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 iftilS 
 
Glass 
 Book 
 
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 COPYRIGHT DEPOSIT. 
 
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■PAELOR AMUSEMENTS 
 
 FOR THE YOUNG FOLKS, 
 
 CONTAINING 
 
 Tableattx, Pantomimes, Sociai, Amusements, Jabi.et's Wax 
 
 WoEKS, Declamations, Peivate Thkatbicaxs, Etc., 
 
 Etc., with rtrix dieections fob peo- 
 
 DITCINO them. 
 
 BY 
 
 G. B. BAETLETT. 
 
 NEW EDITION, WITH ADDITIONS. 
 
 Hew Torh : 
 
 HAPPY HOURS COMPANY, 
 
 No. 1 Chambers Street. 
 
 ^ 
 

 Entered according to Act of Congress, in the year 1874, by 
 
 JAMEP R. OSGOOD & CO., 
 In the Office of the Librarian of Congress, at Washington. 
 
 Entered according to Act of Congress, in the year 1876, by 
 
 HAPPY HOURS COMPANY, 
 In the OfElce of the Librarian of Congress, at Washington. 
 

 PREFACE. 
 
 The dramatic element exists, in a greater or less 
 degree, in every mind ; for the little child begins to ima- 
 gine or personate some character at a very early age. 
 The doll is invested with histrionic power, and plays 
 many different rdles as time goes on ; and the love of 
 acting lasts after old age has dulled many other enjoy- 
 ments. No pleasanter manner of whiling away a long 
 evening can be found than by a simple entertainment 
 in which old and young unite. The chief objection to 
 such performances has been the trouble which attends 
 their preparation. This little book is intended to 
 obviate this difficulty, as the scenes are so arranged 
 that the most of them can be performed in any parlor 
 with simple properties and costumes, and most of them 
 without study or practice. Every one of them, however, 
 has been tried before large audiences in hundreds of 
 cities, and they are now simplified and arranged for 
 performance by old and young. 
 
 In the opening chapter, proof of the long experience 
 of the manager is given ; and the last ones are devoted 
 to games of thought, in which new games, and old ones 
 in a new dress, are presented in the hope that much 
 benefit to the thinking powers may be gained, as well as 
 amusement. 
 
 3 
 
 ^. 
 
1 
 
CONTENTS. 
 
 PAGE. 
 
 INTRODUCTION 7 
 
 HINTS ON TABLEAUX , 17 
 
 SCENES IN THE LIFE OF MAKIE STUART 23 
 
 ELABORATE TABLEAUX 25 
 
 THE LILT MAID OF ASTOLAT 29 
 
 JARLEY "WAX-WORKS 30 
 
 THE BABES IN THE WOODS 35 
 
 THE MAGIC MIRROR..... 37 
 
 THE MISER'S SUPPER 41 
 
 LOVE IN AMBUSH 44 
 
 THE SLEEPING BEAUTY 46 
 
 AULD ROBIN GRAY 50 
 
 THE MISTLETOE BOUGH 53 
 
 VILLIKENS AND HIS DENIAH 57 
 
 CHARADES 61 
 
 GAMES OF THOUGHT 67 
 
 THE MENTAL INDEX 70 
 
 DECLAMATION 72 
 
 SOCIAL AMUSEMENTS 80 
 
 PRIVATE THEATRICALS 88 
 
 LIST OF PLATS 89 
 
INTRODUCTION. 
 
 As I stood on the stage of the new opera-house, all 
 ready to begin, an irresistible desire to laugh nearly- 
 upset my gravity, caused by the funny con'trast between 
 the entertainment I was about to superintend and my 
 first dramatic performance. 
 
 The house is crowded with the beauty arid fashion of 
 the city; and the receipts, for the benefit of a noble 
 charity, will exceed a thousand dollars. The stage is 
 furnished with every appliance which modem art has 
 brought to the aid of the drama. By a touch of the 
 bell, the orchestra can be set in motion, or stopped in 
 the middle of the sweetest strain. By a turn of the 
 hand, the scene can be plunged into utter darkness, or 
 lighted with the brilliancy of daylight ; which will flash 
 into red sunrise, or fade into green moonlight, at will. 
 At the sound of a whistle, angels will float from the flies, 
 or demons spring through the floor. Quiet carpenters 
 consult the plot, and the horizon melts into forest, and 
 the palace at once becomes a kitchen. In the luxurious 
 dressing-rooms, ladies and gentlemen of talent stand 
 ready to lend the graces of refined culture to the attrac- 
 tions of the scene. At the rise of the curtain, a large 
 ship, ornamented with quaint carving, bears a graceful 
 company of beautiful blondes. Groups of classic statu- 
 ary, and careful copies of pictures, succeed ; and then a 
 comedy is acted by amateurs, to whom the movements 
 
 7 
 
6 INTRODUCTION. 
 
 of our best society are natural, and not assumed. The 
 last scene represents a dark wood by moonligbt, where 
 Bohemian gypsies in rich costume glide about among the 
 trees, and finally join the brilliant dance to the sound 
 of ringing tambourines and clashing cymbals. 
 
 What a contrast to the old garret in Concord, which 
 witnessed our earliest dramatic efEorts ! 
 
 An old blue bedquilt, hung on a clothes-line from the 
 rude rafters, furnished our only stage adornment. 
 Neptune, a great Newfoundland dog, was the only 
 member of the corps who could stand erect at the 
 wings ; from which he used to rush upon the stage at 
 the denoument, and create considerable confusion by 
 biting the ears of the dead heroes. The third mem- 
 ber of the company was a boy aged six, who is now a 
 prominent merchant. We played Shakspearian trage- 
 dies chiefly, and took turns in personating Clifford and 
 Kirtland, as the killing parts were considered the most 
 desirable. Aunt Betsey, a dear old lady, composed our 
 whole audience, and showed a high appreciation of the 
 performance by laughing heartily at the most tragic 
 scenes. Many strange events transpired between these 
 two occasions, some of which I propose to relate in the 
 order of their occurrence. 
 
 After a year or two, the dramatic company, being in- 
 creased by the addition of a dozen schoolboys, was 
 removed from the garret to more commodious quarters 
 in a large hen-house ; where large audiences of twenty 
 persons crowded the auditorium on Saturday afternoon. 
 Miss Edge worth's drama of " Old Poz " was here pro- 
 duced with great effect ; the part of the magpie being 
 taken by a large parrot, who lent a tragic element to the 
 piece by biting savagely at every one who came near his 
 cage. ** The Lady of the Lake " also had a most success- 
 ful run, until the dying Highlander brought down the 
 house by rolling over upon the back curtain, thus expos- 
 ing the dressing-room, and the bare walls of the old hen- 
 
INTRODUCTION, 9 
 
 house. A pair of o\<\ cavalry swords were the favorite 
 properties, as they served also as goads in driving home 
 the cows from their distant pasture. One of the boys, 
 who delighted to march along the country lanes with 
 martial tread, cutting off the heads of the mulleins, 
 served gallantly in every battle of the Potomac, and 
 fought his way to a major-generalship. 
 
 This temple of the. drama was burned, like many 
 another theatre; and the company took refuge in the 
 Town Hall, where many ladies and gentlemen now 
 well known in literature made their debut. The gifted 
 authoress of " Little Women " here enacted her favor- 
 orite characters. One of our leading men is now editor 
 of a leading paper ; and one has made a mark with his 
 pen on both sides of the Atlantic. These performances 
 being often attended by persons from Boston and Cam- 
 bridge, their fame spread so widely that members of 
 the company made tours to distant places to assist in 
 similar enterprises. Sometimes fine scenery was painted 
 or hired; but in many cases the accessories were so 
 simple that the talent was made more conspicuous. 
 
 One of the best of these was given in the kitchen of 
 an old farmhouse, almost the only inhabited build- 
 ing on an island in the sea. The time was midnight ; 
 one of the actresses a well-known novelist, and one a 
 lady who had won laurels on the English stage. The 
 play was wholly impromptu. There was no audience at 
 all, the actors being only desirous to secure the applause 
 of each other. The rough beams of the roof were 
 lighted with tallow candles, and garnished with strings 
 of onions and dried pumpkin. 
 
 A banquet being called for in the second act, the 
 pantry was robbed of a pan of milk; the comediaii 
 foraged the hen-coop ; the eggs were beaten by the tra- 
 gedian; and the effect of the repast was felt by the 
 whole company for a week. 
 
 AVhen the sanitary fairs sprung up over all the coun- 
 
1 INT ROD UCTION. 
 
 try, the drama was one of the most successful means 
 employed to raise money. It is impossible to ascertain 
 the amount of these very large sums, as the receipts 
 were added to the general fund, or applied to the pur- 
 chase of material for village societies, to which the 
 labor of many energetic ladies gave a threefold value. 
 The old academy at North Conway was turned into a 
 summer theatre, and every week the proceeds were for- 
 warded to some hospital. This establishment was as 
 remarkable for the talent of its company as for the 
 simplicity of its decorations. Ko expense was wasted, 
 as it was solely a money-making concern. One night, a 
 listinguished lady from Boston failed to come on in 
 time when a scene from Dickens was called ; and the 
 anxious manager, hurrying into the green-room, found 
 the unfortunate star fastened to the floor, and unable to 
 extricate her foot from a hole in the board through 
 which she had stepped. The guests at this theatre in- 
 cluded two major-generals, and a portion of the presi- 
 dent's family. 
 
 In the city of Louisville, the amateur drama has been 
 brought to the highest state of perfection by the 
 Dickens Club, an organization which has existed for 
 many years, and numbers one hundred members from 
 the age of six to sixty. Old and young act with vigor 
 together ; and they have become so perfect, by long prac- 
 tice, that their representations are very clever. They 
 use none of the stage-plays, but dramatize stories and 
 poems to suit their needs. 
 
 In an elaborate version of "The Golden Legend," 
 sixty persons appeared in one group in the transforma- 
 tion scene. Six ladies were fastened upon the paint 
 frame, which was covered with light-blue cloth, so that 
 they seemed to be floating in the air. They stood in 
 their stocking-feet, as the illusion would have been 
 destroyed if tlieir black boots hacf shown against the 
 transparent background. One night the manager stood 
 
INTRODUCTION. 11 
 
 at the back of the stage, waiting for the cue, at which to 
 give the signal for opening the flats. The avenging 
 angel was strapped upon the frame about six feet from 
 the floor; and, when within two lines of her speech, 
 8he whispered in a trembling voice, "I have my boots 
 on I '* The lady lifted one foot at a time while he pulled 
 ofE the boots, and stood holding them in his hand, listen- 
 ing to the denunciation of the ascending angel, as the 
 frame was slowly wound up by the carpenter. Another 
 night, one of the upper angels became so dizzy that she 
 was obliged to be taken down in a hurry, by means of a 
 long ladder, just before the others were exposed to the 
 view of the audience. 
 
 A home for widows and orphans received the greater 
 part of its support, for many years, from the efforts of 
 this club. 
 
 A whole chapter might be devoted to the romance of 
 the drama, for many a tender scene has been repro- 
 duced upon the stage of life. There is one farce in 
 which those who take the lovers' parts are sure to marry. 
 This has proved to be true in so many cases, that it is 
 not considered best to give the name of the play, as 
 the demand would be greater than the publisher could 
 supply. 
 
 At som'C of the army hospitals, the convalescents 
 found amusement for themselves and their friends on 
 the mimic stage. At Annapolis, a large barrack was 
 converted into a theatre, where very creditable perform- 
 ances were given by the soldiers, for several nights, 
 to an audience of about a thousand, nearly every one of 
 whom were cripples. As this array of wounded heroes 
 were drawn up in line, ready to march into the building, 
 one brilliant moonlight night, the sight was very affect- 
 ing, and made one feel grateful for any amusement which 
 could vary the monotony of their tedious existence. At 
 Washington, a performance was given for the Christian 
 Commission, which was participated in by young ladies 
 
12 INTRODUCTION. 
 
 from nearly every part of the Union, the wives and 
 daughters of the senators and representatives from the 
 various States. The grace and beauty of two stars of 
 this stage have won laurels in the most brilliant court 
 of Europe. 
 
 This taste for the drama exists in the minds of 
 many sedate persons, and often appears most un 
 cxpectedly at the summer-resofts, where the cares of 
 business are forgotten, and the hard-working students 
 and merchants delight to renew their youth in some 
 careless and merry frolic. 
 
 Two great merchants once appeared as the Babes in 
 the Wood, dressed in short costumes like boys and girls, 
 while a noted lawyer and preacher represented the 
 robins. Adorned with red shawls and feather-dusters, 
 these frisky birds covered the sleeping innocents with 
 cabbage-leaves. 
 
 A dramatic performance was once given above the 
 clouds, on Mount Mansfield, by a party from Cambridge 
 and its vicinity. That night, the excellent hotel was 
 crowded with guests, among whom was the S/ige of 
 Concord, the editor of a large journal, two professors, 
 and a prominent lawyer, with ladies from a dozen States. 
 When the sun had set, and the heavy clouds gathered 
 beneath the mountain-top, this motley audience assem- 
 bled in the long, uncarpeted room, and seated them- 
 selves on wooden benches around a bright fire. The 
 performance was of the most primitive character, the 
 wardrobe being selected from the mountain-dresses 
 which hung upon the wall, and the weapons from the 
 kitchen-closet ; but the rounds of applause, and shouts 
 of laughter, which shook the rough beams, testified to 
 the delight of the spectators. At the foot of Mount 
 Mansfield, in the town of Stowe, is one of the most 
 beautiful little private theatres in the country. The act- 
 drop and scenery are painted with great nicety ; and the 
 machinery is so perfect that the stage can be darkened at 
 
 
INTRODUCTION. 13 
 
 once. Among the hundreds of people who visit thig 
 popular resort, amateurs of talent are easily found ; and 
 difficult comedies are performed in a style which many 
 more pretentious establishments might do well to copy. 
 One little star of this mountain theatre has since figured 
 in the salons of Paris; and many persons, now scattered 
 over the United States, will remember her fascinating 
 personations of difficult roles. An original comedy w.as 
 produced here, being a dramatization of Curtis' s "Poti- 
 phar Papers," arranged by a gentleman from Troy. A 
 young lawyer was summoned by telegraph from Bos- 
 ton to act the 'part of the fop; and the professor of a 
 New- York university played Cream Cheese in a most 
 oleaginous manner. Seven changes of scenery gave 
 effect to this play, the drawing-room, in the first act, 
 being very handsomely furnished. The audience at this 
 performance came in full dress ; and the auditorium was 
 lighted by two large chandeliers with pendants of cut 
 tin, which flashed in quite a magnificent manner. 
 
 A laughable occurrence took place during the per- 
 foimance of a farce at this theatre. A young gentlepian 
 was playing the part of a lady, dressed in a blonde wig, 
 and a showy silk dress. The lover, being also of a light 
 complexion, wore a dark wig, and had blackened his 
 moustache to match. Regardless of this fact, he im- 
 printed a chaste kiss upon the lips of his beloved, and 
 left a large black circle as the result of his caress. 
 Wlien the summer visitors at the mountains returned to 
 their distant homes, the fame of these performances was 
 so widely scattered that the manager was sent for to many 
 a distant city, to reproduce them for the benefit of char- 
 itable purposes throughout the United States. Week 
 after week, performances have been given with generally 
 very good success. The most curious fact gleaned 
 from this long experience is the strange likeness which 
 is found in the various faces, so that pictures can be 
 presented in hundreds of cities in a veiy similar manner. 
 
14 INTRODUCTION. 
 
 The sanne ideas also re-appear constantly; as, among 
 the properties used, is a large harp, which is carried 
 from place to place, and has never been seen in any 
 collection of people without inspiring some allusion to 
 the "harp of a thousand strings." 
 
 The mimic drama also brings out the dispositions of 
 people so strongly that it has been said, " If you wish to 
 know the dispositions of your friend, either marry or 
 unite in a dramatic enterprise with her." It is hoped 
 that this satirical remark can never apply to the actors 
 in these scenes. The chief cause of difficulty is the 
 want of organization ; and therefore the first step is, to 
 find some competent manager to assign the parts, and 
 direct the performance. He will soon leam that the 
 only way to govern others is to completely govern him- 
 self ; and the actors will gain a useful lesson of prompt 
 and cheerful compliance with the decisions of others, 
 which will be of benefit to them on the stage of life. 
 In all of these entertainments, great opportunity is given 
 for the inventive faculties. A little wit is often better 
 than much expense, and the simplest designs are often 
 the most effective ; in proof of which I give an account 
 of an entertainment which was hastily prepared on an 
 island where there were but two houses, and no stores. 
 The island lies three miles west of Plymouth Rock, and 
 is owned by a kind and genial gentleman who is ad- 
 mired by so many ladies, that he has always remained 
 single for their sakes. 
 
 At the time I speak of, there was a very brilliant com- 
 pany assembled at his house, many of whom are well 
 known to the readers of " Our Young Folks." The 
 blue-eyed Miselle, who has written stories almost as fas- 
 cinating as herself, the author of the " Seven Little 
 Sisters," and, first and best of all, the mother of "Wil- 
 liam Henry," all united with many lesser lights to make 
 the summer days pass pleasantly. 
 
 One day, as they all sat in the rusti,c summer-house on 
 
p 
 
 INTRODUCTION. * 15 
 
 the point, watching the sail-boat, on her return trip from 
 Plymouth, laden with passengers and provisions, they 
 beheld a new arrival in the shape of the manager ; and, 
 as soon as he had scrambled up the rocky path from the 
 shore, they set him to work at once, under the island 
 law, which provides that each one shall contribute his 
 share for the entertainment of the others. So that 
 afternoon he assembled his forces upon a great rock, and 
 considered the subject. He found j)lenty of the first 
 two requisites for success, — beauty and brains; one 
 stately brunette for the tragic parts, two lovely blondes 
 for angels and saints, and half a dozen young ladies of 
 the medium style of. beauty which abounds in New 
 England. For gentlemen, there were two Harvard stu- 
 dents, a gallant young soldier, a grave judge from the 
 West for the heavy father, beside three noble young 
 fishermen for the tableaux. The cast was soon made, 
 and the actors retired to study their parts ; when a new 
 diflSculty arose. Where can a theatre be found ? The 
 kitchen and dining-room are in constant use, and all the 
 other rooms are full to overflowing. 
 
 An exploring party then made the circuit of the 
 island, and discovered a large boat-house close to the 
 eastern shore. Here a stage was erected upon four 
 lobster-cages ; and a curtain, " borrowed from one of the 
 beds," was contrived to run upon grummets, or small 
 hoops which are used to confine the sails to the mast of 
 a boat. 
 
 For the illustrated ballad, "The Three Fishers" was 
 decided upon, as there were three men ready costumed 
 for the parts, and plenty of nets and lobster-pots for 
 properties. The angels took to themselves wings by 
 making frames from one of those melancholy ruins of 
 modem civilization, — an old hoop-skirt. These frames 
 were covered with cotton cloth, and coated with var- 
 nish from the stores of the boat-house. While the 
 
16 INTRODUCTION. 
 
 varuisli was fresh, they were plentifully sprinkled with 
 live-geese feathers; and the effect was truly angelic. 
 *' Judith and Holof ernes " was one of the tableaux. In 
 the first scene, a black-bearded youth reposed upon two 
 dressing-tables, while his sister flourished the captain's 
 sword above his head. In the second scene, where 
 Judith holds the head, Holofemes knelt between the two 
 tables, and put up his head through a hole in the sheet. 
 To give reality to this scene, it was necessary to have 
 the sheet spMnkled with blood: so the manager de- 
 manded some pieces of red flannel to sew upon it. 
 Kone could be found, however, without robbing the 
 only shirt which was to go on in several of the scenes ; 
 so a party set off around the island on a wild search for 
 blood ! They soon returned, bringing in triumph some 
 scarlet poppies, the leaves of which served the purpose 
 so well that the dead head was pronounced very lifelike 
 indeed. Next, a wig must be found for the judge to 
 wear as King Lear ; and a very wild one was made of 
 the pelt of an old sheep, which produced a very strong 
 effect upon both audience and wearer. The vista for 
 the tableaux was made of dark-gray shawls; but the 
 play was a vaudeville, and demanded a garden-scene. 
 So the rough beams were dressed with graceful vines, and 
 arches made of clematis, lighted up with gleaming sumac, 
 and coral cornel-berries; and, when the shawls were 
 taken down after the tableaux were over, the effect was 
 very fine. Just as the play began, the manager threw open 
 the great doors at the end of the boat-house. The tide 
 was high, and the sea came up close to the building, 
 and the great round August moon began to rise slowly 
 out of the water; and all agreed that no finer back- 
 ground could have been seen in any theatre. So jou 
 see that in the mimic stage, as well as on the stage of 
 life, it is well to make the best of your surround- 
 ings. 
 
HINTS ON TABLEAUX. 
 
 I PEOPOSE to give a fe^v plain directions by which 
 effective scenes can be arranged in any room with but 
 • little trouble or expense. 
 
 You will need ten boxes of various sizes, two half- 
 length picture-frames, one wash tub and board, one 
 broom, twenty feet annealed wire, two dozen curtain- 
 rings, twelve large lamps or twenty candles, or a gas-rod 
 twelve feet long with fifteen five-foot burners upon it, 
 six yards black tarlatan-muslin, costing fifty cents per 
 yard, and five cotton sheets. 
 
 If the room has no folding-doors, you must have a 
 thick curtain or bedquilt contrived to draw on a wire 
 across the room at one end, leaving a space about fifteen 
 feet deep for the stage. This space must be draped 
 with shawls or curtains by stretching wire across the 
 sides and back of the stage near the ceiling, and hanging 
 them by means of rings fiimly sewed upon the cloth. 
 You will thus have a square room draped all around, 
 except in front. Then procure four upright pieces o£ 
 narrow board, just the height of the room, for posts ; 
 screw them upon the back-sides of the frames near the 
 edge, so that when you raise them up the frames will 
 stand upright four feet and a half from the floor. 
 Cover all the space above and bejow the frames with 
 cloth of the same color as the back wall, so they wiU 
 2 17 
 
 .li 
 
18 PARLOR AMUSEMENTS 
 
 appear to tlie audience as if they were hanging upon the 
 wall. Put up these frames four feet apart; and nail 
 four strips of board five inches wide, in the shape of a 
 large frame, between them, having the top and bottom 
 strips which form the frame six feet and a half apart ; 
 which when completed will give you a large frame be- 
 tween the two smaller ones. This large frame will be 
 four feet wide, and six and a half high, outside. A cur- 
 tain must be arranged to run in front of the frames in 
 order to cover them when not in use. 
 
 These three frames stand at the back of the stage 
 (the supporting-posts nailed to the floor) two feet and a 
 half from the wall, so as to give room for the per- 
 formers behind them. 
 
 If gas is available, fasten a rod, with burners upon it, 
 over the top of the curtain or folding-doors. The best 
 way is to make for it a shelf supported upon two posts 
 about eight feet high. Over the burners, and behind 
 them, tack sheets of common tin, bent so as to throw 
 the light down. If you cannot get the tin conveniently, 
 fasten behind the burners a white sheet, which will 
 serve the purpose very well. If the curtain does not 
 come to the ceiling, you must put a shawl or thick cloth 
 above it, so that the light cannot show much over the 
 curtain into the darkened room where the audience sit. 
 When gas cannot be had, fasten the candles upon the 
 shelf. If kerosene-lamps are used, holes must b< 
 made in the board to fasten them firmly in their places. 
 In a very elaborate performance, the stage should be 
 raised to a level with the eyes of the spectators ; but 
 I have had many very fine performances in a parlor 
 where we did not begin work until two hours before the 
 curtain rose. * 
 
 Next make a veil of black tarlatan-nmslin large 
 enough to cover the space before the folding-doors o/ 
 posts which support your curtain. 
 
 In the programme I am to give you this month, I sliaU 
 
FOR THE YOUNG FOLKS. 19 
 
 introduce only such costumes and appointments as can 
 readily be obtained in any house. We will begin with a 
 group of statuary, as this requires more time for prepa- 
 tion than other scenes. Here is a very simple one : 
 "Justice, Mercy, and Peace." 
 
 Justice stands on a high pedestal made of two boot- 
 boxes covered with a sheet; Peace on one box; and 
 Mercy kneels on two boxes placed end to end so as to 
 make a long pedestal. They are draped in sheets. 
 Peace must be taken by a child dressed in a short frock 
 of white cotton belted around the waist. Justice must 
 be a larger lady than Mercy. Mercy kneels in atti- 
 tude of prayer, with clasped hands ; Justice stands erect, 
 holding a sword and scales covered with white cloth, 
 and having a bandage over her eyes ; Peace stands on 
 the right of Justice, holding a stalk of paper lilies in 
 her right hand. The faces must be whitened with hly- 
 white rubbed on dry. 
 
