PS 3521 Successful Rural Plays A Strong List From Which to Select Your Next Play TARM FOLKS. A Rural Play in Four Acts, by Arthur LEWIS TuBBS. For five male and six female characters. Time of playing, two hours and a half. One simple exterior, two easy interior scenes. Costumes, modern. Flora Goodwin, a farmer's daughter, is engaged to Philip Burleigh, a young New Yorker. Philip's mother wants him to marry a society woman, and by falsehoods makes Flora believe Philip does not love her. Dave Weston, who wants Flora himself, helps the deception by intercepting a letter from Philip to Flora. SKe agrees to marry Dave, but on the eve of their marriage Dave confesses, Philip learns the truth, and he and Flora are reunited. It is a simple plot, but full of speeches and situations that sway an audience alternately to tears and to laughter. Price, 25 cents. HOME TIES. A Rural Play in Four Acts, by Arthur Lewis Tubbs. Characters, four male, five female. Plays two hours and a half. Scene, a simple interior — same for all four acts. Costumes, modern. One of the strongest plays Mr. Tubbs has written. Martin Winn's wife left him when his daughter Ruth was a baby. Harold Vincent, the nephew and adopted son of the man who has wronged Martin, makes love to Ruth Winn. She is also loved by Len Everett, a prosperous young farmer. When Martin discovers who Harold is, he orders him to leave Ruth. Harold, who does not love sincerely, yields. Ruth dis- covers she loves Len, but thinks she has lost him also. Then he comes back, and Ruth finds her happiness. Price 25 cents. THE OLD NEV7 HAMPSHIRE HOME. A New England Drama in Three Acts, by Frank Dumont. For seven males and four females. Time, two hours and a half. Costumes, modern. A play with a strong heart interest and pathos, yet rich in humor. Easy to act and very effective. A rural drama of the_ "Old Homstead" and "Way Down East" type. Two ex- terior scenes, one interior, all easy to set. Full of strong sit- uations and delightfully humorous passages. The kind of a play everybody understands and likes. Price, 25 cents. THE OLD DAIRY HOMESTEAD. A Rural Comedy in Three Acts, by Frank Dumont. For five males and four fernales. Time, two hours. Rural costumes. Scenes rural ex- terior and interior. An ^dv^nturer obtains a large sum of money from a farm house tRraugh the intimidation of the farmer's niece, whose husband Ji^'V^aims to be. Her escapes from the wiles of the villain and'his female accomplice are both starting and novel. Price, 15 cents. A WHITE MOUNTAIN BOY. A Strong Melodrama in Five Acts, by Charles Townsend. For seven males and four females, and three supers. Time, two hours and twenty minutes. One exterior, three interiors. Costumes easy. The hero, a country lad, twice saves the life of a banker's daughter, which results in their betrothal. A scoundrelly clerk has the banker in his power, but the White Mountain boy finds a way to check- mate his schemes, saves the banker, and wins the girl. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA The Fairies' Child By GERTRUDE KNEVELS PHILADELPHIA THE PENN PUBLISHING COMPANY f 5 35^1 1^ |5 Copyright 191 5 by The Penn Publishing Company ™ ^.. ,„.,. APR 10!9J5 The Fairies' Child ©CLD 40323 The Fairies' Child CAST OF CHARACTERS The Fairy Queen. HoNEYDEW, the Fairy Princess. MossKiN, the Queen's Page. Ferncap SiLVERLEAF LiLYBELL Buttercup roseberry Moonshine ^ TruDie, the woodcutter^ s daui^hter. Thistlekin, the fairies' child. Slump, a caterpillar. Fairies. STORY OF THE PLAY Little Trudie, the Woodcutter's child, has strayed into the forest on the magic night when the Queen of the Fairies must grant whatever request a mortal asks of her. Hiding behind the bushes, she hears the Fairy Princess tell Thistle- kin he was a mortal baby, stolen from the Woodcutter, and recognizes her long lost brother. She begs for his release and the Queen must consent to let him go, with a farewell dance and song. COSTUMES Fairy Queen. White gauzy dress, long train from shoulders of pale blue, ornamented with gilt tinsel. Gilt crown and sceptre. Wings of white tarlatan spangled with gold. HoNEYDEW. Dress much like Queen's without train and ornamented with silver. Smaller wings. Silver circlet in hair and small sceptre. MossKiN. Page's suit of bright blue with tinsel orna- ments. Wings. Blue stockings and shoes with pointed toes. The Fairies. Dresses much like those of fairy princess but less ornamented, of tarlatan or any other gauzy material. Hair worn floating with silver circlets. Wings ornamented with silver. Trudie. Child's peasant costume, red skirt, white blouse, white winged cap, black