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 f ^ 3 State Normal School 
 
 FITCHBURG, MASSACHUSETTS 
 HISTORY DEPARTMENT 
 
THE PAGEANT 
 AN AID IN HISTORY WORK 
 
PRACTICAL ARTS HALL, FKOM THE STAUI 
 
HISTORICAL PAGEANTS 
 STATE NORMAL SCHOOL 
 
 FITCHBURG, MASSACHUSETTS 
 FLORENCE M. MILLER 
 
 FITCHBURG, MASSACHUSETTS 
 x 1911 
 

 Copyright 1911 
 
 by 
 J. D. Miller Co. 
 
 Enterprise Press, Leominster. Massachusetts 
 
 I 
 
 ©CU286701 
 
THE PAGEANT 
 
 AN AID IN HISTORY WORK 
 
 AN EXPLANATION 
 
 The entertainments described in this pamphlet were 
 suggested by the needs and are a part of the regular 
 work in history at the State Normal School at Fitchburg, 
 Massachusetts. They represent an attempt on the part 
 of this school to make history more real for the pupils, 
 and are printed in the hope that other schools may be 
 interested in this kind of work. The entertainments 
 seem best described by the word "pageant." But there 
 is no desire to use an ambitious name, or to make any 
 special claim to originality. We feel sure, however, that 
 the educational value of historical pageants, in this 
 simple form, and the ease with which they can be made 
 a part of the regular school work is not, as yet, fully 
 realized. For this reason, to an outline of what has been 
 done in this direction at the Fitchburg School, there is 
 added a brief estimate of the value of such pageants in 
 the teaching of history. 
 
 A few words as to the origin of this method of pre- 
 senting history at the Fitchburg Normal School. When 
 the Lincoln Centenary was in the minds of all, the first 
 draft of the Anti-Slavery Pageant was prepared. With 
 such aids as could be extemporized in Normal Hall, it 
 was given Feb. 12, 1909, to mark that event for the 
 
PAGE SIX 
 
 school. This year, when the fiftieth anniversary of Lin- 
 coln's inauguration as President of the United States 
 demanded recognition, this entertainment was revised 
 and enlarged. In the new Practical Arts Building, the 
 school now has an admirable hall for entertainments of 
 this nature, and the pageant as printed was given there, 
 March, 1911. 
 
 A plan for a Peace Pageant was first outlined and to 
 some extent developed, in connection with the work of 
 a student in the advanced class of 1910, who was special- 
 izing in history, and who made the plan a part of an 
 essay which won the first prize offered by the Peace 
 Society. The pageant herein described, and which was 
 given at the school, is along similar lines, but amplified 
 and changed in treatment. 
 
 AVhen the legislature made a legal Columbus holiday, 
 it was, of course, the duty of this school to see that it 
 was properly observed. The Columbus Day Pageant, as 
 herein printed, is an attempt to fulfill this duty. 
 
 Christmas customs in Old England have so much of 
 special interest and historical value, and lend themselves 
 so readily to this kind of treatment, that they make a 
 special claim for attention. 
 
 It should be kept in mind that illustrations of this 
 general nature are possible in connection with school 
 work only when the arrangements of scene and dress are 
 kept very simple. If they suggest the style or the idea, 
 the rest may be left to the imagination. It is clear that 
 to make one elaborate or the other exact, would make 
 
PAGE SEVEN 
 
 the whole thing impossible. We may accomplish much if 
 wise enough not to attempt too much. 
 
 The various teachers of the Practical Arts in the 
 Fitchburg Normal School offered valuable suggestions in 
 carrying out these entertainments, and assisted the 
 Normal School pupils and the children in making many 
 of the articles needed. Everything possible was made 
 in connection with the work of the school. The Normal 
 School pupils made their own costumes, as far as pos- 
 sible, and also assisted in carrying out all the arrange- 
 ments. The ingenuity and originality thus developed 
 on the part of the pupils in the Normal School, are 
 valuable results from this kind of work. 
 
 The music for these entertainments was under the 
 direction of the teacher of music at the Normal School. 
 
THE PAGEANT 
 
 AN AID IN HISTORY WORK 
 
 AN ESTIMATE 
 
 One's success in conveying ideas and emotions to 
 (•tlicrs depends very largely upon the forms of expression 
 he uses. No one needs to be reminded how much the 
 eye aids the ear in this matter, or how greatly this aid 
 is needed, especially when we present new and difficult 
 ideas to children, and seek by these ideas to train the 
 imagination. It is clear, therefore, if we can use the 
 eye, as in posture, gesture and facial expression, in mak- 
 ing any subject real to children, great good will follow. 
 Certain things favor the trial. This form of expression 
 is natural to children. This is evident both from the 
 fact that it was the language of primitive man, and is 
 the language of children before they can talk. It is, 
 also, a universal language. We must make use of this 
 form of expression if we travel in countries where we 
 do not know the spoken language, and are without an 
 interpreter. Then we all know how difficult it is, by 
 the written and spoken word only, to convey new ideas 
 even to adults. This difficulty is much greater when we 
 are dealing with children. For this reason we constantly 
 use this sign language to help make the spoken word 
 more vivid. Young people not only easily grasp an idea 
 which is pictured or acted for them, but will, with very 
 
PAGE TEN 
 
 little help from a teacher, act out the whole thing for 
 themselves, and in this way present the ideas or facts 
 to others. From this it is easy to get several children 
 to unite in presenting, in the form of tableau or rep- 
 resentation, any ideas, events or scenes which the teacher 
 Avishes to impress upon the imagination. 
 
 Tableaux, or representations of this character, may 
 be used to great advantage, and should be used in the 
 teaching of history. This is true both on account of the 
 difficulty of the subject, the many new ideas which it 
 presents to the mind of the child, and not less because 
 of the large demand which history makes upon the 
 imagination, if it is to be fully appreciated. It is the 
 sympathetic attitude, the constructive imagination, which 
 is especially needed in this subject. To make any his- 
 torical scene of real and vital interest, we must re-con- 
 struct the events for ourselves : we must so imagine the 
 thoughts and the feelings of the actors that they become 
 real men and women to us, and their desires and striv- 
 ings must become in a very real sense our own. How 
 can the imagination be more effectively aroused, or this 
 sympathetic feeling better developed, than by asking the 
 pupil to assume for a few moments the character of the 
 person about whom he is studying, or to unite with 
 others to make clear and living some interesting and 
 important scene. 
 
 The elaborate pageants which have been acted both 
 in this country and in England, as well as others which 
 are in preparation, show the great interest in this method 
 of teaching. But because of certain seeming difficulties. 
 
PAGE ELEVEN 
 
 it has not been much used in regular school work. It is 
 to be noted that so far as the method applies to the 
 teaching of history, the difficulties are mostly on the 
 part of the teacher. If the pupil is led to think of a 
 form of expression by means of action or tableau as just 
 as natural and common in the school life as that of talk- 
 ing or writing, he will find it easy and intensely inter- 
 esting. 
 
 On the part of the teacher there must be, first, as in 
 any effective teaching of history, an appreciation of a 
 dramatic situation, and of the things appropriate and 
 necessary for its reproduction. It is the teacher who is 
 to select the events or series of events to be used in 
 this way and the special scenes in these events which are 
 most telling. These points should be simple, suited to 
 the comprehension of the children, but representative 
 and dramatic. 
 
 There is next the difficulty arising from the lack of 
 a stage and costumes. In regard to these, it is worth 
 while to notice that simple tableaux for school work can 
 be given in any school room and without the help of 
 costumes, or with very simple changes in dress, or 
 arrangements of dress. Then, at the present time, a 
 teacher of history or any teacher who has to deal with 
 this subject, should try to collect material which may be 
 used for the purpose we are considering. Simple cos- 
 tumes which may be used to illustrate the dress of the 
 people in different periods of history, and articles which 
 may be needed in tableaux of historical scenes, are 
 among the most important of such historical material. 
 
PAGE TWELVE 
 
 If the children have, as part of the school work, sewing 
 or manual training, they can make many of these things 
 for themselves. Articles which are most effective for 
 use in these representations are often very simple and 
 even common. 
 
 More valuable than single representations are a series 
 of connected tableaux or scenes, arranged by the teacher, 
 but presented by the pupils. Such a series may be pre- 
 sented in the form of a historical entertainment for the 
 parents and friends of the pupils. The value of an 
 entertainment of this kind is, that in this way one may 
 picture for the eye the growth of certain ideas or ten- 
 dencies from which great and important changes 
 have come. To make the idea of development clear in 
 the mind of the pupil is the great end and aim of all 
 history teaching, and in this work the eye is the teach- 
 er's most faithful and efficient servant. Those who take 
 part in the entertainment, however, gain the most from 
 it. They gain both in the power of expression and in 
 the power of imagination. But the gain in self-control 
 is even more valuable. The pupils must imagine them- 
 selves men and women and act with becoming dignity. 
 They must, also, feel the responsibility of the situation 
 and so learn to conduct themselves in a quiet, orderly 
 and efficient manner. It appears, therefore, that work 
 of this kind helps directly to develop character. 
 