 In all statues, the hands which are shown are covered 
 with white cotton gloves, the arms with stocking-legs 
 sewed to the gloves, and the heads with fp^igs made of 
 lamp-wicking. Eemember to turn down your gas, or to 
 draw a strip of green cambric before your kerosene- 
 lamps ; and, if your statues stand still, the effect is won- 
 derful. When the audience have seen enough of the 
 statues, lower your curtain, or shut folding-doors. The 
 assistants rapidly clear the stage, draw away the curtain 
 which hides the picture, and in one minute the audi- 
 ence behold, to their astonishment, a set of tableaux ; 
 in one frame, *' Milton at the Age of Ten," by a girl with 
 a round face, and light, wavy hair falling upon her shoul- 
 ders in front, flat-top cap, pointed paper collar, velvet 
 basque ; in the other, " The Pride of the Market," a dark- 
 haired young lady, rustic hat, white waist, bodice cut 
 out of red flannel ; she holds on her left arm a basket of 
 apples, and in her right hand the largest apple of all. 
 In the centre or large frame we will have '*^Lear and Cor- 
 
20 PARLOR AMUSEMENTS 
 
 delia. Lear sits proudly on a soap-box, Cordelia has her 
 left arm over his shoulder. Throw light from the left side 
 with a common reflector. Turn the light on at top, and 
 the pictures look as if they were painted. 
 
 Next we must have a comic scene, "Love's Dis- 
 guises." 
 
 A pretty girl in calico is washing at a tub at the right 
 side of the stage; a fop is looking at her through an 
 enormous eye-glass; he is dressed showily, with white 
 hat and cane. In the next scene, the maiden is sitting 
 on a chair in the centre, and a cunning little Cupid aims 
 his great tin bow at the fop from the wash-tub. 
 
 In the mean time, the active assistant has filled the 
 frames again ; and without delay the audience behold 
 "Catawba," "Little Nell and her Grandfather," and 
 "Little Bo-Peep." 
 
 Catawba holds a glass half full of vinegar ; light flow- 
 ing hair, white dress, with grape-leaves. Bo-Peep, high 
 sugar-loaf hat made of red paper, calico dress tucked 
 over red petticoat ; holds a crooked cane. Nell, calico 
 dress, broad hat. Grandfather leans on her shoulder, 
 cane in right hand. 
 
 And then "The Eoman Girls at the Shrine of St. 
 Agnes." 
 
 The saint, in white, stands in the large frame ; before 
 her on the stage two boxes covered with a sheet form 
 the shrine, on which stands a cross, made of unpainted 
 wood, two feet and a half high. One dark Eoman girl 
 holds a wreath of flowers over one arm of the cross ; 
 another kneels at the other side, passing to her a 
 basket of flowers ; a third loieels in prayer at front of 
 stage, telling her beads ; a fourth stands in the comer of 
 the stage at back, holding a sheaf of straw. Dress, — 
 black, brown, or red skirts ; black bretelles over white 
 waists; long, white towels on heads, folded three times 
 the longest way, and placed flat upon the head leaving 
 the rest to hang down behind. Concealed singers sing 
 " Ave Sanctissima." 
 
FOR THE YOUNG FOLKS. 21 
 
 By this time, the audience will be ready for something 
 to laugh at: so we will have '* Ignorance is Bliss: a 
 French Peasant Scene." 
 
 At the left of the stage, an old lady is asleep in a high 
 chair. She is dressed in black, or in any plain dress : 
 wears a white apron, and has a white shawl folded 
 across her shoulders; also a high cap and spectacles, 
 which have fallen upon her nose. At the right, a girl 
 sits at the spinning-wheel. She has on a bright short 
 skirt, white waist, red or black bodice ; on her head a 
 cap of lace gathered in a rosette with very long ribbons 
 streaming from it ; on her arms she has three ribbons, 
 one at two inches above the wrist, the next below the 
 elbow, the third near the shoulder. A youth is kneel- 
 ing at her feet, holding her left hand. She looks archly 
 at him, regardless of the unconscious grandmother. 
 The youth has ribbons upon his arms like the girl ; he 
 i has no coat on, but bright suspenders joined in front 
 
 with two bars. In the second scene, the lovers remain as 
 before, except that the grandmother has wakened, and is 
 just raising her broom with the intention of waking the 
 young man also. In the third scene, the grandmother 
 holds the lovers apart at arm's-length by grasping one 
 ear of each. The girl is crying at the left ,side, and the 
 youth at the right of grandmother looks sheepishly 
 down, with his finger in his mouth. Next draw away 
 the back curtain again, and show more pictures which 
 the assistant has had time enough to prepare. 
 
 In the centre frame stands "A Gleaner." In one 
 small frame, a child with a red cape over her head, and 
 a little basket in her hand, personates "Ked Eiding- 
 hood ; " and in the other, " A Marchioness." ^ 
 
 Next "The Angels' Whisper." In a cot-bed, two lit- 
 tle children are sleeping. One angel lifts the quilt at 
 the right corner of the bed ; at the head, another angel, 
 with clasped hands, is smiling upon the sleeping babies ; 
 behind the bed, in the centre of the stage, upon a box, 
 
22 PARLOR AMUSEMENTS. 
 
 stands a tliird angel with hands extended in blessing \ 
 the fourth angel kneels in prayer at the foot of the 
 bed. In the second scene, the little child who lay in 
 front of the bed is kneeling; the highest angel places 
 her left hand upon the child's shoulder, and points 
 up with the right. The other angels turn and look in 
 the same direction. The children are dressed in night- 
 gowns, the angels in white muslin; their wings are 
 made of a wire frame four feet long, in rough imitation of 
 the shape of a bird's wing, and are covered with coarse 
 muslin ; the two wings are fastened together by a band 
 of tin five inches long, pierced with holes for the elastic 
 which confines them to the shoulders. 
 
SCENES IN THE LIFE OP MARIE STUAET. 
 
 SCENE I. 
 
 TJie Bival Queens. Queen Elizabeth dressed in trained 
 silk dress with high ruff, stands e. pointing to Marie 
 Stuart, who holds up her left hand as if deprecating the 
 wrath of her cruel cousin. Marie Stuart wears black 
 dress trimmed with white wax beads, a square head- 
 dress of black. Pictures of these costumes may be found 
 in any history of England. 
 
 SCENE II. 
 
 Signing the Death-Warrant. Queen Elizabeth sits at 
 the right of a table, which stands in centre of stage, 
 surrounded by her ladies - of honor, who are dressed in 
 similar costume to her own. A large man stands be- 
 ? hind the table, as if urging her to sign the warrant, 
 
 which she seems unwilling to do. 
 
 SCENE ni. 
 
 I The Execution of Marie Stuart. The queen kneels 
 
 ' beside the block, which occupies the' centre of the stage. 
 
 She is engaged in prayer, and holds a small cross. ' She 
 is attended by two gentlemen and three ladies in mourn- 
 ing. A priest at left corner of the stage lifts up his 
 hand as if exhorting her to a change of religion. The 
 executioner, dressed in red, stands by the block, leaning 
 on a long axe. The block is covered with black clotb- 
 
 23 
 
24 
 
 PA RL OR A M USEMENTS. 
 
 SCENE IV. 
 
 In the next scene, the queen has laid her head upon 
 the block, and the executioner stands with uplifted axe. 
 One of the ladies laieels at the right, and another has 
 fallen into the arms of the third as if she had fainted. 
 
 We give the above as a specimen of historical tab- 
 leaux, which will prove very useful to children in fixing 
 in their minds the sradies tney are pursuing, as they can 
 form hundreds of scenes in illustration of them. 
 
ELABORATE TABLEAUX. 
 
 The stage for elaborate tableaux must be raised to a 
 level with the eyes of the spectators. The frames must 
 be gilded, and the curtains made of very dark purple 
 cambric, with the dull side towards the stage. A large 
 frame must also be made in front of the drop-curtain 
 nine feet high, and from eighteen to twenty-five feet 
 wide, according to the width of the hall. 
 
 The gas-rod must contain twenty-six five-foot burners, 
 and be placed over the curtain inside, eight feet and a 
 half from the floor of the stage. These burners must 
 be fed from an upright pipe at the left side. Upon this 
 pipe, two powerful argand-burners must be fastened, five 
 feet from the floor, each provided with a swinging arm, 
 one of them with a green globe and chimney, and the 
 other with a red. Behind each globe a large concave re- 
 flector is to be held. By this simple contrivance, colored 
 light can be thrown to any part of the stage. 
 
 For statuary, or moonlight scenes, turn the upper light 
 nearly out, and throw green on. For sunrise, begin 
 as above, then gradually turn on the upper light, and 
 place the reflector behind the red globe. For the pictures, 
 take off the red globe, and substitute a common white 
 chimney, and throw the light upon the faces of the i)er- 
 formers in the frames. For the arrangement of tJio 
 frames and curtains, you can refer to the previous 
 
 
26 PARLOR AMUSEMENTS 
 
 chapter; but it will be best to have your curtain roll 
 up in the manner of a common window-curtain. 
 
 Outside of the large front frame, you need another 
 gas-rod with ten footlights, which must be turned down 
 for the pictures and still scenes. They will be useful to 
 light the front part of the stage during the pantomime 
 and illustrated ballads. 
 
 To make a boat, which will be needed for many scenes, 
 lay two boards upon the floor so that they will fit to- 
 gether very closely at the edge ; the dimensions should 
 be about fourteen feet in length, fifteen inches in width, 
 and half an inch in thickness. Planed white-wood, 
 or clear pine boards, are the most suitable. Screw three 
 cleats firmly upon these flat boards, one near each end, 
 and one at the centre. Turn the whole over, and you 
 have a fl-at surface fourteen feet in length and two and 
 a half in width. Draw upon one end the profile of the 
 bow of a boat, and upon the other the stern. Saw 
 the ends carefully, following your drawing. Paint the 
 whole of a light chrome-yellow. Shave the upper edge 
 into a slight curve, beginning eight inches from the bow, 
 and descending to the middle, then ascending to within 
 twenty-five inches of the stern. Then paint a black 
 stripe, three-fourths of an inch wide, six inches below 
 the upper edge, following as nearly as possible the 
 curve ; and, six inches apart, two more stripes below it. 
 Next shade the bow in black, also following the curve 
 from the upper edge to a distance of two feet from the 
 lower edge. Saw out a figure-head and rudder to fasten 
 upon the ends by screws. Stretch a strip of blue cam- 
 bric, eight inches wide, across the front of the stage, hav- 
 ing three wavy lines of white painted upon it for water. 
 The boat is held up by the persons who sit behind it on 
 boxes ; the sail is made of a sheet tacked upon a mast, 
 which is held by a boy. 
 
 As a specimen of a boat scene, I will describe to you 
 " Cleopatra going to meet Mark Antony." For this, you 
 
FOR THE YOUNG FOLKS. 27 
 
 will need a board, five feet long, raised to the height of 
 the boat, upon two boxes ; one soap-box, on which the 
 rower sits ; an oar five feet long; a narrow mattress, and 
 three pillows, to form the couch ; a high box at the bow, 
 for Fame to stand upon ; a trumpet, and bow and arrow, 
 made of tin ; two high stools ; a canopy made of a scarf ; 
 a silver waiter with wine ; and a guitar ; one large, hand- 
 some lady, with long black hair, for Cleopatra; five ladies 
 as attendants; one little child as Cupid; and one tall 
 lady with very long light hair, as Fame, dressed in plain 
 white drapery. Cleopatra wears a loose white waist 
 richly trimmed with gold-paper ; a cloth of gold covers 
 her ; and long chains hang from her crown, and extend 
 from her dress to the bracelets upon her arms. The 
 attendants wear loose waists of red, black, and yellow ; 
 their skirts are concealed by the boat. All should 
 wear gold chains and ornaments, which can be made of 
 gold-paper. Another cloth is needed to cover the pil- 
 lows, which is made by cutting gold-paper into fancy 
 I figures, and sewing it upon lace. 
 
 Cleopatra reclines upon the mattress and pillows, which 
 are placed upon the board platform, near the stern of 
 the boat. One attendant holds the helm;- two others 
 hold the canopy above her head ; a fourth is passing the 
 wine; and a fifth sits at the oar. The Cupid stands 
 upon a high stool near the centre. Fame is upon a 
 box at the bow, holding a trumpet; and the sixth at- 
 tendant, with the guitar, stands upon a high stool near 
 the centre. Show this scene first in strong light, and 
 next by moonlight and sunrise, as explained above. 
 
 "The Triumph of Ceres" is another very beautiful 
 scene, in which the same arrangement of boat and furni- 
 ture is used. Ceres stands in the centre, surrounded by 
 the seasons : Spring, a little girl in white, holding a lily ; 
 Summer, a lovely blonde, reclining, covered with flowers ; 
 Autumn, a brunette, in brown dress covered with autumn- 
 leaves, holding on her head a basket of fruit ; Winter, 
 
I 
 
 2S ,PARLOR AMUSEMENTS. 
 
 an old man with cloak and hat covered with cotton 
 snow. Old Father Time, with a large scythe, stands at 
 the stern ; and a lovely young lady, in the attitude of sow- 
 ing seeds, bends forward at the bow. Ceres holds a sickle 
 in her right hand, and a sheaf of grain in her left; she 
 ^wears a loose white robe, and a wreath of poppies and 
 grain. 
 
THE LILY MAIl) OF ASTOLAT. 
 
 In this scene, a beautiful blonde lies in the boat with 
 her feet toward the bow ; her hair hangs over the pillow, 
 which is richly trimmed with gold paper. She is dressed 
 in white muslin ; a red cloth covered wiflh gilt paper is 
 drawn to her waist. She holds a letter in her left, and 
 an open letter in her right. A very old man, with flow- 
 ing white hair and beard, leans upon an oar at the stern. 
 While this scene is shown, it is well to have a selection 
 read aloud from Tennyson's " Elaine," in which a full 
 description of it can be found. 
 
 A series of tableaux accompanied with readings can 
 be made from the " Courtship of Miles Standish," the 
 most common of which are, the offer to Priscilla made 
 for Standish by John Alden, and the wedding ceremony. 
 Sometimes the whole poem is read and illustrated. 
 Longfellow's "Evangeline" has been superbly per- 
 formed in the same manner, and is full of exquisite 
 tableaux to which the reading gives new life. 
 
 29 
 
r 
 
 JABLEY WAX-WOEKS. 
 
 CHARACTERS. 
 
 Mrs. Jabley. — Blach or figured dress, red shawl, huge bonnet. 
 
 Little Nell. — White or calico dress, hat over arm, long stick, 
 
 Chinesb Glajtt. — Curtain of Turkey-red or patch, tied round 
 the waist, long enough to reach to the ground when he stands 
 upon a high stool; patch quilt, or curtain, folded over shoul- 
 ders, shawl fashion; bright lamp-shade on his head, long 
 cue of braided list. 
 
 DwABF. — Kneeling child with large shoes to show in front of 
 dress, white liair of tow or wicking ; dark dress, cap, b<ywl, 
 and spoon. 
 
 Mabtha Bangs. — Black dress, sheet throvm carelessly over, 
 black hair flawing, left hand up to forehead, pickle-jar in 
 rigJit hand. 
 
 Mrs. "WrsrsLOW. — Dark dress, ruffled cap, white apron, bottle of 
 soothing-sirup in right hand, rag-baby or large doll in Iqft 
 hand. 
 
 Mermaid. — White dress, green skirt, mostly concealed behind 
 Giant; long, light, flowing locks, luxnd-glass and comb in 
 hand^i. 
 
 The Boy that stood ox the BuRXixa Deck. — Fireman's 
 shirt and trumpet; clothes on hind side before. 
 
 Captain Kidd. — Bed shirt, straw or military hat, pistol, and 
 sword. 
 
 His Victim. — White dress, red cape, flowing hair. 
 
 Lord Byron. — Black cloak, broad white collar. 
 
 Bluebeard. — Red dressing-goion, loose white pantaloons, tur- 
 ban, large key. 
 
 Siamese Twins.— Two men or boys, different sizes, Joined by a 
 white roll of paper. 
 30 
 
PARLOR AMUSEMENTS. 31 
 
 Mrs. Jarley sits at right of stage by a great drum, or 
 table, and Nell is dusting and arranging the figures aa 
 the curtain rises. 
 
 Mrs. Jarley describes the figures as they are pointed 
 out by ISTell : — 
 
 The Chinese Giant. — This figure is universally 
 allowed to be the tallest figure in my collection. lie 
 originated in the two provinces of Oolong and Shang- 
 high, one province not being long enough to produce 
 him. On account of his extreme length, it is impossi- 
 ble to give any adequate idea of him in one entertain- 
 ment : consequently he will be continued in our next. 
 
 The Celebeated Welsh Dwakf. — This wonder- 
 ful child has created some interest in the medical and 
 scientific world, from the fact that he was thirteen years 
 old when he was born, and kept on growing older and 
 older, until he died at the somewhat advanced age of two 
 hundred and ninety-seven, in consequence of eating too 
 freely of pies and cakes, his favorite food. 
 
 Martha Bangs, the miserable maniac who poisoned 
 fourteen families by giving them pickled walnuts, and 
 then wandered about from house to house observing the 
 effect of the pestiferous pickles. She holds in her right 
 hand the fatal jar, which has plunged so many happy 
 families into the deepest despair ; you will observe also 
 the wild confusion of ideas expressed by her raving 
 locks. It is of this classic figure that the poet Burns 
 speaks in his comic poem of " Casablanca." To use the 
 words of the lamented John Phoenix, " Face white as 
 the driven snow, hair black as the driven charcoal." 
 
 The children's friend, the parent's assistant, the moth- 
 er's hope, Mrs. S. A. Winslow, a nurse of thirty year's 
 standing. She holds in her hand a bottle of that won- 
 derful sirup which has soothed the sorrows of so many 
 suffering sisters. I cannot do better justice to this 
 remarkable fluid, than by quoting a few stanzas from 
 the celebrated comic poet Ossian in his great melodra* 
 
32 PARLOR AMUSEMENTS 
 
 raatic poem of " Marmion: " " Soothing-sirup adds new 
 lustre to the cheek of beauty, smooths the wrinkles 
 from the furrowed brow of age, and is also excellent for 
 chilblains." 
 
 The celebrated Feejee Mermaid, combining, as you 
 well know, the principal properties of a beautiful 
 woman joined to those of a lovely fish. 
 
 This Boy, ladies and gentlemen, had the extreme fool- 
 ishness to stand upon the burning deck. Turning to 
 look in the direction "whence" Albut "he had fled," 
 his head became completely turned, so that he was 
 picked up insensible from among the burning embers ; 
 and his face has been firmly fixed the wrong way ever 
 since. 
 
 Captain Kidd, the robber of the main, supposed to 
 have originated somewhere Down East. His whole life 
 being spent upon the stormy deep, he amassed an 
 immense fortune, and buried it in the sand along the 
 flower-clad banks of Cape Cod, by which course he 
 invented the savings banks, now so common along 
 shore. Having hidden away so much property, which, 
 like many modern investments, never can be unearthed, 
 he was known as a great sea-cretur. 
 
 Before him kneels his lovely and innocent victim, the 
 Lady Blousabella Infantina, who was several 
 times taken and murdered by the bloodthirsty tyrant, 
 v/hicli accounts for the calm look of resignation depicted 
 upon her lovely countenance. 
 
 Bluebeard, the well-known philanthropist, the lov- 
 ing father and tender husband. — But little is known of 
 the early history of this celebrated personage except that 
 his name was Nathan Beard, and he kept a seminary for 
 young ladies at Walpole, Mass., where he endeavored 
 to instil into the female mind those qualities in which 
 they are so painfully deficient, — curiosity, and love of 
 approbation. Failing, of course, in this, he became so 
 l)lue and low-spirited, that he was known by the nick 
 
FOR THE YOUNG FOLKS. -33 
 
 name of Bluebeard, which title he bore until his death, 
 which occurred during the latter portion of his life. In 
 his hand he holds the instrument which he used through- 
 out his long and successful career: it will be at once 
 recognized by every true scholar as the "Key to Col- 
 burn's Arithmetic," Part Third. 
 
 The Siamese Twins. — These remarkable brothers 
 lived together in the greatest^ harmony, — indeed, were 
 never seen apart in their lives, although there was 
 always a bone of contention between them. One of 
 them was born in the island of Borneo, the other on the 
 southern extremity of Cape Ann. 
 
 To an audience of such cultivation and taste as the 
 one before me, it is superfluous to describe this figure. 
 H It is easily recognized by you all as Laed Beebon, as 
 he appeared when composing his celebrated novel of 
 " The Coarse Hair," which holds an equal rank with the 
 following popular works: "What's on the Mind," 
 " Locke on the Understanding," and " The Pleasures" of 
 Imagination " by Akin Side. 
 
 This usually concludes my exhibition ; but I shall now 
 proceed to do what I seldom do. I shall wind up my 
 figures. These are all fitted with clockworks inside, so 
 that when they are wound up they will go through the 
 exact motions they would have done had they been 
 alive. In fact, many people have supposed them to be 
 alive, they look so very natural ; but I assure you they 
 are all made of wood and wax, blockheads every one. 
 
 Nell winds each one up with a watchman's rattle. 
 When wound up, the Giant bows low, then wags his 
 head three times, and bows again as before ; the Dwarf 
 eats; Martha Bangs lifts her bottle, and tears her hair; 
 Mrs. Winslow trots baby, and gives it soothing-sirup; 
 Mermaid turns her head, and combs her hair, looking in 
 hand-glass ; the Boy slowly revolves ; Captain Kidd lifts 
 his sword over his victim, who raises her hands, and 
 3 
 
34 PARLOR AMUSEMENTS. 
 
 groans ; Lord Byron rolls his eyes, and writes in a book ; 
 Bluebeard raises bis key, and turns his head ; Siamese 
 Twins b«gin to fight. 
 
 All move very slowly and stiffly at first, then go faster 
 and faster, when at a signal the clockwork runs down, 
 and they stop. 
 
THE BABES IN THE WOODS. 
 
 CHAEACTEES AND COSTUMES. 
 
 The Cruel Uncle. — Dressing-gown, hair powdered with flour, 
 high hat, cane, and spectacles. 
 
 iTwo very large boys, one dressed in short jacket and 
 pantaloons, the other in a short dress, bonnet, and 
 apron. 
 The RuFFLAjf s. — Two very small boys with beards marked on 
 their faces with burnt cork, paper hats, carving-knives in sashes 
 tied about their waists. 
 The Robins. — Two very tall boys, with tin tunnels, or rolls of 
 brown paper, fastened over tJieir mouths and noses, red shawls 
 tied from their necks to their knees, and feather brusJies fastened 
 upon their backs. 
 The Sun and the Moon. — Two hoops, one covered with a red, 
 and one with a green cloth. They are raised and lowered by a 
 boy concealed behind a table which stands in the east comer of 
 tJie room, and is covered by a waterproof-cloak. 
 
 SCENE I. 
 
 The Babes come tripping in, hand in hand : they bow 
 to the audience, and begin a game of marbles. The 
 Cruel Uncle enters, and orders them to bed ; he points to 
 the sun, which slowly sets behind the table. They run 
 across the stage different ways; he limps after them, 
 catches the Boy, and drags him after the Girl. Just as 
 he seizes her, the Boy falls, and the old man trips over 
 him. He rises, shakes them both, and drags them away 
 after him. The Uncle returns, and paces the stage in 
 
 35 
 
 , 
 
36 PARLOR AMUSEMENTS. 
 
 wratli. A knock is heard at tlie door ; the lluffians enter 
 very cautiously ; the Uncle pantomimes to them that he 
 wishes them to kill the children. They hold out their 
 hands, and demand money; he goes out for a large bag, 
 and gives them some. They ask for more ; he shakes 
 his head, but finally gives it to them. They brandish 
 their knifes, and go out. 
 
 SCENE II. 
 
 The Uncle leads out the Babes, one by each hand ; 
 they pick flowers, and gambol on the grass, and he steals 
 away, and leaves them. The Ruffians rush in, and 
 attack the Babes, The Boy gallantly defends his sister ; 
 one RuflBan is moved to tears at the sight, and attacks 
 the other, and after a terrific combat chases him out of 
 the room. The moon rises slowly; and the children 
 wander about until the Girl sits down, and expresses her 
 hunger by pointing to her mouth. The Boy rushes off 
 for food ; returns, and finds his sister stretched out upon 
 the ground ; he cries, rubbing his eyes, and shaking the 
 tears from his fingers. He tries in vain to restore her, 
 and finally drops down by her side; the moon sinks 
 down also. 
 
 SCENE III. 
 
 The sun slowly rises. The children are stretched out 
 upon the ground. A chirp is heard ; the Robins come 
 hopping in, one behind the other ; they hop a few times, 
 then stop suddenly, chirp, and hop again. They dis- 
 cover the Babes ; hop over them, and go out. They soon 
 return, each with a large cabbage-leaf which they 
 drop upon them, and go and come until they have cov- 
 ered the Babes, when they hop over them three times. 
 The Uncle enters with the Ruffians, the first of whom 
 draws out a small handkerchief, the second a larger one, 
 and the Uncle a very large one. All wipe their eyes. 
 The Babes then rise; all join hands, bow, and march 
 out in single file, the Robins last. 
 
F 
 
 THE MAGIC MIEEOB. 
 
