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 amus 
 and Thisfae. 
 
 BY 
 
 FRANK RAYMOND HARRIS. 
 
 PRICE 15 CENTS 
 
 £- 
 
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 Eldridge Entertainment House 
 
 Franklin, Ohio 
 
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 CANTATAS AND PLAYS FOR SCHOOLS, 
 
 MIB-SUMMEIR EVE.. Words by j Elizabeth Guptill, 
 music by Harry G. Eldridge. A spectacular, musical fairy 
 f>lay for 32 characters; 5 female and 3- male principals and 
 choruses of Elves, Witl-o*-the- Wisps, Flowers, etc. A number 
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 CAST— Dorothy, girl of 8 to 10 years. Queen Mab, girl of 15 or 
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 'Plays about one hour. Price, 40 cents. 
 
 A JAPANESE RECEPTION, by Sister M. Aimee. A 
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 GROWN-UP FOLKS, by Harry C. Eldridge. A delight- 
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 BRAVEST BOY AT BXJ^KER HILL, Seymour S. 
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s£JL4 a **^ ' \^*m^- 
 
 vVU ■ 
 
 Pyramus and Thisbe 
 
 The Burlesque Scenes From Shake- 
 speare's Midsummer Night's Dream 
 
 Arranged in Two Acts 
 
 With Full Stage Directions and Suggestions. 
 
 By FRANK RAYMOND HARRIS 
 
 Copyright, 1912, Eldridge Entertainment House 
 
 Eldridge Entertainment House 
 
 Franklin, - Ohio 
 
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 I 
 
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 ©CI.D 3.1665 
 
PYRAMUS AND THISBE. 
 
 Synopsis. 
 
 The hard-handed Athenian mechanicals plan to pre- 
 sent a play before Theseus, Duke of Athens, and his 
 betrothed, Hippolyta, in honor of their approaching 
 nuptials. 
 
 CAST OF CHARACTERS. 
 Spectators at the Play. 
 
 Theseus, Duke of Athens. 
 
 Demetrius, a Courtier. 
 
 Lysander, a Courtier. 
 
 Philostrate, Master of Revels. 
 
 Hippolyta, Queen of the Amazons, betrothed to 
 Theseus. 
 
 Attendants on Theseus and Hippolyta. 
 
 Characters in the Play. 
 
 Quince, a Carpenter, who gives the Prologue. 
 Snug, a Joiner, cast as the Lion. 
 Bottom, a Weaver, cast as Pyramus. 
 Flute, a Bellows Mender, cast as Thisbe. 
 Snout, a Tinker, cast as the Wall. 
 Starveling, a Tailor, cast as Moonshine. 
 
 PYRAMUS AND THISBE. 
 ACT I. 
 
 A Grove near Athens. 
 Bottom and his fellow- workmen meet to rehearse 
 
 the play. 
 
 ACT II. 
 
 The Palace Grounds. 
 
 The play is presented before the Duke. 
 
 Time of Presentation — One Hour. 
 
INTRODUCTION. 
 
 Shakespeare's Midsummer Night's Dream occupies a 
 position absolutely unique in dramatic literature. It is 
 altogether original and embodies one of the most beauti- 
 ful conceptions that ever visited the mind of a poet. It 
 is, as its name implies, a phantasmagory ; a mask of 
 shadows, full of marvels, surprises, splendor and gro- 
 tesqueness. It is an intricate tangle of love stories, sup- 
 ported on the one side by the exquisite fancies of fairy 
 life, on the other side by the broadest farce of the clowns 
 and their unconscious burlesque of Pyramus and Thisbe. 
 
 Shakespeare has created out of "airy nothing" the deli- 
 cate gossamer of a fairy world and peopled it with the 
 phantoms of his marvelous imagination. He has accom- 
 plished this feat, not by external effects, but by the 
 wonderful imagery of his verse ; he appeals to the mind's 
 eye rather than to the eye of sense; and he depends 
 upon the co-operation of the spectator for the success 
 of his fairy scenes. 
 
 In direct contrast to the poet's own method, he sets 
 forth that of Bottom and the rude Athenian mechanicals, 
 who propose to celebrate the Duke's nuptials with an in- 
 terlude. They are determined to leave nothing to be 
 supplied by the imagination. Wall must be plastered; 
 Moonshine must carry lantern and bush of thorns ; every 
 detail must be carried out with absolute literalness. The 
 result is a burlesque, worthy of Shakespeare's genius. 
 It is a keen but kindly satire upon >the expedients of the 
 Elizabethan stage and its humor is none the less enjoy- 
 able because the authors of it are so entirely uncon- 
 scious of their own absurdity. 
 
 In separating the burlesque scenes from the fairy 
 scenes, an effort has been made to do as little violence 
 to the text of Shakespeare as possible. The first act, 
 "The Rehearsal," is made up of several short scenes. 
 The connective passages have necessarily been altered 
 and a few passages added to preserve the sense of the 
 original. With the exception of the transposition of 
 two short speeches in the second act, no further changes 
 have been made. 
 
In its present form, Pyramus and Thisbe does not 
 possess the fragmentary character that isolated scenes 
 from dramas so often possess. Its story may be under- 
 stood and appreciated by an audience, unversed in Shake- 
 spearean lore, without a previous knowledge of the con- 
 nection in which the scenes were originally used. It is 
 well within the scope of amateurs and is peculiarly 
 suited to Commencement exercises where a play of liter- 
 ary merit, not too long in the presentation, is desired. 
 
 SUGGESTIONS. 
 
 Pyramus and Thisbe is a burlesque, pure and simple, 
 and it should be played in the spirit of burlesque. The 
 Athenian mechanicals may do the most ridiculous things 
 but they must do them in deadly earnest. Bottom and 
 his fellows take themselves in all seriousness, however 
 the spectators may regard them. There is ample oppor- 
 tunity throughout the play for by-play but it should be 
 free and spontaneous and not forced. The suggestions 
 for stage business are intended to be suggestive and not 
 exhaustive. The clever actor will discover many oppor- 
 tunities to round out his part. In the second act, where 
 Bottom and Flute impersonate Pyramus and Thisbe, the 
 declamatory passages should be given in mock-heroic 
 style, with many gestures. 
 
 Bottom is an overweening egotist; the others are his 
 humble admirers. Much of the success of the produc- 
 tion depends upon the acting of Bottom and great care 
 should be exercised in casting the part. If a boy of 
 slight build is cast as the Lion, it will add to the effective- 
 ness of the part The weaker the roars he emits, the 
 more effective they will be. 
 
 The scrolls used by the players may be made of brown 
 cloth with a stick at each end, so that they may be 
 rolled up. 
 
 CHARACTERS. 
 
 There are speaking parts for ten male characters and 
 
 one female character. As many spectators, male and 
 
 female, may be added as desired. Two of the male parts, 
 
 Lysander and Philostrate, may be assumed by girls. In 
 
 5 
 
this event, it would be well to change the name of 
 Lysander to Helena on the program. The entire cast 
 may be made up of girls, if desired. 
 
 STAGE SETTING. 
 
 If the play is given in a well-equipped theatre, the 
 problems of stage management are readily solved. The 
 scene is unimportant. In the Midsummer Night's 
 Dream, most of the rehearsal scenes take place in 
 Quince's house and the play itself is presented in an 
 apartment of the palace. It is more effective to place 
 both scenes out-of-doors. Even in the well-equipped 
 theatre, it adds greatly to the beauty of the presenta- 
 tion, to bank the stage with boughs and potted plants. 
 