 In general, it may be said that only events of his- 
 torical importance and characters worthy of imitation 
 should be introduced, 
 
COLUMBUS DAY OBSERVANCE 
 
 Illustrating Important Events in the Life of Columbus 
 
 This entertainment is simply an attempt to give a few of 
 the most dramatic incidents in the life of Columbus as con- 
 nected with his discovery of the New World. Fewer scenes 
 were needed at the time from the fact that an address upon 
 the life of Columbus was to be given at the close. Other 
 scenes could be readily added, although it would require some 
 care to avoid an anti-climax. 
 
 FIRST SCENE 
 
 In Spain at the Council of Salamanca 
 
 Before this scene is presented, there should be given 
 a brief explanation and description of the early life of 
 Columbus and of his attempts to obtain aid. 
 
 Characters: Churchmen and counsellors at the court of Spain 
 (seven to ten) and Columbus. 
 
 Costumes: The churchmen are dressed in long black garments 
 except two, who have black capes with white underneath; 
 some of the churchmen may wear or carry crucifixes. 
 Columbus wears a long black garment or coat, which 
 plainly shows the poverty of its owner. 
 
 Tableau: Columbus before the council at Salamanca. 
 
 The characters are arranged somewhat as in a picture 
 of this scene found in the Perry pictures. A picture 
 of the scene is found, also, in Lossing's History of the 
 United States, Vol. 1. Only the chief characters which 
 appear in these pictures are shown in the tableau. Three 
 
page fourteen 
 
 churchmen or counsellors are in the centre of the tableau 
 near Columbus; two at the left, one pointing mockingly, or 
 making fun of Columbus; two stand haughtily in the back, 
 and there may be, also, two or three at the right. Colum- 
 bus has a partly open roll of parchment in one hand, and 
 is pointing with the other, as shown in the picture. One of 
 the churchmen in the centre has an open Bible in his hand 
 and another has a book which he is holding out to Colum- 
 bus. It is not necessary to reproduce other characters 
 from the picture. 
 
 SECOND SCENE 
 On Shipboard 
 
 Characters: 
 
 Columbus. 
 The mate. 
 Other sailors. 
 
 Nearing land: Columbus and the Mate. 
 
 Costumes: Columbus has on a red cape; the sailors wear 
 sweaters and sailor caps. 
 
 The conversation in the poem entitled "Columbus," by 
 Joaquin Miller, takes place between Columbus and his 
 mate. The sailors are in the background, one of them 
 holding a lantern. Between the different parts of his con- 
 versation with Columbus, the mate goes to consult with 
 the sailors. The last stanza of the poem is given by some 
 one from the wings. When the reader reaches the line, 
 "A light! A light!" Columbus and the mate change their 
 position, Columbus points and the mate raises his arm, 
 peering forward. (Picture in Leading Facts of American 
 History by Montgomery, revised edition. Also in Stepping 
 Stones of American History.) 
 
PAGE FIFTEEN 
 
 FIRST SIGHT OF LAND 
 THIRD SCENE 
 
 In the New World 
 
 Characters: 
 
 Columbus. 
 Three noblemen. 
 Eight sailors. 
 Six Indians. 
 
 Costumes: Columbus and the noblemen wear the Spanish cos- 
 tume of the 15th century, which will be described later. 
 The sailors wear sweaters and sailor caps, which may be 
 
PAGE SIXTEEN 
 
 made from blue, red or gray cambric. The Indians wear 
 the Indian suits, which many boys have, or which may 
 be obtained at any clothing store. They carry bows and 
 arrows or tomahawks. 
 
 Spears, swords, and cross: The spears and swords for this and 
 the following scene are made from wood and bronzed, sil- 
 ver. The tall cross is made from wood and stained with 
 shellac. 
 
 Banner of the expedition: This banner is white, with a green 
 cross. Over the initials F and Y (Ferdinand and Ysa- 
 bella) are two gilt crowns. 
 
 Tableau: The landing of Columbus. 
 
 The characters are posed from Vanderlyn's painting 
 of the scene in the capitol at Washington. Reproductions 
 of this painting may be found in many histories and among 
 the Perry pictures. Columbus holds the banner of the 
 expedition in one hand, and a drawn sword in the other. 
 One of the men has a tall staff with the top in the form 
 of a cross; two others hold tall spears. The Indians are 
 peering out at the white men from the sides of the stage; 
 one of them is down upon the stage with his head bowed 
 on his hands, worshipping the strangers, the others seem 
 to be full of fear and curiosity. 
 
 FOURTH SCENE 
 At Barcelona in Spain 
 
 Before this scene is presented, a description of the reception 
 of Columbus by the king and queen upon his return to 
 Spain is given. This scene is more elaborate than any 
 other in the entertainment. 
 
 Characters: 
 
 King and Queen of Spain (Ferdinand and Isabella.) 
 Two guards. 
 
PAGE EIGHTEEN 
 
 Two ladies of the court. 
 
 Eight monks or churchmen. 
 
 Six Indians. 
 
 Eight sailors. 
 
 Page for Columbus. 
 
 Ten noblemen. 
 
 Columbus. 
 
 Costumes: The queen has a red robe, with a purple figured 
 front; collar and trimmings of ermine. She wears a crown. 
 The ermine is made of cotton with little pieces of black 
 cloth sewed upon it; the crown is made of cardboard cov- 
 ered with gilt paper. The dress is cheese cloth, with a 
 front of silkoline. 
 
 The king wears purple full short trousers (trunks). 
 They are made somewhat like bloomers; he also wears a 
 figured purple doublet, a purple cape and a gilt crown. 
 The trousers and cape are trimmed with ermine. 
 
 The guards have black trousers (trunks) and red capes, 
 collars and knee pieces made from silver paper; they 
 wear storm hats covered with the silver paper, and carry 
 spears. 
 
 The ladies-in-waiting wear dresses, fixed to resemble 
 the dress of the period. They have high headpieces, shaped 
 like cornucopias, made from cardboard, covered with gilt 
 paper and with long veils draped over them; this was one 
 style of headpiece worn in the 15th century. 
 
 The churchmen, sailors and Indians are dressed the 
 same as in previous scenes. The little crosses which the 
 churchmen or monks carry, may be made from cardboard 
 covered with the silver paper. 
 
 The .little page of Columbus is dressed in his own 
 white suit. 
 
 Columbus wears gray and red clothing. The noble- 
 men wear combinations of bright colors. 
 
PAGE NINETEEN 
 
 The general plan which was followed in regard to the 
 dress of the Spanish nobility in the time of Columbus was 
 to have the full short trousers (trunks) made of one color 
 and slashed with another; the upper garment or doublet 
 made of figured silkoline; the cape of one color lined 
 with another, worn turned back over one shoulder; pointed 
 collars and cuffs of white glazed or silver paper; and soft 
 felt hats with plumes. Each nobleman carried a sword. 
 
 The gold brought by the sailors may be made by gild- 
 ing stones. 
 Reception of Columbus by the King and Queen. 
 
 Rugs cover the front and sides of the stage; in the center of 
 the stage is a raised platform or throne, with two or three 
 steps leading up to it; this throne is covered with figured 
 raw silk (yellow and brown). Chairs are placed on the 
 throne for the king and queen. 
 
 The scene is an attempt to represent the Reception of 
 Columbus on His Return to Spain after his first voyage. 
 (See painting by Ricardo Balaca, the Spanish artist, of 
 Columbus before Ferdinand and Isabella at Barcelona). A 
 march is played upon the piano while the different char- 
 acters in the tableau come on the stage and take their 
 proper positions. First the two royal guards march to the 
 throne, taking positions one on each side, so that the king 
 and queen may pass between them in mounting the plat- 
 form. They are followed by the king and queen, and then 
 by the ladies-in-waiting. The king and queen mount the 
 platform and take seats; the ladies wait in front of the 
 platform until the king and queen are seated, then they 
 take positions one on each side of the throne. The guards, 
 after the king and queen are seated, take position on the 
 platform in the rear. All these come as one group in the 
 procession, with only a little space between them. 
 
 Next come the churchmen, with heads bowed and 
 looking at silver crosses which they hold in front of them. 
 One of them carries the tall cross. They take their places 
 at the right of the queen. 
 
PAGE TWENTY 
 
 The Indians come, shuffling across the stage to the 
 extreme left of the king and queen. Of course they know 
 nothing of keeping time to music or paying homage to 
 royalty. 
 
 The sailors march upon the stage, each bringing some- 
 thing from the new world, gold, a stuffed bird, or some 
 product. Each in turn approaches the king and queen, 
 kneels, then places whatever he carries at the side of the 
 platform, and takes his place on the left. 
 
 The noblemen, one by one, come with great dignity 
 to the front of the throne, kneel, and salute with their 
 swords. Then they go to the right of the stage. 
 
 Finally, the music sounds a more triumphal note, 
 announcing the approach of the hero of the occasion. 
 Columbus is preceded by his page, carrying the banner of 
 the expedition. The page kneels to the king and queen, 
 then goes to the left, where he is to stand just back of 
 the place reserved for Columbus. 
 