velvet bodice, apron. Thistlekin. Tight fitting suit of green. Green pointed cap. Green and gold wings of a distinctly different fashion from those of other fairies. Slump. The child who takes this part should wear a long sleeveless garment of green shiny cambric, gathered at the neck and as closely about the ankles as possible. Large black spots should be sewn in two rows up and down back. The head should be completely covered with a green hood made like a bag, the corners twisted and wired to resemble horns. Holes may be cut for the eyes and mouth. Green stockings complete this costume. MUSIC AND DANCES FOR THE PLAY The music of a talking machine hidden behind a screen at one side of the stage will be found sufficient for the play, in case a regular orchestra is not provided. The Fairies' Song may be sung to the music of *' The Danish Dance of Greeting," a record easily obtainable. Suitable folk dances and music will be found in '' Folk Dances and Singing Games," by E. Burchenal, price ^1.50, which may be ob- tained from the publishers of this play. 4 SCENE PLOT 5 Almost any simple folk dance is suitable for the first dance of the fairies. The second dance should be danced in circle formation. Fairies should circle to the left during eight counts, then eight counts to the right, then forward to center eight counts, back the same. The first verse of song should then be sung standing still. Repeat dance and then sing second verse. Dance in circle once more, bow to Queen, and return to places. SCENE PLOT SXTEIKIOK 3ACI( DRor o,. y-OOD TfiJfOAtC For Outdoor Production. Any meadow or grove of trees is a suitable site for the play ; preferably an open space with a small wooded slope behind. Otherwise, a background may be made from a fence or a wire screen in- terlaced with branches. No other scenery is required except a log up R. for the Queen's throne, and a bush down l. for i'rudie's hiding-place. For Indoor Production. The above cut shows stage setting if given indoors. It may, however, be much simpler, and the play can be given on any platform or stage without scenery. h\ this case the floor should be covered with green cloth and large plants placed about at intervals to suggest a forest. An exterior drop for the rear is best, although a plain green curtain will suffice. The Fairies' Child SCENE. — A glade in the fairies^ forest. Time, late after- 7ioon. (^E liter Trudie, r., walking slowly, and looking from side to side as if searching for something. She seems lialf delighted, half afraid.') Trudie. Here I am at last all alone in the Fairies* Wood ! How often I've wanted to come, but Mother never would let me. She was afraid the fairies might steal me as they stole my baby brother so long ago ! The Queen her- self came for him on Midsummer's Eve, and now every year on that day my mother sits and cries. To-day I couldn't bear to see her, so I ran away. Oh, if I could only find the spot where the fairies dance ! I'm tired already, but I won't give up till I find a fairy, not if I have to search under every bush and every leaf in the forest. {As she talks she crosses stage and goes out L.) (^Enter, r., six fairies, Ferncap, Silverleaf, etc. They dance. For this dance see descriptioti of dances. Prin- cess HoNEYDEW enters, r., and stafids a moment up c.) Princess {raising wand). Stop ! (Fairies o?t hearing her voice turn toward her, separating into two groups. She steps down c.) Silverleaf. Oh, here's Princess Honeydew ! Fairies. Welcome, Princess, come and dance with us ! Princess. Dear fairies, have you forgotten the latest rule? No dancing except by moonlight ! Ferncap. Oh, dear, there are so many rules ! Pkincess. Be careful ! Her Majesty is coming this way, and she's in the most dreadful temper 1 8 THE fairies' child Ferncap. What's the matter now ? SiLVEKLEAF. Has 'I'histlekiii been naughty again ? Princess. Yes, dreadtuUy naughty, but the real trouble is that to-nrght is Midsumuier's Eve, when her Majesty's nerves are always in a flutter for fear she will meet a Mortal. Buttercup. Well, what if she does? Mortals can't see fairies. Princess. Buttercup, I'm ashamed of you ! Even if you are only five hundred years old and a mere baby, you ought to know better than that. On Midsummer's Eve all Mortals can see fairies. That's why we were ordered to hide in the forest to-day. Shall I tell you a secret? {Fairies gather more closely about her?) If a Mortal is lucky enough to meet the Fairy Queen to-night, he may ask any one wish he pleases of her and the Queen cannot refuse ! Buttercup. Oh-ho, so that's why the Queen is so anx- ious ! She can't bear