 A very pretty and inexpensive stage setting may be 
 made by the use of wide-meshed chicken wire for back- 
 ground and wings, interwoven with boughs and twigs. 
 The same setting will be suitable for both acts. 
 
 No set-pieces are required in the first act. In the 
 second, one seat only is required. This should be cov- 
 ered with a fur robe or painted to represent a marble 
 bench. Theseus and Hippolyta are seated on this bench 
 at the extreme right. The spectators group themselves 
 behind them. In case a large number of spectators is 
 desired, some may be stationed upon the extreme left. 
 
 Only three entrances are required; one at the center 
 (C) ; one at the right (R) ; and a third at the left (L,). 
 Both the right and left entrances should be at the rear 
 of the stage. 
 
 COSTUMES. 
 The costumes are Greek, and in case they cannot be 
 readily rented from theatrical costumers, they may be 
 made with little difficulty. Cheese cloth may be used 
 but a better material is sateen. For the female char- 
 acters, make a long robe, with short sleeves and low 
 neck, very much like a Mother Hubbard. Over this, 
 the himation is draped. This consists of a piece of 
 cloth, 12 feet long and 6 feet wide and may be draped 
 around the shoulders and body to suit the wearer's fancy. 
 Both the himation and the undergarment should be 
 
 6 
 
trimmed with a broad border of some Greek design.. 
 The border may be made of silver or gilt paper, sewed. 
 upon the garment, or better still, a stencil may be cut 
 from card-board and the design painted upon the gar- 
 ment in gold, silver or other colors. This design may 
 consist of the Greek border shown in so many pictures 
 of Greek costumes, of leaves and flowers, or even of 
 one or two narrow stripes. 
 
 For the male characters, make short tunics, reaching 
 above the knees and fastened with belts at the waist. 
 Over this the himation may be draped or it may be 
 dispensed with entirely. The above costumes are appro- 
 priate for the spectators, who may be as few or as 
 numerous as desired. In getting up the costumes, aim 
 at variety, grace and beautiful colors. The following 
 suggestions may be of assistance: green with a border 
 of gold; light blue and silver; deep blue and white; 
 orange and black or gold; white and blue; red and gold 
 or black; black and silver or white; brown and gold; 
 gray and silver. A very pleasing effect may be obtained 
 by using different colors for the undergarment and the 
 drapery. For example, a himation of green trimmed 
 with gold, may be draped over a tunic of orange trimmed 
 with black. 
 
 The male characters should wear a band of gold, 
 about an inch in thickness, about the head. This may 
 be made from gilt paper, pasted on cloth. A Psyche 
 knot, with fluffy hair, held in place by a fillet, wound 
 two or three times around the hair, is an appropriate 
 head dress for the female characters. A broad band 
 of gold may be worn both by the male and female char- 
 acters around the arm, between the elbow and the shoul- 
 der. If sandals cannot be procured, low slippers form 
 a satisfactory substitute. The male characters should 
 wear pink or white hose and bind the ankles and feet 
 with strips of cloth, in harmony with the costumes. 
 
 The costumes of some of the prominent characters 
 require special attention. 
 
 Theseus should wear a short tunic of white, richly 
 embroidered with gold, with a long cape of deep red. 
 
He should wear a helmet or crown upon his head. An- 
 other appropriate costume would be a long robe of red 
 richly embroidered, with heavily- jeweled turban. 
 
 Hippolyta should wear a long flowing robe that sweeps 
 the ground. The more richly it is stenciled and em- 
 broidered, the better. She also wears a crown. 
 
 Bottom and his fellow-workmen should be clad in 
 short tunics of some dark material, with belts. There 
 should be no drapery. Several changes of costume are 
 necessary -in the second act. Bottom should wear a 
 gaudy tunic with a cape. He wears a helmet and car- 
 ries a sword. Flute, who represents a woman, should 
 be so attired. His himation should be worn so that it 
 may readily be dropped. Snug, who represents the Lion, 
 should wear some material around his shoulders that 
 would suggest the lion's skin. The lion's head may be 
 fashioned out of heavy paper, appropriately painted. 
 
 Snout, who presents the Wall, may cover himself 
 with lime and dirt and carry a stone in his hand, or he 
 may have a wall painted on card-board and suspended 
 from his shoulders, in the manner in which the sand- 
 wich-men carry their advertisements. 
 
 Starveling carries a lantern, suspended on a pole, a 
 bundle of thorn twigs, and leads a dog. The lantern 
 is easily made of card-board, open on all four sides and 
 painted black. 
 
w 
 
 m 
 
 i— i 
 
 W 
 P 
 
 
Pyramus and Thisbe. 
 
 ACT I. 
 
 A Grove near Athens. 
 
 {Starveling enters from R, with three-legged 
 stool and piece of cloth. Crosses to L front, 
 seats himself and begins to sew. Bottom and 
 Snout enter from L, Flute and Snag from R, 
 engaged in conversation. They meet at R C. 
 and greet each other. Flute enters from C with 
 a bundle of scrolls, and after looking around, 
 begins to speak. There is ample opportunity 
 for by-play in this scene.) 
 
 Quince. Is all our company here? 
 
 Bottom. You were best to call them generally, man 
 by man, according to the scrip. 
 
 Quin. Here is the scroll of every man's name, which 
 is thought fit through all Athens, to play in our interlude 
 before the Duke and Duchess on his wedding-day at 
 night. 
 
 Bot. First, good Peter Quince, say what the play 
 treats on ; then read the names of the actors ; and so 
 grow to a point. 
 
 Quin. Marry, our play is "The most lamentable Com- 
 edy and most cruel Death of Pyramus and Thisbe." 
 
 Bot. A very good piece of work, I assure you, and a 
 merry. — Now, good Peter Quince, call forth your actors 
 by the scroll. — Masters, spread yourselves. 
 
 (Bottom's speech "A very good piece of work, etc.," 
 is addressed to Flute. "Now, good Peter Quince" is 
 addressed to Quince. Bottom pauses when he says "Mas- 
 ters" and Snug, Flute and Snout gather around him. 
 Then he throws out his arms saying, "Spread your- 
 selves") 
 
 9 
 
Quin. Answer as I call you. Nick Bottom the 
 Weaver. 
 
 Bot. Ready. Name what part I am for, and proceed. 
 
 Quin. You, Nick Bottom, are set down for Pyramus. 
 
 Bot. What is Pyramus? a lover or a tyrant? 
 
 Quin. A lover, that kills himself most gallantly for 
 love. 
 
 Bot. That will ask some tears in the true perform- 
 ing of it: if I do it, let the audience look to their eyes; 
 I will move storms, I will condole in some measure. To 
 the rest. — Yet my chief humour is for a tyrant: I could 
 play Ercles rarely, or a part to tear a cat in, to make 
 all split. 
 
 The raging rocks 
 And shivering shocks 
 Shall break the locks 
 
 Of prison-gates; 
 And Phibbus' car 
 Shall shine from far, 
 And make and mar 
 
 The foolish Fates. 
 
 This was lofty ! — Now name the rest of the players. — 
 This is Ercles' vein, a tyrant's vein; a lover's is more 
 condoling. 
 