 This beautiful scene is intended to illustrate an old 
 legend, which should be related to the audience in ad- 
 vance. A great prince once lost his beloved bride, who 
 was stolen by the fairies. In despair he applied to a 
 famous magician, who, for a handsome reward, agreed to 
 show hini a vision of his lost love. For this purpose, he 
 conjured up in turn many pictures of fair women, each 
 one of which served only to increase the disappointment 
 of the unhappy lover, until at last his enraptured eyes 
 beheld the likeness of the lost lady in full bridal costume. 
 Overcome with joy, the prince fell upon his knees before 
 the portrait, which seemed to look lovingly upon him. 
 The magician waved his wand, and the picture seemed 
 to start from the canvas and slowly become a living 
 reality. She extended her arms to the happy prince, and 
 they were united, never again to be parted. 
 
 This scene can be produced in any room by using 
 the frame described in previous chapter, but if it is 
 desirable to prepare it hastily, place tables close against 
 the back wall, to make a platform across the end of 
 the romn. Next procure two strips of wood, of a length 
 just equal to the height of the room, and not over one 
 inch thick and five inches wide. Lay them upon the 
 floor, and fasten a large portrait-frame on them with 
 screws, in such a manner that, when raised, the lower 
 edge of the frame will be level with the top of the plat- 
 
 37 
 
38 PARLOR AMUSEMENTS 
 
 form. This frame should be seven feet in height and 
 five feet wide ; it can be made of pine boards five inches 
 wide and half an inch thick, and covered with gilt paper 
 or yellow paint, in case a real frame cannot be procured. 
 Fasten these strips upright in the centre of the room, 
 close in front of the platform, and drape all the space 
 around it with dark shawls extending to the walls, the 
 floor, and the ceiling. Hang a dark shawl behind the 
 frame upon the wall for a background. 
 
 The magician occupies the right side of the stage and 
 the prince the left, each standing upon the floor in such 
 a position that he can look upon the frame without 
 turning the back upon the audience. The frame is, of 
 course, between them, in the centre, and about two feet 
 from the floor. The girls who are to appear as visions 
 stand upon the platform, on the right of the frame, con- 
 cealed by the drapery. The first one glides slowly across 
 the frame from right to left, as slowly as possible, and 
 with. an almost imperceptible motion of the body. When 
 she reaches the centre of the frame, she turns very 
 slowly, and looks upon the prince, who makes a gesture 
 of disappointment; upon which she turns toward the 
 left again, and disappears, gliding upon the platform 
 behind the drapery at the left of the frame. As soon as 
 she has disappeared, the second follows, and all proceed 
 In turn in the same manner. The magician waves his 
 hand as each one passes by, and whispers to them when 
 they have reached the centre, so that they may know 
 when to turn. When the bride appears to have reached 
 the centre of the frame, the magician makes motions in 
 the air with his wand, as if to recall her to life, and the 
 prince kneels before her as she slowly extends her arms. 
 Any number may participate in this vision, as the curtain 
 can be lowered while the persons upon the concealed 
 platform are changed. The story should be related to 
 the audience while waiting, and a waltz or march should 
 be played upon the piano. 
 
FOR THE YOUNG FOLKS. 39 
 
 The magician's robe may be made of a curtain, and his 
 wig and beard of cotton or wool. He should have a 
 bright turban, and a cane wound with gilt paper for a 
 wand. 
 
 The prince should wear dark, short pantaloons, with 
 long white stockings, loose white shirt trimmed with 
 gold-paper fringe, and an opera-cape over the left 
 shoulder. 
 
 The girls should display as much variety as possible in 
 their dress : some appearing with long trains and with 
 powdered hair, and some in simple muslin. The bride 
 should wear white, and, if possible, a long veil also. 
 
 This entertainment has been produced in New York 
 with great brilliancy during the winter, at charitable 
 entertainments for several good objects. At a beautiful 
 village on the Hudson Kiver it also formed . the chief 
 attraction of a series of performances for the benefit of a 
 church fund. On this occasion, when the curtain rose, 
 a large frame formed the only ornament of a small room 
 draped in black, lighted from the top by twenty powerful 
 gas-jets, which were invisible to the audience. The 
 prince — a handsome young gentleman, in a costume of 
 blue satin richly embroidered in silver — stood upon the 
 left, and a member of the New York bar, dressed in a 
 long crimson robe, occupied the right of the stage. A 
 flowing white beard and wig concealed his features, and 
 he slowly waved a golden wand in his right hand. A 
 graceful lady, in a brilliant cherry-colored silk dress, 
 glided across the frame so slowly that she scarcely 
 seemed to move ; and as the light gradually increased, 
 she seemed to have come out of the shadowy background 
 by magic. In the centre of the frame she turned toward 
 the prince, showing her exquisite profile to the audience, 
 and disappeared as she had come, seeming to melt away, 
 and was followed by a stately lady in a rich dress of 
 black and orange satin. Next came a queen in dress 
 and presence, with crown and jewels to match. Then a 
 
40 PARLOR AMUSEMENTS. 
 
 train of court ladies in alternate blue, pink, buff, lilac, 
 and scarlet costumes were followed by a lovely blonde 
 in green, whose powdered hair and diamond ornaments 
 well became their various styles of beauty. Strange as 
 it may seem, to each one of these the fastidious prince 
 showed his disappointment; but when the beautiful 
 bride — attired in white satin, with a flowing veil — made 
 her appearance, he fell upon his knees as she slowly 
 bent forward toward him, and the curtain descended to 
 the music of a dreamy waltz, which had accompanied 
 the entire performance. 
 
y 
 
 THE MISER'S SUPPER. 
 
 (Trick Pantomime for Three Boys.) 
 
 The Misee. — Old dress-coat. 
 Sebvant. — Shirt-sleeves, apron. 
 Boy, concealed under the table. 
 
 Plate, knife and fork, plate of meat, glass full of 
 molasses-and-water, long straw or tube of maccaroni 
 bent in a form of a syphon, newspaper, bag of tin money, 
 piece of money with a long horse-hair or black sewing- 
 silk tied to it. A candle neatly fastened to a long white 
 stair-rail so as to make it three feet long. Two short 
 eatable candle-ends in candlesticks: these candles are 
 cut from an apple, and have wicks made of almonds. A 
 table covered with a cloth, in the middle of the top of 
 which is a small trap-door opening downward, fastened 
 with a hinge and button on the under side ; on the right 
 front comer a candlestick stands, with a hole in the 
 bottom, over a hole in the table, through which the long 
 candlestick is slowly pushed or lowered. Two auger- 
 holes are made near the candlestick, and a cloth of same 
 color as the table-cloth is neatly pasted over the table- 
 top, through which the holes and cracks for the trap- 
 door are neatly cut. The table-cloth should be tacked 
 upon a strip which stands half an inch higher than the 
 edge of the table in front. The boy who is to perform 
 the tricks should be under the table when the folding- 
 doors are opened or the curtain is raised. An empty 
 glass. A tame cat under the table. A chair. 
 
 41 
 
42 PARLOR AMUSEMENTS 
 
 Enter miser, with bag of money, which he lays on the 
 trap-door in centre of the table. Servant enters, places 
 chair at right end of table, brings plate, knife and fork, 
 and tumbler, and puts them down before miser, who 
 points to his mouth to show his hunger. Servant strikes 
 his left palm to show he must have money. Miser 
 reaches for bag, which is gone. He accuses servant of 
 having stolen it, and they search the room and are about 
 to fight, when they discover that the bag is just where 
 he left it ; he takes out a piece of money, which the ser- 
 vant takes and puts into the tumbler. The money 
 dances up and down very rapidly, being pulled by the 
 invisible string. Both appear alarmed. When the money 
 is quiet, servant takes up the tumbler, and the money 
 jumps out and disappears. The miser gives him more, 
 and he goes out for a newspaper, which the miser begins 
 to read, holding it close to the candle, which the servant 
 lights for him with a match. The candle slowly rises ; 
 the miser is absorbed in his paper, and rises as fast as 
 the candle, until he sits upon the top of his chair-back, 
 with his feet upon the seat. As the candle descends, he 
 comes down with it to his place. The same action is 
 repeated. The servant then brings a glass of molasses- 
 and-water, at which the old man smacks his lips with 
 delight, sips a little of it, and places it near the auger- 
 hole, and returns to his paper. The tube is put up, and 
 the glass emptied through it. The miser picks up the 
 glass, raises it to his lips, and seems much surprised that 
 it is empty. The servant brings a plate of meat, goes 
 for tin cover which he places over it, and when he lifts 
 the cover to help the miser, the plate is empty. He goes 
 for more, but returns and finds it all right. As the 
 miser prepares to eat, the candle is pulled down and ex- 
 tinguished. The servant runs out and brings the two 
 eatable candles. The other candle then appears, and is 
 lighted by the servant. He then discovers that the dish 
 and cover have both disappeared, and is about to go for 
 
FOB THE YOUNG FOLKS. 
 
 43 
 
 more. The miser is so hungry that he eats both the 
 candles, holding them in his mouth until he comes to 
 the wicks, which he eats last. He is about to eat the 
 long candle, when he discovers that the covered dish is 
 in its place. He lifts the cover eagerly, and a cat jiimpa 
 out ; he runs away in horror, and the curtain falls. 
 
LOVE IN AMBUSH. 
 
 CHABACTEKS. 
 
 Stephen the Parent. — Swallowtail-coat, hair powdered. 
 
 Fbank the Lover. — White pantaloons, frock coat, eye-glass. 
 
 Jenny the Maiden. — Calico dress, white apron. 
 
 Properties. — Table, ironing-board just the size of the top of the 
 table, clothes-basket, handkerchiefs, iron, pattern, two letters, 
 sheet of paper, pencil, soap-box, white hat, overcoat, cane, 
 straw Jtat, newspaper. 
 
 Curtain rises. Jenny is ironing at table in centre. 
 Stephen sits reading newspaper at left end of table, his 
 overcoat, cane, and hat are on chair at K. Jenny often 
 leaves her work, and runs to door as if expecting some- 
 body ; but her father directs her to continue her work. 
 She seems very impatient and anxious to get rid of him, 
 and shows him a pattern, as if she wanted him to go to 
 the store ; but he shakes his head and examines his pock- 
 ets as if he had no money. A knock is heard. Jenny 
 seems more anxious, and finally gets rid of the old man 
 by showing him a letter to take to the mail. She puts 
 on his coat and hat, gives him Jiis cane, and helps him 
 off. As he goes out of the door, she leads in Frank 
 behind his back. They shake hands as if overjoyed to 
 meet ; she give^ him a chair, and takes another at the 
 opposite side of the stage ; they cast glances and grad- 
 ually draw their chairs together. He takes her hand, 
 kneels down, and exprtjsses his devotion in fervent ges- 
 44 
 
PARLOR AMUSEMENTS. 45 
 
 tures. A cough is heard, they express consternation, 
 and rush acrbss the stage. Another cough, and they 
 seize the table and carry it away. Jenny then takes the 
 basket off of the box, K., and places it exactly where the 
 table stood, and makes Frank kneel upon the box and 
 rest his hands upon it. She places the board upon his 
 back and covers it with a sheet, so that a table is formed 
 precisely like the other one. She then begins to iron 
 vigorously. Stephen enters, takes off his overcoat, and 
 places his hat and cane on one chair and draws up the 
 other to the left of the table and prepares to sit down. 
 Frank kicks away the chair and he sits heavily upon the 
 floor. Stephen shakes his fist at Jenny, who motions that 
 she was busy ironing and did not touch the chair. He 
 then repeats the experiment with same result. Jenny 
 then holds the chair firmly in place, while Stephen care- 
 fully sits down and reads his letters. He then directs her 
 to bring papet and pencil, and begins to write, when 
 Frank dances the table up and down with all his might. 
 Stephen accuses Jenny of shaking the table, but she 
 denies it. treeing that the table is still, Stephen again 
 attemps in vain to write. He then discovers Frank's 
 hat on the floor in front of the table, and holds it up, 
 asking whose it is ? Jenny puts it on his head, and he 
 seems satisfied until he discovers his own and brings it 
 to her. She then puts Frank's hat on her own head and 
 walks around the table. Stephen follows her very 
 doubtfully and shakes his head. As he passes the left 
 end of the table he receives a kick from Frank and 
 comes forward rubbing his leg. He then takes his cane 
 and pushes under the table. Frank rises and throws the 
 sheet over Stephen's head, and the lovers exit as 
 
 CURTAIN FALLS. 
 
THE SLEEPING BEAUTY. 
 
 CHAEACTERS. 
 
 Kino. — Ermine robe, crmim. 
 
 Queen. — Silk dress with ermine, crown, 
 
 FouB Gentlemen. — Knee-breeches, white stockings, cloaks ovef 
 
 left shoulder. 
 FouB Ladies of Honor. — Silk train-dresses, powdered Jutir. 
 Cook. — W^ite apron, white pantaloons. 
 Page. — Knee-breeches and cloak, like Gentlemen of Honor. 
 Two IVlAlDS. — Calico dress and white aprons. 
 Two Musicians. — Costumed like Gentlemen of Honor, excepting 
 
 the cloak. * 
 
 Sdc littu!: Girls for Fairies. — Thin white muslin dresses, 
 
 spangled with gold-paper. 
 Old Woman. — Black dress, tohite apron and kerchief. ' 
 
 The Prince. — Very showy dress, like Gentlemen of Honor, 
 The Beauty. — White satin, like Ladies of Honor. 
 
 SCENE I. 
 
 The queen sits at K., rocking a cradle. The king 
 rises and receives five of the fairies who enter L. After 
 much ceremony, the maids enter and set a table for the 
 fairies, who sit around it. The page places before each 
 a golden plate, at which they are much pleased. The 
 cook brings in the dinner, with the help of the maids. 
 While they are busily engaged, the sixth fairy enters 
 angrily, and the page places a chair for her and goes 
 for a plate, returning with a common one. The faiiy 
 
 4a 
 
[ 
 
 I 
 
 PARLOR AMUSEMENTS. 47 
 
 demands a golden one. When the page explains to her 
 that there are but five, she grows more indignant, 
 dashes her plate upon the floor. The king tries in vain 
 to pacify her, but she points at the cradle in a threaten- 
 ing manner. The other fairies gather around as if to 
 shield the child, on which tableaux the 
 
 CUETAIN FALLS. 
 
 SCENE II. 
 
 The king and queen are seated in centre. Beauty sits 
 on a couch at their right ; an old woman enters with a 
 distaff at L. Beauty watches her eagerly, and motions 
 her to draw near. The old woman comes up to the 
 couch. Beauty takes the distaff and falls on the couch 
 as if overcome with sleep. The old woman waves her 
 cane, and the king and queen, the gentlemen and ladies 
 of honor, who stand in a semicircle at back of stage, 
 all fall asleep in the attitudes in which they stand, and the 
 
 CURTAIN FALLS. 
 
 SCENE III. 
 
 The kitchen. One maid is sweeping at L. The cook 
 is stirring some soup. One of the maids is boxing the 
 page's ear, and the other is in the act of drinking. The 
 old woman waves her cane, and all fall asleep in their 
 attitudes. 
 
 SCENE IV. 
 
 The same scene as the second, with all the characters 
 asleep in the attitudes in which they were left. 
 
 The prince slowly enters L, looks around in the great- 
 est amazement, and examines the different persons curi- 
 ously. He discovers Beauty, expresses astonishment 
 and rapture. Kneels and kisses her hand. Beauty 
 rises. All the characters yawn, wake up, and follow tho 
 
48 PARLOR AMUSEMENTS 
 
 prince, who leads Beauty out K. The kmg and queen 
 bring up the rear. 
 
 CUBTAIN FALLS. 
 
 . SCENE V. 
 
 Kitchen, with sleeping characters as m Scene III. 
 When the prince and Beauty lead the procession in, all 
 perform the acts they had commenced when put asleep. 
 The cook stirs the soup ; the maid boxes the page's ear ; 
 the other maids drink and sweep. 
 
 SCENE YI. 
 
 Same room as Scene IV. The procession enters, led 
 by two musicians, who stand at back of stage. The 
 fairies enter and stand at back corner, K. The prince 
 and Beauty stop in centre. The gentlemen and ladies 
 join hands around them; all salute the centre couple 
 and begin the dance. 
 
 All hands around ; all forward and back twice, bowing 
 as they advance. The centre couple promenade out of 
 the circle, divide, and stand together behind the dancers. 
 Eight hands around ; forward and back twice ; turn part- 
 ner by right hand; corner by left; every lady turns 
 under her partner's hand, which is held up. Four ladies 
 cross right hand ; left hand back, keeping hold in centre ; 
 take their partners by the left hand and revolve in a 
 star; stand in star-figure, raising up the left hands of 
 the gentlemen, so the fairies can pass under, which they 
 do twice ; all turn partners ; all promenade. The above 
 figure is repeated as before, excepting that the gentle- 
 men form the centre of the star. After which, all hands 
 around; forward and back to circle; all keep hoU of 
 hands, as the prince winds up the whole ; and, when all 
 are in a compact circle, he leads out under the upraised 
 hands forward to the centre ; and all form a semicircle 
 
 ^g^m 
 
FOR THE YOUNG FOLKS. 49 
 
 at back. The king and queen enter. The prince and 
 Beauty kneel before the king, who joins their hands, and 
 the fairies dance around them in a ring. All bow to au- 
 dience as the 
 
 CUBTAIN FALLS, 
 
 Illustrated Ballads form a charming entertainment 
 for a winter evening, as they require slight rehearsal 
 and little or no scenery. They can be very effectively 
 performed in any parlor, by children of any age, who 
 possess a good ear for time and a thorough appreciation 
 of the spirit of the song. The words must be distinctly 
 sung by a performer, who may be concealed from view 
 of the audience if preferred. As each line is sung, the 
 actors must present, in pantomime, its appropriate action 
 in exact time to the melody. 
 
AULD BOBIN GRAY. 
 
 CHABACTERS. 
 
 AxTLD Robin Gbay. — Gray suit, knee-breeches, long vest, plaidf 
 
 white wig, or powdered Juiir. 
 Jamie. — Kilt, plaid, pea-jacket, sailor-hat. 
 Jeannie. — Plaid skirt tucJced up over white, white waist, black 
 
 bodice, plaid scarf. 
 MOTHEB. — Black or brown dress, white kerchief, white apron. 
 Father, — Ch'ay or brown suit, — wrapped in plaid, left arm, in 
 
 sling. 
 Furniture. — 1st Scejte, crown for Jamie; 2d Scene, tioo chairs, 
 
 R. for parents, small chair, C, at small spinning-wheel; 3d^ 
 
 Scene, box for door-stone, C. ; 4tli Scene, great clvair, with 
 
 pillows, quilt, &c., for Robin, C, small table, cup, medi' 
 
 cine, 
 
 SCENE I. — Jamie, R., and Jeannie, L., discovered in attitude 
 of parting lovers, .C. 
 
 Young Jamie loved me well, and 
 
 sought me for his bride. 
 But saving a crown he hath 
 
 nothing else beside. 
 To make the crown a pound, my 
 
 Jamie ga'ed to sea. 
 And the crown and the pound 
 
 were a' baith for me. 
 
 60 
 
 Jamie kneels on l^ knee. 
 
 Jamie shows crovtm-piece; both 
 sadly shake their heads. 
 
 Jamie points off, L., and exit, 
 L., at tlie tcord "sea." 
 
 Jeannie follows him three 
 steps, parts, comes forward 
 sadly with clasped hands. 
 
 [Curtain falls. 
 
PARLOR AMUSEMENTS. 
 
 51 
 
 SCENE II.— 'Father and Mother in chairs, L.; Jeajstsje, C, 
 
 at wheel, hands clasped in lap. 
 
 He had na' been gone a year 
 
 and a day, 
 When my father brake his arm, 
 
 and our cow was stolen away. 
 My mother she fell sick, my 
 
 Jamie at the sea. 
 And Auld Robin Gray came a 
 
 courtin' to me. 
 
 My father aould not work, my 
 mother oould not spin, 
 
 I toiled day and night, but their 
 
 bread I could not win. 
 Auld Rob maintained them 
 
 baith, and with tears in his e'e, 
 Said, " Jeannie, for their sakes, 
 
 cih, pray, marry me." 
 My father urged me sair, my 
 
 mother did na' speak ; 
 
 But she looked in my face till 
 my heart was like to break ; 
 
 So they gied him my hand, tho* 
 my heart was on the sea, 
 
 And Auld Robin Gray was a 
 gude man to me. 
 
 Jeannie in attitude 0/ despair, 
 
 hands clasped. 
 Looks sadly at her father. 
 
 Turns towards Tier mother. 
 
 Robin Gray enters, L. or C, 
 kneels to Jeannie, and takes 
 her right hand; she turns away 
 in disgust and looks dovm. 
 
 Robin Gray points to each; 
 Jeannie sadly watches Ms 
 motions. 
 
 Jeannie spins at wheel, C. 
 
 Robin kneels and implores with 
 
 tears. 
 Jeannie turns away as he takes 
 
 her hand. 
 Jeannie is led by Robin across 
 
 to her parentSf and kneels 
 
 with her hands across Iter 
 
 Mother's lap. 
 Mother regards Jeannie eam- 
 
 estly as she kneels h^ore her, 
 
 R. 
 Robin crosses from C. to R., 
 
 takes Jeannie's hand from 
 
 Mother. 
 Robin leads Jeannie to C. 
 
 and draws her hand through 
 
 his arm, looking fondly at 
 
 Jeannie, who looks sadly 
 
 down. 
 
 [Curtain falls. 
 
 SCENE ni. — Jeannie discovered sitting at door, very sad. 
 
 t had na' been his wife but 
 
 weeks only four, 
 When sitting so mournfully at She slowly l\fts her head from 
 
 my own door, her hand^ 
 
 I 
 
52 
 
 PARLOR AMUSEMENTS. 
 
 I saw my Jamie's ghost, for I 
 
 could not think it he, 
 Till he said, "I've come home, 
 
 love, to marry thee." 
 Oh, sair did we greet, and miekle 
 
 did we say; 
 "We took na' kiss at all, I bid 
 
 him gang away; 
 For I will do my best a good 
 
 wife for to be. 
 For Auld Robin Gray is very 
 
 kind to me. 
 
 Jamie enters, L. ; Jeaki7I£, in 
 
 fright, motions Mm away. 
 They rush into each other^s 
 
 arms. 
 They bow their heads, then lift 
 
 their heads as if conversing, 
 Jeanste pushing him away; 
 
 exit Jamie sadly, L. 
 Jeannie comes forward, extends 
 
 her hands. 
 Sinks back into her seat, bowed 
 
 with sorrow. 
 
 \jCurtain falls. 
 
 BCENE rV. — RoBur at C, in arm-chair, propped up by cushions 
 or pillows. 
 
 The nights were long and sad, 
 
 the days were dull and wae. 
 But that which grieved me most 
 
 was Auld Robin Gray. 
 He sickened day by day, and 
 
 nothing would he take. 
 But said, " Tho' I am like to die, 
 
 'tis better for her sake. 
 Is Jamie come?" he said, and 
 
 Jamie by us stood. 
 "I've wronged you sair," he 
 
 said, "now let me do some 
 good. 
 I give you all, young man, my 
 
 houses and my kine, 
 And the good wife herself, who 
 
 should not have been mine." 
 
 We kissed his clay-cold hands, 
 a smile came o'er his face. 
 
 Said Jamie, "He is pardoned 
 before the Throne of Grace ! 
 
 O Jeannie, see that smile ; for- 
 given I'm sure he is ; 
 
 Who could resist temptation 
 Willie hoping to win thee?" 
 
 Jeannie bends over him, B,, 
 
 Jeaxnie smooths his hair from 
 
 hisforehead. 
 Jeannib passes cup from table, 
 
 R., which Tie reuses. 
 Jeannie kneels for the old 
 
 man's blessing. 
 Jamie enters, L. 
 
 Robin grasps Jamie's hands. 
 
 Jameb kneels, L., and Bobin 
 
 points off, L. 
 Jeannie kneels, he joins their 
 
 Tiands, they bow their heads 
 
 for his blessing. 
 They nse, lift his hands to their 
 
 lips, and then suffer them to 
 
 drop heavily. 
 Jamie points up, L., one hand 
 
 on arm cf chair, 
 Jamie turns to Jeanitie. 
 
 Robin falls back in death. 
 Jeanndb kneels, R.; Jamie 
 points up, L. 
 
 [Curtain falls. 
 
THE MISTLETOE BOUGH. 
 
 AK ILLUSTBATED BALLAD. 
 
 4 
 
 CHAKACTEES. 
 
 The Bbide. — White dress and veil, wreath, also a faded wreath. 
 LoYEiiL. — Knee-breeches of white paper-camhric, coat faced with 
 
 same, ruffled shirt, white cravat, white wig and beard for 
 
 last scenes. 
 The Babow, ) same as Lovell, excepting bright-' 
 
 Four Gentlemebt or Boys, j colored breeches and facings. 
 FouB Ladies or Girls. — Silk train-dresses, powdered hair^ 
 The Baboi^ess. — Black dress in same style. 
 Six little Childben in ordinary dress. 
 FOBNITUBE. — One table, one chair, two boxes. Front, side, and 
 
 lid of chest, four and one-half feet long, two and one-half 
 
 high, fastened at inside comers with hooks, which must be 
 
 unhooked when the chest falls in last scene. 
 