giving anything away-— least of all wishes ! Princess. Hush, here she comes \ {Music. As Fairy Queen enter s^ l., with very slow^ majestic step, her train held by MossKiN, all tlie fairies bow low before her.') Fairies. Hail to your Majesty ! Hail to the glorious Queen of Fairyland ! Queen {standing down c, Mosskin behiiid her, Prin- cess, L.). Fairies, you were dancing just now. Don't at- tempt to deny it ! Dancing — and by the light of day. Pve a good mind to give one twirl of my magic wand and turn you ail into field-mice ! Are my commands never to be respected ? Haven't 1 told you again and again that no self-respecting fairy dances except by moonlight? Princess. Certainly, your Majesty, but — dear me — fairies v/ill be fairies I {To others.) Come, let us show her Majesty that we knov^ liovv fairies oughl to behave. {Music. Fairies dance and sing.) When the Moon comes, sl.ining brightly, Little fairies dance and sing, Stepping softly, treading lightly, Round and round the Fairy Ring. THE FAIRIES CHILD 9 When the Sun comes, then it's daytime, Little fairies hide away, For the dark night is their playtime, Fairies' bedtnne is the day ! (Af end of dance all bow and return to places.') Queen. Very good, see that you don't forget again. And now, where is Thistlekin? Bring hnn before me. MossKiN {bowing). Please, your Majesty, I've already sent for Thistlekin, but he refuses to come. Queen. Refuses to come ? MossKiN. Yes, your Majesty, he says he's just finishing off a very difficult piece of mending and cannot be disturbed. Queen, What is he mending ? MossKiN. Slump, the Caterpillar, please your Majesty. Queen. Slump, the Caterpillar! Why, only yesterday I ordered that disobedient creature to be cut into seven slices for refusing to draw my royal oak-leaf chariot ! MossKiN. It was done, your Majesty. 1 attended to the execution myself, but you know what a strange fellow Thistlekin is — always thinkmg he must be doing a kindness to somebody ! No sooner had he heard that Slump was in trouble than he flew to the wretched caterpillar's aid, and now Slump is neatly mended and as good — or as bad — as ever again. Queen. Bring them both before me. {Enter, l., This- tlekin, Slump crawling behind him.) Thistlekin, come hither ! (Thistlekin kneels before iier.) Slump, you diso- bedient Caterpillar, crawl to my feet ! (Slump turns back deliberately on Queen and begins to eat leaves.) 1 will be obeyed! {Stamps foot.) Slump, continue to eat leaves! {Turns to Princess.) You see, my dear, a little firnmess is all that is necessary to manage him I {To Thistlekin.) And now, my naughty Thistlekin, what is this 1 hear of you? In spite of my express commands that you should never approach the home of any living Mortal, last night you were seen on the edge of the fairy forest, lurking about the Woodcutter's door ! Thistlekin. It is true, your Majesty; nor is it the first time I've visited the Woodcutter's cottage. Many and many a night I've left the rest here dancing in the fairy ring, and slipped away through the woods to i)eer in at his window ! 10 THE FAIRIES* CHILD Queen. What did you see ? Thistlekin {dreaviily). I saw red fire glowing on a hearth, and when I saw it I knew that I was cold. 1 saw mortal food spread out on a white cloth, and when I saw it 1 knew that 1 was hungry. 1 saw a httle mortal child, the Woodcutter's daughter, climb into her mother's lap. . . . Then for the first time in all my life 1 knew that I was lonely and sad ! Queen. You lonely, Thistlekin — you who can dance all night long with the gayest elves and fairies of the wood ! You cold — when you can sleep all day in the sun, wrapped up in a mullein leaf blanket! You hungry? Why, you can feast whenever you please on fairy fruit and wine at my royal table Thistlekin. Yes, hungry and cold and lonely, in spite of all those things. While I was looking in at the Wood- cutter's window, I wished Queen {anxiously^. What did you wish ? Thistlekin. That I had never been born a fairy, but just a mortal boy ! Fairies {showing surprise). Oh, oh, how naughty ! How shocking ! Queen. Thistlekin, I will listen to you no longer. My royal patience is exhausted. Remember, you are a prisoner in this spot until to-morrow dawns, and if ever again you stray beyond the borders of the fairy wood, you shall be shut up in the hollow oak tree for one hundred years ! i^To fairies.') Come, fairies, let us go. {Music. Queen walks slotvly out, i.., followed by Mos^s- kin a?id fairies. Thistlekin throws himself on ground down c, and begi?is to cry. Slump crawls to him and rubs head against him.) Thistlekin. Go away, Slumpy, go away, I'm too mis- erable ! (^Exit Slump, i-) ( Enter Trudie, r. She starts back at sight of Thistlekin . ) Trudie (speaking very softly). A fairy — oh, a fairy at last ! I ought to speak to him but I — oh, I'm afraid ! Here comes another ! {Enter Princess.) I'll hide behind this bush. (Hides.) THE FAIRIES CHILD II Princess. Thistlekiii ! (^She kneels down and puts arm about him.) Why, water is coming out of his eyes ! 