 (The iirst part of Bottom's speech is addressed to 
 Quince. Then he turns to Snout with "Yet my chief 
 humour." "The raging rocks" should be given with great 
 declamatory effect. "Now name the rest of the players" 
 is addressed to Quince. Then he turns back to Snout 
 with "This is Brcles } vein, etc.") 
 
 Quin. Francis Flute the Bellows Mender. 
 
 Flu. Here, Peter Quince. 
 
 Quin. You must take Thisbe on you. 
 
 Flu. What is Thisbe? a wandering knight? 
 
 Quin. It is the lady that Pyramus must love. 
 
 Flu. Nay, faith, let not me play a woman; I have a 
 beard coming. 
 
 10 
 
(All crozvd around Flute, feeling his face to see if 
 the beard is actually coming. They make gestures of 
 dissent.) 
 
 Quin. That's all one; you shall play it in a mask, 
 and you may speak as small as you will. 
 
 Bot. And I may hide my face, let me play Thisbe, 
 too: I'll speak in a monstrous little voice; Thisne, 
 Thisne, — Ah, Pyramus, my lover dear ! thy Thisbe dear, 
 and lady dear! 
 
 Quin. No, no ; you must play Pyramus : — and, Flute, 
 you Thisbe. 
 
 Bot. Well, proceed. 
 
 Quin. Robin Starveling the Tailor. 
 
 (Starveling, has been industriously engaged zvith his 
 sewing all the time.) 
 
 Star. Here, Peter Quince. 
 
 Quin. Robert Starveling, you must play Thisbe's 
 mother. — Tom Snout the Tinker. 
 
 Snout. Here, Peter Quince. 
 
 Quin. You, Pyramus' father ; myself, Thisbe's father ; 
 ■ — Snug the Joiner, you, the lion's part : — and, I hope, 
 here is a play fitted. 
 
 (Quince turns and addresses each one as he calls his 
 name. He starts to roll up the scroll from which he has 
 been reading.) 
 
 Snug. (Anxiously, holding out his hand.) Have you 
 the lion's part written? pray you, if it be, give it me 
 for I am slow of study. 
 
 Quin. You may do it extempore, for it is nothing 
 but roaring. 
 
 Bot. Let me play the lion, too; I will roar, that I 
 will do any man's heart glad to hear me; I will roar, 
 that I will make the Duke say, "Let him roar again, let 
 him roar again." 
 
 Quin. And you should do it too terribly, you would 
 fright the Duchess and the ladies, that they would shriek ; 
 and that were enough to hang us all. 
 
 11 
 
All. (shaking their heads dolefully). That would 
 hang us, every mother's son. 
 
 Bot. I grant you, friends, if that you should fright 
 the ladies out of their wits, they would have no more 
 discretion but to hang us : but I will aggravate my voice 
 so, that I will roar you as gently as any sucking dove ; 
 I will roar you an 'twere any nightingale. 
 
 Quin. You can play no part but Pyramus. 
 
 (Bottom, in anger, starts to leave. Snout, Flute and 
 Snug run after him and in pantomime try to persuade 
 him to return. Quince follows him and speaks.) 
 
 Quin. For Pyramus is a sweet-faced man; a proper 
 man as one shall see in a Summer's day; a most lovely, 
 gentleman-like man: Therefore you must needs play 
 Pyramus. 
 
 Bot. (returning) . Well, I will undertake it. What 
 beard were I best to play it in? 
 Quin. Why, what you will. 
 
 Bot. I will discharge it in either your straw-colour 
 beard, or your orange -tawny beard, your purple-in-grain 
 beard, or your French-crown-colour beard, your perfect 
 yellow. 
 
 Quin. Some of your French crowns have no hair at 
 all, and then you will play bare-faced.— But, masters, 
 here are your parts. 
 
 (Quince distributes the scrolls. Bach takes his part 
 and begins to scan it, rehearsing his lines in pantomime* 
 Snug goes off by himself and begins to roar. This scene 
 can be made very effective. Finally Bottom speaks.) 
 
 Bot. Come, let us rehearse our parts obscenely and 
 courageously. Take pains ; be perfect. 
 
 Quin. Here's a marvellous convenient place for our 
 rehearsal. This green plot shall be our stage, this haw- 
 thorn-brake our 'tiring-house; and we will do it in ac- 
 tion as we will do it before the Duke. 
 
 (Bottom has been pointing out to Flute certain de- 
 fects in the play and both nod their disapproval.) 
 
 12 
 
Bot. Peter Quince, — 
 
 Quin. What sayest thou, bully Bottom? 
 
 Bot. There are things in this Comedy of Py ramus 
 and Thisbe that will never please. 
 
 {Flute nods vigorous assent. Quince and the others 
 look alarmed.) 
 
 Bot. First, Py ramus must draw his sword and kill 
 himself; which the ladies cannot abide. How answer 
 you that? 
 
 Snout. By'r lakin, a parlous fear. 
 
 Starv. (still seated on his stool, his attention divided 
 between his scroll and his sewing). I believe we must 
 leave the killing out when all is done. 
 
 Boi. Not a whit: I have a device to make all well. 
 Write me a prologue; and let the prologue seem to say, 
 we will do no harm with our swords, and that Pyramus 
 is not killed indeed; and, for the more better assurance, 
 tell them that Pyramus am not Pyramus, but Bottom 
 the weaver : this will put them out of fear. 
 
 Quin. Well, we will have such a prologue; and it 
 shall be written in eight and six. 
 
 Bot. No, make it two more; let it be written in eight 
 and eight. 
 
 Snout. Will not the ladies be afeard of the lion? 
 
 (Snug, who has been standing near Starveling at this 
 moment utters a roar and Starveling falls off his stool.) 
 
 Starv. I fear it, I promise you. 
 
 Bot. Masters, you ought to consider with yourselves : 
 to bring in — God shield us ! — a lion among ladies is a 
 most dreadful thing; and we ought to look to it. 
 
 Snout. Therefore another prologue must tell that he 
 is not a lion. 
 
 Bot. Nay, you must name his name, and half his 
 face must be seen through the lion's neck; and he him- 
 self must speak through, saying thus, or to the same 
 defect, — Ladies, — or, Fair ladies,— I would wish you, — 
 
 13 
 
or, I would request you, — or, I would entreat you, — 
 not to fear, not to tremble; my life for yours. If you 
 think that I come hither as a lion, it Were pity of my 
 life : no, I am no such thing ; I am a man as other men 
 are: — and here, indeed, let him name his name, and tell 
 them plainly he is Snug the Joiner. 
 
 (Bottom's speech to the ladies should be given with 
 extravagant gestures. Snug should try to imitate his 
 boivs and gestures.) 
 
 Quin. Well, let it be so. But there is two hard 
 things, — that is to bring the moonlight into the chamber ; 
 for, you know, Pyramus and Thisbe meet by moonlight. 
 
 Snug. Doth the moon shine the night we play our 
 play? 
 
 Bot. A calendar, a calendar; look in the almanac. 
 
 (All crozvd around Quince who consults a calendar.) 
 
 Bot. (running his finger down the scroll). Find out 
 moonshine, find out moonshine. 
 
 Quin. Yes, it doth shine that night. 
 
