! Without my help what would you do? Moo, moo," said the cow, " moo, moo." " Baa, baa," said the sheep, " baa, baa, I give soft wool, that your mamma May make you socks and mittens w T arm, To shield you from the wintry storm. Without my aid you ne'er could keep So warm. Baa, baa," said the sheep. " Cluck, cluck," said the hen, " cluck, cluck," As up her saucy head she stuck. " Delicious eggs for you I lay, A nice fresh egg, day after day ; You could not do without me then. Cluck, cluck, cluck, cluck," said Mrs. Hen. " Quack, quack," said the duck, " quack, quack. I'm sure that I need not stand back, YOUNG folks' entertainments. 73 For I too lay you eggs so fine, And are hens' eggs as large as mine ? If one of us you'd have to lack I think I'm not the one. Quack, quack.'' Bow, wow," said the dog, " bow, wow. Dear little miss, I'll tell you how I watch and guard your house for you, And take care of your barnyard too, Of duck and hen, of sheep and cow. Bow, wow," said the dog, " bow, wow." Then little Madge, in her sweet way, Brought for the cow a wisp of hay ; Some fresh grass for the sheep she got, And corn-meal scattered in the lot For hen and duck ; with loving thought, A bone to Rover then she brought With word of praise. And thus she showed To all the gratitude she owed. MY BEST FRIEND. (To be spoken by a small girl holding a large orange.) I am going to give this orange To the one I love the best, The one who, of my many friends, Is dearer than the rest. Perhaps you think it's Fanny Jones, Or little Edith Price ; But if you do, you're surely wrong, Although they both are nice. 74 YOUNG folks' entertainments. If I had two, instead of one, I know what I would do ; I'd give one to lame Nellie J., Her pleasures are so few. But I can't give her this, oh, no ; It's for my dearest friend, The one for whom I'm sure, my love Will never, never end. The one who cares the most for me, Who gives me all I need, Who nurses me when I am sick, Oh, she's my friend, indeed. Now she is sick and suffering, Her head has ached all day ; Perhaps this nice sweet orange Will drive the pain away. Of course, ere this you've guessed her name — There surely is no other Whom I can ever love so well As my own precious mother. NED'S BEST FRIEND. (To be spoken after " My Best Friend.") I have an orange, too, like May's — As big and ripe and sweet ; And so I think that my best friend Shall also have a treat. YOUNG folks' entertainments. 75 If you would like to see this friend I'll introduce him now ; He stands before you — 'tis myself; And now I'll make my bow THE NEW TOY. (To be spoken by a very little boy, who has in his hand a " Jumping- Jack," or some similar toy. At the close of his speech he must work the toy for a minute or two.) I want to show you something, 'Tis something very funny, My mamma bought it for me, It cost a heap of money. 'Twill make you laugh ; perhaps you'll say It is not very pretty, But I think it's the nicest toy In all this great big city. Now in a minute you shall see, This funny little toy ; And then, I hope you'll get one, for Your little girl or boy. A LITTLE SPEECH. Good afternoon, folks, Pray how do you do ? I want to make a speech This afternoon to you. ' YOUNG FOLKS ENTERTAINMENTS. I hope you all are well, And all happy, too! Now I've made my speech. Do you think it will do? CATCH THE SUNSHINE. Be not gloomy ! Catch the sunshine ! Let it brighten all your way. As through life you onward journey, Catch the sunshine day by day. Light's Creator surely meant not You, in gloom, should shroud your life When above and all around you, Glorious sunshine is so rife. Lead a life as glad as may be, Give not way to dark despair, Sorrow courted, soon grows grasping, Marking every day with care. Catch the sunshine. Throw off sadness ; You can do so, if you will, And such effort, doubly blessed Your life's hours with joy will fill. Catch the sunshine ! Be not gloomy ! If in darkness here one lives, Can your unaccustomed senses Bear the brightness Heaven gives? Can your heart, to gloom accustomed, Bear the glory of the skies ?— Golden streets and radiant faces Of the saints in Paradise ? YOUNG folks' entertainments. 