 [At rise of curtain the bride and Lovell stand in centre 
 of stag6 at back. The baron and baroness at the left 
 hand of Lovell. The others stand in two lines at side, 
 gentlemen at right hand of partners. They dance as 
 follows: head couple forward and back, sides forward 
 and back twice and bow, grand right and left. The 
 pianist must play the melody, and as the bride and 
 Lovell meet at head of the stage, the singer must 
 twice sing the chorus, "O the Mistletoe Bough.'* At 
 the word "bough," the couples join right hands and 
 bow, first to partner, then to opposites, in exact time 
 with music. The song then begins, the same dancei 
 coming in as marked.] 
 
 63 
 
54 
 
 PARLOR AMUSEMENTS 
 
 The mistletoe hung in the castle Lovell leads his BiUDE/oncard 
 
 hall, 
 The holly branch shone on the 
 
 old oak wall ; 
 And the baron's retainers were 
 
 blithe and gay, 
 And keeping their Christmas 
 
 holiday. 
 
 and points up. 
 They go backward to place, he 
 points to sides of stage. 
 
 Sides fortoard and back, bow, 
 and begin the dance, which 
 goes on as above. 
 
 flkince.) 
 
 (Sing.) The baron beheld with IiOVELL leads'Bvsim to Bakox, 
 
 a father's pride 
 His beautiful child, young Lov- 
 
 ell's bride, 
 While she with her bright eyes 
 
 seemed to be 
 The star of the goodly company. 
 
 who salutes her; he tlien leads 
 her to centre of stage and puts 
 a ring upon her finger. 
 
 CHORUS. 
 
 O the Mistletoe bough! 
 O the Mistletoe bough! 
 
 They look tenderly at each other, 
 and remain in centre hand in 
 hand, until chorus, when tliey 
 bow first to each other, then to 
 sides. 
 
 All bow as before. 
 
 {Dance.) 
 
 "I'm weary of dancing now," 
 
 she cried ; 
 " Here tarry a moment, I'll hide, 
 
 I'll hide! 
 And, Lovell, be sure thou 'rt 
 
 the first to trace 
 The clew to my secret lurking- 
 place.'* 
 Away she ran, and her friends 
 
 began 
 Each tower to search, and each 
 
 nook to scan ; 
 And young Lovell cried, "O 
 
 where dos't thou hide? 
 I'm lonesome without thee, my 
 
 own dear bride." 
 O the Mistletoe bough ! 
 
 Bride comes forward, stretches 
 out Tier hands wearily, places 
 l^ Tiand on Lovell's shoul- 
 der, who also comes forward ; 
 she points over her slumlder 
 ttTid runs off at the right. 
 Dancers cross and go out. 
 
 JjOyisiSj expresses despair. Bar- 
 oness comes forward, places 
 her right fiand on his shoulder. 
 They salute each other, then 
 bow to audience at chorus. 
 
 [Curtain falls. 
 
FOR THE YOUNG FOLKS. 
 
 55 
 
 SCENE II. — Chest in centre^ table tipped over at right of stage, 
 chair on floor at left. The melody is played. Bbide enters 
 hastily: first hides behind table, then decides to enter chesty 
 draws up chair and steps in. ■ The chorus is then sting, and 
 the Bbide lets the lid fall heavily at last note. 
 
 They sought that night, and thoy 
 
 sought her next day, 
 And they sought her in vain, 
 
 when a week passed away. 
 In the highest, the lowest, th6 
 
 loneliest spot,. 
 Young Lovell sought wildly, but 
 
 found her not. 
 
 The dancers enter slowly, pause 
 a moment, then cross and e-xit. 
 iCuriain falls. 
 
 SCENE III. — Childben are playing " Thread the Ifeedle,'* in 
 time to the melody ; they stop suddenly, ttco qf them point to 
 right of stage. 
 
 And years flew by, and their 
 
 grief at last 
 Was told as a sorrowful tale 
 
 long^past; 
 And when Lovell appeared, the 
 
 children cried, 
 "Seel the old man weeps for 
 
 his fairy bride." 
 O the Mistletoe bough 1 
 
 LovEiiL appears at right, dressed 
 as an old man, and crosses tJie 
 stage slowly. 
 
 He bows his head and weeps, then 
 salutes the Childben, toho 
 bow to him and then to audi- 
 ence. [Curtain falls. 
 
 SCENE IV. — Same as Scene III., except that the chest is unhooked 
 at comers, and the faded wreath inside. 
 
 At length an oak chest, that had 
 long lain hid, 
 
 Was found in the castle. They 
 raised the lid, 
 
 And a skeleton form lay mould- 
 ering there, 
 
 In the bridal wreath of the lady 
 fair! 
 
 O, sad was her fate I in sportive 
 jest 
 
 Old man slowly enters, and at- 
 tempts to raise the lid, pushes 
 the right comer and chest falls. 
 He Iiolds up the wreath with 
 trembling fingers. Gazes with 
 horror on the chest. Turns to 
 audience and points towards 
 it. He kneels, and at last note 
 of chorus falls on ruins qf the 
 chest. 
 
56 
 
 PARLOR AMUSEMENTS. 
 
 She hid from her lord in the old 
 
 oak chest; 
 It closed with a spring I and her 
 
 bridal bloom 
 Lay withering there in a living 
 
 tomb. 
 O the Mistletoe bongh! 
 
 iCurtain/alU. 
 
YILUKENS AND HIS DENIAH. 
 
 AN ILLUSTBATED BALLAD, TO BE PERFORMED BY CHILDBEir 
 FROM EIGHT TO TWELVE YEARS OLD. 
 
 CHAEACTERS. 
 
 Pabekt. — Top-boots, knee-breeehes, swallow-tail coat, ruffled shirtf 
 
 white cravat, powdered hair, 
 ViLLiKENS. — WTiite pantaloons, swallow-tail coat, ruffled shirt f 
 
 fancy tie, curled hair. 
 Desiah. — Train dress, bright overskirt, hat, large watetfall, 
 
 Cfrecian bend. 
 Properties. — Two sheets, letter, bottle, carpet-bag, money, 
 (A concealed Singer begins song as curtain rises,) 
 
 1. 
 
 Thero was a rich merchant, in Parent bows low to audience. 
 
 London did dwell. 
 
 Who had for a daughter a very Parent points with Iqft Jiand. 
 
 fine girl; 
 
 Her name it was Deniah, just Parent spreads both hands in 
 
 sixteen years old, ecstasy. 
 
 With a very large fortune, in Parent rattles money in his 
 
 silver and gold. pockets. 
 
 chorus. 
 
 Sing tural li lural 11 lural li la, Parent d<mces in time to music, 
 
 forward. 
 Sing tural li lural li lural li la, Parent dances in time to music, 
 
 backward. 
 Sing tural li lural li lural 11 la. Parent dances in time to music, 
 
 forward. 
 Sing tural 11 lural li lural li la, Parent dances in time to music, 
 
 backward, and bows at last 
 
 note. 
 57 
 
58 
 
 PARLOR AMUSEMENTS 
 
 n. 
 
 As Deniali was walking the gar- 
 
 deu one day, 
 Her father came to her, and 
 
 thus did he say: 
 
 -*GrO dress yourself, Deniah, in 
 gorgeous array, 
 
 Ind m bring you a husband, 
 both gallant and gay.*» 
 
 CHOBUS. 
 
 ni. 
 
 *' O papa, dear papa, I 've not 
 
 made up my mind; 
 To marry just yet I do not feel 
 
 inclined; 
 And all my large fortune I'll 
 
 gladly give o'er 
 
 If you '11 let me be single a year 
 or two more." 
 
 CHOKUS. 
 IT. 
 
 **Go, go, boldest daughter!" 
 
 the parent replied. 
 "If you do not consent to be 
 
 this young man's bride, 
 I'll give your large fortune to 
 
 the nearest of kin, 
 
 And you sha' n't reap the bene- 
 fit of one single pin. 
 
 CHOKTTS. 
 
 V. 
 
 As Villikens was 
 
 garden around, 
 He spied his dear Deni£^ lying 
 
 dead on. the ground. 
 
 DE27IAH enters and courtesies to 
 
 PABE^% wlio bows in time, 
 Pabknt approcLches Tier, and 
 
 moves head and hand as if 
 
 speaking. 
 Pakest points to Dejoah's 
 
 dress, who takes it in her hands 
 
 and looks upon it. 
 Deniah puts finger in her mouth, 
 
 and turns head away. 
 Both dance forward and hack" 
 
 ward togetJier at each line and 
 
 bow at end. 
 Deniah puts right hand on 
 
 Parent's Itft shoulder. 
 Deniah places left hand coax- 
 
 tngly under his chin. 
 Deniah turns to left, moves both 
 
 Tiands as if throwing away 
 
 Tier money. 
 Deniah looks at him implore 
 
 ingly, and coaxes him as before. 
 
 Both dance forward and back- 
 ward, and bow in time as be- 
 fore. 
 
 Parent shakes his head and 
 fist very savagely. 
 
 Dz^OAH kneels down and cries* 
 
 Paiubnt makes motions as if' 
 throwing away motiey; takes 
 large pin from his coai. 
 
 Dent AH wrings her hands and 
 joeeps. 
 
 Sung and danced as b^ore. 
 
 {Curtaim falls. 
 
 walking the Vimjkens enters, discovers 
 Deniah lying in centre of 
 stage vnth bottle and letter; 
 Tie jumps, throws up his hands 
 in horror. 
 
FOR THE YOUNG FOLKS. 
 
 m 
 
 With a cup of cold poison lying 
 
 down by her side, 
 And a billet-doux^ saying by 
 
 poison she died. 
 
 OHOSUS. 
 
 VI. 
 
 He kissed her cold corpus a hun- 
 dred times o'er, 
 
 And called her his Deniah, 
 though she was no more ; 
 
 Then he swallowed the poison 
 like a lover so brave, 
 
 And Villikens and his Deniah 
 both lay in one grave. 
 
 CHOBUS. 
 
 vn. 
 
 At twelve next night, by a tall 
 
 poplar tree, 
 The ghosts of his children the 
 
 Parent did see, 
 Standing close to each other, 
 
 and both looking blue. 
 Saying, "We should be both 
 
 living if it was not for you." 
 
 CHORUS. 
 VIII. 
 
 Now the Parent was struck with 
 a horror of home, 
 
 So he packed his portmanteau, 
 the world over to roam ; 
 
 But he had not gone far, when 
 he was seized with a shiver 
 
 Which ended his days, so fin- 
 ished him forever. 
 
 CHORUS. 
 
 Villikens picks up bottle and 
 
 smells of it. 
 Heads letter in amazement. 
 
 Villikens dances forward and 
 backward, looking first at let- 
 ter in his left hand, then at 
 bottle in his right, extending 
 each hand in turn, bows at 
 last note. 
 
 Villikens kneels down behind 
 DliNiAH, bends over and pre- 
 tends to kiss her. 
 
 Wrings Jier hands. 
 
 Drinks from bottle. 
 
 Falls behind DeniaH at last 
 note. 
 
 No dance. 
 
 [Curtain falls. 
 
 Parent enters, discovers tite 
 lovers standing at back of 
 stage dressed in sheets like 
 ghosts. He jumps, looks first 
 over his left shoulder at them, 
 then over his right slwulder, 
 and continues this motion 
 through rest qf verse and 
 chorus. 
 
 Ghosts dance forward and back 
 as bqfore, following Parent; 
 all bow. 
 
 Parent goes off left for hia car- 
 pet-bag. 
 
 He packs his clothes. 
 
 Suddenly turns his head, sees 
 ghosts, and shivers faster and 
 faster until he drops in centre 
 of stage. 
 
 Ghosts dance around Parent; 
 Deniah first ; both bow. 
 
 {Owrtain falls. 
 
60 PARLOR AMUSEMENTS. 
 
 Note. Swallow-tail coats are easily made by sewing tails on to 
 the boys* jackets; the ruffles are made of paper. The girl can 
 wear a long dress tucked up over her own. The sheets are placed 
 over the heads, leaving only the face exposed. They hold the 
 sheet under their china with left hands and point with the right. 
 Where a trap-door is available they fall into and 1:180 up from it. 
 
 I 
 
CHARADES. 
 
 
 Although considered easy to act by many persons, 
 tliese are by far the most difficult of all dramatic 
 scenes. To render tbem effective, a quick wit and a 
 brilliant conversational talent must be united with the 
 power of imitation. It is, therefore, best to give only 
 the skeleton of a few which have proved successful, 
 leaving them to be endowed with life by the genius of 
 the actors ; for those with written conversations often 
 appear tame. 
 
 The more extravagant the humor of a well-acted cha- 
 rade the better; so we shall begin with some comic ones, 
 which have often been acted successfully, in which, of 
 course, the pronunciation of the words is considered, 
 and not the spelling. 
 
 JEW. 
 
 Shylock. — Red dressing-gown, sash, red yam braid, loose trous' 
 
 ers. 
 Antonio. — Tunic, loose pantaloons. 
 Portia. — Dark dress, white cotton wig, li7:e a strong-minded 
 
 female judge; knife, scales, bond. 
 
 Shylock enters, followed by Antonio. He demands 
 payment of a bill for a pound of flesh found on his last 
 month's meat-bill. 
 
 Antonio begs for more time; says he will pay him 
 when his ship comes iu. Shylock demands immediate 
 
 61 
 
62 PARLOR AMUSEMENTS 
 
 payment, or he will sue him. The matter is then re- 
 ferred to the judge, who compels Shylock to produce a 
 pound of beef, as a specimen of the amount at stake. 
 She finds that Shylock has charged too much for his 
 meat, and compels him to discharge Antonio, and to for- 
 feit the piece he has laid before the court. Shylock 
 expresses great discomfiture as the 
 
 CURTAIN FALLS. 
 
 ILLS. 
 
 Fine lady in rich costume, reclining on a couch. 
 Pompous doctor. 
 
 Lady in hysterics. Doctor knocks and enters. She 
 gives him a list of many ills and m'Uladies, each one of 
 which he assures her she has no symptoms of. 
 
 He then asks her a few questions, such as, " Do you 
 find, that after a hearty lunch, a great dinner, or a 
 game-supper, you experience a loss of appetite or indiff- 
 erence to food ? " 
 
 " Oh yes, doctor." 
 
 " After a hard day's work, and dancing all night, do 
 you ever feel a sense of lassitude ? " 
 
 " Oh yes ! Doctor, you understand my case exactly," 
 
 He writes a long prescription, and the 
 
 CURTAIN FALLS. 
 
 JEWELS. 
 
 The Mother op the G^xccbi.t- Roman costume, draped toitk 
 
 sheets. 
 The two Gracchi. — Draped with sheets. 
 
 The two Gracchi enter, each with a prize-package of 
 candy, containing cheap jewelry, over which they are 
 quarrelling. The mother enters with stately step, pulls 
 the combatants apart by the ears, and takes away the 
 prizes, exclaiming, " These are my jewels I " 
 
 CURTAIN FALLS. 
 
FOR THE YOUNG FOLKS. 63 
 
 NOR. 
 
 JS'oah and his three sons, each with a wife upon his 
 arm, come in, stepping carefully, holding up their dresses 
 and umbrellas as if it were damp. They converse about 
 the various animals, and the difficulty they have expe- 
 rienced in getting them safely into the ark, and exit by 
 another door. 
 
 MA. 
 
 A lady is seated on a chair at the centre of the stage. 
 A small boy comes running in, calling, " Ma ! Ma ! " She 
 orders him to do several things without success; and 
 finally says, " Go out of the room." He says, " I wont." 
 She replies, "Stay here; I will be minded." 
 
 NORMA. 
 
 A procession of druids and nuns enter, dressed in 
 waterproof-cloaks and sheets. Norma follows, in white, 
 with a wreath of oak-leaves. They march three times 
 round the stage and arrange themselves in a semi-circle. 
 Norma kneels and sings, in burlesque. Casta Diva. 
 
 The moon rises behind the table, and all march out, 
 chanting the well-known march. 
 
 CO. 
 
 An old man and his wife enter, and seem reading the 
 signs all along a street; and the lady remarks, "What a 
 splendid business must be done by Mr. Co, as his name 
 apivears upon so many signs. 
 
 NUN. 
 
 A tableau can be introduced here of the well- 
 known scene of taking the veil. 
 
64 PARLOR AMUSEMENTS 
 
 DRUMS. 
 
 An irascible old baclielor, wishing to revenge himself 
 upon a family, presents the six boys each with a drum. 
 The efEect of the instruments, played with vigor, gener- 
 ally satisfies the audience in a short time. 
 
 CONUNDRUMS. 
 A troupe of minstrels, who give and guess conundrums. 
 
 HARM. 
 
 A party of warriors enters in proud array. It is the 
 eve of battle. Marmion addresses his troops, and is pre- 
 paring to lead them forth to victory, when he remem- 
 bers that his washing has not come, and that he must 
 have a shirt-front done up immediately ; and quotes the 
 well known line, 
 
 " Their swords are ten thousand, their bosoms are one." 
 
 An Irish lad comes running in, and aftqr hearing the 
 demand, calls out, "Harm, marm, marm! here's a man 
 who wants some washing done." ^ 
 
 IRON. 
 
 The Irish woman is discovered ironing at a table. 
 The shirt-bosom is ironed and laid on a chair. Loud 
 noise is heard, and Chester enters, supporting Marmion 
 in his arms, who waves above his head the fragment 
 of his blade, shouting victory. The Irish woman 
 demands payment for her work; but he puts her off, 
 and continues his heroic utterances. She persists ; and 
 he exclaims, ** Charge it to Chester. Charge, Chester, 
 charge!" and expires. 
 
FOR THE YOUNG FOLKS, ^^ 
 
 DRAM. 
 
 An Artist, sitting by a table on which is an empty plate, a bottle^ 
 and a few brashes. Pictwre frames, and other furniture qf a 
 studio, are arranged around the room. He speaks in burlesque of 
 Hamlet's soliloquy. 
 
 " To be or not to be," — life's dreary dream is o'er, 
 
 And dark despair stands shuddering on the shore, 
 
 Pointing in terror to that dreadful bourne 
 
 From which, alas ! there can be no return. 
 
 Come then, dark dram of poison handy, 
 
 Of strychnine made, called pure French brandy. 
 
 Lift the black veil! thou dark and dreadful dram; 
 
 Teach me what fate — what life is — what I am; 
 
 And why this curse of genius has been given 
 
 To crawl on earth and only dream of heaven: 
 
 For round my mind the changing colors play 
 
 Bright as the radiance of departing day; 
 
 And forms of beauty ever fill my mind, 
 
 Which to my canvas will not be confined — 
 
 Bright fleeting visions which should trace my name 
 
 "With the great masters! But one moment stay! 
 
 They had no names till they had passed away! 
 
 And when, to-morrow, they will find me here, 
 
 "Will tardy fame mourn o'er my early bier. 
 
 And glory toll my mournful funeral kneU? 
 
 What! no bread here? " Plate, oh, thou reasoniest well." 
 
 [Drinks fhom tJie bottle. Lady enters, and knocks away the dram 
 
 from his lips. 
 Lady. — " What can have tempted you to this V " 
 Artist. — " Living in misery to dream of bliss; 
 That which makes folly wise, and wisdom folly prove ; 
 The burning cold and freezing heat of love ; — 
 But you can make me happy! Let me trace 
 The changing glories of that lovely face : 
 The blush-rose mingling with the pure white lUy." 
 Lady. — "To paint my face! How can you be so silly? " 
 Artist. — "Next week the dreadful critics come to see 
 Tf to their clique I can admitted be. 
 
66 PARLOR AMUSEMENTS. 
 
 Oil, let me paint that face whicli haunts me ever! 
 And if they don't pronounce the picture clever, 
 Othello's occupation's gone! and then 
 I never will attempt to paint again," 
 
 CUBTAIN FAIiLS. 
 
 ATTIC. 
 
 The same room as before. One of the picture-frames 
 Is placed upon the table near the edge, the top of the 
 frame leaning against the wall. A black shawl is pinned 
 to the back edge of the frame, and the lady stands 
 behind the table so as to show her head and shoulder 
 in it, the rest of her body being .concealed by the tables. 
 Three critics enter, and express their disgust at being 
 invited to such a miserable attic — as if any picture 
 worth having could be produced in such a poor place. 
 They then proceed to find fault with it in every way, 
 criticising the drawing, color, &c. The lady keeps still 
 as long as possible, then bows to them from the frame. 
 The artist laughs at them, and the critics retire in con- 
 fusion as the 
 
 CURTAIN FALLS. 
 
 DRAMATIC. 
 
 A manager sits at a small table at left of stage, and 
 many applicants for engagements for the next dramatic 
 season arrive, each one in turn giving a specimen of his 
 powers. A tragedian, Irish, Dutch, comedian, ballet- 
 dancer, and many others present themselves. 
 
GAMES OF THOUGHT. 
 
 Many persons enjoy a quiet game which taxes the 
 thinking powers; and we offer here a few which will 
 prove interesting to children, and which can be played 
 in a manner hard enough to tax the brightest intellect. 
 Of these none are better than the good old game of 
 Throwing Light. 
 
 Some word must be chosen which has several mean- 
 ings, such as deer, pen, post, mail, rail-, oar, yam. One 
 player may conduct the game, or the company may be 
 divided into sides. The leader talks fluently about the 
 word, using it in as many meanings as possible, varying 
 his conversation so as to confuse and mislead the 
 guessers. I give a specimen of the manner in which one 
 of the above words has been played by a Boston club, 
 leaving the reader to guess which one is meant. 
 
 "Fixed and immovable, it sustains the swift messen- 
 ger in its rapid course, and hinders slow travellers on 
 their weary way. An emblem of dulness and stupidity, 
 it spreads intelligence far and near. The lover longs for 
 it with ardor ; and the most stupid animals are attached 
 to it also. Although very matter of fact, it is a crea- 
 ture of the imagination. 
 
 " One man is supported by it in time of weakness, while 
 another is plunge<i into sorrow, or exalted to joy by its 
 tidings. The real one is put to the meanest uses, while 
 
 C7 
 
68 PARLOR AMUSEMENTS 
 
 heroes gladly sacrifice their lives for the imaginary one. 
 It cheers the sorrowing, sustains the weak, unnerves 
 the strong, and holds a light to those in darkness, while 
 the dull are bound to it by enduring ties. Welcomed at 
 the doors of all, it seldom enters the houses of the poor ; 
 but no house can stand without it, and no country 
 exists where it is not known. One brings another every 
 day, and a man may be called by it, from it, to it, and 
 pursue its imaginary existence even to death. 
 
 TWENTY QUESTIONS. 
 
 This is unlike the game of Throwing Light, for it 
 depends wholly upon plain matter-of-fact replies to 
 questions, without puns or any equivocation of fancy. 
 The company must be divided into sides, each one of 
 which selects a word to be guessed, and endeavors in 
 turn to guess the word chosen by the other side. The 
 most difficult word must be found, but it must be the 
 name of some particular thing which is known to exist 
 somewhere by both parties. Great care must be used 
 by the guessing side not to waste questions, which must 
 be used with care, as an account of them is always kept 
 by the other. Any question may be used, except such 
 as would have the name of the thing for the only true 
 answer. Things thousands of miles away, of the most 
 minute character, may often be guessed in five questions, 
 after practice. Some persons have conducted this game 
 who seldom had occasion to ask more than the following : 
 
 *' To what kingdom does it belong? What is its size? 
 shape? distance? and height from the ground?'* 
 
 An umpire should be chosen to settle the disputes 
 which often arise. 
 
FOR THE YOUNG FOLKS. ^ 69 
 
 CARTOONS. 
 
 Each person draws a picture of some eventful scene, 
 or in illustration of some line of poetry, or proverb. 
 The drawing is passed in turn to each person, who 
 guesses and writes its subject underneath. For pictures 
 in illustration of this new and popular game, see " Oui 
 Young Folks' Magazine," for February, 1872, 
 
THE MENTAL INDEX. 
 
 Each player writes rapid replies to the following 
 questions, as fast as they are read by the leader of the 
 game : — 
 
 What do you most prefer ? 
 
 What is your greatest aversion ? 
 
 Which is your favorite author ? 
 
 Which is your favorite character of fiction ? 
 
 Which is your favorite character of history ? 
 
 What quality would you most desire in a friend? 
 
 What is your favorite color ? 
 
 What do you like best to eat ? 
 
 When all have written, the leader reads the papers, 
 and each one guesses the name of the writers. / 
 
 CHABACTER. 
 
 One person leaves the room, and, during his absence, 
 some personage of history and fiction is selected. They 
 address the first player, upon his return, as if he were 
 the person upon whom they have fixed, and he is to 
 guess who it is by their remarks. The one by whose 
 remark the name was guessed, must, in his turn, go 
 out. 
 
 THE ARTIST. 
 
 Each player draws the head of some person, animal, 
 bird, or fish, and turning down the paper, passes it to 
 70 
 
 ma 
 
PABLOB AMUSEMENTS. 71 
 
 the next; who draws a body and passes it to a third, 
 who finishes the picture; of conrse without knowing what 
 has been done by his predecessors. On opening the paper 
 a singular figure is the result. 
 
 MESMERISM. 
 