1 sup- pose that's what mortals call crying. Thistlekui, dearThis- tlekin, I can't bear to see you so miserable. 1 don't care what the Queen does to me, I'm going to tell you 1 HiSTLEKiN. Tell me what ? Princess. The truth. Thistlekin, you are not really a fairy at all ! You were born a mortal baby and the Wood- cutter's son, but you were so beautiful that the Fairy Queen was jealous of your mother and stole you away. Since then you have been called the fairies' child. Have you never wondered why your wings were so unlike ours? The Queen made a little magic pair for you, and all your fairy powers are contained in them. If you could get rid of your wings Thistlekin (jumping up and shaking himself excitedly). Jf 1 could only get rid of my wings I would be a mortal buy again ! Trudie (coming out from behind bush). Yes, and my brother ! Thistlekin. The Woodcutter's daughter ! My little sister 1 (They hug each other.) Princess. It's no use. Only the Queen can free you from your wings, and she would never do it ! Trudie. I'll ask her; I'm not afraid ! Thistlekin. She's coming now ! (/Music.) (Enter Queen, Mosskin and fairies, l. Fairies stand back bowing in semicircle. Queen walks front.) Faifues (pointing at Trudie). A Mortal, oh, oh, a Mortal in the Fairies' Forest ! Queen (sternly). Child, how did you come here? Trudie {kneeling and stretching out arms). 1 want my brother ! Please give me back my brother, dear kind Fairy Queen ! Queen (angrily). Wretched child, I suppose I must grant your wish if'you persist in it, but this 1 promise you. If I let Thistlekin go, I will keep you here in his place, not as the fairies' child, but as their prisoner. Trudie. I will stay. 12 THE fairies' CHILD Queen. Fairies, what pretty things shall we do to her ? MossKiN. Prick her with our sharpest thorns ! Ferncap. Loose the bees on her ! Buttercup. Change her into a toad or a slimy snake ! SiLVERLEAF. Tum her loose in the forest to be eaten by the bears ! {^Fairies crowd round Trudie as if to lead her away. '1'histlekin pushes them aside and puts his arm around her.^ Thistlekin. You shall not touch her ! You shan't hurt my litde sister! (To Trudie.) No, Trudie, keep your wish for yourself and you'll soon be safe at home. Trudie. I can't bear to leave you. Thistlekin. But you must — else what would Mother say ? She could not do without you. Trudie. But she wants you, too ! She cries for you. Thistlekin. Tell her I'll come to her. Tell her I'll be near her, even if she can never see me. Tell her to watch for me by night in the moonlight and in the wind, and by day in the little sunbeams that dance about the cottage door ! Queen (^^r^r^-'/V/o- Thistlekin (^ze'(^^/r^w Trudie). Stay with me, little Thistlekin, stay with me and be happy ! You shall have a silken suit all made of rose leaves, sewn with a spider's shining thread. You shall have a little silver trumpet and a pot of fairy gold Thistlekin. 1 only want my mother Queen. Foolish child, 1 am your mother ! I will dance all night with you on the dewy grass, 1 will fly with you in the moon's path higher than the tallest trees, 1 will feast with you on honey and on fairy bread Thistlekin. My mother would love me. Queen. I love you ! Thistlekin. Not enough. Not enough to let me go. Queen. I love you, little 1'histlekin, I love you — yes — even enough for that ! {She pushes liimfrom her.') Trudie. You'll let him come v/ith me? Thistlekin. Does your Majesty really mean Queen. Yes. See, I will take off his magic wings ! THE FAIRIES CHILD I3 {Removes wings.) Thistlekin {ciaticing for joy). And now I am a boy ! Ho, ho, a boy at last ! Come, little Sister, let's go home. Queen. Fairies, wish them luck before they go ! Fairies {all taking hatuls and daiicing joimd children). Good luck, good luck to Thistlekin and Trudie. Good luck to Thistlekin, the Fairies' Child ! CURTAIN Unusually Good Entertainmeots Read One or More of These Before Deciding on Your Next Program GRADUATION DAY AT WOOD HILIi SCHOOL. An Entertainment in Two Acts, by Ward Macauley. For six males and four females, with several minor parts. Time of playing, two hours. Modern costumes. Simple interior scenes; may be presented in a had without scenery. The