 As Columbus approaches the throne, the king and 
 queen rise and come forward to do him honor. Columbus 
 kneels, kisses the queen's hand, then rises and points out 
 to the king and queen the treasures which his sailors have 
 brought. He also brings forward one of the Indians. 
 The king and queen regard everything with interest. After 
 this, at a signal given on the piano, all kneel to give thanks 
 for the discovery of the new world. The Te Deum Lauda- 
 mus is chanted or the doxology is sung. This is the end 
 of the reception. 
 
 This scene may be simplified, if desired, and given in 
 the form of two tableaux. Columbus kneeling before the 
 queen; and Columbus telling his story may be given sep- 
 arately. There need not be as many characters in the 
 scene. See the picture "Reception of Columbus," (Adapt- 
 ed from the picture by Ricardo Balaca) in America's 
 Story for America's Children, by Mara L. Pratt. 
 
PAGE TWENTY-TWO 
 
 It would be easy to give the substance of this enter- 
 tainment in any school room and without costumes. Even 
 with these limitations the story of Columbus would become 
 more real to the children, in this way, than it could be 
 made by any description. 
 
 A good description of the reception of Columbus in 
 Spain after his first voyage is given in The Life of Colum- 
 bus, by Washington Irving. 
 
 A description and picture of the banner of the expedi- 
 tion may be found in Lossing's History of the United 
 States, Vol. 1. 
 Music that may be used: 
 
 Columbus song, taken from "1492." 
 The "New Hail Columbia." 
 
HISTORICAL PAGEANT 
 
 Yuletide in Merrie England in the Sixteenth Century 
 
 Perhaps some reference to the Christmas customs in 
 Old England should be given as an introduction. What is 
 printed here can be used as a suggestion. What is needed 
 will, of course, vary with the fullness of the description 
 in the program. 
 
 There is a peculiar charm in these old customs, espe- 
 cially when, as in this case, they relate to a festival which 
 still lives. One reason, no doubt, is that we have in these 
 earlier times more of the unconscious spirit of childhood. 
 Our delight in studying the Christmas customs of Old 
 England is further increased because of our close connec- 
 tion with that country, and because many of these same 
 customs prevailed at the South before the Civil War. 
 There is in these customs, also, a strong hint of that lack 
 of hurry which is so marked a trait of the English tem- 
 perament. There was evidently no will to absorb the de- 
 lights of Christmas in an hour as there is with us. In the 
 reign of Queen Elizabeth we find that Christmas was 
 celebrated with much greater splendor and magnificence 
 than at present. The festivities began at Advent and 
 lasted till Twelfth Night or even longer. There was leisure 
 to make the most of the joy. Thinking of these old times 
 we say to you: 
 
 "Once more the rapid fleeting year 
 
 Has brought old Christmas to the door; 
 Come, let us treat him with such cheer, 
 As folks were wont in days of yore." 
 
PAGE TWENTY-FOUR 
 
 There was in these old Christmas customs a pervading 
 spirit of song and good will; a becoming deference for 
 place and power; a hint of the bowl and of the feast. 
 The manor houses of the sixteenth century were rude, as 
 measured by our standards, but magnificent for the time. 
 The spirit, however, was the chief thing. 
 
 On Christmas eve, in England in the olden time, 
 you would see a great log burning in the fireplace. 
 You might have gone out into the w r oods and helped to 
 bring in this log, which was called the Yule log. The log 
 must burn all night, for if it went out it was considered a 
 sign of ill luck. A brand from the Yule log must be 
 carefully saved and put away to light the next year's 
 Christmas fire. Sometimes there were lighted candles in 
 the hall, but often the only light came from the great fire 
 in the fireplace, as the Christmas songs were sung and the 
 Christmas stories told. 
 
 In the early morning the Christmas Waits, as they 
 were called, started out to sing from door to door Christ- 
 mas hymns, carols of the holly and the mistletoe, and 
 receive pence in return. The bringing in of the Wassail 
 bowl and presenting it to the lord and lady of the manor, 
 and the participation of all, even to the queen herself, 
 gives a hint not only of the reverence felt for power and 
 station, but as well of the universal character of the cele- 
 bration. In the bringing in of the "boar's head" we have 
 a vivid picture of the rude abundance of the time; while in 
 the procession of the Lord of Misrule there is the love 
 of imitation and all the abandon of childhood. If a fuller 
 description is desired, it can be found in Irving's Sketch 
 Book. 
 
 The Scene: A Hall in an Old English Manor House 
 
 A very large fireplace is seen at the back of the hall. 
 The English coat of arms, cut from gilt paper and placed 
 upon a background of white cloth, is over the fireplace. 
 
QUEEN ELIZABETH'S HERALD 
 
PAGE TWENTY-SIX 
 
 A raised platform or dais, a few fur rugs and one or two 
 chairs form the chief articles of furniture in the hall. In 
 addition there should be lighted candles in old brass can- 
 dlesticks on the top of the fireplace, and, also, old plates 
 and dishes. Holly and other green may be used for dec- 
 oration. Other appropriate articles for this scene are 
 swords, spears and helmets; also rugs on the walls to rep- 
 resent tapestry. 
 
 There should not be too much green used for decora- 
 tion, or too much furniture in the room, because an old 
 English manor house was large and barely furnished com- 
 pared with houses to-day; also because a large part of the 
 stage is needed for the entertainment. 
 
 Characters 
 
 A messenger from Queen Elizabeth. 
 
 Queen Elizabeth and Sir Walter Raleigh. 
 
 The Lord and Lady of the manor house. 
 
 Nine girls representing English girls of the period of 
 Queen Elizabeth. 
 
 Fifteen Christmas Waits. 
 
 Four yeomen to bring in the Yule log. 
 
 Two candle boys. 
 
 A steward and three serving men. 
 
 Page for Queen Elizabeth. 
 
 Lord of Misrule. 
 
 Page for the Lord of Misrule. 
 
 Twenty followers in the procession of the Lord of 
 Misrule. The following characters may be represented: 
 Bear, girl or boy beating a drum, pig, astrologer, court 
 fool, fairies, giant, horse, half animal and half man, 
 Egyptian girl rescued from the dragon by St. George, 
 dragon, St. George, clown, Robin Hood and one of his 
 followers, abbot, goblin, rooster, and rabbit. 
 
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 X 
 
 Pi 
 
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 c 
 r 
 
 w 
 
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PAGE TWENTY-EIGHT 
 
 Costumes 
 
 The general style for the costumes is, of course, that 
 of the period of Queen Elizabeth. 
 
 Queen Elizabeth, Sir Walter Raleigh, the Lord and 
 Lady of the Manor House, and the candle boys, wear 
 court suits. 
 
 The yeomen and the serving men wear the dress of 
 the lower classes in the 16th century. 
 
 The nine girls representing English girls wear dresses 
 made of Christmas crepe paper, in the style of the 
 period represented. 
 
 The horns used in one scene are made of cardboard, 
 covered with silver paper. The poinsettias and silver 
 headpieces are easily made of red and green paper, and 
 of cardboard covered with silver paper. 
 
 The Lord of Misrule wears the costume described in 
 an article by E. S. Brooks. The followers are, of course, 
 made up to represent the characters which they assume; 
 some of them are supposed to be burlesque representa- 
 tions, as they were in the olden times in England, while 
 others, as the dragon, knight, court fool, etc., are dressed 
 to represent the real characters as nearly as possible. 
 
 Program, or Scenes Represented 
 
 1. A messenger, dressed in Old English costume, appears, an- 
 nouncing the coming of Queen Elizabeth and her attendants. 
 The costume is purple, arranged like that of a herald 
 of the Middle Ages. See "Military and Religious Life of 
 the Middle Ages," by Lacroix. 
 
 This form of announcement may be used: 
 
 I, Lord , (any name desired may be used here) 
 
 royal messenger, announce to you, , (the name of 
 
 the principal or some one connected with the school may 
 
PAGE TWENTY-NINE 
 
 be given here), Feodary of the Wards in , (the name 
 
 of the school or part of it may be given here): That her 
 most gracious majesty, Elizabeth, by the grace of God 
 Queen of England and Ireland, being on a royal progress 
 
 from London to the castle of Lord , in , (local 
 
 names may be used here, though they should be changed 
 to resemble English names as much as possible), proposes 
 
 to spend a part of Christmas day at your (name 
 
 of the school) Manor. 
 
 By order of the Royal (some English officer.) 
 December 15, in the year of our Lord, 1565. 
 
 GOD SAVE THE QUEEN. 
 Music: Carol, "We Three Kings," Chorus Old English 
 
 2. The holly and the mistletoe. 
 
 An exercise and recitation by nine girls, dressed in 
 English costumes, to illustrate a poem by Barry Cornwall, 
 entitled "The Holly and Mistletoe." 
 
 The girls carry a laurel chain and have branches of 
 holly and mistletoe. They dance upon the stage and kneel 
 in a half circle by the fireplace, where one gives most of 
 the first stanza of the poem, the last part being given by 
 all together; then they rise, throw down by the fireplace 
 their laurel chain, come to the front of the stage, and the 
 second stanza is given in the same way as the first. The 
 holly is displayed prominently when the last of the stanza 
 is given. For the third stanza the girls pair off, except 
 the one who stands in the centre, and she gives the main 
 part of the poem. At the end they hold the branches of 
 mistletoe above their heads. 
 