77 Catch the sunshine that Hope giveth, Use it as your daily, food. Catch the sunshine that Faith spreadeth, Let it do its work of good. Catch the sunbeams Love doth scatter, In your life's web w T eave them fast. Beams of Faith, Hope, Charity, Warmed by these, let life be passed. CHKISTMAS BELLS. Eing, Christmas bells, Ring, merrily ring, Ring tidings of great love ; The love of men To men again Resembling that above. Tell the tale of generous deed By prosperous man to man of need. Ring, Christmas bells, Ring, cheerily ring, Ring tidings of great peace, Of wrong act righted, Friends re-united ; Ring unkind thoughts' surcease. Tell the story of wrongs forgiven, For the sweet sake of Christ in Heaven. Ring, Christmas bells, Ring, happily ring, 78 YOUNG folks' entertainments. Ring news of love divine. Of faith renewed, Bad deeds eschewed, In this sweet Christmas time. Tell the story of man's salvation ; Ring loud the Christmas proclamation ; Sound it forth cheerily once again, " Peace on earth, good-will to men." A TROUBLESOME VISITOR. A most mischievous sprite Was abroad all last night ; And oh ! dear, what tricks he did play. If you'll listen, Til tell Some events that befell, From the course of this troublesome fay. With his chill finger tips, He gave sly little nips, At the flowers of the garden so bright. Each flower drooped its head At his touch, so ill-bred, But .this only pleased the wild sprite. Then he put out his hand, And he tapped with his wand, Our useful town-pump on his nose. This insult the pump Swallowed all in a lump, Which so choked him, he instantly froze. YOUNG folks' entertainments. 79 Next, some fruit on the trees, Our playful sprite sees, And resolves to put on them a spell ; . So he breathes his chill breath And chuckling he saith, My trade-mark is placed on you well. He pinched sharply the toes, While he reddened the nose, Of a lad wandering out on the street. Pray, look out for him, boys* For 'tis one of his joys To pinch tender fingers and feet He next broke a rare glass. 'Twas left standing — alas ! Just where he could reach it and break. O, the mischief this sprite Accomplished last night Was no trifle — done just in mistake. Shall I mention his name ? 'Tis well-known to fame, And already you surely have guessed. So 'tis hardly worth while, Yet to finish in style I'll call out " Jack Frost " with a zest. 80 YOUNG folks' entertainments. BE POLITE. When you meet a lady, Take off your hat and bow. Perhaps you think you cannot, If so, I'll show you how ! {Puts on cap and takes it off, bowing.) If you're asked a question, Do not hang your head, And refuse to answer ; .That is quite ill-bred. When you meet your school friends, Don't whoop and shout and yell ; A merry, bright " Good morning," Should answer just as well. Don't think it manly to be rude, And by rough ways annoy; Eemember that a gentleman's A grown-up gentle boy. MY DOG. I want to introduce my dog, My good old dog named Styx ; He's just the very smartest dog, And does the 'cutest tricks. YOUNG folks' entertainments. 81 He'll gravely offer you his paw, Which means, "How do you do?" Or he will walk on his hind legs Across the room to you. And he can catch a silver coin, If thrown up in the air ; This coin he'll then return to you, With very greatest care. Styx carries in the papers too, When left at the front door ; He guards the house and barks at tramps, What dog could e'er do more ? And yet he is the gentlest beast, When any friend comes near ; He wags his tail and looks so kind, A baby could not fear. I would not give away my dog, For any price you'd fix ; All I can do, is just to hope You'll find a second Styx. OPENING ADDRESS. To my lot has fallen the pleasant duty of welcoming you, dear parents and friends, to our school-room on this festal occasion. My words of greeting shall be few, but I trust you will feel they are sincere. It gives us pleasure to see you all here, and we hope you will find 82 YOUNG folks' entertainments. pleasure in thus spending an hour with us. We have prepared our exercises in speaking and singing with all the care we could, hoping to make them pleasant to your ears. And as Large streams from tiny sources flow, And great lives from small beginnings grow, so may our youthful efforts (unpretending as they seem to be) be the germs of future works which shall exert a wide influence for culture throughout the community in which we live. WHO MADE THE SPEECH? For a small girl holding a doll. 'Tis dolly's turn to speak a piece ; (Now, don't be frightened, dear ;) ( Caressing her doll.) Her voice is weak, but if you're still, I think you all can hear. She's never been away from home, And so she feels quite shy ; (There, never mind, my precious babe, We'll go home by and by.) I s'pose she takes her bashfulness From me — her mamma, dear ; If I should try to speak, I know I'd almost die with fear. YOUNG folks' entertainments. 