unusual com- bination of a real "entertainment," including music, recitations, etc., with an interesting love story. The graduation exercises include short speeches, recitations, songs, funny interruptions, and a comical speech by a country school trustee. Price, 15 cents. EXAMINATION DAY AT WOOD HILL SCHOOL. An Entertainment in One Act, by Ward Macauley. Eight male and six female characters, with minor parts. Plays one hour. Scene, an easy interior, or may be given without scenery. Cos- tumes, modern. Miss Marks, the teacher, refuses to marry a trustee, who threatens to discharge her. The examination in- cludes recitations and songs, and brings out many funny answers to questions. At the close Robert Coleman, an old lover, claims the teacher. Very easy and very effective. Price, 15 cents. BACK TO THE COUNTRY STORE. A Rural Enter- tainment in Three Acts, by Ward Macauley. For four male and five female characters, wuth some supers. Time, two hours. Two scenes, both easy interiors. Can be played effectively with- out scenery. Costumes, modern. All the principal parts are sure hits. Quigley Higginbotham, known as "Quig," a clerk in a country store, aspires to be a great author or singer and decides to try his fortunes in New York. The last scene is in Quig's home. He returns a failure but is offered a partnership in the country store. He pops the question in the midst of a surprise party given in his honor. Easy to do and very funny. Price, 15 cents. THE DISTRICT CONVENTION. A Farcical Sketch in One Act, by Frank Dumont, For eleven males and one female, or twelve males. Any number of other parts or super- numeraries may be added. Plays forty-five minutes. No special scenery is required, and the costumes and properties are all easy. The play shows an uproarious political nominating con- vention. The climax comes when a woman's rights cham- pion, captures the convention. There is a. great chance to bur- lesque modern politics and to work in local gags. Every part will make a hit. Price, 15 cents. SI SLOCUM'S COUNTRY STORE. An Entertainment in One Act, by Frank Dumont. Eleven male and five female characters with supernumeraries. Several parts may be doubled. Plays one hour. Interior scene, or may be played without set scenery. Costumes, modern. The rehearsal for an entertain- ment in the village church gives plenty of opportunity for specialty work. A very jolly entertainment of the sort adapted to almost any place or occasion. Price, 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Unusually Good Entertainments Read One or More of These Before Deciding on Your Next Program A SURPRISE PARTY AT BRINKLEY'S. An En- tertainment in One Scene, by Wakd Macauley. Seven male and seven female characters. Interior scene, or may be given with- out scenery. Costumes, modern. Time, one hour. By the author of the popular successes, "Graduation Day at Wood Hill School," "Back to the Country Store," etc. The villagers have planned a birthday surprise party for Mary Brinkley, recently graduated from college. They all join in jolly games, songs, conundrums, etc., and Mary becomes engaged, M^hich surprises the sui-prisers. The entertainment is a sure success. Price, 15 cents^, JONES VS. JINKS. A Mock Trial in One Act, by Edward Mumfokd. Fifteen male and six female characters, with supernumeraries if desired. May be played all male. Many of the parts (members of the jury, etc.) are small. Scene, a simple interior ; may be played without scenery. Costumes, modern. Time of playing, one hour. This mock trial has many novel features, unusual chai'acters and quick action. Nearly every cliaracter has a funny entrance and laughable lines. There are many rich parts, and fast fun throughout. Price, 15 cents. THE SIGHT-SEEING CAR. A Comedy Sketch in One Act, by Ernest M. Gould. For seven males, two females, or may be all male. Parts may be doubled, with quick changes, so that four persons may play the sketch. Time, forty-five minutes. Simple street scene. Costumes, modern. The superintendent of a sight-seeing automobile engages two men to run the machine. A Jew, a farmer, a fat lady and other humorous characters give them all kinds of trouble. This is a regular gat- ling-gun stream of rollicking repartee. Price, 15 cents. THE CASE or SMYTHE VS. SMITH. An Original Mock Trial in One Act, by Frank Dumont. Eighteen males and two females, or may be all male. Plays about one hour. Scene, a county courtroom ; requires no scenery ; may be played in an ordinary hall. Costumes, modern. This entertainment is nearly perfect of its kind, and a sure success. It can be easily produced in any