 Bot. Why, then may you leave a casement of the 
 great chamber-window open, where we play our play, 
 and the Moon may shine in at the casement. 
 
 Quin. Ay, or else one must come in with a bush of 
 thorns and a lantern, and say he comes to disfigure, or 
 to present, the person of moonshine. Then there is an- 
 other thing: we must have a wall in the great chamber; 
 for Pyramus and Thisbe, says the story, did talk through 
 the chink of a wall. 
 
 Snug. You can never bring in a wall. — What say 
 you, Bottom? 
 
 Bot. Some man or other must present wall: and let 
 him have some plaster, or some loam, or some rough 
 cast about him, to signify wall; and let him hold his 
 fingers thus, and through that cranny shall Pyramus and 
 Thisbe whisper. 
 
 Quin. If that may be, then all is well. Come, sit 
 down, every mother's son, and rehearse your parts. 
 
 14 
 
(All seat themselves and open their scrolls. Snug? 
 who has no scroll looks over Starveling s shoulder.) 
 
 Qniri. Pyramus, you begin: when you have spoken 
 your speech, enter into that brake; — and so every one 
 according to his cue. 
 
 (Bottom strikes an attitude near the center of the 
 stage.) 
 
 Quin. Speak, Pyramus. — Thisbe stand forth. 
 
 (Flute takes his place opposite Bottom.) 
 
 Pyr. (reading). Thisbe, the flowers of odious savour 
 sweet, — 
 
 Quin. (prompting). Odours, odours. 
 
 Pyr. (consults his scroll). J . " - 
 
 — odours savour sweet : / 
 
 So doth thy breath, my dearest Thisbe dear. 
 But hark, a voice ! Stay thou but here awhile, 
 And by-and-by I will to thee appear. (Exit Pyr. R.) 
 
 This, (to Quin). Must I speak now? 
 
 Quin. Ay, marry, bust you ; for you must under- 
 stand he goes but to see a noise that he heard, and is 
 to come again. 
 
 This, (reads rapidly). 
 Most radiant Pyramus, most lily-white of hue, 
 Of colour like the red rose on triumphant brier, 
 Most brisky juvenal, and eke most lovely jew, 
 As true as truest horse, that never yet would tire, 
 Til meet you Pyramus at Ninny's tomb. 
 
 Quin. Ninus' tomb, man; why, you must not speak 
 that yet ; that you answer to Pyramus : you speak all 
 your part at once, cues and all. — Pyramus, enter: your 
 cue is past; it is, never tire. 
 
 This. As true as truest horse, that yet would never 
 tire. Pyramus re-enters. 
 
 Pyr. An if I were, fair Thisbe, I were only thine; 
 And thou, fair Thisbe, were then a swine — 
 
 15 
 
Quin. Mine, man, not swine. But I see, masters, 
 that we can make no headway with this play until all 
 of you have conned your parts. Meet me here tomor- 
 row night by moonlight : here will we rehearse again. 
 Just before we present our play before the Duke. And 
 you, Bottom, see that you fail us not. 
 
 (After Quince has corrected him, Bottom goes off to 
 one side and sulks. The rest now crowd around him 
 anxiously.) 
 
 Flu. If you come not, then the play is marr'd; it goes 
 not forward, doth it? (to Quince.) 
 
 Quin. It is not possible; there is not a man in all 
 Athens able to discharge Pyramus but Bottom. 
 
 Flu. No, he hath simply the best wit of any handi- 
 craft man in Athens. x 
 
 (The others nod vigorous assent.) 
 
 Quin. Yea, and the best person, too; and he is a 
 very paramour for a sweet voice. 
 
 Snout. You must say paragon: a paramour is, God 
 bless us, a thing of naught. 
 
 Flu. If the Duke give him not six-pence a day for 
 playing Pyramus, I'll be hanged. 
 
 Snug. ' You will come, won't you, Bottom ? 
 
 (The compliments have had their effect and Bottom 
 has gradually ceased to sulk.) 
 
 Bot. Yes I will come, for I would not disappoint the 
 Duke. 
 
 Snug, (slapping him on the back). Oh sweet, bully 
 Bottom ! 
 
 Quin. In the meantime I will draw a bill of proper- 
 ties such as our play wants. But I beg of you, masters, 
 tell no one of our design or we shall be dogg'd with 
 company and all our devices known before we present 
 the play at the Duke's nuptials. 
 
 Bot. Never fear, we shall tell no man. 
 
 Quin. And good masters, get your apparel together, 
 
 16 
 
good strings to your beards, new ribbons to your pumps ; 
 even- man look o'er his part for I am sure that our play 
 shall be preferred. In any case, let Thisbe have clean 
 linen; and let not him that plays the lion pare his nai'.s. 
 for they shall hang out of the lion's claws. And, most 
 dear actors, eat no onions or garlic, for we are to utter 
 sweet breath: and I do not doubt but to hear them say 
 it is a sweet comedy. 
 
 Bot. Enough, hold or cut the bow strings. 
 
 Exeunt all slowly, reading an:' rehearsing their parts 
 in pantomime, the lion roaring. Bottom may, if desired 
 go out, singing the following song entirely out of tune) : 
 
 rhe : u s el-cock so black of hue.. 
 
 With orange-tawny bill, 
 The throstle with his note so true, 
 
 The wren with little quill : — 
 The finch, the sparrow and the lark. 
 
 The olain-sonsf cuckoo srrav. 
 Whose note full many a man doth mark, 
 
 And dares not answer nav; — 
 
 ACT II. 
 
 The Palace Grounds. 
 A flourish of trumpets. Theseus, Hippolyta 
 and attendants enter. Thesex s and Hippolyta 
 adranee to the footlight. The other group 
 themseh es in the 
 
 Thes. Now, fair Hippolyta. our nuptial hour 
 
 Draws on apace: four happy days bring in 
 Another moon: but. O. methinks. how slow 
 This old moon wanes ! she lingers my desires, 
 Like to a step-dame, or a dowager. 
 Long withering out a young man's revenue. 
 
 Hip. Four days will quickly steep themselves in 
 nights : 
 Four nights will quickly dream away the time ; 
 And then the moon, like to a silver bow, 
 
 17 
 
Now bent in heaven, shall behold the night 
 of our solemnities. 
 
 Thes. But come. {Leads Hippolyta to seat at R 
 front. She seats herself but Theseus remains standing.) 
 
 Thes. (looking around). 
 
 What masques, what dances shall we have, 
 To wear away this long age of three hours 
 Between our after-supper and bed-time? 
 What revels are in hand? Is there no play, 
 To ease the anguish of a torturing hour? 
 (to Demetrius). Call Philostrate. 
 
 (Demetrius steps to Central entrance and summons 
 Philostrate. Theseus seats himself. Philostrate enters.) 
 
 Phil, (bowing). 
 
 Here, mighty Theseus. 
 
 Thes. Say, what abridgement have you for this even- 
 ing? 
 What masque? what music? How shall we 
 
 beguile 
 The lazy time, if not with some delight? 
 Phil, (handing him a scroll). 
 
 There is a brief how many sports are ripe: 
 Make choice of which your Highness will 
 see first. 
 
 Thes. (reads). 
 
 The battle with the Centaurs, to be sung 
 By an Athenian eunuch to the harp. 
 