 3. Bringing in the Yule Log. 
 
 This is a tableau. It represents four boys, dressed in 
 old-time English costumes (red and green) ; a great log with 
 
PAGE THIRTY 
 
 ropes attached to it, and the boys in the position of drag- 
 ging the log in to the fire; back of the boys stand nine 
 English girls, blowing long silver horns. During the tab- 
 leau a chorus renders the Old English Carol for the 
 Yule Log: 
 
 "Come bring with a noise, 
 
 My merry, merry boys, 
 
 The Christmas log to the firing," etc. 
 
 Music: "Cherry Tree Carol," Old English 
 
 4. Christmas Waits. 
 
 Fifteen girls, wearing over their white dresses long 
 green or white surplices of crepe paper, their hair loose, 
 and with red poinsettias or silver bands and stars upon 
 their heads, march into the hall and upon the stage, sing- 
 ing as they come and after they reach the stage, "God 
 Rest Ye, Merrie Gentlemen" and "The Holly and Ivy." 
 
 5. The Wassail Bowl. 
 
 The lord and lady of the manor house are seated on 
 a dais. The nine English girls come skipping into the 
 hall, bearing a large, old-fashioned Wassail Bowl and sing- 
 ing an old English Wassail Song. The first stanza of the 
 song may be given just before the girls come upon the 
 stage; the next as they come skipping up to the dais, and 
 standing by the dais they sing one or two stanzas more. 
 When the girls stop singing, the lord of the manor takes 
 the Wassail Bowl, wishes all a "Merrie Christmas," and 
 drinks from it, according to the old English custom; then 
 the lady of the manor does the same. After this the song 
 is completed>. 
 
 6. Arrival of Queen Elizabeth and Sir Walter Raleigh at the 
 
 manor house. 
 
 Some one from the wings blows three blasts upon a 
 
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PAGE THIRTY-TWO 
 
 horn and announces "The queen is approaching the 
 manor house." 
 
 Sir Walter Raleigh crosses the stage, stands by the 
 dais, and the queen follows, a page bearing her train. The 
 queen seats herself upon the dais, the page standing beside 
 her, and Sir Walter Raleigh is seated just below. They 
 remain to witness the concluding part of the Christmas 
 celebration. 
 
 "G-od Save the Queen" is sung from the wings as the 
 queen enters. 
 
 Music: "Good King Wenceslaus," Old English 
 
 7. Bringing in the Boar's Head. 
 
 This is a tableau. There are four boys, dressed in old 
 style red and green suits, seen bringing in the chief articles 
 of the Christmas feast. The first boy, lepresenting the 
 English steward, bears the boar's head, decorated with 
 holly; the other boys carry a plum pudding, mince pie and 
 cake (all very large). Two boys in front bear the Christ- 
 mas candles, decorated with holly. There should be a 
 table, decorated with candles, holly, etc., placed in front 
 of the dais for this scene. 
 
 During this tableau, one of the oldest existing English 
 carols, "The Boar's Head Carol," is sung by a chorus: 
 "The boar's head in hand bring I," etc. 
 
 Music: Carol, "The First Nowell," Old English 
 
 8. Arrival of the herald or page of the Lord of Misrule. 
 
 The herald announces the authority of the Lord of 
 Misrule in the following form: 
 
 To (name of some important person connected 
 
 with the school), Feodary of the Wards in (local 
 
 name), at (name of school) Manor. 
 
PAGE THIRTY-FOUR 
 
 Imprimis: I give leave to Lord (name of the 
 
 person who is to assume this character) to be Lord of 
 
 Misrule, at the Manor of (name of school), during 
 
 the twelve days of Yule-tide. And, also, I give free leave 
 
 to the said Lord (name of Lord of Misrule) to 
 
 command every person whatsoever, as well servants a? 
 others, to be at his command whensoever he shall sounc 
 his music, and to do him good service, as though I were 
 present myself, at their perils. I give full power to his 
 lordship to break all locks, doors and latches to come to 
 all those who presume to disobey his lordship's commands. 
 
 GOD SAVE THE QUEEN. 
 
 , Lord Protector. 
 
 (Signed by some one connected with the institution 
 giving the entertainment.) 
 
 This form of announcement is adapted from an article 
 in the St. Nicholas, January, 1885, by E. S. Brooks. 
 
 9. Procession of the Lord of Misrule and his train. 
 
 The page comes first, then the Lord of Misrule with 
 his staff surmounted by a fool's head, then his followers. 
 They march round and round the stage, acting out as well 
 as possible the characters they are supposed to represent, 
 making various noises, and all who can, sing the following 
 doggerel: 
 
 "Like prince and king he leads the ring; 
 Right merrily we go. Sing hey-trix, trim-go-trix, 
 Under the mistletoe!" 
 
 "To shorten winter's sadness see where the folk with 
 
 gladness, 
 Disguised, are all a-coming, right wantonly a-mumming, 
 Fa- la!" 
 
70 
 O 
 
 o 
 
 M 
 
 i—i 
 O 
 
 z 
 
 o 
 
 H 
 H 
 
 r 
 o 
 
 D 
 O 
 
PAGE THIRTY-SIX 
 
 This song may be set to some simple music, changed 
 a little if desired, and repeated again and again as the 
 procession marches around the stage. 
 
 After the procession has marched around the stage 
 once or twice, the Lord of Misrule waves his staff; every- 
 one is quiet, and he gives the following announcement: 
 
 "From Christmas Eve to Twelfth Night I am Lord 
 Supreme; by my magic art I transform you all into chil- 
 dren, and charge you, on your fealty, to act only as such. 
 I absolve you all from wisdom. I bid you be just wise 
 enough to make fools of yourselves, and do decree that 
 none shall sit apart in pride and eke in self-sufficiency 
 to laugh at others." — (Adapted from the article by E. S. 
 Brooks.) 
 
 Following this announcement, the procession marches 
 round andi round the stage, singing, making various 
 noises in keeping with the part assumed, and all entering, 
 as much as possible, into the spirit of the occasion. 
 
 The scenes above described, or the parts of the Christmas 
 festival to be presented, were selected as typical of the most 
 important elements in the celebration of Yuletide in the Eng- 
 land of the sixteenth century. The simplicity, the joyousness 
 of many of these old customs, is well worth preserving, aside 
 from their historical interest and value. Remember, as stated 
 above, these old English customs are a part of our own 
 family history and for that reason of particular interest to us. 
 
 REFERENCES 
 
 The Sketch Book, by Washington Irving. (Description of 
 Christmas Customs in England.) 
 
 The Popular History of England, (Illustrated edition), by 
 Charles Knight. Vol. III. 
 
PAGE THIRTY-SEVEN 
 
 Christmas Carols and Customs, by H. E. Krehbiel. Pub- 
 lished in the Outlook, Nov. 27, 1909. 
 
 English Christmas and Scottish New Year, by M. E. Leices- 
 ter Addis. 
 
 Davy and the Goblin, by Charles Carryl. (St. Nicholas, be- 
 ginning December, 1884.) (Suggestions may be obtained from 
 the illustrations.) 
 
 The King's Feast in Rufus's Hall, by Rev. Henry Augustus 
 Adams. (Published in the St. Nicholas, December, 1SS4.) 
 
 St. Nicholas, December, 1883. (Illustrations). 
 
 Historic Girls — Elizabeth of Tudor, by E. S. Brooks. (Pub- 
 lished in the St. Nicholas, January, 1885.) (Description of 
 English customs in regard to the Lord of Misrule.) 
 
 Christmas in the Olden Time, by Sir Walter Scott. 
 
' 
 
HISTORICAL PAGEANT 
 
 To Illustrate the Contest between Slavery and Freedom 
 in the United States, between 1830 and 1865 
 
 This pageant or entertainment is divided into three parts. 
 The first part is intended to show something of the conditions 
 of slave labor in the South; of free labor in the North, and 
 suggests a natural antagonism; the anti-slavery leaders are used 
 to indicate the beginnings of the actual contest. 
 
 The second part is occupied in showing some of the more 
 important attempts made by American statesmen and the 
 courts to settle the slavery Question. The third part shows the 
 outcome of the contest by the election of President Lincoln, 
 the emancipation of the slaves, the coming of peace, and the 
 restoration of the Union after the Civil War. 
 
 SCENES AND SCENERY 
 
 In a reproduction of this nature there must be, of 
 course, much change of scene. But with proper care the 
 stage may be easily and cheaply arranged so as to suggest 
 
PAGE FORTY 
 
 these changes. Care should be taken, however, to plan 
 only such changes as can be made quickly, or the time 
 between the scenes will be too long. Screens and curtains 
 can be used to good advantage, as in this way a part or 
 the whole of the stage can be used as the particular scene 
 requires. A raised platform with steps, made from planks 
 or heavy boards, will be found desirable. This may be 
 covered with green cambric. Dark cambric is needed so 
 that the platform can be used for outdoor scenes. When 
 it would not be appropriate to have the platform xhow, 
 it can be cut off by the screens. 
 