place or on any occasion, and provides almost any mnnber of good parts. Price, 15 cents. THE OLD MAIDS' ASSOCIATION. A Farcical Enter- . tainment in One Act, by Louise Latham WiLson. For thirteen females and one male. The male part may be played by a female, and the number of characters increased to twenty or more. Time, forty minutes. The play requires neither scenery nor properties, and very little in the way of costumes. Can easily be prepared in one or two rehearsals. Price, 25 cents. BARGAIN DAY AT BLOOMSTEIN'S. A Farcical Entertainment in One Act, by Edv/ard Mumford. For five males and ten females, with supers. Interior scene. Costumes, mod- ern. Time, thirty minutes. The characters and the situations which arise from their endeavors to buy and sell make rapid-fire fun from start to finish. Price, 15 cents. THE PENN PUBUSHING COMPANY PHILADELPHIA Successful Plays for All Girls In Selecting Your Next Play Do Not Overlook This List YOUNG DOCTOR DEVINE. A Farce in Two Acts, by Mrs. E. J, H. Goodfellow. One of the most popular plays for girls. For nine female characters. Time in playing, thirty minutes. Scenery, ordinary interior. Mod- ern costumes. Girls in a boarding-school, learning that a young doctor is com.ing to vaccinate all the pvipils, eagerly con- sult each other as to the manner of fascinating the physician. When the doctor appears upon the scene the pupils discover that the physician is a female practitioner. Price, 15 cents. SISTER MASONS. A Burlesque in One Act, by Frank DuMONT. For eleven females. Time, thirty minutes. Costumes, fantastic gowns, or dominoes. Scene, interior. A grand expose of Masonry. Some women profess to learn the secrets of a Masonic lodge by hearing their husbands talk in their sleep, and they institute a similar organization. Price, 15 cents. A COMMANDING POSITION. A Farcical Enter- tainment, by Amelia Saxford. For seven female char- acters and ten or more other ladies and children. Time, one hour. Costumes, modern. Scenes, easy interiors and one street scene. Marian Young gets tired living with her aunt, Miss Skinflint. She decides to "attain a commanding position." Marian tries hospital nursing, college settlement work and school teaching, but decides to go back to housework. Price, 15 cents. HOW A WOMAN KEEPS A SECRET. A Comedy in One Act, by Frank Dumont. For ten female characters. Time, half an hour. Scene, an easy interior. Costumes, modern. Mabel Sweetly has just become engaged to Harold, but it's "the deepest kind of a secret." Before announcing it they must win the approval of Harold's vmcle, now in Europe, or lose a possible ten thousand a year. At a tea Mabel meets her dearest friend. Maude sees Mabel has a secret, she coaxes and Mabel tells her. But Maude lets out the secret in , a few minutes to another friend and so the secret travels. Price, 15 cents. THE OXFORD AFFAIR. A Comedy in Three Acts, by Josephine H. Cobb and Jennie E. Paine. For eight female characters. Plays one hour and three-quarters. Scenes, inter- iors at a seaside hotel. Costumes, modern. The action of the play is located at a summer resort. Alice Graham, in order to chaperon herself, poses as a widow, and Miss Oxford first claims her as a sister-in-law, then denounces her. The onerous duties of Miss Oxford, who attempts to serve as chaperon to Miss Howe and Miss Ashton in the face of many obstacles, furnish an evening of rare enjoyment. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA I IBRARY OF CONGRESS 015 940 354 3 • The Power of Expression Expression and efficiency go hand in hand. The power of clear and forceful expression brings confi- dence and poise at all times— in private gatherings, in public discussion, in society, in business. It is an invaluable asset to any man or woman. It can often be turned into money, but it is always a real joy. In learning to express thought, we learn to command thought itself, and thought is power. You can have this power if you will. Whoever has the power of clear expression is always sure of himself. The power of expression leads to: The ability to think "on your feet" Successful public speaking Effective recitals The mastery over other minds Social prominence Business success Efficiency in any undertaking Are these things worth while? They are all successfully taught at The National School of Elocution and Oratory, which during many years has de- veloped this power in hundreds of men and women. A catalogue giving full information as to how any of these accomplishments may be attained will be sent free on request. THE NATIONAL SCHOOL OF ELOCUTION AND ORATORY Parkway Building Philadelphia