 (glancing up) 
 
 We'll none of that: that have I told my love, 
 In glory of my kinsman Hercules. — 
 
 (reads) 
 
 The riot of the tipsy Bacchanals, 
 
 Tearing the Thracian singer in their rage. 
 
 (glancing up) 
 
 That is an old device; and it was play'd 
 When I from Thebes last came a conqueror. — 
 
 (reads) 
 
 The thrice three muses mourning for the death 
 
 18 
 
Of Learning, late deceased in beggary. — 
 (glancing up) 
 
 That is some keen satire, keen and critical, 
 
 Not sorting with a nuptial ceremony. — 
 (reads) 
 
 A tedious brief scene of young Pyramus 
 
 And his love Thisbe ; very tragical mirth. 
 (glancing up) 
 
 Merry and tragical ! tedious and brief ! 
 
 That is, hot ice and wondrous swarthy snow. 
 
 How shall we find, the concord of this discord ? 
 
 Phil (displays great merriment during this speech). 
 A play it is, my lord, some ten words long, 
 Which is as brief as I have known a play; 
 But by ten words, my lord, it is too long, 
 Which makes it tedious; for in all the play 
 There is not one word apt, one player fitted: 
 And tragical, my noble lord, it is; 
 For Pyramus therein doth kill himself. 
 Which, when I saw rehearsed, I must confess, 
 Made my eyes water; but more merry tears 
 The passion of loud laughter never shed. 
 
 Thes. What are they that do play it? 
 
 Phil. Hard-handed men, that work in Athens here, 
 Who never labored in their minds till now ; 
 And now have toil'd their unbreathed memo- 
 ries 
 With this same play, against your nuptial. 
 
 Thes. And we will hear it. 
 
 Phil. No, my noble lord; 
 
 It is not for you : I have heard it over, 
 And it is nothing, nothing in the world; 
 Unless you can find sports in their intents, 
 Extremely stretch'd and conn'd with cruel 
 
 pain, 
 To do you service. 
 
 Thes. I will hear that play; 
 
 For never anything can be amiss, 
 
 19 
 
When simpleness and duty tender it. 
 Go, bring them in. 
 
 (Philostrate bows himself out.) 
 Thes. Take your places, ladies. 
 
 {Some group themselves behind Theseus and Hip po- 
 ly t a on the R. Others on the extreme left. Demetrius 
 and Lysander stand so that some of Theseus' remarks 
 may be addressed to them.) 
 
 Hip. I love not to see wretchedness o'ercharged, 
 And duty in his service perishing. 
 
 Thes. Why, gentle sweet, you shall see no such thing. 
 
 Hip. He says they can do nothing in this kind. 
 
 Thes. The kinder we, to give them thanks for noth- 
 ing. . 
 Our sport shall be to take what they mistake: 
 And what poor willing service cannot do, 
 Noble respect takes it in might, not merit. 
 Where I have come, great clerks have pur- 
 posed 
 To greet me with premeditated welcomes; 
 When I have seen them shiver and look pale, 
 Make periods in the midst of sentences, 
 Throttle their practiced accents in their fears, 
 And, in conclusion, dumbly have broke off, 
 Not paying me a welcome. Trust me, sweet, 
 Out of this silence yet I pick'd a welcome 
 And in the modesty of fearful duty 
 I read as much from the rattling tongue 
 Of saucy and audacious eloquence. 
 Love, therefore, and tongue-tied simplicity, 
 In least, speak most, to my capacity. 
 
 (Re-enter Philostrate.) 
 
 Phil, (bowing). 
 
 So please your Grace, the Prologue is ad- 
 dress'd. 
 
 Thes. Let him approach. 
 
 (Philostrate steps to the entrance at C. Flourish of 
 trumpets from without. Quince enters.) 
 
 20 
 
Quiii. If we offend, it is with our good will. 
 
 .That you should think, we come not to offend, 
 But with good will. To show our simple skill, 
 That is the true beginning of our end. 
 Consider, then, we come but in despite. 
 We do not come as minding to content you, 
 Our grue intent is. All for your delight, 
 We are not here. That you should here re- 
 pent you, 
 The actors are at hand ; and by their show, 
 You shall know all that you are like to know. 
 
 (Quince bows and exit.) 
 
 Thes. This fellow does not stand upon points. 
 
 Lys. He has rid his prologue like a rough colt; he 
 knows not the stop. A good moral, my lord: it is not 
 enough to speak, but to speak true. 
 
 Hip. Indeed he has play'd on his prologue like a 
 child on a recorder ; a sound, but not in government. 
 
 Thes. His speech was like a tangled chain; nothing 
 impaired, but all disordered. Who is next? 
 
 (Enter Quince as the Presenter with Pyramus and 
 Thisbe, Wall, Moonshine, and Lion. The Lion is fright- 
 ened and tries to run away but the others pull him on. 
 During the presentation of the Play, the spectators 
 should act as spectators would naturally act under the 
 circumstances. They should show their appreciation of 
 the good points and reward the actors ivith frequent 
 applause.) 
 
 Quin. Gentles, perchance you wonder at this show; 
 But wonder on, till truth makes all things 
 
 plain. 
 This man is Pyramus, if you would know; 
 (Pyramus steps forward and bows low.) 
 This beautious lady, Thisbe is certain. 
 (Thisbe steps forward and bows.) 
 This man ( Wall steps forward) with loam and 
 
 rough cast, doth present 
 
 21 
 
Wall, that vile wall which did these lovers 
 
 sunder ; 
 And through wall's chink, poor souls, they are 
 
 content 
 To whisper ; at the which let no man wonder. 
 This man, (Moonshine steps forward) with 
 
 lantern, dog and bush of thorns, 
 Presenteth Moonshine; for, if you will know, 
 By moonshine did these lovers think no scorn 
 To meet at Ninus' tomb, there, there to woo. 
 This grisly beast, which lion hight by name, 
 (Lion is pushed forward by his companions) 
 The trusty Thisbe, coming first by night, 
 Did scare away, or rather did affright ; 
 And, as she fled, her mantle she did fall, 
 Which Lion vile with bloody mouth did stain. 
 Anon comes Pyramus, sweet youth and tall, 
 And finds his trusty Thisbe's mantle slain: 
 Whereat, with blade, with bloody blameful 
 
 blade, 
 He bravely broached his boiling bloody breast ; 
 And Thisbe, tarrying in the mulberry shade, 
 His dagger drew, and died. For all the rest, 
 Let Lion, Moonshine, Wall, and lovers twain, 
 At large discourse, while here they do remain. 
 
 (Exeunt Quince, Pyramus, Thisbe, Lion and Moon- 
 shine. Wall remains. Audience applauds.) 
 
 Thes. I wonder if the lion be to speak. 
 
 Dem. No wonder, my lord: one lion may, when 
 many asses do. 
 
 Wall, (coming forzuard). 
 
 In this same interlude it doth befall 
 That I, one Snout by name, present a wall; 
 And such a wall as I would have you think, 
 That had in it a crannied hole or chink, 
 Through which the lovers, Pyramus and 
 
 Thisbe, 
 Did whisper often secretly. 
 
 22 
 
This loam, this rough cast, and this stone, 
 
 doth show 
 That I am that same wall ; the truth is so : 
 And this, the cranny is, right and sinister, 
 {Holds out two fingers.) 
 Through which the fearful lovers are to 
 
 whisper. 
 