 One person goes out of the room ; the others decide upon 
 some easy thing for him to do. He is led back blindfolded, 
 and the players surround him, laying their hands upon 
 him so that the finger-tips aU touch him, the thumbs of 
 both hands touching each other, and the little fingers 
 touching those of the next players in the circle. "When he 
 is completely surrounded with hands, he is directed to di- 
 rest his mind of thought as much as possible, while the 
 other players fix their minds intently on the idea they 
 have chosen. In most cases, after a few minntes, the 
 player begins to move in the desired direction, and often 
 performs tiie very act which he is willed to do. 
 
 DECLAMATION. 
 
 The art of declaiming is one of the most important, and 
 too often one of the most neglected branches of education. 
 Although a couple of hours each week is devoted in com- 
 mon schools to this exercise it is too often a tedious and 
 wearisome performance to teachers and scholars alike. In 
 many families the deanand for a new piece to speak is re- 
 peated each evening by the children, and the parents, after 
 seeking untU they are tired, to please their fastidious tastes, 
 at last settle down iu despair on some of the old poems 
 which they learned iu their youth, as their fathers did be- 
 fore them. These pieces, many of them grand in concep- 
 tion and well worthy of their enduring fame, have, by fre- 
 quent repetition, grown so familiar and duU that the pupil 
 cannot give them the expression which interest alone c^ 
 
72 PARLOR AMUSEMENTS 
 
 impart. We have therefore collected from various sources 
 a few original poems, all of which have been often copied 
 and some of which have been spoken in schools, in the 
 hope they may be found useful in the emergency referred 
 to. The first one, " The Old Man's "Will," is a true account 
 of a noble charity founded by a gentleman who devoted 
 the profits of a long life of economy and labor to the pur- 
 pose of preventing poverty in the section it was intended 
 to benefit. The fund has accumulated by judicious invest- 
 ment until its benefactions are of great and widespread 
 utility. Two of the other poems are of a pathetic, and one of 
 a humorous character, and all have the merit of originality 
 if nothing more. They are modestly submitted to the ris- 
 ing generation, hoping they will speak for themselves if 
 well spoken. The first requisite of a speaker as well as of 
 an actor is, that every word should be careftilly committed 
 to memory. The teacher should enforce this rule with great 
 care, as a slip-shod manner of study is the fault of many 
 beginners, and one that can seldom be remedied in after 
 life. The necessity of having every word exactly correct 
 should also be insisted upon, as it is an excellent discipline 
 for the mind. If the pupil commits with difficulty let him 
 learn but one verse at a lesson, but learn it letter perfect, 
 which is a much better task than a dozen verses full of 
 errors. Before speaking the pupil should bow gracefully to 
 the audience and then stand erect, with shoulders thrown 
 back, in order to give full effect to his voice. Every word 
 should be enunciated in a clear and simple manner, to en- 
 sure which it is well to speak very slowly at first, until 
 every separate sentence has been clearly uttered. Many 
 orators who have studied this art can be distinctly heard at 
 the end of the largest halls when speaking in their natural 
 voice, when the words of a much louder declaimer would 
 be inaudible. Gestures should be very few and full of ex- 
 pression, and only such as the sentiments of the piece nat- 
 urally call forth. Keposo of manner is far better than vio- 
 
FOB THE YOUNG FOLKS. 73 
 
 lent gesticulation, being much more effective, especially as 
 too many gestures are apt to seem ridiculoas when the 
 speaker is of an excitable temperament. Much change of 
 voice should be avoided, and any forced effects, but the 
 spirit of the piece must be closely followed. The best way 
 of doing this is to have the mind intent upon every word 
 uttered, and good taste will dictate a suitable expression 
 of it. Pathetic pieces are usually spoken rather slowly, 
 humorous ones more rapidly, and patriotic ones louder 
 and with spirit and dash. These little poems, as before 
 mentioned, include specimens of the former styles, as the 
 pupil will find patriotic ones in the many war lyrics pro- 
 duced during the times of struggle which inspired them. 
 Most of these were written several years ago and are given 
 as specimens of the pieces which are to be recited in a sim- 
 ple and natural manner. 
 
 THE OLD MAN'S WILL. 
 
 Old Oliver Smith, in his threadbare suit. 
 Hears the boys of the village laugh and hoot, 
 " There goes the miser, so poor and old, 
 Starving and scrimping to heap up gold." 
 But the old man thinks, with a quiet smile, 
 " Let these idle scoffers wait awhile. 
 Till time, which sifts the wheat from chaff, 
 May show that the poor have cause to laugh." 
 The old man goes to the promise sm'e, 
 " "Who feeds the hungry and clothes the poor, 
 To the very least of them all, shall see 
 He has done it also unto me."' 
 
 The years roU by and the will is read, 
 And blessings descend on the giver's head; 
 For many a farmer of wealth and skill 
 Owes his start in life to the old man's will. 
 It hears the orphaned children's cry. 
 And the blushing maiden's modest sigh; 
 
74 PARLOR AMUSEMENTS 
 
 And it smooths tlie poor man's dying bed, 
 For it gives to his starving children bread ; 
 And it claims its share of the perfect bliss 
 Which crowns the lover's ecstatic kiss : 
 For it furnishes gold for the golden band 
 Which binds them together in heart and hand. 
 " God help the widow ! so poor and old," 
 And He does, from the miser's hoarded gold: 
 For His perfect love to the old man gave 
 Both the wish to give, and the power to save. 
 
 Ye sordid slaves of the shining pelf, 
 
 Who love the gold for its own poor self, 
 
 Who know that the cash you love so well 
 
 Is dragging you down to the depths of hell, — 
 
 If how to leave it you'd like to know, 
 
 Yet take it with you when you go. 
 
 To the bank which seven-fold interest pays, 
 
 Where no thieves can steal and no rust decays. 
 
 So that riches take wings and upward fly, 
 
 And the camel springs through the needle's eye,— 
 
 Go clothe the poor and the hungiy fill. 
 
 And follow the text of the Old Man's Will I 
 
 SWEET-PEAS. 
 
 **Do you love the sweet-peas, grandpa?" my darling 
 
 said to me. 
 As, holding up a bunch of them, she climbed upon my 
 
 knee; 
 Her shining curls of tangled gold, all mingled with the 
 
 gray, 
 As, nestling on my shoulder, her winsome forehead lay, 
 " Yes, I love them, little Mabel, for they always bring to 
 
 me 
 Three pictures, which my old blurred eyes can never fail 
 
 to see. 
 
 I 
 
 11 
 
FOR TEE YOUNG FOLKS. 75 
 
 " A small brown cottage by tho sea, witli graceful vines 
 
 o'errun, 
 In a quaint old-fashioned garden, all open to the sun, 
 Where she stood among the blossoms on a blessed sum- 
 mer day. 
 As graceful, sweet, and blushing, and as fresh and pure 
 
 as they; 
 When the timid * Yes * was spoken, and at once into it 
 
 rglled 
 All the goodness and the virtue that my erring life could 
 
 hold. 
 Then I thought I loved her truly, with my heart and 
 
 soul and will ; 
 But every day I've lived since then I've loved her better 
 
 still. 
 
 *' The tender fragrance of the flowers now hovers round 
 
 the room ; 
 But it cannot cheer the darkness sad, or dissipate the 
 
 gloom. 
 Where calm and still, in perfect peace and purity, she 
 
 lies. 
 My wife ! my darling ! all I have on earth to love and 
 
 prize. 
 
 "All summer long the sweet sweet-peas luxuriantly will 
 
 grow, 
 Eegardless of the blessed one in dreamless sleep below ; 
 In the rough old village graveyard, that I love with all 
 
 my heart. 
 Too restful and too placid' for the fuss of modern art, 
 There is room just close beside her, where I hope ere 
 
 long to lie;'* 
 But my baby darling whispers, "Dear grandpa, don't 
 
 you cry!" 
 
 Concord, Mass., January, 1872. 
 
76 PARLOR AMUSEMENTS 
 
 CATCHING CUISTNERS. 
 
 A braezy point far out at sea ; 
 A fresh sou'-wester blowing free 
 Drives up the surf in a dashing swirl, 
 To kiss the feet of a lovely girl. 
 The violet shadow that seaward lies 
 Scarce rivals the hue of her dreamy eyes, 
 Which turn with a soft bewitching look 
 On a handsome youth as he baits her hook; 
 For with great good luck, on the coming tide, 
 They are sitting together, side by side, 
 Catching cunners. 
 
 The graceful kelp sways to and fro 
 As the white-capped rollers come and go. 
 And sweet sad thoughts of a buried past 
 O'er the young man's mind came thick and fast, 
 Of a love that cruelly hard had died, 
 In a bitter struggle of wounded pride. 
 When a year ago she had proved to be 
 As changeful and false as the sounding sea. 
 But he only says, with a glint of the eye, 
 "When the tide has turned it's useless to try 
 Catching cunners." 
 
 Eastern Point, Summer of 71. 
 
 A COMMON CONTRAST. 
 
 On the Common, by the Frog-pond, a patient figure 
 
 sits, 
 And all day long, through cloud and shine, her brow 
 
 and stocking knits ; 
 Happy to charm the cents away from some stray child 
 
 of Eve ; 
 Content if all the passers-by her tempting apples leave. 
 
FOR THE YOUNG FOLKS. I? 
 
 The pond, and sky above it, were blushing rosy red 
 
 In the glory of the sunset, when I saw the graceful head 
 
 Of a winsome little beauty, with its erown of shining 
 
 gold. 
 Bending across the basket to the one so gray and old. 
 
 Her dainty dress, from witching boot to tiny little glove, 
 Proclaimed her as the petted child of luxury and love. 
 And a bitter, bitter contrast to the worn and wrinkled 
 
 dame; 
 But the sum of human happiness to all is much the 
 
 same. 
 
 Fond hearts may break for your sweet sake, oh blue-eyed 
 
 little dear. 
 And loving hands may from your path the briars and 
 
 pitfalls clear; 
 But you must learn through pain and loss, "for 'tis tho 
 
 common fate," 
 X'ifij'B hardest, brightest lesson, how to calmly trust and 
 
 wait. 
 
 DAISY. 
 
 Darling I with the great brown eyes, 
 Brimming full of sweet surprise, 
 Fleecy floss of spun-gold hair, 
 Drifting over temples fair, 
 The golden summer seems to me 
 Fuller of grace for knowing thee. 
 
 Where the solemn mountains stand, 
 We climb together, hand in hand, 
 And the summer Sunday smiled 
 On the old, and little child, — 
 
78 PARLOR AMUSEMENTS 
 
 One bowed low by weary strife 
 Of a long and wasted life, 
 And the other fresh and fair, 
 And pure as this delicious air. 
 
 Rippling laughter, soft and low, 
 Itises from the porch below, 
 Where fair brunette and lovely blondo 
 Have drawn a charmed circle fond 
 Of friends and lovers to their feet, 
 By winning smiles and voices sweet, — 
 Many an aching heart may know 
 / Sorrow and love together go ; 
 But our love, my baby friend ! 
 Knows no sting or dreary end ; 
 Perfect trust in true love lies 
 Mirrored in your lovely eyes, 
 
 Nothing in this wondrous view, 
 Can compare, my pet ! with you ; 
 Graceful ferns bend low to brush 
 Your cunning coat of bright blue plush ; 
 Wide-eyed daisies envious stare 
 At the ones that kiss your hair, 
 Nodding from the graceful brim 
 Of the saucy hat they trim. 
 
 Stowe, Vt., Summer of 1870. 
 
 THE LITTLE HOUSE. 
 
 A little house of modest brown 
 
 Stands close by the church, in a pleasant town, 
 
 Where early and late, all the summer day, 
 
 A dreamy organist comes to play ; 
 
 And throi^h the house and its garden round, 
 
 The softened notes of the organ sound ; 
 
FOR THE YOUNG FOLKS. 79 
 
 Through the open window they gently steal, 
 
 To chant their grace at the morning meal ; 
 
 Then float away on the- early breeze, 
 
 Where the hammock swings from the apple-trees, 
 
 Through the bending corn, whose green leaves glisten 
 
 As with all its ears it trifis to listen. 
 
 And the lovely children pause in play 
 
 To hear the sweet notes die away, — 
 
 Away they go, for they cannot stop 
 
 To furnish music for the hop. 
 
 Where the morning glories in round dance twine ; 
 
 But they sound through the gorgeous trumpet vine, 
 
 And set the dahlias all aglow 
 
 By kissing the mignonette below. 
 
 They welcome the Father home at night 
 
 To the pleasant porch with its faces bright, 
 
 Where the beautiful Mother, the soul of home, 
 
 And the brown-eyed children at sunset come ; 
 
 And a graceful maiden, with wondrous hair, 
 
 And soft blue eyes, sits dreaming there 
 
 Of the mighty discords, and chords of life, 
 
 And the perfect harmony, after the strife : 
 
 And the notes of the organ rise and fall 
 
 In sweet benediction above them all. 
 
 GOLDEN EOD. 
 
 A SKETCH IN COLORS. 
 
 Through a tangled thicket of golden rod, 
 
 A lovely maiden at sunset trod ; 
 
 With her bright red skirt, and her sack of blue. 
 
 And curls with the gold glints gleaming through. 
 
 Like a cameo cut on a rosy shell. 
 
 Her perfect profile stands out well 
 
80 PABLOB AMUSEMENTS 
 
 On the glowing west, as she turns to see 
 The radiant splendor of shrub and tree, 
 All flaunting their banners of gold and red, 
 To show that the beautiful summer is dead. 
 Across the hills on the distant bay 
 A fleet of fishermen anchored lay. 
 Their torn sails gleaming pure and white. 
 Like most men's lives to the distant sight. 
 One of Indian Summer's most perfect days 
 Is flooding the earth with its golden hsize ; 
 And the maiden's mind, with a sweet day dream. 
 As bright as the blossoms that round her gleam. 
 
 SOCIAL AMUSEMENTS; 
 
 OR, FULL DIRECTIONS FOR A HALL ENTERTAINMENT, AND 
 HOW TO PREPARE IT IN ANT CITY OR VILLAGE. 
 
 The importance of having a good time is too much neg- 
 lected in the hurry of the busy world ; everything is there- 
 fore a real blessing which promotes sensible enjoyment, and 
 does good at the same time by cultivating tne thinking 
 powers, and developing a taste for art while it earns money 
 for charitable purposes. / 
 
 In every village of our land talent lies dormant, and 
 beauty, wit and grace need only organization to form a 
 most attractive entertainment, which, besides being profi- 
 table, will do more to promote social intercourse than a hun- 
 dred formal meetings. In many towns ladies and gentle- 
 men from the different churches unite each season to help 
 each other. At a beautiful village on the Hudson a Unita- 
 rian Society numbering only six young ladies among its 
 members, has for two successive seasons cleared five hun- 
 dred dollars in this way by three days of easy and pleasant 
 woik. The pastor of a church of a difl'erent denomination 
 said, at the close of one of these festivals, " Three days ago 
 
JtOM THE YOUNG FOLKS. 81 
 
 these ladies passed one another on the street without bow- 
 ing, and now they borrow each other's finery with the free- 
 dom of old friends." 
 
 Many energetic persons work hard to little purpose ia 
 this direction because they do not know how to begin, and 
 for their assistance it is proposed to give plain directions for 
 producing a performance which has cleared thousands of 
 dollars this season for charitable purposes. 
 
 At the fi,rst meeting the following officers should be 
 chosen, none of whom should be performers : a business 
 manager, to attend to the advertising, sale of tickets and en- 
 gaging the hall, door-keepers, ushers and orchestra; the 
 property man, who prepares all the furniture and small arti- 
 cles, and sees that everything is in its proper place for each 
 scene ; the stage manager, who has absolute control behind 
 the curtam, and attends to the choice of programme, distri- 
 bution of parts and grouping of tiie scenes, as well as to the 
 scenery and lights. Two ladies of taste as costumers should 
 also be selected to see that each one is tasteftilly dressed 
 and ready at the moment the scene is called, as delays are 
 dangerous, and there is no excuse for them, as in no case 
 should the audience be compelled to wait over five minutes 
 for any change. 
 
 The next step is the distribution of parts, in which aU 
 jealousy and ill-feeling can be prevented by arranging the 
 ladies in grovps according to the style of complexion. 
 
 The best number for an elaborate performance is five 
 blondes, six dark or oriental, three large for statues, six for 
 court ladies, six with some comic talent for pantomime, 
 also four gentlemen for pantomime, two for boatmen, two 
 for court scenes, one child for statuary, one for Cupid and 
 one for court scenes. The first meeting can be m any room, 
 and two rehearsals upon the stage will be enough, imless 
 elaborate pantomime and plays are used, which must of 
 course be committed to memory first, as it is worse than 
 useless to rehearse them until every part has been perfectly 
 learned. 
 
83 
 
 PABLOB AMUSEMENTS 
 
 Every large town is now provided with scenery, but if 
 none is available it is better to use simple black drapeiy 
 than to attempt making any. A platform four feet high 
 and three feet wide should be placed across the rear of the 
 stage, and a frame seven feet high by five feet wide, made 
 of six-inch piue board covered with gold paper, should be 
 supported on upright posts in the centre of this platform. 
 A curtain of black cambric with dull side out should cover 
 the whole back of the stage, drawing in the centre to close 
 in around the frame when open, and to form a background 
 for the statuary when drawn, and another curtain must also 
 be hung behind the frame. 
 
 In front of this permanent platform a temporary one is 
 made of three tables, about two feet wide and three feet 
 long, placed lengthwise, with a space of ten inches between 
 the first and second. These are draped with white cotton 
 sheets for statuary pedestals, and serve also for the deck of 
 the boat, which is made in profile with a high prow and cov- 
 ered with gold paper with black stripes drawn upon it. It is 
 kept in an upright position by leaning against the tables ; and 
 boxes two feet high, covered with bright drapery, are placed 
 at the prow, stem and centre upon the tables. To make 
 the plan clear, it will be best to describe several scenes ex- 
 actly as they should be presented, givuig costumes, proper- 
 ties, scenery, lights, etc., for each. The performers are ar- 
 ranged in groups as above, the blondes in white muslin 
 dresses made as simply as possible, with full waist and an- 
 gel sleeves ; the orientals in bright skirts, sleeveless jackets 
 or drapery of crape shawls, with turbans upon their heads, 
 gold paper bracelets and chauis, with all the showy orna- 
 ments possible on the front of the dress. The ladies of the 
 pantomime all wear quaint calico dresses, with old-fash- 
 ioned bonnets, hats and cloaks. The court ladies in sUk 
 train dresses with powdered hair, and the statues with clas- 
 sic drapery of cotton sheets, with faces covered with chalk, 
 and white gloves sewed on to stocking-legs upon their hands 
 and aims. One court gentleman in showy velvet robe, and 
 
FOB THE YOUNG FOLKS. 63 
 
 one in a cavalier dress with cape. The boatmen in flannel 
 shirts, dark pantaloons and high boots. One fop and one 
 old man, and the others according to the parts they fill in 
 various pantomimes. 
 
 The general dress described above is the one in which 
 they all appear at first, and most of the second costumes 
 are so arranged that they can be put on over the other with 
 very little trouble, and when any change is called for, it 
 will be described in its place in the scene. During the 
 overture the statues stand at the left upper entrance, all the 
 other performers stand upon the right of the stage out of 
 sight, while the first scene is ready to be shown at the ris- 
 ing of the curtain. 
 
 The Progress of Music. — The tallest blonde stands at 
 the prow of the boat, holding a long trumpet; next another 
 stands on the floor between the tables, holding an oar; a 
 lovely blonde with a pretty Cupid by her side kneels at a 
 golden harp; the fourth sits with a lyre at the stern, and the 
 fifth stands upon a box above her with a tamborine. The 
 group is changed in the second scene by the Cupid being 
 discovered kissing the harpist, thus creating evident discord 
 among the players. Each one wears a scarf of cambric, of 
 a difiiBrent color, which is covered with gold paper cut in 
 lace pattern, and is fastened on the right shoulder and falls 
 to the feet. The boat is then taken away, and the pedestals 
 are thus ready for the statues, who form a 
 
 Monumental Group, as follows: Faith leans upon a 
 cross at the right. Glory stands in the centre, with uplifted 
 wreath, and History sits at the left with book and pen, 
 with the child looking over her shoulder; all must keep 
 their eyes shut ; the pedestals are covered with cloth ; the 
 music is sad, and a green light is used. Next the orientals 
 appear in the scene entitled 
 
 By the "Waters of Babylon. — The tallest one, holding 
 cymbals, stands on the right end of the tables, the shortest 
 kneels, leaning against her with guitar; another cymbal 
 player stands on the stage at right, with a tamborine player 
 
84 PARLOR AMUSEMENTS 
 
 opposite her on the left ; another sits on a box on the right 
 •of centre, while a venerable harper in black occupies the 
 centre. At first all look sad and hold their instrumehts 
 listlessly. Kext all seem to be playing, and assume the 
 most animated attitudes. The light should be white and 
 the music sad. The properties used are cut from sheet 
 iron and covered with gold paper. The statues next 
 appear in 
 
 The Angel op Sleep. — The tallest one, wearing large 
 wings, bends over another who holds a child in her arms. 
 The boat and water strip are next brought in again, and 
 four court ladies. The two boatmen and the Doge of Ven- 
 ice form the scene entitled 
 
 The Bridal op the Sea. — At the prow a pretty child 
 points out some object in the distance to a lady who stands 
 with her ; a second lady has her right hand on the shoulder 
 of the Doge, who is in the act of dropping a ring into the 
 water ; one lady is sitting, and another is standing witness- 
 ing the ceremony ; one boatman holds the oar, another the 
 rudder of the boat; a concealed choir sing "Beautiful 
 Yenice, the Bride of the Sea." For the above scenes a 
 horizon scene, alternates with the black curtain, but now 
 this curtain is drawn away and the frame exposed in which 
 the picture of Hagar is represented by the largest of the 
 orientals ; at her feet lies Ishmael, dressed in a loose white 
 robe, and the tallest blonde, wearing a pair of wings, bends 
 over them. Hagar is praying and the angel points upward 
 with her right hand. The light must come from the top 
 and one side, and be white. Next the pantomime ladies 
 enact 
 
 Too Late for the Stage. — At the head of the line an 
 old lady grasps the arm of an old man who stands with 
 uplifted umbrella; five others follow in line, each one bear- 
 ing a band-box in one hand, and a bundle, bag or bird-cage 
 in the other; all look eagerly forward, then beckon vigor- 
 ously, and finally rush out fi-antically in pursuit. The scene 
 is a wood and the music livelv. In the meSntimo the 
 
FOB THE YOUNG FOLKS. 85 
 
 frame has been filled by two court ladies, one holding a 
 casket of jewels, which she seems to be showing to ttie 
 other, who kneels beside her. The name of the picture is 
 The Family Jewels, and the light is the same as on the 
 first picture. 
 
 Hermione, or the Living Statue, is next shown ; the 
 statue stands upon a draped table in the centre of the stage 
 against the black curtains ; all the court ladies and gentle- 
 men are grouped around in a semi-circle ; at a given signal 
 the statue moves very slowly, first raising her hand, and 
 then spreading her arms, at which the gentleman on the 
 right moves forward as if receiving ker in his arms. 
 Another picture can then be ready. 
 
 " The Chocolate Girl " is too well known to need de- 
 scription. 
 
 The pantomime actors will now be ready, by taking off 
 their wraps, to appear in "Washing Day ; one stands at 
 a wash-tub in the centre, another at a chum. At a spin- 
 ning-wheel in the comer sits an old woman, an old man 
 tends a baby, and a girl is sawing wood at the left side. 
 The scene is a kitchen, and " Yankee Doodle " is played, at 
 first very slowly and then faster and faster, and the charac- 
 ters keep time with the music until they get into very rapid 
 motion. While this scene is going on in the firont part of 
 the stage, the tables and boat can be re-arranged, and 
 The Return from the Harvest shown by the orientals, 
 who have had time to change their dresses to appear as 
 Roman girls, with a flat white cap, with white waist and 
 bodice, and a long white apron ornamented with strips of 
 cloth of various colors sewed across it. In the centre a 
 youth without a coat, in knee-breeches with bright stock- 
 ings, is lifting a large basket on to the head of a maiden who 
 stands in the centre ; at the prow another lady stands, lean- 
 ing on a sheaf of wheat ; at the stem a third holds a huge 
 apple away from a httle boy who reaches for it, and a boat- 
 man with red cap stands at the oar, while a girl holding a 
 rake sits on the side of the boat as if she had just jumped 
 
86 PABLOB AMUSEMENTS 
 
 on. The scene is a horizon^ and the singers chant a harvest 
 home ; the hght is first white, then red. 
 
 An illustrated poem, " The Sculptor Boy/' by Bishop 
 Boane, may next be shown, in which a statue stands in a 
 box two feet wide by three feet high, from which the comer 
 «,nd the end have been removed, and the front covered with 
 white cotton cloth to produce the effect of a partly finished 
 statue. The boy, with upraised mallet, is about to strike 
 the chisel, which is placed upon the shoulder of the statue. 
 At the word " angel vision," the scene, which must repre- 
 sent a plain room, is opened, and three blondes are dis- 
 covered, wearing wings and grouped around a tall cross. 
 They stand upon the tables, and are shown in a red light, 
 against a black curtain. 
 