 For the house scenes, the screens can be used so that 
 a part of the stage suggests a room; rugs and simple 
 furniture can be readily moved on and off the stage as 
 required. Other articles needed for the different scenes 
 should be kept as handy as may be. What these are will 
 appear in the general description. 
 
 CHARACTERS 
 
 Nearly a hundred different persons took part in this 
 pageant and some in two or more scenes. 
 
 The following are the chief characters: 
 
 Eight Negro slaves. (Used in the first two scenes and 
 two of them, also, in later scenes.) 
 
 A plantation overseer. 
 
 Nine free laborers. 
 
 Horace Greeley and eight other anti-slavery leaders. 
 
 Apollo and the muses of poetry. 
 
 Eva, Topsy and Miss Ophelia. 
 
 Nine bishops. 
 
 Eight noblemen of the Middle Ages. 
 
 Five yeomen of the Middle Ages. 
 
 Speaker, secretary and sixteen members of the House 
 of Representatives. 
 
 Tom Gordon and his slave Jim. 
 
 Senator and his wife. Eliza. From Uncle Tom's 
 Cabin. 
 
PAGE FORTY-ONE 
 
 Two slave hunters. 
 
 Three rescuers of a fugitive slave. 
 
 Five Kansas emigrants. 
 
 Nine justices of the Supreme Court. 
 
 Abraham Lincoln. (If the inauguration scene is given.) 
 
 Goddess of Liberty. 
 
 A blue and a gray soldier boy. 
 
 Angel of Peace. 
 
 Besides these, three or four readers, or persons to 
 give quotations or explanations of different scenes are 
 needed. 
 
 PART I 
 
 Antagonism Between Slavery and Freedom 
 
 Scenes in the South. (Slavery.) 
 
 The first scenes suggest slave conditions in the South 
 before the war. Appropriate music is rendered: "The Old 
 Folks at Home" and "My Old Kentucky Home," or other 
 Negro songs may be used. 
 
 The tableaux are: "In a Negro Cabin on the Old Plan- 
 tation" and "The Return from the Cotton Field." (Repre- 
 senting slave labor.) 
 
 A part of the stage is enclosed by means of screens 
 for the negro cabin. The negro family consists of the 
 man, his wife and two little children. Low stools are used 
 for seats, and the negro is playing on a banjo. 
 
 Six negroes, three boys and three girls, and the over- 
 seer, take part in the "Return from the Cotton Field." The 
 overseer is standing on the platform, which is placed side- 
 ways upon the right or left of the stage; he holds a whip; 
 scales for weighing the cotton should be upon the plat- 
 form. The negro laborers are bringing in great baskets 
 of cotton to the overseer. "Waste baskets with the tops 
 covered with cotton are used. The overseer is dressed as 
 

PAGE FORTY-THREE 
 
 was usual in the South and has on a broad brimmed straw 
 hat. The negro men or boys are dressed in overalls, and 
 the women or girls in unbleached cheese cloth with red 
 bandanna handkerchiefs on their heads and round their 
 necks. 
 
 II. Scene in the North. (Free labor, etc.) 
 
 To suggest the beginnings of the contest between the 
 two systems use a procession of free laborers and a pro- 
 cession of the leaders of the anti-slavery movement. The 
 free laborers are dressed in working clothes and carry 
 different kinds of tools; the leader has a banner inscribed 
 
PAGE FORTY-FOUR 
 
 "Free Labor." The leader of the anti-slavery men is 
 Horace Greeley. He wears the familiar long gray coat, or 
 duster, a high, old-fashioned gray hat, and carries a ban- 
 ner having upon it the words "Liberty for All." The other 
 members of this procession wear white blouses and white 
 caps; they have bands over their shoulders with the names 
 of prominent anti-slavery leaders inscribed upon them. 
 These two processions enter the hall at the rear and march 
 to the stage. When arranged, one at the right and the 
 
PAGE FORTY-FIVE 
 
 other on the left, the anti-slavery leader steps to the front 
 and gives this quotation: 
 
 "Sound for the onset, blast on blast! 
 One charge of Are shall drive them fast, 
 Till slavery's minions cower and quail; 
 Like chaff before our Northern gale!" 
 
 Then the leader of the laborers takes his place and 
 gives the following: 
 
 "Freedom, hand in hand with labor, 
 Walketh strong and brave, 
 On the forehead of his neighbor 
 No man writeth •Slave'!" 
 
 After these quotations the processions march from 
 the hall as they entered. 
 
 III. The influence of poetry, song and story in the overthrow 
 of slavery. 
 
 A tableau, "Apollo and the Muses of Poetry," is used 
 to represent the influence of both poetry and song againsr. 
 slavery. Apollo wears a Greek costume of white, trimmed 
 with green, and carries a green lyre. The muses wear 
 Greek costumes, white with gold borders. Apollo stands 
 in the centre of the group, just a little in front of 
 the muses. 
 
 The influence of story is shown by one or more scenes 
 or tableaux from Uncle Tom's Cabin. 
 
 A tableau showing Eva, Topsy and Miss Ophelia in 
 the scene where Eva comes into Miss Ophelia's room, 
 wearing the necklace which Topsy has just 'fessed that 
 she has stolen, may be used. Eva is showing her aunt 
 the necklace and Miss Ophelia is looking sternly at Topsy. 
 Eva is dressed in white; Miss Ophelia wears an old-fash- 
 ioned, full skirt and kerchief, and has her hair arranged 
 
PAGE FORTY-SIX 
 
 according to the fashion of that period. Topsy's dress 
 should be as grotesque as it can be made. 
 
 Another scene from Uncle Tom's Cabin that may be 
 given is that of George Shelby at the grave of Uncle Tom. 
 Pillows may be placed on the stage and covered with an 
 overcoat to represent the grave. George Shelby is kneel- 
 ing by the grave with his arm raised toward heaven. He 
 gives this vow: "Witness, Eternal God, Oh, witness that, 
 from this hour I will do what one man can to drive out 
 this curse of slavery from my land!" 
 
 THE MUSES 
 
 Anti-slavery poems and their influence are represented 
 by a presentation of Whittier's poem, entitled, "The Curse 
 of the Charterbreakers." The first three verses of the 
 
PAGE FORTY-SEVEN 
 
 poem are read by some one in Greek costume, represent- 
 ing Poetry; then the reader steps back, the curtain is 
 raised and shows a tableau representing a scene in West- 
 minster Abbey in the 13th century. 
 
 In the tableau in Westminster Abbey are nine bishops, 
 eight noblemen and five yeomen of the Middle Ages. One 
 of the bishops stands upon the platform in the centre; on 
 either side are grouped first the other bishops, then the 
 yeomen and noblemen; the bishop upon the platform gives 
 the curse against the charterbreakers, as in the poem, be- 
 ginning: "Right of voice in framing laws," and ending 
 "Make our word and witness sure, Let the curse we 
 speak endure!" 
 
 After the giving of the curse by the bishop, the others 
 taking part in the tableau say "Amen." 
 
 After this the curtain is lowered, the reader steps 
 forward and completes the poem. 
 
 The reader has the poem upon heavy brown paper, in 
 a form to represent a Greek parchment roll. 
 
 The bishops wear long black gowns and mitres of 
 black or silver paper; the principal bishop has a stole 
 and a mitre covered with gilt paper. The yeomen 
 are dressed in plain gray gowns; the noblemen 
 wear long decorated gowns of bright colors; the colors 
 were yellow, decorated with light purple, red decorated 
 with black, blue and green both decorated with silver 
 paper. The designs for decoration may be stenciled, or 
 cut out of paper and sewed or pasted upon the garments. 
 Any design used in the Middle Ages may be taken; for 
 some of the garments, lions cut from silver paper were 
 used. 
 
 Beside the platform or raised place in the centre 
 
 background of the stage, there should be high cabinets 
 
 with lighted candles upon them. The English coat-of-arms 
 
 may be placed on the wall back of the raised platform. 
 
 Music: Between the parts of the entertainment, an orchestra 
 
PAGE FORTY-EIGHT* 
 
 plays or some other music is provided. Beside this, other 
 patriotic or appropriate songs are given. 
 
 
 THE BISHOP AND NOBLEMEN 
 
 PART II 
 
 Attempts of American Statesmen and the Courts to 
 Settle the Slavery Question 
 
 Anti-slavery petitions in Congress; Passage of the 
 Resolution" by the House of Representatives. 
 
 "Gas 
 
 The scene presented here is a session of the United 
 States House of Representatives. A platform in the centre 
 of the stage; a chair and table upon the platform for the 
 Speaker of the House, and the Speaker's gavel must be 
 provided. The chairs for the members of the House are 
 
Page forty-nine 
 
 arranged in a semi-circle on both sides of the platform. 
 The members of the House are seated or standing around 
 in disorder when the curtain rises. The Speaker of the 
 House comes in, mounts the platform, and raps upon the 
 desk with his gavel. 
 
 Speaker: "The House will come to order." 
 
 John Quincy Adams: "Mr. Speaker." 
 
 Speaker: "Mr. Adams of Massachusetts." 
 
 Mr. Adams: "I have a petition against slavery. What 
 shall be done with it?" 
 
 Three members of the House (rising and shaking their 
 fists at Mr. Adams) cry, "Treason! Treason! Put him out! 
 Put him out!" 
 