 Thes. (Jo Demetrius). Would you desire lime and 
 hair to speak better? 
 
 Dem. It is the wittiest partition that ever I heard 
 discourse, my lord. 
 
 {Pyramus appears at C.) 
 
 Thes. Pyramus draws near the wall : silence ! 
 
 Pyr. O grim-look' d night ! O night with hue so 
 black! 
 O night, which ever art when day is not ! 
 
 night, O night ! alack, alack, alack, 
 
 1 fear my Thisbe's promise is forgot ! — 
 And thou, O wall, O sweet and lovely wall, 
 That standst between her father's ground and 
 
 mine ! 
 Thou wall, O wall, O sweet and lovely wall, 
 Show me thy chink, to blink through with 
 
 mine eyne ! 
 
 {The Wall holds up fingers. Pyramus bows low.) 
 
 Thanks, courteous wall : Jove shield thee well 
 for this. 
 
 {Looks through the chink.) 
 
 But what see I? No Thisbe do I see. 
 
 O wicked wall, through whom I see no bliss ! 
 
 Cursed be thy stones for thus deceiving me. 
 
 {These verses and those which follow should be given 
 in a mock-heroic style, with great declamatory effect and 
 many gestures.) 
 
 Thes. {to Hippolyta). The Wall, methinks, being 
 sensible, should curse again. 
 
 {Pyramus hears the remark and turns to Theseus.) 
 
 23 
 
Pyr. No, in truth, sir, he should not. Deceiving me 
 is Thisbe's cue : She is to enter now, and I am to spy 
 her through the wall. -You will see that it will fall pat 
 as I told you. 
 
 (Thisbe appears at C.) 
 
 Pyr. Yonder she comes. 
 
 This. O wall, full often hast thou heard my moans, 
 For parting my fair Pyramus and me ! 
 My cherry lips have often kissed thy stones, 
 Thy stones with lime and hair knit up in thee. 
 
 Pyr. (listening). 
 
 I see a voice : now will I to the chink, 
 To spy an I can hear my Thisbe's face. — 
 Thisbe! (calls through the chink). 
 
 This. My love ! thou art my love, I think. 
 
 Pyr. Think what thou wilt, I am thy lover's grace; 
 And, like Limander, am I trusty still. 
 
 This. And I like Helen, till the Fates me kill. 
 
 Pyr. Not Shafalus to Procrus was so true. 
 
 This. As Shafalus to Procrus, I to you. 
 
 Pyr. O, kiss me through the chink of this vile wall.} 
 
 (They attempt to kiss.) 
 
 This. I kiss the wall and not your lips at all. 
 
 Pyr. Wilt thou at Ninny's tomb meet me straight- 
 way? 
 
 This. 'Tide life, 'tide death, I come without delay. 
 (B.reunt Pyramus and Thisbe both at C.) 
 Wall. Thus have I, wall, my part discharged so ; 
 And, being done, thus wall away doth go. 
 
 (Bxit Wall at C. Applause.) 
 
 Thes. (to Demetrius). Now is the mural down be- 
 tween the two neighbors. 
 
 Bern. No remedy, my lord, when walls are so wilful 
 to hear without warning. 
 
 24 
 
> 
 
 o 
 
 > 
 d 
 > 
 
 o 
 
 H 
 
 1— 1 
 
 CO 
 
 W 
 
Hip. (in disgust). This is the silliest stuff that e'er 
 I heard. 
 
 Thes. (to Hippolyta). The best in kind are but 
 shadows ; and the worst are no worse, if imagination 
 amend them. 
 
 Hip. It must be your imagination then, not theirs. 
 
 Thes. If we imagine no worse of them than they of 
 themselves, they may pass for excellent men. 
 
 (Lion and Moonshine appear at C.) 
 
 Thes. Here come two noble beasts, a man and a lion. 
 
 Lion, (evidently frightened) . 
 
 You, ladies, you, whose gentle hearts do fear 
 The smallest monstrous mouse that creeps on 
 
 floor, 
 May now perchance both quake and tremble 
 
 here, 
 While lion rough in wildest rage doth roar. 
 Then know that I one Snug the Joiner am, 
 No lion fell, nor else no lion's dam; 
 For, if I should as lion come in strife 
 Into this place, 'twere pity on my life. 
 
 Thes. (to Demetrius.) A very gentle beast, and of 
 a good conscience. 
 
 Dem. The very best at a beast, my lord, that e'er 
 I saw. 
 
 Lys. This lion is a very fox for his valour. 
 
 Thes. (to Ly sander). True; and a goose for his 
 discretion. 
 
 Dem. Not so, my lord; for his valour cannot carry 
 his discretion ; and the fox carries the goose. 
 
 Thes. His discretion, I am sure, cannot carry his 
 valour; for the goose carries not the fox. It is well: 
 leave it to his discretion; and let us listen to the Moon. 
 
 (Starveling carries a lantern fastened on a pole, a 
 bundle of thorns and leads a dog. By slightly changing 
 Starveling's speeches, the dog may be dispensed with. 
 Starveling has an excellent opportunity for by-play in 
 
 25 
 
his effort to manage all his paraphernalia.) 
 
 Moon. This lantern doth the horned Moon present; — 
 
 Dem. (to Theseus). He should have worn the horns 
 on his head. 
 
 Thes. He is not crescent, and his horns are invisible 
 within the circumference. 
 
 Moon. This lantern doth the horned moon present; 
 Myself the Man in the Moon do seem to be. 
 
 Thes. (to Demetrius, laughing). This is the great- 
 est error of all the rest: the man should be put into the 
 lantern. How is it else the Man in the Moon? 
 
 Dem. He dares not come there for the candle; for, 
 you see, he is already in snuff. 
 
 Hip. (in disgust). I am a- weary of this Moon: 
 would he would change ! 
 
 Thes. (to Hippolyta). It appears, by his small light 
 of discretion, that he is already in the wane; but yet, 
 in all courtesy, we must stay the time. 
 
 Lys. Proceed, Moon. 
 
 Moon. All that I have to say is, to tell you that the 
 lantern is the Moon ; I, the Man in the Moon ; this thorn 
 bush, my thorn bush ; this dog, my dog. 
 
 Dem. Why, all these should be in the lantern ; for all 
 these are in the Moon. 
 
 (Thisbe appears at C.) 
 Dem. But, silence ! here comes Thisbe. 
 This. This is old Ninny's tomb, (looks around). 
 Where is my love? 
 
 (The Lion has been wandering about uneasily. He 
 now rushes on Thisbe roaring. . Thisbe shrieks, drops 
 her mantle and runs off. Great applause and laughter on 
 the part of the spectators.) 
 
 Dem. Well roar'd lion. 
 
 Thes. Well run, Thisbe. 
 
 Hip. Well shone, Moon. — (to Theseus) Truly the 
 moon shines with a good grace. 
 
 26 
 
{Lion tears Thisbe's mantle.) 
 
 Thes. Well moused, lion. 
 
 (Exit lion.) 
 
 Lys. And so the lion vanished. 
 
 (Pyramus appears at C.) 
 
 Dem. And then came Pyramus. 
 Pyr. (addressing the Moon). 
 