 IsText, a scene from Dickens may be presented, for which 
 it will be well to refer to Professor Fettc's excellent " Dia- 
 logues from Dickens," which contains full directions for 
 preparing them. 
 
 A very good closing scene for this performance is called 
 " Behind the Scenes," upon which the curtain is supposed 
 to have risen by accident, and all the performers, dressed in 
 the costume in which they last appeared, are grouped 
 arotmd in wild confusion. Statues, pantomimists, court 
 ladies and orientals, all together, seem discussing the per- 
 formance. The properties are piled in a heap, and parts of 
 several different pieces of scenery are shown. In the 
 second scene they all sing in chorus as the curtain falls. 
 
 As the light is of the utmost importance, it is best to de- 
 vote a little space to a description of the proper methods of 
 arranging and controlling it. Every stage is fitted with at 
 least three rows of border-lights, which cross the stage on 
 the top, and with one row of foot-lights, which must act in- 
 dependently of each other. For all pantomimes, plays, etc., 
 which occupy the whole or front half of the stage, all these 
 lights should be burning in full. "When the picture frame 
 is used the foot-fights must be turned down one-half, and 
 the border lights should be full. When colored lights are 
 
FOB TEE YOUNG FOLKS. 87 
 
 used, turn down all the stage lights slowly, in order to 
 bring out the colors by degrees. The best colored lights 
 can be obtained in all shades by an order sent to Happy 
 Hours Company, Few York, or a head-light of a locomo- 
 tive may be used, placed at the right of the stage ten 
 feet from the frame in an oblique direction, so as to be 
 concealed from the view of the audience by the side 
 scenes. Sheets of green, orange and red glass, sixteen 
 inches square, must be placed in the cenire of a wooden 
 frame large enough to cover the opening of the lamp, 
 so that no light can escape without passing through 
 the colored glass. By the white light is meant that no 
 colored shade is placed in front of the lamp. The top light 
 is indispensable, and it can be easily arranged by any gas- 
 fitter, but in case there is no gas in the hall, a row of large 
 kerosene lamps must be placed above the front of the stage 
 with a sheet of tin behind each, to throw the light down 
 upon the frames. 
 
PRIVATE THEATRICALS. 
 
 Private Theatricals do not, as a rule, draw as good 
 houses as formerly, since so many poor performances have 
 been given, and so many people have been willing to insult 
 an audience and write themselves dull by coming upon the 
 stage without a perfect knowledge of their parts. " Learn 
 well your part, there all the honor lies," should be the maxim 
 of every aspirant for dramatic fame. No genius will atone 
 for want of study, and every author knows the words in 
 which he wishes to express his thoughts far better than the 
 actor who mars them by interpolations and omissions. Do 
 not undertake more than you can perform. In the words of 
 one of the most gifted amateurs, it requires a lifetime to 
 learn what you cannot do. It is therefore best to under- 
 take the simplest pieces, and those which require natural ex- 
 pressions of humor. The smaller and more remote the vil- 
 lage the more difficult plays they seem to undertake. Some 
 one has said that " the actor never lived who thought he 
 could not play Hamlet," and in proof of it, comedies, 
 and even tragedies which task the utmost resources of the 
 greatest theatres, have been attempted by amateurs in little 
 village haUs. It is best to select domestic dramas or light 
 pieces, which, if thoroughly learned and naturally acted, 
 amuse actors and audience in the highest degree, as well 
 as give ease of bearing and strengthen the memory. 
 
 The cast of the plays is harder than that of the stiU 
 scenes, as it is much harder to classify talent than personal 
 appearance. The manager has need of rare tact to keep 
 the performers all in good humor, unless all unite to work 
 
PARLOR AMUSEMENTS. 89 
 
 for the general good, ■without envy and in perfect harmony. 
 After a little practice a company soon settles down to work 
 and all find their fixed places as heavy fathers, leading ju- 
 veniles, or eccentric comedians. 
 
 "We add the names of many plays which are often used 
 by these companies, and a full catalogue wiU be sent at 
 anytime on application to Happy Hours Company, of whom 
 any play published in the world can be procured. 
 
 LIST OF PLAYS SUITABLE FOR PRIVATE 
 PERFORMANCES, 
 
 Any of which will be mailed on receipt of the price (15 
 cents each), by Happy Hours Company, Publishers, 1^'ew 
 York. 
 
 Advice Gratia.— A Farce in 1 Act. By Charles Dance. 
 4 Male and 2 Female characters. Costumes, square cut coats, kuee 
 breeches, silk stockings, pumps, livery. Scene, a well-furnished 
 apartment. Time of representation, forty minutes. 
 
 Afloat and Asliore. — ^A Burlesque Maritime Drama in 3 Acts. 
 3"Male and three Female characters. Costumes, burlesque midship- 
 man and sailors and modern. Scenes, a drawing-room, deck of a ves- 
 sel and an island. Time of representation, forty-five minutes. 
 
 All in der Family.— A Dutch Sketch in 1 Act. By McDer- 
 MOTT and Trumble. 4 Male and 2 Female characters. Costumes, axi 
 libitum. Scene, exterior and interior. Time of representation, 
 thirty minutes. 
 
 Aladdin and the 'Wonderfal I<anip. — ^A Drama c aps 
 and downs, for young ladies and gentlemen, in 2 Acts. 6 Male and 3 
 FeiAale characters. Mandarin, ladies in waiting, maids of honor, 
 ushers, guards, gamins, etc. Costumes elaborate. Scenes, interiors and 
 exteriors. Time of representation, one hour. 
 
 Among the Breakers.— A Drama in 2 Acts. Simple cottage 
 or hut interior for both Acts. G Male, 4 Female characters. Cos- 
 tumes, modern. Time of representation, one hour and a half. 
 
 Another Glass.— A Drama in I Act. By Thomas Morton. 
 G Male, 3 Female characters. Costumes, English; modern. A very 
 effective temperance play. Scenery necessary. Time of representa- 
 tion, one hour. 
 
 Antonjr and Cleopatra Married and Settled. — A 
 Burletta in one Act. By Charles Selby. 1 Male and 1 Female 
 characters. Costumes gay, rather loud dress, cavalry dress, powdered 
 wig for Antony; light cotton dress, fashionable male costume and 
 Debardeurs dress for Cleopatra. Scene, interior of a shop (tailors 
 and bonnet makers). This is a roaring, rollicking Farce and ends 
 with a burlesque danco. Time of ropreseutatiun, furty^fivo miuutos. 
 
90 
 
 PAELOE AMUSEMENTS 
 
 Anything for a Cliange.— A Petite Comedy in 1 Act. By 
 Shirley Brooks. 3 Male and 3 Female characters. Costumes, 
 present day. Scene, an .interior. Time of representation, flfty-ono 
 minutes. 
 
 : Apple Blossoms. — A Comedy in 3 Acts. By James Albery. 
 7 Male and 3 Female characters. A pleasing piece, with rich part 
 for an eccentric comedian. Costumes, mouern English. Scenery, 
 exterior and interior of inn. Time of representation, two hours and 
 twenty minutes. 
 
 Area Belle (The).— A Farce in 1 Act. By "William Brough 
 and Andrew Halliday. 3 Male and 2 Female characters. Cos- 
 tumes of the present time, and scene a kitchen. Time of representa- 
 tion, thirty minutes. 
 
 ' Ask No Q,aestions. — A Burletta in 2 Acts. By Charles 
 Selby. 7 Male and 3 Female characters. Costumes and scenes 
 (interior and exterior) very elaborate. Time of representation, one' 
 hour and twenty -five minutes. 
 
 Atclii. — A Comedietta in 1 Act. By John Maddtson Morton. 
 3 Male and 2 Female characters. A gem in pleasantry, whose con- 
 clusion is irresistibly comic. Costumes of the day. Scene, a taste- 
 fully laid out garden. Time of representation, forty minutes. 
 
 Annt Charlotte's Maid. — A Farce in 1 Act. Bv J. Maddi- 
 150N Morton. 3 Male and 3 Female charactera. One of the best of 
 this prolific humorist's dramatic pieces. Dresses of the period, and 
 scene an apartment in a .dwelling .house. Time of representation, 
 forty minutes. 
 
 Bardell vs. Piclfwiclc. — A Farcical Sketch in 1 Act. Ar- 
 ranged from Charles Dickens. 6 Male and 2 Female characters. 
 Uncommonly funny. Affords good chance to " take off" local legal 
 celebrities. Costumes, modern. Scene, a court-room. Time of 
 representation, thirty minutes. 
 
 Beautiful Forever. — A Farce in'l Act. By Frederick Hay. 
 2 Male and 2 Female characters. A spriglitly satirical rebuke to 
 those that patronize advertised nostrums. Costumes of the day. 
 Scene, a handsome interior. Time of representation, forty minutes. 
 
 Bells (The); or, the Polish Jew. — A romantic moral Drama 
 in 3 Acts. By M. M. Erckmann and Chatkain. 9 Male and 3 
 Female characters. Costumes, Alsatian, of present date. Scen- 
 ery, two interiors and a court-room. Time of representation, two 
 hours and twenty minutes. 
 
 Big Banana (The). — A comic Musical Sketch. By Alfred 
 B. Sedgwick. In 1 Act. l Male and 1 Female characters. Costumes, 
 German emigrant. Scene, exterior. Dialogue, songs and music. 
 Time of representation, fifteen minutes. 
 
 Black Sheep.— A Drama in 3 Acts. From EDiiiUND Tates' novel 
 of the same name, and arranged for the stage by J. Palgrave Simp- 
 son and the author. 7 Male and 5 Female characters. Costumes 
 of the present time. Sceneiy, an interior ; gardens at Homburg. 
 and a handsome parlor. Time of representation, two and a half 
 hours. 
 
 Blow for Blow.— A Drama in a Prologue and 3 Acts. Bv Henry 
 J. Byron. 11 Male and 6 Female characters. Full of liomely pathos 
 as well as rich humor. Has several excellent parts. Costumes, mod- 
 ern. Scenery, interior s of offi ces and_dwelling8. Time^f repreaen- 
 tation, tliree hours, j^ ^"^ " '*' 
 
FOB THE YOUNG FOLKS. 91 
 
 *Blue Beard ; or. Female Cariosity. — A Sensation 
 Drama in 2 acts. 6 Male and 2 Female characters. Costumes, Turk- 
 ish. . Scene, a room in Blue Beard's castle. Time of representation, 
 thirty minutes. 
 
 Boarding School (Tlie).— A Earce in 1 Act. By W. B. Ber- 
 KARD. 7 Male and 5 Pemale characters and scholars. Costumes, 
 military and modern. Scenes, exterior and interior. Time of rep- 
 resentation, one hour. 
 
 Boston Dip (The).— A Comedietta in 1 Act, for 4 Male and 3 
 Female characters. Costumes, modem evening dress. Time of repre- 
 Bcntation, about thirty minutes. 
 
 Bread on tlie Waters. — A Drama in 2 Acts. 5 Male, 3 Fe- 
 male characters. Old man, eccentric old man, leading juvenile man, 
 light comedy villain, low comedian, old woman, walking' lady ana 
 leading part ; child in 1st Act, young lady in 2d. Time of represen- 
 tation, one hour and thirty minutes. 
 
 Breaclx ofProniise (A). — An extravagant Comic Drama in 2 
 Acts. By T. W. Robertson. 5 Male, 2 Female characters. A capi- 
 tal, very merry piece. Good for amateurs. Time of representation, 
 one hour. Scenery, two interiors. Costumes, modern. 
 
 Broken-Hearted Club (The). — A Comedietta. By J. Ster- 
 ling Coyne. 4 Male and 8 Female characters. A laughable satire 
 on the Women's Rights movement. Costumes, modern English. 
 Scenery, a drawing-room. Time of representation, thirty minutes. 
 
 Cabin Boy (Tlie). — ^A Drama in 2 Acts. By Edward Sterling. 
 10 Male and 3 Female characters. Costumes, French uniform, sailors, 
 Spanish American Slaves dress. 2 Scenes, interiors, open at the 
 back and showing the sea. Time of representation, one hour and 
 fifteen minutes. Julian (The "Cabin Boy ) was one of Mm. Celeste's 
 great characters, and can be made very effective. 
 
 Cabntan So, 93; or. Found in a Four Wheeler. — A 
 Farce in 1 Act. By Thomas J. Williams. 2 Male and 2 Female 
 characters. A ludicrous piece, with a cabman for the first low com- 
 edian, and a stock-broker as eccentric character part. Costumes of 
 present day. Scene, a furnished room. Time of representation, 
 forty minutes. 
 
 Caste.-T-An original Comedy in 3 Acta. By T. W. Robertson. 
 A lively and effective satire upon the times, played successfully iu 
 America at Wallack's. 5 Male and 3 Female characters. Costumes, 
 modem. Scenery, the 1st and 3d Acts, interior of a neat room; the 
 2d a fashionable room. Time of representation, two hours and forty 
 minutes. 
 
 Caught by the Cuff.— A farce in 1 Act. By Frederick Hay. 
 4 Male and 1 Female characters. An exquisitely ludicrous pro- 
 duction, crammed with situations. Costumes of the day. Scene, a 
 kitchen. Time of representation, forty minutes. 
 
 Caught in His Ovrn Toils. — A Farce in 1 Act. 5 Male and 
 2 Femjue characters. Costumes, knee breches, plaid trousers, loud 
 waistcoat, gaiters, very thick shoes, gardener's apron, night dress, 
 large slippers, short muslin dress. Scene, a garden. Time of rep- 
 resentation, thirty minutes. 
 
 Charity.— A Play in 4 Acts. By W. S. Gilbert. 9 Male and 3 
 Female characters. Costumes, modem. Scenes, a boudoir, a draw- 
 ing-room, a raorninp room and library. Time of representation, two 
 hours and fifteen minutes. 'An excellent play for private performance. 
 "Ruth Tredffott " is one of Fanny Davenport's greatest characters. 
 
90 PARLOR AMUSEMENTS 
 
 Cliampion of Her Sex.--A Farce. Female characters only. 
 8 characters, including two Irish cirls and eccentric old lady. 
 Plain scene. Time of representation, thirty minutes. 
 
 Cliarming Pair (A).— AFarcein lAct, By Thomas J. "Wil- 
 liams. 4 Male and 3 Female characters. Costumes of the present 
 day. Scene, a handsomely furnished apartment. ,Time of represen- 
 tation, forty minutes. 
 
 Clieckmate.— A Comedy in 2 Acts. By Andrew Hallidat. 
 6 Male and 5 Female characters. Costumes, English, of the present 
 day. Scenes, interior of a country hotel, and exterior of same, with 
 landscape. Time of representation, one hour and a half. 
 
 Chops of the Channel (The),— An orimnal Nautical Farce in 
 1 Act. By Frederick Hay. 3 Male and 2 Female characters. A 
 very mirth exciting and whimsical composition. Costumes of the 
 present day. Scene, the saloon of a steamer. Time of representation, 
 forty minutes. 
 
 Close Shave (A).— A Farce in 1 Scene. 6 Male characters. 
 Walking gent, eccentric old man, Irishman, Negro, fop and utility. 
 Time of representation, twenty minutes. 
 
 Coals of Fire. — Six Male characters. Eccentric old man, walk- 
 ing gentleman, three school-boys, and an Irishman. Time of repre- 
 sentation, twenty minutes. 
 
 Cousin Florence. — A Comedietta in 2 Acts. 4 Male and 7 Fe- 
 male characters. Costumes, modern. Scene, a morning room. Time of 
 representation, thirty minutes. 
 
 Cupboard Lio-ve. — A Farce in 1 Act. By Frederick Hay. 2 
 Male and 1 Female characters. A good specimen of broad comedy. 
 Dresses modern, and scene, a neatly furnished apartment. Time of 
 representation, twenty minutes. 
 
 Cnpid^s Eye-Glass.— A Comedy in 1 Act. By Thomas Pic- 
 ton. 1 Male and 1 Female characters. Adapted for amateur per- 
 formance. Costumes of the day, and scene, a drawing-room. Time 
 of representation, twenty-five minutes. 
 
 Cup of Tea (A). — A Comedietta in 1 Act. Translated from the 
 French of " line Tasse de Th6," by Charles Nuitier and J. Derlev. 
 3 Male and 1 Female characters. An exquisite petty comedy, well 
 adapted for amateur representation. Costumes, modern. Scene, 
 handsome drawing-room. Time of representation, thirty minutes. 
 
 Cut Off With a Shilllns.— A Comedietta in 1 Act. By 
 S. Theyre Smith. 2 Male and 1 Female characters. Scene, a 
 drawing-room. Time of representation, twenty-five minutes. 
 
 Cyril's Success.— A Comedy in 5 Acts. By Henry J. Byron. 
 
 10 Male and 4 female characters. Costumes, modern. Scenery, four 
 interiors. Time of representation, three hours and twenty minutes. 
 
 Daddy Gray. — A Serio-comic Drama in 3 Acts. By Andrew 
 Halliday. 8 Male and 4 Female characters. One of the author's 
 most effective and natural compositions. Dresses of the present day. 
 Scenery, interior of a cottage, a lawyer's office, street and archway and 
 cottage, with landscape. Time of representation, two hours. 
 
 Dandelion's Dodges.— A Farce in 1 Act. By Thomas J. 
 "Williams. 4 Male and 2 Female characters. A rattling piece. The 
 
 Sart of Dandelion excellent for a low comedian. Costumes ot the day. 
 ccnery, a picturesque landscape. Time of representation, fifty 
 minutes. 
 
FOE THE YOUNa FOLKS. 93 
 
 Daneing Barber (THc).— A Farce in 1 Act. By Charles 
 Selby. 7 Male and 3 Female characters. Costumes, fashionable 
 evening, old man's, tights, pumps, silk stockings, powdered hair and 
 modern. Scenes, a plain room and handsome drawing-room. Time 
 of representation, one hour. 
 
 Dark Deeds. — A Burlesque Sensational Play in 3 Acts. 2 Male 
 and 2 Female characters. Costumes, modern. Scene, a drawing 
 room. Time of representation, twenty -five minutes. 
 
 David Garriclc.— A Conjedy in 3 Acts. By T. W. Eobertsok. 
 8 Male and 3 Female characters. Most effectively performed by Mr. 
 Sothern in England and in America with decided success. Costumes, 
 court dresses. Scenery, two interiors antiquely furnished. Time of 
 representation, one hour and three-quarters. 
 
 Dearest Mamma. — A Comedietta in 1 Act. By WALTElt 
 Gordon. 4 Male and 3 Female characters. Costumes, modem and 
 ecenc, a drawing-room. Time of representation, one hour. 
 
 Dearer tban Life. — A Serio-comic Drama in 3 Acts. By Henrv 
 J. Byron 6 Male and 5 Female characters. An effective piece, 
 which could be readily performed by amateurs with success. Cos- 
 tumes, English of the day. Scenery, two interiors, easily arranged. 
 Time of representation, two hours. 
 
 Decree of Divorce (Tlie).— A Musical Sketch in 1 Act. By 
 Alfred B. Sedgwick. 2 Male and 2 Female characters. Costumes, 
 village peasants of the time of the French Eevolution, 1798. Scene, 
 a village in France. Dialogue, songs and music. Time of represen- 
 tation, thirty minutes. 
 
 Deeds of Dreadful Note. — A Dramatic Tale of Terror in 1 Act. 
 ]^ Alfred Dubois. 6 Male andl Female characters. Costumes, 
 If ewmarket coat, white cord breeches, top boots, Hessian boots, green 
 coat and gilt buttons, flowered vest, judges, brigands, policemen, short 
 frilled nightgown and cap. Scene, a garret with window at back 
 opening on a roof. Time of representation, one hour. This is a roar- 
 ing farce. 
 
 Doing for tlie Best.-— A Domestic Drama in 2 Acts. By M. 
 RoPHiNO Lacy. 5 Male and 3 Female charactei-s. An effective act- 
 ing piece, popular in London. Costumes of the day. Two scenes, one 
 interior of cottage, the other a drawing-room. Time of representa- 
 tion, one hour and a half. 
 
 Dollars and Cents.— An original American Comedy in 3 Acts. 
 By L. J. HOLLENIDS, as performed by the Murray Hill Dramatic As- 
 sociation. 9 Male and 4 Female characters. Costumes modem, and 
 Bcenery, three interiors and one garden. Time of representation, two 
 and three-quarter hours. 
 
 Dot Mad Tog.— A Dutch Sketch in 1 Act. By McDermott and 
 Trumble. 2 Male and 2 Female characters. Costumes, modern, Ger- 
 man emigrant. Scene, a kitchen. Time of representation, twenty 
 minutoa. 
 
 Dot Madrlmonial Adverdisement. — ^A Dutch Sketch in 1 
 Act. By McDermott and Trumble. 5 Male and l Female char- 
 acters. Costumes ad libitum. Scene, a room with table set for 
 breakfast. Time of representation, twenty-five minutes. 
 
 Dot Q,nied liOtgings. — A Dutch and Irish Sketch in 1 Act. 
 By McDermott and Trumble. 5 Male and 1 Female characters.. 
 Costumes ad libitum. Scene, a room plainly furnished. Time of 
 representation, twenty minutes. 
 
94 PABLOB AMUSEMENTS 
 
 Do\irn by tlie Sea.— A Drama in 2 Acts. 6 Male, 3 Female char- 
 acters. Two old men, juvenile man, low comedian, dandy, French- 
 man, old woman, walking lady and soubrette. Time of representation, 
 one hour and twenty minutes. 
 
 Drop Too Mncli (A). — A Farce in 1 Scene. 4 Male, 2 Female 
 characters. Two Yankees, Irishman, walking gent, old woman and 
 Yankee girl. Temperance farce. Time ot representation, thirty 
 minutes. 
 
 Dacliess of Dublin (Tbe). — A Farce. 6 Male, 4 Female char- 
 acters. Costumes modem. Scene, plain. Time of representation, 
 about thirty minutes. 
 
 Dutcbman in Ireland. — A Comic Sketch in I Act. 3 Male 
 characters (1 Dutch and 2 Irish, 1 disguised as an old woman). Cos- 
 tumes, semi-military for Hanb, tattered and patched for Gerald, and 
 chintz bed-gown and patched petticoat for Pheun. Scene, interior of 
 a ruined house. Time of representation, twenty minutes. 
 
 Kasy Sbaving— A Farce in 1 Act. By F. C. Buunand and 
 Montague Williams. .5 Male and 2 Female characters. A neat 
 and effective piece, with excellent parts for low comedian and sing- 
 ing chambermaid. Costumes of the days of Charles II of England. 
 Scene, a barber's shop. Time of representation, twenty-five minutes. 
 
 East Ijynne.^A Drama in 5 Acts. (Adapted from Mrs. 
 Henry Wood's novel). 8 Male, 7 Female characters. Scenes, 
 chambers and landscapes. Costumes, modern. This piece has been 
 
 Eerformed throughout the United States by Mrs. D. P. Bowers, Miss 
 lucille Western and other well-known stars. Time of representation, 
 three hours. 
 
 Eligible Situation (An), An Eccentricity in 1 Act. By 
 T. Archer and J. C. Brough. 3 Male and 6 Female characters. 
 Costumes, modern. Scene, a drawing-room. Time of representation, 
 forty minutes. 
 
 Enlisted for tbe War; or, Tbe Home Guard. — A Pat- 
 riotic Drama in 3 Acts, founded on the late rebellion. So con- 
 Btmcted that it can be played in 2 Acts by the omission of the 2d. 7 
 Male, 3 Female characters. Males : juvenile hero, eccentric old man, 
 light comedy, viUaui ; low comedy part— neero and military charac- 
 ters. Females : light comedy — old lady ana walking lady. Scenes 
 easily arranged. Time of representation, about two hours. 
 
 Everybody's Friend,— A comedy in 3 Acts. By J. Ster- 
 ling Coyne. 6 Male and 5 Female characters. Costumes, modem, 
 and scenery 3 interiors. Time of representation, two and a half hours. 
 
 Fast Family (Tbe), A Comedy in 4 Acts. By B. Webster, 
 Jr. 11 Male and 7 Female characters. Costumes, modern and fash- 
 ionable. Scenes, interiors well furnished. Time of representation, 
 tlu'ce hours. An excellent play for private performance. 
 
 Fannily Pride— A Comedy in 5 Acts. By R. Sullivan. 6 
 Male and 4 Female characters. Costumes, modem, fashionable, fancy 
 and livery. Scenes, a handsomely furnished drawing-room, a saloon, 
 richly furnished, with large old-fashioned family pictures; a drawing- 
 room, well furnished, backed by a conservatoiy ; an oak lobby. Time 
 of representation, two hours and thirty-five mxnutes. 
 
 Fairy Freaks.— A Fantastic Play in 3 Acts. 2 Male and d 
 Female characters. Costumes, fairy, of burlesque character. 
 Scene, exterior and aterior. Time of representation, twenty-fire 
 minutes. "^^ 
 
FOE THE YOUNG FOLKS. 95 
 
 Fearful Tragedy in the Seven Dials (A).— A Farcical 
 Interlude in 1 Act. By Charles Selby. 4 Male and 1 Female 
 characters. A very laughable piece, easily produced; certain to 
 bring down the house. Costumes of the day. Scene, a genteelly 
 furnished bed- room. Time of representation, forty minutes. 
 