 Speaker: "Order! Order! The House will come to 
 order!" (Raps with his gavel until the members take their 
 seats.) "The gentleman from Massachusetts is out of 
 order. The secretary will read the resolution that is 
 before the House." 
 
 Secretary: "Resolved, that no petition, memorial, reso- 
 lution, or other paper, praying the abolUion of slavery in 
 the District of Columbia, or in any State or Territory, or the 
 slave trade between the States or Territories of the 
 United States in which it now exists, shall be received by 
 this House, or entertained in any way whatever." 
 
 Speaker: "The question is: Shall the resolution pass?" 
 
 Some member: "On that motion I ask for the yeas 
 and nays." 
 
 Speaker: "The yeas and nays are ordered. The sec- 
 retary will call the roll." 
 
 Secretary calls the names of the members, who, each 
 in turn, rise and answer either yea or nay. (The yeas 
 must have a majority.) 
 
 Mr. Adams (when his name is called): "I hold the 
 resolution to be a direct violation of the Constitution of 
 the United States, the rules of this House, and the rights 
 of my constituents, and therefore I vote nay." 
 
PAGE FIFTY 
 
 Secretary (after reckoning up the votes): "Yeas:" 
 (Gives number according to number that take part.) 
 "Nays:" (gives number.) 
 
 Speaker: "The resolution has passed." 
 
 II. The Fugitive Slave Law of 1850 is a further illustration. 
 
 A brief explanation of the law should first be given, 
 showing the main features of the law and the reason why 
 the extreme South urged its passage. 
 
 Three points are taken for illustration: First, that it 
 was the bright slaves who planned to escape, and mostly 
 from the border states; second, the ready aid which they 
 received from the people in the North; third, the impos- 
 sibility of enforcing the law against the moral convictions 
 of the North. 
 
 For the first, take a scene from Mrs. Stovve's Dred or 
 Nina Gordon. Tom Gordon has a personal servant, a very 
 bright and witty negro. He has frequently been off into 
 the woods in the early evening to meet others of his race 
 who are planning an escape. His master becomes sus- 
 picious and forbids him to be away again. But Jim gets 
 his master in good humor and begs off for an hour to 
 attend a last meeting of the would-be fugitives. 
 
 A green hedge of laurel, or some evergreen trees or 
 other green may be placed around the edge or at the sides 
 of the stage to represent the woods. The hedge may easily 
 be made by fastening chicken wire to some support, and 
 sticking into it branches of laurel. 
 
 Tom Gordon enters from one side of the stage and 
 his slave Jim from the other; they cross the stage toward 
 each other. Suddenly Jim sees his master and starts 
 back, then decides to face it out. The conversation be- 
 tween Jim and his master, taken from Dred, begins with: 
 
 Tom Gordon: "Why, Jim, where have you been? I've 
 been looking for you." 
 
 Jim, with ready wit, declares that he has been to 
 
PAGE FIFTY-ONE 
 
 attend a religious meeting in the woods. Tom Gordon 
 answers that he does not believe a word of it; that the 
 negro has been up to some spree. The conversation ends: 
 Tom Gordon: "You don't remember a word the 
 preacher said, I'll bet. Where was the text?" 
 
 Jim: "Text? 'Twas in the twenty-fourth chapter of 
 Jerusalem, and the sixteenth verse." 
 
 Tom Gordon: "Well, what was it? I should like to 
 know." 
 
 Jim: "Laws, mas'r, I believe I can 'peat it. 'Twas 
 dis yer: Ye shall sarch fur me in de mornin' and ye 
 won't find me. Dat ar's a mighty solemn text, mas'r, and 
 ye ought to be 'Meeting on't." In the morning Jim is gone. 
 Jim is, of course, made up to represent a negro; ho 
 wears a long coat, torn and dirty (a grocer's gray or 
 white coat will do). Tom Gordon wears the typical 
 Southern dress. 
 
 The second point is finely illustrated by scenes from 
 Uncle Tom's Cabin. The first scene shows a cosy room in 
 a private house. A state senator has just returned from 
 Columbus, the capital of Ohio, where he has been aiding 
 in passing a law to help enforce the Fugitive Slave Law 
 of 1S50. His wife, who is weak on the legal side, but 
 with lively sympathy for all who suffer, takes him to task 
 and declares that she will never turn a fugitive slave from 
 her door. The senator says: "Of course it would be a 
 painful duty." Just as the woman is expressing her con- 
 tempt for the use of the word "duty" in any such con- 
 nection, the conversation is interrupted by the announce- 
 ment that the senator's wife is wanted in the kitchen. 
 The curtain falls. 
 
 When the curtain rises for the second scene, it shows 
 in tableau, Eliza, the fugitive slave, lying on the floor, 
 the senator's wife down on her knees beside her, holding 
 the slave's hand and looking pityingly at her; while the 
 senator himself stands near, also looking at the slave. 
 
PAGE FIFTY-TWO 
 
 In the final scene the senator and his wife are again 
 seated near each other, and the following conversation 
 takes place: 
 
 Senator: "I say, wife!" 
 
 Wife: "Well, dear?" 
 
 Senator: "She couldn't wear one of your gowns, could 
 she? She seems to be rather larger than you are." 
 
 Wife (smiling): "We'll see." 
 
 THE SENATOR'S WIFE 
 
 Senator: "I say, wife, she'll have to get away from 
 here this very night. It's an awkward, ugly business: but 
 it will have to be done, though. Cudjoe must put in the 
 horses about 12 o'clock, and I'll take her to a place back 
 in the woods where she'll be safe enough. Then Cudjoe 
 must carry me on to the next tavern, to take the stage for 
 
PAGE FIFTY-THREE 
 
 Columbus, that comes by about three or four, and so it will 
 look as if I had had the carriage only for that. I shall 
 get into business bright and early in the morning. But I'm 
 thinking I shall feel rather cheap there, after all that's 
 been said and done; but hang it, I can't help it!" 
 
 Wife (going up to the senator and putting her hand 
 on his shoulder): "Your heart is better than your head, 
 in this case, John." 
 
 The senator's wife is represented by a girl dressed 
 in a long, old-fashioned dress, with a kerchief about her 
 neck, and- her hair arranged low with a comb according 
 to the style about 1S50. Eliza is dressed to represent a 
 poor slave woman. 
 
 After this are two tableaux, illustrating the working 
 of the Fugitive Slave Law: "The. Capture of a Fugitive 
 Slave" and "The Rescue of the Slave." In the first tableau 
 the runaway slave is down on his knees, in the attitude 
 of try'ng to escape, and two slave hunters have hold of 
 him. One of the slave hunters has a whip and the other 
 a heavy chain. 
 
 In the second tableau the captors of the slave have 
 just been driven back by three rescuers. The slave is 
 crouched near his rescuers; one of the men has a hand on 
 the slave's shoulder, reassuring him, and the other two 
 have their arms raised, threatening and driving back the 
 pursuers. During the second tableau someone from the 
 wings gives the following quotation: 
 
 "The voice of Massachusetts! Of her free sons and daughters. 
 Deep calling unto deep aloud — the sound of many waters! 
 Against the burden of that voice what tyrant power shall 
 
 stand ? 
 No fetters in the Eay State! No slave upon her land!" 
 
 Music: Any patriotic or appropriate selection. 
 

PAGE FIFTY-FIVE 
 
 III. The Kansas-Nebraska Act. 
 
 This famous attempt to settle the slavery question by 
 leaving the whole matter to the people of the different 
 territories, proved to be one of the strongest influences in 
 bringing about its destruction. One of the first and the 
 most lasting results of this legislation was the organization 
 of a society to foster the emigration of free laborers from 
 the North and from Europe to Kansas, for permanent 
 settlement. This point is taken for illustration here, al- 
 though there are many other phases of the subject which 
 would readily lend themselves to such treatment. 
 
 Tableau: "The Kansas Emigrants." 
 
 Three boys, a young woman and a little girl, 
 are used to represent a company of these emigrants. 
 A prairie schooner must have a place on the stage. 
 A boy's wagon, covered with canvas, will serve, but 
 it would be better if it were larger. Two of the 
 boys, carrying guns, should stand by the schooner; 
 on the other side of the stage another boy is seen bringing 
 water. A fire must be shown on the stage : — a gas log is 
 the most convenient way of representing this — and the 
 woman and little girl should be standing near, arranging 
 for the evening meal. There are a variety of ways by 
 which a crane can be represented, with the proper cooking 
 utensils suspended over the fire. As this tableau is shown 
 on the stage, someone in the wings gives a quotation from 
 Whittier's poem, "The Kansas Emigrants," beginning with 
 
 "We cross the prairie, as of old 
 The Pilgrims crossed the sea." 
 
 Music. 
 IV. Dred Scott Decision. 
 
 This decision is the most important action of the 
 courts in regard to slavery before the Civil War. 
 