 Sweet Moon, I thank thee for thy sunny 
 
 beams ; 
 I thank thee, Moon, for shining now so 
 
 bright ; 
 For, by thy gracious, golden, glittering 
 
 gleams, 
 I trust to taste of truest Thisbe's sight. 
 
 (discovers Thisbe's mantle. Starts back in horror.) 
 
 But stay, — O spite! — but mark, poor knight, 
 What dreadful dole is here ! 
 Eyes, do you see? how can it be? 
 O dainty duck! O dear! 
 
 (Takes up her mantle and holds it to his breast.) 
 
 Thy mantle good, what, stain'd with blood? 
 Approach, ye Furies fell! 
 O Fates, come, come, cut thread and thrum; 
 Quail, crush, conclude and quell! 
 Thes. (to Hip poly ta, trying to restrain his laughter). 
 This passion, and the death of a dear friend, would go 
 near to make a man look sad. 
 
 Hip. Beshrew my heart but I pity the man. 
 Pyr. O, wherefore, Nature, didst thou lions frame? 
 Since lion vile hath here deflower'd my dear: 
 Which is — no, no, — which was the fairest 
 
 dame 
 That lived, that loved, that liked, that look'd 
 with cheer. 
 
 (Pyramus forgets his part at "Which is — no, no, — 
 which was" and is compelled to consult his scroll.) 
 
 27 
 
Pyr. {continues). 
 
 Come, tears, confound; out, sword and wound 
 The pap of Pyramus, — {draws his sword.) 
 Ay, that left pap, where heart doth hop; 
 Thus die I, thus, thus, thus. {Stabs himself.) 
 Now am I dead, now am I fled; 
 My soul is in the sky: 
 
 Tongue, loose thy light ! Moon take thy flight ! 
 {waves to the Moon to withdraw. Bxit Moon.) 
 Now die, die, die", die, die. {Applause.) 
 
 {Pyramus dies very deliberately. After stabbing him- 
 self repeatedly he sinks to the floor, arranging himself 
 in a comfortable position.) 
 
 Dem. {laughing). Not die, but an ace for him; for 
 he is but one. 
 
 Lys. {to Demetrius). Less than an ace, man; for he 
 is dead; he is nothing. 
 
 Thes. {to Ly sander). With the help of a surgeon 
 he might yet recover and prove an ass. 
 
 Hip. {to Theseus). How chance Moonshine is gone 
 before Thisbe comes back and finds her lover? 
 
 Thes. She will find him by starlight. 
 {Thisbe enters at C.) 
 
 Thes. Here she comes ; and her passion ends the play. 
 
 Hip. Methinks she should not use a long one for 
 such a Pyramus : I hope she will be brief. 
 
 Dem. A mote will turn the balance, which Pyramus, 
 which Thisbe, is the better; he for a man, God warrant 
 us, — she for a woman, God bless us. 
 
 {Thisbe has been looking around and finally she spies 
 Pyramus. ) 
 
 Lys. She hath spied him already with those sweet 
 eyes. 
 
 Dem. And thus she moans, videlicit: 
 {Thisbe kneels beside Pyramus and shakes him.) 
 
 28 
 
This'. Asleep, my love? what dead my dove? 
 O Pyramus, arise ! 
 Speak, speak. Quite dumb? Dead, dead? a 
 
 tomb 
 Must cover thy sweet eyes. 
 These lily lips, this cherry nose, 
 These yellow cowslip cheeks, 
 Are gone, are gone : lovers, make moan : 
 His eyes were green as leeks. 
 O Sisters Three, come, come to me, 
 With hands as pale as milk; 
 Lay them in gore, since you have shore 
 With shears his thread of silk. 
 Tongue, not a word : come, trusty sword ; 
 Come, blade, my breast imbrue: (Stabs her- 
 
 . self.) 
 And, farewell, friends, — thus Thisbe ends, — 
 Adieu, adieu, adieu. (Dies.) 
 
 (The possibilities of this speech will be evident. Thisbe 
 stabs herself with Pyramus' sword which she has great 
 difficulty in securing as Pyramus has fallen upon it. 
 After stabbing herself, Thisbe turns with "Farewell, 
 friends," and bows to the spectators. She then falls 
 across the body of Pyramus. Spectators loudly applaud.) 
 
 Thes. Moonshine and Lion are left to bury the dead. 
 
 Dem. Ay, and Wall, too. 
 
 Bot. (starting up and addressing the Duke). No. I 
 assure you; the wall is down that parted their fathers. 
 Will it please you to see the epilogue, or to hear a Bergo- 
 mask dance between two of our company? 
 
 Thes. (to Bottom). No epilogue, I pray you; for 
 your play needs no excuse. Never excuse; for when 
 the players are all dead, there need none to be blamed. 
 (Turns to Hippolyta.) Marry, if he that writ it had 
 play'd Pyramus and hanged himself in Thisbe's garter, 
 it would have been a fine tragedy. (Turns again to 
 Bottom.) And so it is, truly; and very notably dis- 
 charged. But, come, your Bergomask : let your epilogue 
 alone. 
 
 29 
 
(The Bergomask was a rustic dance in imitation of 
 the people of Bergamasco, a province in the state of 
 Venice, zvho are ridiculed as being more clownish in 
 their manners and dialect than any other people of Italy. 
 The dance may be omitted; in that event, Theseus omits 
 his last speech, Bottom assists Flute to his feet, they bow 
 and retire. — Theseus and Hip poly ta rise.) 
 
 Thes. The iron tongue of midnight hath told twelve: 
 Lovers to bed; 'tis almost fairy-time. 
 I fear we shall outsleep the coming morn, 
 As much as we this night have overwatch'd. 
 This palpable-gross play hath well beguiled 
 The heavy gait of night. — Sweet friends, to 
 
 bed.— 
 A fortnight hold we this solemnity 
 In nightly revels and new jollity. 
 
 (Bxeunt Theseus and Hippolyta, with their retinue 
 to music.) 
 
 30 
 
Entertainments and Novelties 
 
 PRINCESS KIKU, The. A Japanese Romance. 25 cents. A 
 
 costume entertainment in 6 scenes, by M. P. Hutchinson, g female speaking parts 
 and 4 moonbeam fairies; as many extra girls as desired may be employed should the 
 march be introduced as suggested. The scenery and costumes are fully explained 
 and can be easily arranged. This entertainment is a faithful portrayal of the quaint 
 manners and style of conversation of Japanese young ladies. A pleasing plot is woven 
 into the entertainment, and many novel Japanese sayings and pro.erbs are intro- 
 duced. It is specially recommended for girls' schools and church entertainments. 
 
 AUNT DINAH'S QUILTING PARTY. 25 cents. An original 
 
 entertainment in i scene, by Bettine K. Phillips. 5 male, n female characters* 
 girls and boys any number. Scene, 1 interior; costumes, simple and eccentric. This 
 is a country village entertainment, introducing well-known types, such as old maid, 
 deacon, bad boy, village gossip, etc. Local hits may be introduced, and with songs 
 and specialties may extend the entertainment to act a whole evening. 
 
 GYPSIES' FESTIVAL, The. 25 cents. A musical entertainment 
 for young people. Introduces the Gypsy Queen, Fortune Teller, Yankee Peddler, 
 and a chorus of gypsies, of any desired number. The scene is supposed toh^ a Gyp=y 
 Camp. The costumes are very pretty, but simple • the dialogue bright; tno music 
 easy and tuneful ; and the drill movements and calisthenics are graceful. Few prop- 
 erties and no set scenery required, so that the entertainment can be represented on 
 any platform. 
 