83 When mamma asked me yesterday, If I would speak to-night, I told her " No," for I felt sure I couldn't do it right. " Well, little daughter, never mind," Then darling mamma said, " We'll dress your dolly in her best, And let her speak instead." So that is why I've brought her here — (Why, dolly, are you ill ?) Just see how she is trembling — Poor dear, she can't keep still. She's nervous and excited, too, So now we'll say " good-bye ;" Has dolly made a speech to-night, I wonder, or have I ? MOVING. (To be spoken by a little girl, with her arms full of the various articles mentioned.) Our house is topsy-turvy, Completely up-side down ; We're busy, oh ! so busy, We're going to move to town. I've gathered all my playthings, My kitty and my dolls ; My books and blocks, my hoop and rope, And pretty painted balls. 84 YOUNG folks' entertainments. I mean to carry them myself, Then they'll be sure to go ; I cannot trust the " grown-up " folks, They do neglect things so. And when they put. me in the car, And tell me to " Sit still," I'll hug my treasures in my arms, And will not let them spill. BABY'S DRAWER. My eyes are filled with blinding tears, As from this little drawer I take each article of dress Our darling baby wore. Here is a robe of snowy-white ; With trembling hands and cold, I lay it by, with reverent touch, — A mem'ry in each fold. Here is the dainty sacque he wore, Made of the softest wool ; I fold it up with sad caress, The while, my heart is full. His shoes — the tiny, dainty things — His stockings soft and white— As from the drawer I take these out, My day seems turned to night. YOUNG folks' entertainments. 85 And yet to me the baby's drawer Is as a sacred shrine, Holding a treasure, dearer far Than gem in richest mine. My heart is sore, yet would I not Part with one memory sad ; I'd rather weep o'er baby's drawer Than mingle with the glad. My baby, robed in angel's dress, Is blessed in Heaven above ; My heart bereft, receives one hope, I know God took in love. PHIL'S COMPLAINT. I'm Phil, and I have a complaint — not a headache, nor measles, nor rheumatism, not that kind of a com- plaint at all. My complaint is, that I'm the middle boy of the family. Maybe some of you will wonder what there is to complain about in that. Well, all I have to say is, that if you don't know the hardships of such a position, then you've never been the middle boy. You are either the oldest boy, with all the oldest boy's rights and dignities, or else you are the youngest boy, with all the favors and privileges which the youngest of the family always enjoys. Alas ! alack ! I'm a middle boy, and I know what I am talking about. Will — that's my oldest brother — he's sixteen years old, and he thinks he's a young man — gets invited to parties to act as escort to sister Emily, 86 young folks' entertainments. and he dresses up in his swell clothes, and wears a buttonhole bouquet, and off he goes to the aforesaid parties and gets all the ice-cream and white grapes he can eat. I like good things too, and when I want to know why I am not invited to the parties, I'm told, " Oh ! Phil, you are too young yet." Will has a watch, too, left by grandpa to his eldest grandson. I'm not the oldest, and I have no watch. Then, on the other hand, there is Harry— that's my youngest brother, eight years old and the baby of the family. Harry always goes to the sea- shore with mamma, because " He's the youngest, you know, Phil, dear, and you must give up to your littl their own wants than to those of the general public, will, by reason of its authorship, be of greater practical value to the Professional Elocu- tionist. mm®tM%Tm\ IN addition to our own publications herein mentioned, we make a specialty of supplying works relating to Elocution and Oratory, either in quantity or single copies. Orders for books upon any subject will receive our prompt attention and be filled upon most favorable terms. For some time past we have felt the necessity of effecting an arrangement whereby we could supply the constant and increasing demand for Special £ (Selection It gives us great pleasure to announce that w€ uow have facilities for filling this long-felt want. Selec ta>ns are frequently read in public which please the audience and lead them to desire a copy, but not being personally acquainted with the reader, and knowing neither the author nor the publisher, they are at a loss to know how to proceed to obtain it. In most case? if the title be given us, or a short description of the selection, we can send the name and cost of the book in which the selec- tion is found ; and upon receipt of price, we will for* ward a copy of the work. 2 HUMOR-PA1HOS-ELOQUENCE. VOLUMES 1. 