 Fernande; or, Forglvo and Forget.— A Drama in 3 
 Acts. By YicTORiEN Saudou. 11 Malo and 10 Female characters. 
 This is a correct version of tlie celebrated play as performed in Paris 
 and adapted to the English stage by Henry L. Williams, Jr. Cos- 
 tumes, modern French. Scenery, four interiors. Time of represen- 
 tation, three hours. 
 
 Fifth Wheel (The).— A Comedy in 3 Acts. 10 Male and 2 Fe- 
 male characters. An excellent American production, easily man- 
 aged. Costumes, modern. Scenery not complicated. Time of repre- 
 sentation, about one hour and three-quarters. 
 
 Fireside Diplomacy.— A Comedietta in 1 Act. By Chas. S. 
 Cheltnam. 2 Male and 2 Female characterss Costumes, modern. 
 Scene, a drawing-room elegantly furnished. Time of representation, 
 thirty minutes. 
 
 First liove,— A Comedy in 1 Act. By Eugene ScuraE. Adapt- 
 ed to the American stage by L. J. Hollenius. 4 Male and 1 Female 
 characters. Suitable for amateurs. Modern costumes, and scene, 
 a parlor. Time of representation, forty-five minutes. 
 
 Foiled; or, a Strusgle for Life and Liherty.— A 
 Drama in 4 Acts. By O. wT Cornish. 9 Male and 3 Female char- 
 acters. Costumes, modern. Scenery, a variety of scenes required, but 
 none elaborate. Time of representation, three and a half hours. 
 
 Founded on Facts.— A Farce in 1 Act. By J. P. Wooler. 
 4 Male and 2 Female characters. A favorite acting piece, easily put 
 on the stage and never failing in success. Costumes of the present 
 day. Scene, a hotel parlor. Time of representation, thirty-five 
 minutes. 
 
 Freedom of the Press. — A Farce in one Scene. 8 Male char- 
 acters. Walking gent, 4 eccentric Irishmen, Taxikee, stage-struck 
 printer's devil. Time of representation, thirty minutes. 
 
 Frog Prince (The).— A Fairy Play in 1 Act. 2 Male and 1 
 Female characters. Costumes, doublet, hose, puffed breeches, Span- 
 ish cloak, regal robes, long mantle and. train, etc. Scene, a wood 
 and apartment in a palace. This is better with scenery as described, 
 but can be easily arranged for a parlor performance. Time of rep- 
 resentation, twenty minutos. 
 
 Game of Billiards (A).— A Temperance Sketch in 1 Act. By 
 McDermott and Trumble. 1 Male and 2 Female characters. Cos- 
 tumes, modern. Scene, easy. Time of representation, twenty 
 minutes. 
 
 Garrick Fever (The).— A Farce in 1 Act. By J. R. Planche. 
 7 Male and 4 Female characters. Costumes of the year 1742— court 
 dresses, regimentals, velvet trains, etc. Scenery, a plain interior. 
 Time of representation, forty-five minutes. 
 
 Gay Old Man Am I (A). — A Musical Monologue. By Alfred 
 B. Sedgwick. 1 Male character. Costume, an old fop. Scene, a street. 
 This is a short speaking part with two songs and the music. Time of 
 representation,, twenty minutes. 
 
 Gentlemen of the Jury.— Farce for 12 Male characters. 
 Scone, plain room. Costumes, modern. Time of representation, 
 twenty minutes. 
 
96 PABLOE AMUSEMENTS 
 
 Girls ojf the Period (The). —A Comedietta in 1 Act. 4 Male 
 and 3 Female characters. Costumes, modern. Scene, a drawing- 
 room. Time of representation, twenty-five minutes. 
 
 Goose tvitli tlie Golden Eggs (The), — A Farce in 1 Act. 
 By Augustus Mayhew and Sutherland Edwards. 5 Male and 3 
 Female characters. Gay, rollicking, full of incessant action, having 
 three of the most comical characters imaginable. Costumes of tho 
 present period. Scene, a la^'yer's office. Time of representation, 
 forty -five minutes. 
 
 Go to Putney.— A Farce in 1 Act. By Harry Lemon. 4 
 Male and 3 Female characters. Excellent for amateurs. Costumes of 
 the day. Scene, a drawing-room. Time of representation, forty-five 
 minutes. 
 
 Great Elixir (Tlie). — A Farce in 1 Scene. 9 Male characters, 
 including ecpentric comedy, Irishman, two walking gents, deaf man, 
 nervous gent. Time of representation, thirty minutes. 
 
 Greatest Plagne in Life (Tlie). — A Farce in 1 Scene. 8 
 Female characters, including old lady, Irish giii and Yankee girL 
 Time of representation, twenty minutes. 
 
 Grecian Bend (The). — A Farce in 1 Scene. 7 Female char- 
 acters, including old lady, Irish girl and school-girls with disguises. 
 Time of representation, twenty minutes. 
 
 Gray Mare (A).— A Comedietta in 1 Act. By B. "Webster, Jr. 
 2 Male and 2 Female characters. Costumes, simple. Scene, a well 
 furnished room. Time of representation, one hour. 
 
 Happy Dispatch (The).— A Japanese Opera BoufTe in 1 Act. 
 By Alfred Thompson, 3 Male and 2 Female characters. Cos- 
 tumes, more or less Japanese. Scene, a Japanese shop. This can bo 
 very easily aiTanged in a parlor. Dialogues, songs, choruses and 
 dance. Very funny Time of representation, forty -five minutes. 
 
 Happy Pair (A).— A Comedietta in 1 Act. By S. Theyre Smith. 
 1 Male and 1 Female character. A neat Dramatic Sketch of a con- 
 jugal misunderstanding. Modem dresses. Scene, a drawing-room. 
 Time of representation, twenty minutes. 
 
 Hard Case (A).— A Farce in 1 Act. By Thomas Picton. 2 
 Male characters. A most ludicrous piece for 2 performers. Cos- 
 tiunes of the day. Scene, an interior. Time of representation, thiity- 
 five minutes. 
 
 HarlequinJIiittle Red Riding Hood; or, The "Wicked 
 Wolf and tne Wirtaous Wood-Cutter. — A Juvenile Pan- 
 tomime in 1 Act. By Tom Hood. 2 Male and 3 Female charac- 
 ters. Costumes, wood-cutter, old man, Red Riding Hood, old wo- 
 man, wolf, harlequin, clown, pantaloon, columbine, fairy. Scenes, 
 exterior of cottage, forest glade, interior of cottage, street with shops. 
 This scenery may seem ditficult, but directions are given by which it 
 can be very easily arranged with a little paint, newspapers and 
 lathes. The costumes are also very easily made. The above Panto- 
 mime was actually written and put on the stage (in a parlor), fully 
 appointed with dresses and scenery, in two days by three people. 
 Time of representation, forty-five minutes. 
 
 Hasty Conclnsion (A).— A Burletta in 1 Act. By EliZA 
 Planche. 5 Male and 1 Female characters. Costumes, French abbe, 
 French uniform, German blacksmith and French peasant girl. 
 Scene, interior of a cottage. Time of representation, forty minutes. 
 
 Henry Dunbar; or, A Daughter's Trialst— A Drama 
 

 FOB THE YOUNG FOLKS. , 97 
 
 in 4 Acts. By Tom Taylor. 10 Male and 3 Female characters. 
 One of the best acting: plays of the day. Costumes of the period. 
 Scenery, modern English. Time of representation, three hom-s. 
 
 He's a Liiiuatsc.— A Farce in 1 Act. By Felix Dale. 3 
 Male and 2 Female characters. A sprightly, laug"hter- provoking pro- 
 duction. Modern dresses, and scene, a di'aVing-room. Time of rep- 
 resentation, forty minutes. 
 
 His First Brief, — A Comediatta in 1 Act. By Sidney Daryl. 
 
 3 Male and 2 Female characters. Costumes, modern. Scene, a sit- 
 ting-room neatly furnished. Time of representation, thirty minutes. 
 
 His O-wn Enemy. — A Farce in ] Act. By the author of " Tho 
 Happy Pair." 5 Male and 1 Female characters. An exceedingly pleas- 
 ant, witty piece. Costumes, modern. Scene, a handsome parlor. 
 Time of representation, fifty -five minutes. 
 
 Home.— A Comedy in 3 Acts. By T. TV. Robertson. 4 Male, 3 
 Female characters. A charming piece. Needs but a small company. 
 Every character very good. Costumes, modern. Only one sceno 
 throughout the play. Time of representation, two hours. 
 
 House liold Fairy (A).— A Domestic Sketch in 1 Act. By 
 Francis Talfodrd. 1 Male and 1 Female character. A gem in its 
 line; artistic, dramatic and very natural. Modern costumes, and 
 scene, a poorly furnished apartment. Time of representation, twenty- 
 five minutes. ' 
 
 How to Settle Accounts "witli Your iJanndress. — A 
 Farce in 1 Act. By J. Sterling Coyne. 5 Male and 2 Female char- 
 acters. Costumes, modern, page's suit, blouse, leggins. etc. Scene, 
 a tailor's show-room, opening at the back to an inner I'oom. Time of 
 representation, fifty minutes. 
 
 Humors of the SIrilte. — A Farce in 1 Scene. 8 Male char- 
 acters, including old man, deaf gent, Irishman, fop, "Mose.'' Time 
 of representation, twenty minutes. 
 
 Hypocliontlriac (Tlie). — 5 Male characters, an eccentric old 
 man, his two sons, a Yankee and an Irishman. Time of representa- 
 tion, fifteen or twenty minutes. 
 
 I'll Tell Your Wife.— A Farce in 1 Act. By "W. S. Webster. 
 
 4 Male and 2 Female characters. Costumes, modern. Scene, room 
 plainly furnished. Time of representation, thirty-five minutes. 
 
 I liove Your Wife.— A Musical Sketch in 1 Act. By Alfred 
 
 B. Sedgwick. I Male and 1 Female characters. Costumes, modern. 
 Scene, a breakfast pai-lor. Dialogue, songs and music. In part of this 
 play tlie woman assumes male costume, a fashionable swell. Time of 
 representation, thirty minutes. 
 
 I'm not Me.silf at All.— An original Irish Stew in 1 Act. By 
 
 C. A. Maltby. 3 Male and 2 Female characters. Costume of pres- 
 ent day, undress uniform, Irish peasant and Highland dress. Sceno, 
 u room. Time of representation, twenty-eight minutes. 
 
 In for a Holiday.— A Farce in 1 Act. By F. C. Bcrnand. 2 
 Male and 3 Female characters. Costumes of the period, and scene, 
 an interior. Time of representation, thirty-five minutes. 
 
 In the Wrong House.— A Farce in 1 Act. By Martin 
 Becher. 4 Mule and 2 Female characters. A very justly popular 
 piece. Two of the Male characters are excellent for light and low 
 comedian. Good parts, too, for a young and old lady. Costumes, 
 modern. Sceiieiy, an ordinary room. Time of representation, twenty- 
 fivo minutes. 
 
93 FABLOB AMUSEMENTS 
 
 Ingomar;or,Tlie Noble Savage— An Awful 'Warning in 1 
 Act. By E.. liEED. 16 Male and 2 Female characters. Costumes, 
 burlesque classical. Scenes, market-place, camp in the woods, a pub- 
 lic square. The scenes can be left entirely to the imag-ination of tlie 
 audience if the performers wish. Time of representation, about fifty 
 minutes. 
 
 IrisH Dragoon; or, "^Vartls in CHjancery. — ATarceinl 
 Act. By Chakles Selby. 5 Male and 3 Female characters. Cos- 
 tumes, eccentric trousers, paletot, Hessian boots, Rob lioy plaid 
 trousers, shepherd's plaid shooting- jacket, modern dress, for the men; 
 fashionable Avalkiug dress, polka pelisse, etc., for the women. Sceue, 
 a coixntiug-house. Time of representation, fifty minutes. 
 
 Irish Engagement. (An).— A Farce in 1 Act. By W. Watts. 
 4 Male and 2 Female characters. Costumes, military, livery, top boots, 
 nankeen pants, stuff gown, Irish cap, etc. Scene, a room" plainly fur- 
 nished. Time of representation, forty -five minutes. 
 
 I Shall Invite thf; Major— A Parlor Comedy in 1 Act. By 
 G. vox MosER. Containing 5 characters, 4 Male and 1 Female. A 
 very pleasing little play, with good parts for all. Very bright and 
 witty. Costumes, modern. Scene, a handsome interior. Time of 
 representation, forty minutes. 
 
 J nek the Giant liillcr— A Fairy Play in 1 Act. 4 Male 
 and 3 Female characters. Costumes, Knickerbocker suit, cap and 
 feathers, short coat, etc., for Jack, any grotesque dress for Giant, 
 neglige dress for ladies. Scene, a plain room. Time of representa- 
 tion, twenty minutes. 
 
 Jack Liong. — A Drama in 2 Acts. By J. B. Johxstoxk. 9 
 Male and 2 Female characters. Costumes of the frontiers. Scenery 
 illustrative of localities on the Texan frontier. Time of representa- 
 tion, one hour and twenty minutes. 
 
 Joy is Dangerous.— A Comedy in 2 Acts. By James Mor- 
 TlMEU. 3 Male and 3 Female characters. Costumes, modern French. 
 Scenery, two interiors. Time of representation, oue hour and forty- 
 five minutes. 
 
 Katharine and Petrnchio; or. The Shnmingof the 
 True. — In 1 Act. By J. A. Sterky. 5 Male and 3 Female charac- 
 ters. Costumes, early Italian combined with modern English. 
 Scenes, hall, state-room, and kitchen of a palace and villa of Petruchio. 
 Time of representation, forty-five minutes. 
 
 Kind to a Fa«lt. — An Original Comedy in 2 Acts. ByWnx- 
 lAM Brough. 6 Male and 4 Female characters. A well written 
 composition with well drawn characters. Costumes of the present 
 day. Scenery, two elegantly furnished interiors. Time of represen- 
 tation, one hour and twenty minutes. 
 
 Last Drop (The).— A Temperance Drama in 1 Act. By John 
 n. Delafield. 7 Male and 3 Female cliaracters. Costumes, modern. 
 Scenes, a plain room, a street and a garret. Time of representation, 
 twenty-five minutes. 
 
 Liast I^ily (The).— A Comedietta in 1 Act. By Clement "W. 
 Scott. 3 Male and I Female characters. Costumcs,"Fi-cnch of 1793. 
 Scene, a garden. Time of representation, thirty minutes. 
 
 JLast Loaf (Th<-). — A Drama in 2 Acts. 5 Male and 3 Female 
 characters. Leading man, juvenile, two low comedians, villain, 
 leading lady, walking lady and soubrette. This drama is intensely in- 
 teresting as a temperance drama. Time of representation, one hour 
 and thirty minutes. 
 
FOB THE TOUXa FOLKS. 99 
 
 TjSlw Allo'ws It (The). — A Musical Monologue in 1 Act. By 
 Alfred B. Skdgwick. 1 Male character. Costume, shabby genteel. 
 Scene, a street. Song and music. Time of representation, ten minutes. 
 
 JLet Tliose Langli "Who Win. — A Musical Sketch in 1 Act. 
 By Alfred B. Sedgwick. 1 Male and 1 Female characters. Cos- 
 tumes, modern. Scene, elegantly furnished room. Dialogue, song and 
 music. Time of representation, twenty minutes. 
 
 lieap Year. — A Musical Duality. By Alfred B. Sedgwick. 
 The music adapted from Oflfenbach's "GencTieve de Brabant." 1 
 Male and 1 Female characters. Costumes, modern. Scene, a hand- 
 some parlor. Time of representation, twenty minutes. 
 
 l^ecdle Mistake (A). — A Dutch Sketch in 1 Act. By McDer- 
 MOTT and Trdmble. '3 Male and 2 Female characters. Costumes, ad 
 libitum. Scene, a street, house with practicable door in flat. Time of 
 representation, twenty minutes. 
 
 Ijiar (Tlie).— A Comedy in 2 Acts. By Samuel Foote. 7 Male 
 and 2 Female characters. One of the best acting plays in any lan- 
 guage. Costumes, embroidered court dresses, silk saeques, etc.; still 
 the modern dress will sutfice. Scenes, one a park, the other a draw- 
 ing-room Time of representation, one hour and twenty minutes. 
 This edition, as altered by Charles Mathews, is particularly adapt- 
 ed for amateurs. 
 
 Liittle Bro^vn Jug (The). — ADramainSActs, with a" Tem- 
 perance" plot. 5 Male and 3 Female characters. Principal charac- 
 ters, an eccentric Yankee, good old man, two "juveniles, " genteel 
 "villain." Female parts, old lady, Yankee girl and "juvenile." 
 Plain rooms. Time of representation, about one hour and thirty min- 
 utes. 
 
 Little More Cider (A). — 5 Male and 3 Female characters. 
 Two Yankees, walking gent, Dutchman and negro, old woman and 
 two walking ladies. Temperance piece. Time of representation, 
 thirty minutes. 
 
 Little Rebel (The).— A Farce in 1 Act. By J. Sterling 
 Coyne. 4 Male and 3 Female characters. An excellent piece for a 
 sprightly young actress. Dresses and scenery of the present day. 
 Kasy of production. Time of representation, about forty-five min- 
 utes. 
 
 Lit<le Red Riding Hood.— A Fairy Play in 1 Act. 3 Male 
 and 3 Female characters. Costumes, wolf's mask, tunic, short wide 
 trousers, long boots, mob cap, quilted petticoat, etc. Scene, interior 
 and exterior of cottage. Time of representation, twenty-five minutes. 
 
 liittle Silver Hair and the Three Bearg. — A Pastoral 
 Drama in I Act. 2 Male and 2 Female characters. Costumes, bear's 
 head mask, top boots, flowered waistcoat, "girl of the period" dress, 
 little girl's dress. Scene, wood and interior of cottage. Time of rep- 
 resentation, fifteen minutes. 
 
 Little Ruby; or. Home Je^wels. — A Domestic Drama in 3 
 Acts. By J. J. Wallace. 6 Male and 6 Female characters. This 
 drama is at once alFecting and effective. Little Rdut fine persona- 
 tion for yoimg prodigy. Costumes, modern. Scenery, interior of 
 dwelling and gardens. Time of representation, two hours. 
 
 Locked In.— A Comedietta in 1 Act. By J. P. Wooler. ' 2 
 Male and 2 Female characters. Costumes of the period. Scene, a 
 drawing-room. Time of representation, thirty minutes. 
 
 Locked ill With a Lady_A Sketch from Life. By H. R. 
 
lOa PARLOR AMVSEMENTS 
 
 Addison. ^ 1 Male and 1 Female characters. A very pleasing and 
 humorous interlude. Costumes of the day, and scene, a bachelor's 
 apartment. Time of representation, thirty -five minutes. 
 
 Locked Oat. — A Comic Scene, illustrative of what may occur 
 after dark iu a great metropolis. By Howaud Paul. 1 Male and 2 
 Female characters, with others unimportant. Scene, a street. Cos- 
 tumes, modern. Time of representation, thirty minutes. 
 
 I.odgei*s and Dodgers. _A Farce in 1 Act. By Fredkrick 
 H.\Y. 4 Male and 2 Female characters. Costumes of tlie present 
 time. Scene, a furnished apartment. Time of representation, twenty- 
 live minutes. One character a Yorkshire farmer. 
 
 lionely Pollywog of llie Mill Pond (Tlie). — A Sangruin- 
 ary Drama in ] Act. By M. T. Head. 3 Male and 1 Female characters. 
 Costumes, burlesque Spanish cavalier. Scenes, a mill poud, a gloomy 
 glen and an interior of a hut. Uproariously funny. Time of representa- 
 tion, fifteen minutes. 
 
 Liove.— A Burlesque in 1 Act. 3 Male and 3 Female characters. 
 Costumes, modern. Scenes, a drawing-room and a picnic ground. 
 Time of representation, thirty minutes. 
 
 liOve otn. Bonnet (A).— .5 Female characters; old lady, 2 young 
 girls, inquisitive old lady, Irish servant. Time of representation, 
 twenty minutes. 
 
 I^oves of Liittle Bo-Pecp (Tlie). — ^In 1 Act. 5 Male and 4 
 Female characters. Costumes, square-cufc coats, knee breeches, flow- 
 ered waistcoats, silk stockings, shoes aud buckles, farmer's dress, 
 flowered gown, quilted petticoats, traveling dress, shepherdess' hat 
 and ribbons, etc. Scenes, kitchen and a field. Time of representation, 
 forty minutes. 
 
 Lucy's liOve Iicsson. — A Comedietta in 1 Act. By John 
 Latey, Jr. 2 Male and 2 Female characters. Costumes, modern. 
 Scene, a drawing-room. Time of representation, fifteen minutes. 
 
 Lyi-ical Iiover. — A Comedietta in 1 Act. By H. S. Clark. 1 
 Male and 1 Female characters. Costumes, modern. Scene, an ele- 
 gantly furnished drawing-room. Time of representation, twenty-five 
 minutes. 
 
 Mad Astronomer (A). — A Musical Sketch in 1 Act. By 
 Alfred B. Sedgwick. 2 Male and 1 Female characters. Costumes, 
 modern. Scene, behind the scenes of a public hall or theatre. Time 
 of representation, thirty minutes. This piece consists of dialogue 
 and songs with the music. ■ 
 
 Man-»vilh a Demijohn (Tlie).— A Farce in 1 Scene. 4 Male 
 characters. Yankee, two low comedians and negro. Time of rep- 
 resentation, twenty minutes. 
 
 Maria and Magdalena. — ^A Play in 4 Acts. By L. J. HoL- 
 LENlus. 8 Male and 6 Female characters. An uniformly good stock 
 company is alone needed to properly pi'oduce this charming piece. 
 Costumes, modern. Scenery, fine interiors and beautiful gardens. 
 Time of representation, three hours. 
 
 Marriage at Any Price.— A Farce in 1 Act. By J. P. 
 TVOOLER. 5 Male and 3 Female characters. A decided success in 
 London. Costumes of the day. Two scenes, a plain chamber and a 
 garden. Time of representation, thirty minutes. ^ 
 
 Marry in Haste and Ropcnt at Leisure. — A Bombastic 
 Play in 1 Act. 3 Male and 3 Female characters. Costumes, morn- 
 
FOB THE YOUNG FOLKS. 101 
 
 ing", slightly exaggerated. Scenes, a draTving-room, a dining-room 
 and outside of a court-house. Time of representation, twenty -five min- 
 utes. 
 
 Blaster Jones' Birtliclay. — A Farce in 1 Act. By JOHX 
 Maddison Morton. 4 Male and 2 Female characters. A very 
 amusing and effective composition, particularly suited to amateurs. 
 Dresses of the day, and scene, a plain interior. Time of representa- 
 tion, thu'ty minutes. 
 
 Matched but not Mated; or, a. Lnnatic *^Ma]gre 
 Ii«i." — A Farce in 1 Act. 4 Male and 2 Female characters. Cos- 
 tumes, modern. Scene, a drawing-room plainly furnished. One of tho 
 male characters assumes a woman's dress in one part of the play. 
 Time of representation, thirty minutes. 
 
 Mand's Peril — A Drama in 4 Acts. By Watts Phillips. 5 
 Male and 3 Female characters. Strong and sensational. Costumes of 
 English country life of the period. Scenery, not elaborate. Time of 
 representation, two hours and a half. 
 
 Medical Man (A).— A Comedietta in 1 Act. By TV. S. Gil- 
 bert. 2 Male and 1 Female characters. Costumes, modern. Scene, 
 an untidy and shabbily furnished apartment. Time of representation, 
 forty minutes. 
 
 Middle Temple (The); or, Whicli is My Son 1 — A Farco 
 in 1 Act. By E. B. Peake. 8 Male and 3 Female characters. Cos- 
 tumes, old gentleman's suit, knee breeches, livery, Wellington boots, 
 old-fashioned barber's coat, silk stockings, worsted stockings, etc.; sar- 
 cenet dress, morning dress, turban, or toque, etc., for women. Scene, 
 plain I'oom. Time of representation, one hour. 
 
 MidnigHtWafcli (The). — A Drama in 1 Act. By J. Mad- 
 DisoN Morton. 8 Male and 2 Female characters, A successful 
 little play. Costumes of the time of the French Eevolution of 1795. 
 Scene, the platform of a fortress. Time of representation, one hour. 
 
 Miriann's Crime. — A Drama in 3 Acts. By H. T. Graven. 5 
 Male and 2 Female characters. One of the best acting plays, and 
 easily put on the stage. Costumes, modern. Scenery, modern En- 
 glish interiors, two in number. Time of representation, two hours. 
 
 Mischievous Boh. — A Comic Drama in 1 Act. 6 Male char- 
 acters. Costumes, old pants torn, linen check jacket, corduroy pants, 
 pilot coat, carpenter's dress, fashionable di'css, liveiy. Scene, room 
 m a cottage. Time of representation, thirty minutes. 
 
 Miseries of Human liife (The). — A Farce in 1 Act. By 
 Benjamin Webster. 2 Male and 2 Female characters. Costumes, 
 nankeen trousers, morning gown, body coat, great coat, monkey 
 jacket, etc. Scene, plain room. Time of representation, fifty-eight 
 minutes. 
 