PAGE FIFTY-SIX 
 
 For this scene a red curtain is drawn across the back 
 of the stage, and high upon this curtain is placed a large 
 eagle cut out of gilt paper and pasted upon a background 
 of white cloth; across the front of the stage is drawn a 
 black curtain which comes to about the height of an or- 
 dinary chair. Between these curtains are arranged nine 
 chairs in a semi-circle. At the beginning of this scene 
 only the court crier is upon the stage; he stands at one 
 side of the chairs, and says: 
 
 "The Honorable, the Chief Justice and the Associate 
 Justices of the Supreme Court of the United States." 
 
 The chief justice, followed by the eight associate jus- 
 tices, now enter and take their seats, the chief justice in 
 the center. 
 
 The crier then says: 
 
 "Oyez, Oyez, Oyez! All persons having bus ; ness before 
 the Honorable Supreme Court are admonished to draw 
 near and give their attention, for the Court is now sitting. 
 God save the United States and this Honorable Court!" 
 
 The decision of the Supreme Court in the Dred Scott 
 case is then read by the party representing Chief Justice 
 Taney. The following condensed form may be used: 
 
 Decision in the Dred Scott Case — Majority opinion. 
 Decision rendered by me. Chief Justice Taney, March, 1857. 
 
 No negro, whether free or slave, is a citizen of the 
 United States, and there is no constitutional process by 
 which he can become so. 
 
 Therefore, under the laws of the United States, a 
 negro can neither sue nor be sued, and, as a consequence, 
 the court has no jurisdiction in the Dred Scott case. 
 
 A slave is simply a piece of property or personal chat- 
 tel, to be taken from state to state like a horse or cow, 
 without the rights of the owner being affected. The Mis- 
 souri Compromise and the Compromise of 1850 are there- 
 fore unconstitutional, and null and void. 
 
 
PAGE FIFTY-SEVEN 
 
 Associate Justices Wayne, Nelson, Grier, Daniel, Camp- 
 bell and Catron concur in this decision. 
 
 Judges McLean and Curtis dissent. 
 
 The judges wear long, black robes, and have their hair 
 powdered. 
 
 PART II 
 
 Final Settlement of the Slavery Conflict 
 
 I. Election of Lincoln as President of the United States. 
 
 A brief description of Lincoln's election and inaugura- 
 tion (adapted from various sources) is given first. See 
 Youth's Companion, Feb. 16, 1911. 
 
 Next the inaugural scene, with a quotation from Lin- 
 coln's first inauguration address, may be given. 
 
 Upon the platform is placed a small table; behind the 
 table stand some of the judges of the Supreme Court, and 
 Lincoln comes upon the stage and gives a selection from 
 the inaugural address. Lincoln should be dressed in an 
 old-fashioned coat, and wear an old-fashioned black hat, 
 which Senator Douglas holds during the exercises. 
 
 II. Poem: "Astraea at the Capitol," by Whittier. 
 
 Selections from this poem are read. It was written 
 concerning the abolition of slavery in the District of Co- 
 lumbia in 1862. 
 
 III. Emancipation. 
 
 This is shown by a tableau in which the Goddess of 
 Liberty is freeing a slave. The slave woman is kneeling 
 in front of the goddess and a heavy iron chain, signifying 
 slavery, is just falling from her wrists. 
 
 Music: Kipling's Recessional. 
 
 IV. Union: Angel of Peace. 
 
 The VI, VII and VIII (last three) stanzas of a poem 
 entitled "Peace," by Edward Peple, are read. This part 
 
PAGE FIFTY-EIGHT 
 
 of the poem commences: "Oh, slumbering heroes, cease 
 to dream of war!" 
 
 The last tableau represents the Angel of Peace crown- 
 ing the North and the South. The North and the South 
 are represented by two soldier boys, one dressed in army 
 
 EMANCIPATION 
 
 blue and the other in gray. The boys are kneeling in 
 the foreground, the boy in gray has his hand on the 
 other's shoulder, and their attitude is one of repose. Above 
 and back of the boys is the Angel of Peace, holding above 
 their heads a green wreath, 
 
PEACE PAGEANT 
 
 Showing the World's Progress Toward Universal Peace 
 
 This entertainment was prepared to illustrate the progress 
 which the world is making toward international peace. It 
 uses as a back ground a suggestion of the nature of war; then 
 commencing with the time of the Hebrew Prophets, whose 
 visions included a coming age of "universal peace," it attempts 
 to trace the development of this idea through the centuries to 
 the present time. Finally the twentieth century is chosen as 
 the time for the fulfilment of this "glorious prophecy of old." 
 
 CHARACTERS 
 
 Boys, representing war. 
 
 Three Hebrew prophets. 
 
 Child, representing the Birth of Christ. 
 
 A Christian missionary. 
 
 Savages. 
 
 St. Elizabeth of Hungary. 
 
 Several monks. 
 
 Churchman of the Middle Ages. 
 
 Knight of the Middle Ages. 
 
 Boys, representing the period of the Renaissance and 
 Reformation. 
 
 William Penn; other Quakers and Indians. 
 
 Children, representing Chile and the Argentine Re- 
 public. 
 
 Laborers. 
 
 Children, representing Peace Heroes. 
 
 Girls, representing women favoring peace. 
 
 Red Cross nurses. 
 
 Russian officer. 
 
PAGE SIXTY 
 
 Girl, representing the United States. 
 
 Dutch girls. 
 
 Representatives from different countries at the Hague. 
 
 Girls representing the triumph of peace. 
 
 Readers and story tellers. 
 
 COSTUMES 
 
 The child, representing Christ, may be appropriately 
 dressed in white with a green wreath on her head. 
 
 The missionary should have a costume like those 
 shown in pictures of the early missionaries. Wrap the 
 savages in fur or very coarse garments. 
 
 St. Elizabeth should have a white robe, arranged in 
 the style of the early centuries. 
 
 There are many pictures of the long black robes of 
 the early monks. The same is true of the dress appro- 
 priate for the churchman, knight, Quakers, Indians, labor- 
 ers, Red Cross nurses, Russian officer and Dutch girls. 
 Of course the Stars and Stripes should be draped about 
 the girl who represents the United States. White blouses 
 are appropriate for the Peace Heroes, and white dresses 
 for the girls who appear in the processions. 
 
 I. The dark side of war. 
 
 This is pictured or suggested by a procession of boys, 
 dressed in dark suits, wearing black bands across their 
 shoulders upon which the word war appears in red. One 
 of the boys carries a black banner, inscribed in the same 
 manner. The procession moves to slow music. When 
 the procession stops for a moment on the stage the follow- 
 ing quotation is given: 
 
PAGE SIXTY-ONE 
 
 "Hark! the cry of Death is ringing 
 
 Wildly from the reeking plain; 
 Guilty glory, too, is flinging 
 
 Proudly forth her vaunting strain; 
 Thousands on the field are lying, 
 
 Slaughtered in the ruthless strife; 
 Wildly mingled, dead and dying 
 
 Show the waste of human life." 
 
 Music: "How Beautiful upon the Mountains," etc. 
 
 «8 
 
 ? t mm 
 
 i* f \ WA*k I # \ /l 
 
 
 WAR PROCESSION 
 
 IT. Prophecy of Peace. 
 
 Reading of Isaiah's Prophecy of Peace: 
 "The people that walked in darkness 
 Have seen a great light; 
 
 They that dwelt in the land of the shadow of death, 
 Upon them hath the light shined. 
 
PAGE SIXTY-TWO 
 
 "For all the armour of the armed man in the tumult, 
 And the garments rolled in blood, 
 Shall even be for burning, 
 For fuel of fire. 
 
 "For unto us a child is born, 
 Unto us a son is given; 
 
 And the government shall be upon his shoulder; 
 And his name shall be called 
 
 Prince of Peace. 
 
 CHILD WITH CROSS 
 
 "Of the increase of his government, 
 And of peace there shall be no end. 
 
 "And they shall beat their swords into plowshares, and 
 their spears into pruninghooks; nation shall not lift up sword 
 against nation; neither shall they learn war any more." 
 
PAGE SIXTY -THREE 
 
 Just before this last quotation is given, the curtain 
 rises for the tableau of the Prophets— Zechariah, Haggai 
 and Malachi. These three prophets are draped and posed 
 according to the idea in Sargent's "Prophets," so as to 
 indicate as plainly as possible that they are looking and 
 hoping for some beautiful and wonderful event in the 
 future. 
 
 Music, "It Came Upon the Midnight, Clear." 
 
 III. Message of Universal Peace. 
 
 This is represented by a tableau: The Birth of Christ. 
 A little child, dressed in white, holds a large cross. The 
 cross is covered with green foliage. 
 
 During this tableau the following quotation from Mil- 
 ton is given: 
 
 "No war or battle's sound 
 Was heard the world around. 
 
 But peaceful was the night, 
 Wherein the Prince of Light 
 
 His reign of peace upon the earth began." 
 
 IV. Progress of peace in the centuries since the Birth of Christ. 
 1. The early centuries after Christ. 
 
 From the early centuries after the birth of Christ 
 three subjects for illustration were chosen. First the 
 preaching of the Christian missionaries; second, the char- 
 ity and good works of the early Christians; third, the in- 
 fluence of the monasteries. 
 