2, 3, 4, ETC. Designed for Public and Social Entertainment, and for use in Schools and Colleges. EDITED BY J. W. SHOEMAKER, A. M., Late President of the National School of Elocution and Oratory ', AND MRS. J. W. SHOEMAKER, Vice-President. Yo/ume 1 consists of Numbers One, Two and Three, Volume 2 of Four, Five and Six, Volume 3 of Seven, Eight and Nine, and Volume 4 of Ten, Eleven and Twelve of the Elocutionist's Annual. They contain 6oo large i2mo pages each, on excellent paper, In clear, open-faced type, easy to read, substantially bound, and are so arranged with Indexes of Selections, Authors, etc., as to make them not only the most valuable collections of Choice Readings ever published, but the most complete as books of Ready Reference. Retail Prices, Per Volume, Postpaid. Cloth Edition, $1.50; Green and Gold Edition, $2.00; Turkey Morocco Edition, $2.50. Liberal discount on large orders. To Schools, Colleges, etc., a special discount will be made upon the first supply. An Oration by Rev. Henry Ward Beecher, delivered before the National School of Elocution and Oratory, May 29th 1876. Large, clear type, limp Cloth, with fac-simile of author's signature, post- paid, 25 cents. White {Sunlight of Potent Vvosds. An oration by Rev. John S. Macintosh, D. D. Delivered before the National School of Elocution and Oratory, June 15th, 1881. Postpaid, Cloth, 25 cents. Sold by all Booksellers, or by National School of Elocution and Oratory, Publishers, Publication Department, Ohas. C- Shoemaker. Manager. _ PHILADELPHIA* EXTEMPORE SPEECH, HOW TO ACQUIRE AND PRACTICE IT, BY REV, WILLIAM PITTENGER, Author of " Oratory \" A TIMELY WORK ON A VITAL TOPIC. ^* HIS new book deals with a subject of deep interest io all whj have occasion to speak in public. It therefore appeals **■ not only to those who are connected with the affairs of Government-National, State and Municipal— but also-to members of Boards of Education, of Public Institu- tions, of Public Works, of Exchange, of Finance, to Officers and Directors of Railroads, Banks, Insur- ance and other Companies, and to all who have plans to present and opinions to express upon current questions, and who desire to so marshal their thoughts and words as to carry conviction t;o the minds of their. hearers and advance the cause advocated by the speaker. While the different modes of speech are fully described, and the special merits of other forms of address are clearly pointed out, the particular object of this book is to show how a man of average ability may learn to speak extemporaneously with ease and certainty. Mere generalities are discarded, while all those little details of practical work which the theorist overlooks are made prominent. Some parts of the work are simple enough to be comprehended by a school-boy, and may be applied by him in his first efforts; other parts may be read with profit by trie orator already in the maturity oi his powers. Not every man may become a Clay or a Webster, yet whoevei follows the directions here given may feel assured that he is' on the high-road to the greatest success within the reach of his faculties. 275 Pages, Handsomely Tioirnd, Cloth, - - $1.25 For sale by all Booksellers and Newsdealers, or will be sent fjostpaid, upon receipt of price. Liberal discount in quantity. National School of Elocution and Oratory, Publishers, Cmas. O. Sholmakiik. Mamaqer. PHILADELPHIA* Deacidified using the Bookkeeper process. Neutralizing agent: Magnesium Oxide Treatment Date: Dec. 2007 PreservationTechnoiogies A WORLD LEADER IN COLLECTIONS PRESERVATION 111 Thomson Park Drive Cranberry Township, PA 16066 (724)779-2111 LIBRARY OF CONGRESS ^QUflg f] 010 231 157 7 4^ NEW AND ORiGINAL^- c • >.• 'w4W ~£^ 120 pages, handsome cr. Piper, 25 cts, Bua.ds, 40 cts. CHILDREN S ^ v " T .R.l AINMENTS are alway en- joyable, - «•! ) . .ixdatly relished by the par >nts t pd friends of tl^ \oaUi-; 1 *n r -mers, but jcst where ry obtain the mat; - . . io • ' iJ po* i is always o dif- ..ut question. *> ^Jc" ♦ ' - ut s tl creation of the reparation of this little U K ana to th.il' end only sin ! dialogues have been accented as ar»: bn^tt nd &ru Hing. z M are at the same time short, plain aiitUln.j/ie^and easy ro speak. They are -suited to hildrkn from f t \* ^o . i' teen vr\»s oe age, and are adapts i to tvt . v fonu of pit? * and priva**. ^u : » aimne.it. for ile by BookseLersand New- dealers, or ma^'.d upon rei ei) i of price. r u 6 Wntional 0chool of Oflrtofll, publi^er?,. t-u Miration Department,^ "HABLESC '*• ^MAK -1*. . .anairer. PHIL> EIPH*,>