 OVER THE GARDEN WALL. 15 cents. A musical burlesque, 
 by W. D. Felter. 6 male and 5 female principal characters (" artists "), with a chorus 
 of 6 persons (3 ladies, 3 gentlemen) and 2 pages (little boys). Requires no scenery — a 
 paper-muslin " wall," decorated with a few evergreens, forming the entire stage set- 
 ting. The program consists of a number of specialties (including the author's well- 
 known monologue, "Man Wanted," and the experiences of Cynthia Sniggins from 
 Wiggletown) with various choruses and burlesque living pictures. Almost any num- 
 ber of young people can take part in the show, which is warranted to alleviate the 
 most obstinate case of dyspepsia in 60 to 90 minutes. 
 
 BUNCH OF ROSES, A. 15 cents. A burlesque musical entertainment 
 in 1 act, by W. D. Felter. i male, 13 female characters. Time of performance 
 about 1 J^ hours. This is a miscellaneous programme rendered for the benefit of " The 
 Free Ice Fund for the Philippine Islanders." It includes various "■specialties," living 
 pictures, Mother-Goose chorus, etc., and concludes with a burlesque operetta entitled 
 Johnny Jones." The Roses, the Rosebuds and the Only Young Man in town make 
 up an entertainment that cannot fail to excite continuous mirth for the better part of 
 an evening. 
 
 ^ SWEET FAMILY, The. 15 cents. A burlesque entertainment in x 
 act, by W. Felter. 8 female characters. Requires no scenery, a melodeon and a 
 row of seven chairs on a platform being the only essentials. Time, about i hour. 
 This wonderful family consists of "Ma " Sweet and her seven interesting daughters of 
 various ages and accomplishments, who render a varied program, musical, literary and 
 otherwise. Besides the several songs, elocutionary selections, etc., there are a Kazo© 
 chorus, a laughable "poetic medley," a mimic lecture on "Woman's Sp'ere " and 
 other amusing specialties. The piece is a clever medley that will tickle the risibilities 
 of anybody capable of enjoying life. 
 
 BELLES OF BLACKVILLE, The. 15 cents. A minstrel show for 
 
 dusky dames, by N. H. Pei.ham. A complete minstrel entertainment for female 
 impersonators, that includes all the essential features of a burnt cork programme — 
 bright and new jokes, droll conundrums, popular songs, graceful dances and novel 
 specialties, with a comical afterpiece for a whole company entitled Patchwork, 
 which will afford a clever medium for "specialty" stars. The book is not a mere 
 string of suggestions, but an entire entertainment for 30 (or fewer) young ladies, that 
 will run about two hours. 
 
 NO PLAYS EXCHANGED 
 
DEC 9 1912 
 
 Two Plays for Boys. 
 
 By SEYMOUR S. TIBBALS. 
 
 Mr. Tibbals has been unusually successful in 
 furnishing boys' plays that introduce characters true 
 to life. While the plays are strong and forceful in 
 the lessons they teach, clean comedy predominates 
 and the boys like them. 
 
 ''The Millionaire Janitor." 
 
 A comedy in two acts. Here is a rollicking play 
 for eight or more boys with plenty of action. Just 
 the thing for a Boys' Class or Junior Y. M. C. A 
 Easily staged and costumed. Opportunity for in- 
 troduction of musical numbers and recitations. By 
 introducing such features the play may be used for 
 an entire evening's entertainment. 
 
 PRICE 25 CENTS. 
 
 "Up Caesar's Creek." 
 
 A splendid play for any number of boys. The 
 characters are real boys and the play deals with 
 their experiences while camping up Caesar's Creek 
 the performance closing with a minstrel show in 
 camp. Costumes and scenery are not elaborate 
 and the play may be produced on any stage. 
 
 PRICE 25 CENTS. 
 
 These comedies are protected by copyright, but 
 permission for amateur production is granted with 
 the purchase of the book. 
 
 ELDRIDGE ENTERTAINMENT HOUSE, 
 
 PRANKUIX. - OHIO. 
 

 POHYOUR ffBXT 
 
 CHURCH BBIVBFTI? 
 
 £I5l Village Postoff Ice 
 
 By SEYMOURS. TIBBAI^. 
 
 This is a pleasing comedy introducing any num* 
 ber of characters and especially adapted for a 
 church, school or lodge benefit. The Presbyterian 
 Church, at Franklin. Ohio, used it last winter and 
 cleared $250. The play gave splendid satisfac- , 
 tion and helped the church socially as well as 
 financially. 
 
 Something About the Play. 
 
 The action takes place in a country postoffice and 
 the various characters come and go. The parts are 
 nearly all short, only a few of them running through- 
 out the entire play. In this way a number of 
 adults and children may be used and the interest 
 in the entertainment greatly widened. The cos- 
 tumes may be made very funny with no expense. 
 There are ample opportunities for the introduction 
 of songs, choruses, recitations and drills, thus afford- 
 ing a varied program. The scenery is easily ar- 
 ranged and the play can be produced on any stage. 
 The author having had experience on both the 
 professional and amateur stage has produced one 
 of the best amateur entertainments we have ever 
 seen in "At the Village Postoffice." 
 
 The rights of production go with the purchase 
 of the book and you do not have to give up 50 
 per cent, of your receipts to a trainer or producer, 
 
 PRICE 25 CENTS. 
 
 Eldridge Entertainment House 
 
 FRANKLIN, - OHIO 
 
LIBRARY OF CONGRESS 
 
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 "The Best Amateur Oomtc Opera on the Market." 
 Dayton. Ohio. 
 
 'HCfje Captain of Jttpmoutf) 
 
 .& Comic 0pera in Wsttt Mtte. 
 
 ^iJTOUNDED on that beautiful poem "The Courtship of Miles 
 tJJ Standish," it preserves the charming love story of John Alden 
 and Priscilla and adds much to the humor by delightfully burlesquing 
 the invincible, boasting Captain, Miles Standish. 
 
 Jt was presented as the big Commencement Feature at the 
 Carlisle Industrial School, the government school for Indians, last 
 Spring. Claude M. Stauffer, musical director at Carlisle says: "It 
 was a great success* The best performance ever given at Carlisle.* 
 Eastern newspapers were unanimous in praise of the opera. 
 
 We cannot tell you here of the bright dialog, the singable, fresh,* 
 sparkling music. Better send for a copy for examination. 
 
 Sent to responsible parties on receipt of 7 cents, to pay post- 
 age, which we will deduct from price, if purchased. 
 
 8 
 
 Swore anii Hibretto Complete. 
 
 $1.00 Per Copp. 
 
 Rights of presentation can be secured only through 
 
 Eldridge Entertainment House 
 
 FRANKLIN - OHIO. 
 
 "I wish to congratulate you upon "The Captain of Plymouth." It is 
 a good, clean addition to the list of bright, practicable things for High 
 Schools. The libretto is quick and incisive, the music spontaneous and 
 tuneful. An atmosphere of wholesome fun prevades the work and is very 
 refreshing.— Prof . Wil 1 Earhart, Superintendent of The Robert Foresman 
 School of Methods in Music, Chicago, 111. 
 
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