 The preaching of Christian missionaries is represented 
 hy a tableau, in which a boy holding a tall cross is 
 preaching to a group of savages. While this tableau is 
 shown upon the stage some one from the wings says: 
 
 "The Fatherhood of God; the Brotherhood of Man," 
 thus indicating the chief doctrines which tne missionary 
 is supposed to be preaching. These are the doctrines, 
 
PAGE SIXTY-FOUR 
 
 also, which tend most directly toward universal peace. 
 The beautiful legend told of St. Elizabeth of Hungary is 
 typical of the charity of the early Christians. St. Eliza- 
 beth was one day going to relieve the poor, when she 
 suddenly saw the folds of her cloak covered with roses 
 in full bloom. The charity of the early Christians and 
 
 A COMPANY OF MONKS IN COSTUME 
 
 the legend of St. Elizabeth are described briefly and then 
 the tableau of St. Elizabeth, holding in the folds of her 
 dress beautiful roses, is shown. (See picture in Military 
 and Religious Life in the Middle Ages, by Paul Lacroix.) 
 A brief reading is given to show the value and in- 
 fluence in favor of peace of the monasteries (adapted 
 from Kingsley's The Roman and the Teuton.) This part 
 
PAGE SIXTY-FIVE 
 
 ends with a tableau showing a company of monks in 
 costume. 
 
 2. The Middle Ages. 
 
 For illustration take the two most important, refining 
 and civilizing agencies of this period, the church and 
 chivalry. The influence of the church in favor of peace 
 is illustrated by the "Truce of God." This was proclaimed 
 by the church and forbade any fighting upon certain 
 specified days. 
 
 The following condensed form of this truce is supposed 
 to be given by a churchman of the Middle Ages: 
 
 "Proclamation of the 'Truce of God!' 
 "All fighting is forbidden from Thursday evening tn 
 
 Monday morning in every week; on all feast days; in 
 
 Advent, and in Lent. 
 
 "By Authority of the Holy Roman Catholic Church, 
 
 A. D. 1041." 
 
 The second point is illustrated by the vow of the 
 knight. A knight comes upon the stage and takes the 
 oath or vow of knighthood. The following form may be 
 used : 
 
 "I promise to fear, revere, and serve God religiously; 
 to die a thousand deaths rather than renounce Christian- 
 ity; to serve my sovereign prince faithfully; to maintain 
 the just right of the weak, such as of widows, orphans 
 and maidens. I swear that avarice, gain, or profit shall 
 never oblige me to do any action, but only glory and 
 virtue; I will hold myself bound to conduct a lady or 
 maiden; I will serve her, protect her, and save her from 
 all danger, or die in the attempt. I will faithfully observe 
 my word and pledged faith." 
 
 (Adapted from the Oath of a Knight in Sheldon's 
 General History.) 
 
PAGE SIXTY-SIX 
 
 3. Period of the Renaissance and the Reformation. 
 
 A brief explanation of the period is first given. This 
 explanation commences with the following quotation: 
 
 "Thundering and bursting, in torrents, in waves; 
 
 Carolling and shouting o'er tombs, amid graves; 
 
 See on the cumbered plain, clearing a stage, 
 
 Scattering the past about, comes a new age! 
 
 "All things begin again; life is their prize; 
 
 Earth with their deeds they fill, fill with their cries." 
 
 Among the points mentioned as proving the coming of 
 this new age are these: The increase in wealth and power 
 of the merchant class, and their desire for peace; the in- 
 ventions of this period, especially those of gunpowder, 
 which made war less brutalizing; of printing, which opened 
 learning to the lower classes; the Reformation, which 
 opened again to the people the Bible with its teaching of 
 peace and universal brotherhood. 
 
 After the explanation a tableau is given, showing: 
 
 Increase of commerce. (A boy with a ship, made to 
 represent those of this period.) 
 
 Use of gunpowder — Boy with an old powder horn. 
 
 Interest in learning. (Greek and Latin manuscripts.) 
 Boy with rolls of parchment. 
 
 Invention of printing — Boy with a case of type. 
 
 Effect of Reformation — Boy with an open Bible. 
 
 4. Modern Period. 
 
 As an introduction to the period, use a part of Ten- 
 nyson's poem, "Ring out the old, ring in the new." 
 
 Three illustrations for the modern period were given. 
 Others might be chosen. The first was the influence of 
 the Quakers; the second the treaty between Chile and the 
 Argentine Republic; the third the influence of modern 
 means of communication in promoting peace. 
 
PAGE SIXTY-SEVEN 
 
 Reading — "The Quaker Movement in America" (con- 
 densed from Stepping Stones of American History.) 
 
 After the reading a tableau is shown: Penn's treaty 
 with the Indians. William Penn and the Indian chief 
 stand in the center; other Indians and Quakers are group- 
 ed about the stage; the Indian chief holds out a wampum 
 belt to William Penn, and says: "We will live in love with 
 William Penn and his children as long as the sun and 
 moon shall endure." 
 
 Chile and the Argentine Republic settled a dispute 
 over their boundary by treaty rather than by war; and in 
 commemoration of this they placed, on the summit Of the 
 Andes, a colossal statue of Christ. To represent this an 
 explanation and tableau are given. In the tableau are two 
 children bearing the flags of the two countries, and be- 
 tween these a large cross. 
 
 The influence of modern means of communication in 
 promoting peace between nations is briefly explained. Then 
 the modern means of communication are illustrated by 
 posters. These posters showed steam and electric cars, 
 steamboats, the postal system, automobiles, etc. Some of 
 the posters were 'made by pupils in the Normal School. 
 
 V. Heroes of Peace. 
 
 A few stories of heroic deeds in times of peace are 
 told. After this there is a tableau in which a boy carries 
 a motto, illustrating this point, and other boys grouped on 
 either side carry shields with the names of heroes of peace 
 upon them. These shields were made by pupils in the 
 Normal School under the supervision of the drawing de- 
 partment. 
 
 The heroic deeds selected for description were those 
 of Dr. Lagear, who gave his life to prove that the mos- 
 quito transmits the yellow fever germ, of Rufus Combs, 
 who saved the life of his bitter enemy, and of Richard 
 Hughes, who, at the risk of his own life, saved the life 
 
PAGE SIXTY-EIGHT* 
 
 of a fellow workman, injured by an explosion of dynamite, 
 and exposed to the risk of a second explosion. 
 
 VI. Classes which should especially favor peace. 
 
 Men who labor with their hands for a living, men in 
 business, and women were selected as representing these 
 classes, following a suggestion of Justice Brewer in his 
 
 PEACE HEROES 
 
 address on peace. Three pupils from the eighth grade of 
 the Practice School wrote and read brief papers showing 
 why these classes are especially interested in the estab- 
 lishment of universal peace. This point was illustrated by 
 a procession of laborers, by large posters showing some of 
 the business sections of the city of Fitchburg, and by a 
 
PAGE SIXTY -NINE 
 
 company of girls carrying a banner inscribed with the 
 words "Women favor peace." 
 
 Music: "Hymn of Peace." 
 
 VII. Work of the Red Cross Society. 
 
 The story of the life of Clara Barton is briefly told. 
 This story may be found in "An American Book of Golden 
 Deeds," by James Baldwin. A large number of girls from 
 the eighth grade of the Practice School, in the costume of 
 Red Cross nurses, are upon the stage while this story is 
 being told. These girls made their own Red Cross badges. 
 
 VIII. Proposal for the First Meeting of the Peace Conference 
 at The Hague. 
 
 A condensation of this proposal is read by a boy in 
 the costume of a Russian officer. 
 
 IX. Proposal for the Second Meeting of the Peace Conference 
 at The Hague. 
 
 This is given in a condensed form by a young lady 
 representing the United States. 
 
 Music: "To Thee, O Country." 
 
 X. Meeting of the Second Peace Conference at The Hague. 
 
 Girls in Dutch costume in the background of the scene 
 suggest that we are in Holland. Boys are seated in a 
 semi-circle upon the stage. They are representatives from 
 the most important countries in the world. 
 
 Bands across their shoulders give the names of these 
 countries. 
 
 A brief summary of the final results of the Peace 
 Conference is read by one of the boys. 
 
 The material for these proposals for the conferences 
 and for this summary may be found in "Texts of the Peace 
 
page seventy 
 
 Conferences at The Hague, 1899 and 1907," edited by- 
 James Brown Scott. 
 
 XI. Triumph of Peace between the Nations of the World — 
 20th century. 
 
 A quotation from Tennyson is first given: 
 
 PEACE PROCESSION 
 
 "For I dipped into the future, far as human eye could see, 
 Saw the vision of the world, and all the wonder that would 
 be," etc. 
 
 A procession of girls representing International Peace 
 in the 20th century then marches upon the stage, bearing 
 a Peace Banner. The banner is white with a gray dove 
 
PAGE SEVENTY-ONE 
 
 and the words "Peace, 20th Century" upon it. The ban- 
 ner bearer steps forward and gives the following quotation: 
 
 "God shall spread abroad His banner, 
 Sign of universal peace; 
 And the earth shall shout Hosanna, 
 And the reign of blood shall cease." 
 
 Music: Kipling's "Recessional." 
 
MAY 5 |9Jf 
 
 
One copy del. to Cat. Div. 
 MAY 5 1grr 
 
19 894 
 

 
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