 Model of aWife (A).— A Farce in 1 Act. By Alfred Wigan. 
 3 Male and 2 Female characters. Most amusing in conception and 
 admirably carried out. Costumes of the day. Scene, a painter s 
 studio. Time of representation, thirty-five minutes. 
 
 Money Malcrs the Man.— A Drama in 1 Act. By Arthur 
 Sketchley. 4 Male and 3 Female characters. Costumes, modern. 
 Scene, a drawing-room. Time of representation, thirty minutes. 
 
 Monsienr Pierre— A Pathetic Drama in 1 Act. 2 Male and 3 
 Female characters. Costumes, modern, except that Monsiedu 
 Pierre should be dressed in very old clothes. Scene, agaxden. Timo 
 of representation, thirty •five minutes. 
 
102 PABLOB AMUSEMENTS 
 
 Mr. Scroggins; or. Change of Name. — A Farco in 1 
 Act. By AViLLiAsi Hancock. 3 Male and 3 Female characters. A 
 lively piece. Costumes of the present day. Scene, a drawing-room. 
 Time of representation, forty minutes. 
 
 BIr. X.— A Farce in 1 Act. By Sydney Rosexfkld. 3 Male and 
 
 3 Female characters. An excruciatingly funny little piece, as full of 
 life as i^rime Cliquot. Costumes, modern. Scene, a sitting-room. 
 Time of representation, fifty minutes. 
 
 Mrs. Sairey Gamp's Tea and Turn Ont. — A Bozzian 
 Sketch in 1 Act. By Bexj. Webster. 4 Male and 4 Female charac- 
 ters. Costumes, brown and black coats, light waistcoats, striped 
 pants, blue and white spotted gown, fancy shawl, flowered gown, 
 Walking-dress, etc. Scenes, Sweedlepipe's shop, room at Betsey 
 Priggs' and Mrs. Gamp's room. Time of representation, fifty min- 
 utes. Very funny. 
 
 Mulcliay's Cat.— An Irish Sketch in 1 Act. By McDermott 
 and Trumble. 2 Male and 1 Female characters. Costumes, ad 
 libitum. Scene, a kitchen. Time of representation, twenty minutes. 
 
 My Bx-otlier's Keeper.— Drama in 3 Acts. 5 Male and 3 
 Female characters. First and second acts a counting house, third a 
 parlor. Costumes, modern. Easy to produce. Time of representa- 
 tion, two hours. 
 
 My Friend in the Straps.— A Farce in 1 Act. By Charles 
 Selby. 5 Male atnd 2 Female characters. Costumes, morning coat, 
 dress coat, short paletot, large pattern plaid pants, fancy waistcoat, 
 higt-lows, coachman's frock; evening dress and Fi'ench cap for 
 ladies. Scene, a room elegantly furnished. Time of representation, 
 forty-five minutes. This play has a good part for an Irish, light or 
 eccentric comedian. 
 
 My Uncle the Captain,— A Farce for 6 Male characters, 
 including comic old man, Yankee, negro, etc. Costumes, modern. 
 Time of representation, about twenty minutes. 
 
 My Uncle's Suit. — A Farce in 1 Act. By Martin Becher. 
 
 4 Male and 1 Female characters. Has a jolly good low comedy part, a 
 fine light comedy one, and a brisk, pert lady's maid. Costumes, 
 modern. Scenery, a well furnished sitting-room. Time of represen- 
 tation, thirty minutes. 
 
 My Wife's Diary,— A Farce in 1 Act. By T. "W. Bobert- 
 BON. 3 Male and 1 Female characters. Costumes, modern French, 
 and scene, a drawing-room. Time of representation, fifty minutes. 
 
 My "Wife's Ont.— A Farce in 1 Act. By G. Herbert Bod. 
 WELL. 2 Male and 2 Female characters. This piece had a success- 
 ful run at the Covent Garden Theatre, London. Costumes, modern, 
 and scene, an artist's studio. Time of representation, forty minutes. 
 
 My Walking Photograph. — A Musical Duality in 1 scene. 
 Music arranged from " La Fille de Madame Angot." 'By Alfred 
 B. Sedgwick. 1 Male and 1 Female characters. Scene, handsome 
 parlor. Costumes, modern. Time of representation, thirty minutes. 
 
 Never Reckon Yoiir Chickens, «S;c. — A Farce in 1 Act. 
 By Wybert Beeve. 3 Male and 4 Female characters. Modern 
 costumes, and scene, an interior. Time of representation, forty 
 minutes. 
 
 Never Say Die. — A Farce. 3 Male and 3 Female characters. 
 Males, eccentric middle-aged gent, cockney Englishman, and liglit 
 comedy part ; Females, light comedy, walking and chambermaid 
 parts. Scene, plain room. Time or representation, about thirty 
 minutes. 
 
FOB THE YOUNG FOLKS. 103 
 
 NcTT Brooms Sweep Clean. — A rarce in 1 Scene. 6 MaJo 
 characters. Old man, Irishman, Torkshire, "Chinee," walking gent 
 and servant- Time of representation, twenty minutes. 
 
 No Cure, No Pay. — A Farce in 1 Scene. 7 Female characters, 
 including Irish girl, old lady and Yankee girl. Time of representa- 
 tion, twenty minutes. 
 
 Nobody's CSiilcI. — A Homantio Drama in 3 Acts. By "Watts 
 Phillips. 18 Male and 3 Female characters. A domestic drama, 
 wonderfully successful in London, as it abounds m stirring scenes 
 and capital situations. Costumes, modern, suited to rui*al life in 
 Wales. Scenery is wild and picturesque. Time of representation, 
 two hours and a quarter. 
 
 Noemie. — A Drama in 2 Acts. Translated and adapted from the 
 French of Dennery and Clement by T. "W. Robertson. 4 Male 
 and 4 Female characters. Originally' acted in Paris, this piece cre- 
 ated such a sensation that it was produced subsequently at all the 
 leading theatres of London. Costumes, modern. Scenery, a garden 
 scene and a richly furnished interior. Time of rei)resentation, one 
 hour and a half. Easily put on the stage. 
 
 No Name. — A Drama in 5 Acts. By TVlLKiE Collins. 7 Male 
 and 5 Female characters. A dramatization of the author's popular 
 novel of the same name. Costumes of the present day. Scenery, four 
 interiors and a sea view. Time of representation, three hours. 
 
 Not a Bit JTealons. — A Farce in 1 Act. By T. "W. Robert- 
 son. 3 Male and 3 Female characters. Costumes of the day. Scene, 
 a room. Time of representation, forty minutes. 
 
 Not Guilty. — A Drama in 4 Acts. By "Watts Phillips. 10 
 Male and 6 Female characters. A thrilling drama founded upon fact. 
 Costumes of the present day. Scenery, illustrative of localities about 
 Southampton and its harbor, and of others in India. Time of repre- 
 sentation, three hours. 
 
 Nothing Like Paste, — A Farce in 1 Act. By Charles 
 Marsham Rae. 3 Male and 1 Female characters. Every character 
 superexcellent. Billy Doo a regular Burtonian part. Admirable 
 piece for amateui*s. Costumes, modern. Scenery, exterior of u small 
 villa, with gardens. Time of representation, forty minutes. 
 
 Not Suclx a Fool as He Liooks. — A Farcical Drama in 3 
 Acts. By Henry J. Byron. 5 Male and 4 Female characters. 
 Excellent for amateurs. Costumes of the day. Sceneiy, three inte- 
 riors. Time of representation, two hours. 
 
 Off tlie Stage. — An entirely original Comedietta in 1 Act. By 
 Sydney Rosenfeld. 3 Male and 3 Female characters, all equally 
 excellent. One of the sprightliest, wittiest and most amusing little 
 plays ever written, causing almost an hour's constant merriment. 
 Costumes, modern. Scene, a handsome interior. 
 
 On Bread and 'Water.— A Mnsical Farce in 1 Act. Being a 
 free adaptation fi'om the German. Bv Sydney Rosenfeld. A rollick- 
 ing little piece. 1 Male-nnd 2 Female characters. Containing a brill- 
 iant soubrette part. Costumes, modern. Scene, an uucarpeted 
 school-room. Time of representation, twenty-five minutes. 
 
 Once on a Time. — A Drama in 2 Acts. 4 Male and 2 Female 
 characters. Old man, juvenile man, villain, low comedy, leading 
 lady, soubrette and child. Time of representation, one hour. 
 
 Orange Blossoms. — A Comedietta in 1 Act. By J. P. 
 "WooLEU. 3 Male and 3 Female characters. Costumes of the pres- 
 
104 PAltLOB AMUSEMENTS 
 
 ont (lar, and scene, a garden -with summer house. Time of represen- 
 tation, fifty minutes. 
 
 Original (Tlxc).— An Interlude in 1 Act. By J. II. Moktox. 
 fi Male and 1 Female characters. Costumes, modern and liyerT. 
 Scene, interior. Time of representation, forty-five minutes. 
 
 Original Idea (An). — A Dialogue for a lady and gentleman, in- 
 troducing reading, recitations and dramatic scenes. Costumes, mod- 
 ern. Time of representation to suit performers. 
 
 Onld Man's Coat Tails (The).— An Irish Sketch in 1 Act. 
 Y>j McDerjiott and Tkuhble. 3 Afale and 1 Female characters. 
 Costumes, ad libitum. Scene, room shabbily furnished. Time of 
 representation, fifteen minutes. 
 
 Onrs.— A Comedy in 3 Acts. By T. W. Eobertson. 6 Male 
 and 3 Female characters. One of the best and most admired plays in 
 our language — "wliile a fair stock company can play it acceptably. It 
 has several characters fit for stars. Costumes,"modern, Tvith British 
 military uniforms. Scenery, gardens, park, drawing-room, and rudo 
 hut in the Crimea. Time of representation, two hours and thirty 
 minutes. 
 
 Our Clerks ; or. No. 3 Fig Tree Conrt, Temple. — An 
 original Farce in 1 Act. 7 Male and 5 Female characters. Cos- 
 tumes, modem, and scene, a large sitting-room solidly furnished. 
 Time of representation, sixty -five minutes. 
 
 Our Mary Anne.— A Farce in 1 Act. By J. B. Buceston'E. 
 4 Male and 3 Female characters. Costumes, riding dress, male and 
 female, Hessian boots, knee breeches and buckles, shoes and buckles, 
 hmg waistcoats, riding hat and feather, muslin dress, striped petti- 
 coat, etc. Scene, a garden. Time of representation, fifty minutes. 
 
 Peace at Any Price. — A Farce in 1 Act. By T. "W. Eobertsox. 
 
 1 Male and 1 Female characters ; but a variety of voices are lieard 
 throughout the piece, the speakers being invisible. A capital sketch 
 for two lively amateur comedians. Costumes, modern. Scenery — 
 there is but one scene throughout the piece — a meanly furnished 
 apartment. Time of representation, twenty minutes. 
 
 Pecnliar Position (A). — A Farce in 1 Act. By J. K. 
 Fl.v^xiie. 5 Male and 3 Female cliaracters. Costumes, militai*v uni- 
 forms, peasants of Savoy and Piedmont, liveiy, traveling dress, 
 morning dress. Scene, apartment in a chateau near Chambery. 
 Time of representation, one hour. 
 
 Pertrller of Very Nice (TJic) — A burlesque of the celebrated 
 '' Trial Scene from the Merchant of Venice. " For 7 Male characters. 
 Xo scenery required. Costumes, motley. Time of representation, 
 twenty-five minutes. 
 
 Penelope Anne — A -Musical Farce in 1 Act. By F. C- BuR- 
 XANP. 4 Male and 1 Female characters. Costumes, modern. Scene, 
 a plain room. Time of representation, forty minutes. 
 
 Pot Lianib (The).— A Domestic Scene in 1 Act. By C. TV. 
 Scott. 1 Male and 2 Female charactei's (one a child). Costumes, shab- 
 by. Scene, a room miserably furnished. Time of representation, twen- 
 ty minutes. 
 
 Pint of Ale (A).— A Temperance Sketch in 1 Act. 3 Male and 
 
 2 Female characters. Costumes, modern. Scene, plain. Time of 
 repx'esentation, twenty miuutes. 
 
 Plot and Passion. — A Drama in 3 Acts. From the French. 
 By Tom Taylor, 7 Male and 2 Female characters. A neat and well 
 
FOB TBE YOUNG FOLKS. 105 
 
 constructed play, admirably adapted to amateur representation. Cos- 
 tumes of the period of the First Empire, rich and attractive. Scenes, 
 an interior in a French mansion, and one in a country villa. Time of 
 representation, one hour and a half. 
 
 Popploton's Predicaments. — ^A Farce in 1 Act. Ey 
 Chakles M. Rae. 3 Male and 6 Female characters. Costumes of 
 the day. Scene a drawing-room. Time of representation, forty min- 
 utes. 
 
 Porter^s Knot (Tlie).— A Serio-comic Drama in 2 Acts. By 
 John Oxenford. 8 Male and 2 Female characters. Interesting and 
 thoroughly dramatic. Costumes of the day. Scenes, an interior of 
 a cottage and exterior of sea-side hotel. Time of representation, one 
 hour and a quarter. 
 
 Post Boy (The).— An original Drama in 2 Acts. ByH. T. Cra- 
 ven. 5 Male and 3 Female characters. Very successful. Costumes, 
 modem. Scenery, two interiors. Time of representation, one hour 
 and a half. 
 
 Precious Pickle (A). — 6 Female characters, old maid, talka- 
 tive woman, three school-girls, coloredhelp. Time of representation, 
 twenty minutes. 
 
 Private Inquiry (A). — A FaTce in 1 Act. By B. "VrBBSTEK, 
 Jr. 4 Male and 2 Female characters. Costumes, modern, except^ 
 "Walter Worricow, the leading part (low comedy), who wears Hessian 
 ■boots, black coat, vest and pantaloons. Scene, a well-furnished room. 
 Time of representation, forty minutes. 
 
 Public Benefactor (A). — 6 Male characters, old man, young 
 man, eccentric comedian, a countryman, a lubberly boy, an Irishman. 
 Time of representation, twenty minutes. 
 
 Purty Shnre Cure, (A). — An Irish Sketch in 1 Act. By Mc- 
 Dermott and Tkumble. 2 Male and I Female characters. Costumes, 
 ad libitum. Scene, plain room. Time of representation, thirty min- 
 utes. 
 
 Pntfcins, Heir to Castles in the Air. — A Comic Drama in 
 1 Act. By William R. Emerson. 2 Male and 2 Female characters. 
 Scene, kitchen. Costumes, modern. Time of representation, forty- 
 iive minutes. 
 
 Q,uite at Hon»e.— -A Comedietta in 1 Act. By Arthur Sketcu- 
 LET. 5 Male and 2 Female characters. A real lively taking piece. 
 All the characters passable. Costumes, modern. Scenery, a shabbily 
 furnished apartment. Time of representation, forty-five minutes. 
 
 Race Ball (The); or, Cliaos is Come Again. — A Farce 
 in 1 Act. By J. M. Morton. 6 Male and 1 Female characters. 
 Costumes, military, jockey, livery, evening dress, riding habit, ball- 
 dress. Scenes, a room at an inn, a ball-room. Time of representation, 
 forty-five minutes. 
 
 Race for a Dinner (A).— A Farce in 1 Act. By J. F. G. Bod- 
 well. 10 Male characters. A sterling piece. Costumes of the day. 
 Scene, a tavern exterior. Time of representation, sixty minutes. 
 
 Red Clii^non (Tlie). — 6 Female charactera ; old maid, fash- 
 ionable lady, four school-girls. Time of representation, twenty min- 
 utes. 
 
 Result of a Nap (The).— A Farce in 1 Act. 3 Male and 2 
 Female characters. Costumes, hunting dress, loose pants, dressing- 
 gown and morning dress. Scene, room neatly furnished. Time of 
 roprcflcntation, thirty minutes. 
 
 X 
 
106 PAllLOR AMUSEMENTS 
 
 Robin Hood; or, Tlic Merry Men of SHerirood For- 
 est. — A Sylvan Drama in 2 Acts. 11 Male and 3 Female characters. 
 Costumes, tunic, armor, tights, russet boots, bishop's dress, monk's 
 dress, crown, dresses trimmed with ermine, etc. Scenes, a forest, a 
 grand hall. Time of representation, forty-five minutes. Directions 
 are given by which the " elaborate" scenery of this play can easily be 
 arranged in a parlor. 
 
 Runaways (The). — 4 Male characters, an old farmer, two 
 school-boys, a policeman. Time of representation, fifteen miniltes. 
 
 Ruy Bias. — A Romantic Drama in 4 Acts, from the French of 
 Victor Hugo. 12 male and 4 female characters. This piece was 
 eminently successful in London when i)roduced by Mr. Fechter. 
 It contains numerous scenes, capable of being performed imconnected 
 with the drama, by amateurs. Spanish costunjes of 1692. Scenery, 
 halls and apartments in the royal palace at Madrid. Time of repre- 
 sentation, three hours and a half. 
 
 Sayings and Doinfics; or, The Rule of Contrary. — A 
 Farce in I Act. By J. M. Morton. 5 Male and 3 Female charac- 
 ters. Costumes, riding-dress, morning-dress, old-fashioned dresses, 
 livery, etc. Scenes, one room plainly furnished, and one neatly fur- 
 nished. Time of representation, forty-five minutes. 
 
 ScHool.— A Comedy in 4 Acts. By T. TV. Eobertson. C Male 
 and 6 Female characters. Is a very superior piece, and has three 
 characters unusually good for either sex. Could be played with fine 
 cflect at a girls' seminary. Costumes, modern. Scenery, English 
 landscape and genteel interiors. Time of representation, two hours 
 and forty minutes. 
 
 School for Schenting. — (Played at "Wallack's under the title 
 of "Love and Money.") A Comedy iu 5 Acts. By Dion Bouci- 
 CAULT. 7 Male and 8 Female characters. Costumes, modern suits, 
 monkey jacket, fancy waistcoat and trousers, coat trimmed with fur, 
 evening dress, riding coat, Newmarket coat, ball dress, morning dress, 
 modern dresses. Scenes, plain room, drawing-room handsomely fur- 
 nished, ball-room, pier at Boulogne- Sur-Mer. Time of representation, 
 two hours and fifty minutes. An excellent comedy, very successful. 
 
 School for Tigers (The); or. The Shilling Hop.— A 
 Farce in 1 Act. By Mark Lemon. 14 Male and 13 Female charac- 
 ters. Costumes, drab coat, nankeen breeches, striped vest, top boots, 
 liveries, policeman's dress, modern dresses. Scenes, room of a public 
 house, large plain room. Eight of the male characters are taken by 
 females, dressed in liveiy (as tigers). Time of representation, one hour 
 and twenty minutes. 
 
 Sculptor's Triumph (The).— A National Allegory for 1 
 Male and 1 Female character who speak, and three Female charac- 
 ters who personate statuary in the tableau groups incidental to the 
 piece. Time of representation, twenty minutes. 
 
 Sea of Trouhlcg (A). — A Farce in 1 Scene. 8 Male characters. 
 Old man, Yankee, Irishman, stuttering man, eccentric walking gent, 
 low comedian. Time of representation, thirty minutes. 
 
 Seeing the E^lephant. — A Temperance Farce. 5 Male and 
 2 Female characters. Eccentric old man, lover, boy. Irishman, dar- 
 ky, Yankee girl and old lady. Scene, plain room. Time of repre- 
 sentation, thirty minutes. 
 
 Sentinel (The).— A Musical Burletta in 1 Act. By J. M. 
 Morton. 4 Male and 1 Female characters. Costumes, military, 
 court dress, red petticoat, velvet bodice, etc. Scene, view of palaco 
 auU garden, quite elaborate. Time of representation, one hour. 
 
FOB THE YOUNG FOLKS. 107 
 
 Sheep in Wolfs Clotliiing (A). — ^A Domestic Drama in 1 Act. 
 Freely adapted from Madame de Girardin's " Zfne Femme qui deteste 
 So7i Mari" by Tom Taylok. 7 Male and 5 Female characters. A 
 neat and pleasing domestic play, founded upon incidents following 
 Monmouth's rebellion. Costumes of the time of James II of En- 
 gland. Scene, a tapestried chamber. Time of representation, one 
 iiour. 
 
 Sign of Affection (A); or, Tlie Hen and Chickens. — A 
 Comic Drama in 2 Acts. By B. Websteu, Jk. 5 Male and 2 Female 
 characters. Costumes, midshipman's, livery and modern. Scene, 
 handsomely furnished room. Time of representation, one hour and 
 forty -five minutes. 
 
 Silent' Protector (A).— A Farce in 1 Act. By Thomas J. 
 Williams? 3 Male and 2 Female characters. An active, bustling 
 piece of ingenuity, which affords abundant opportunities for the dis- 
 play of Quickfidget's eccentricities. Costumes of the period. Scene, 
 a drawing-room. Time of representation, forty minutes. 
 
 Silent Woman (A).— A Farce in 1 Act. By Thomas Hailes 
 Lacy. 2 Male and 1 Female characters. One of the prettiest little 
 pieces on the English stage. Dresses of the period. Scene, a draw- 
 ing-room. Time of representation, thirty -five minutes. 
 
 Silverstone^s Wager.— A Comedietta in 1 Act. By R. K. An- 
 DUEWs. 4 Male and 3 Female characters. Scene, plainly furnished 
 reception room in an academy. Easily managed. Costumes, mod- 
 ern. Very successful wherever performed. Time of representation, 
 fifty minutes. 
 
 Single Life.— A Comedy in 3 Acts. By J. B. Buckstone. 5 
 Male and .5 Female characters. Costumes, English dresses of 1839. 
 Scenes, interiors, some plain and some elegantly furnished. One of 
 Buckstone's most laughable comedies. Time ol representation, two 
 hours. 
 
 Society.— A Comedy in 3 Acts. By T. "W. Robertson. 16 Male 
 and 5 Female characters. A play exceedingly popular, intended to 
 exhibit the foibles of British society and to ridicule tlie election sys- 
 tem. Costumes of the present day. Scenery, elaborate. Time of 
 representation, two hours and a half. 
 
 Spelling Match (The).— A Comic Musical Duality. By Al- 
 fred B. Sedgwick, l Male and 1 Female characters. 'Costumes, 
 modern. Scene, a landscape. Words and music. Time of represen- 
 tation, fifteen minutes. 
 
 Spitfire (The).— A 'Farce in 1 Act. By J. M. Morton. 6 
 Male and 2 Female characters. Costumes, navy uniform, sailors, old- 
 fashioned coat, nankeen breeches, high boots, flap waistcoat, cap- 
 tain's uniform, long cloak, etc. Scenes, room at an inn, cabin and 
 deck of a vessel. One of the female characters assumes a male cos- 
 tume part of the time. Time of representation, one hour. A roar- 
 ing farce. 
 
 Stand by the Flag; or. The Fall of Sumter. — A 
 Drama in 1 Act. 5 Male characters. Veteran of the Revolution, two 
 juvenile men, Irishman and negro. Time of representation, thirty 
 minutes. 
 
 Sylvia's Soldier.— A Drama in 2 Acts. 3 Male, 2 Female 
 characters. Old man, light comedian, low comedian, leading lady 
 and juvenile lady. Time of representation, one hour. 
 
 Taming a Tiger.— A Farce in 1 Act. Altered from tho 
 French. 3 Malo characters. In this a dashing light oomediau and 
 
108 FAELOn AMUSEMENTS 
 
 fiery, petulant old man cannot 'fail to extort applause. Modern 
 dresses, and scene, a modern apartment. Time of representation, 
 twenty -five minutes. 
 
 Tell-Tale Heart (A).— A Comedietta in 1 Act. By Thomas 
 PiCTON. 1 Male and 2 Female characters. Excellent for private repre- 
 sentation. Costumes of the day. Scene, a rilla room. Time of rep- 
 resentation, forty minutes. 
 
 Tempest in a Teapot (A). — ^Petite Comedy in 1 Act. 2 Male 
 and 1 Female characters. Admirably adapted for private perform- 
 ance. Costumes of the day. Scene, an interior. Time of represen- 
 tation, thirty-five minutes. 
 
 Tempter (Tlie); or, The Sailor's Return. — A Drama in 1 
 Act. .3 Male, 1 Female characters. Leading man, villain, low come 
 dy, juvenile lady. This is also a temperance drama, and quite effect 
 ive. Time of representation, thirty minutes. 
 
 Tender AttacHment (A). — A Farce for 7 Male characters 
 including Irishman, Frenchman, Dutchman and Yankee. Originally 
 published in " Oliver Optic's Magazine, ''-under the title of " A Sol- 
 dier, a Sailor, a Tinker and a Tailor.'' Time of representation 
 thirty minutes. 
 
 Tliief of Time (Tlie). — A Humorous Dialogue, or Short Farce 
 6 Male characters; 3 school-boys, a deaf gentleman, a countryman 
 and an Irishman. Time of representation, twenty minutes. 
 
 Thirty Minntes for Refreshments. — A Farce in 1 Scene. 
 4 Male, 3 Female characters. Eccentric comedian, peppery military 
 man, walking gent, negro, walking lady, old maid and soubrette. 
 Time of representation, thirty minutes. 
 
 Three Grocers (The); or, Hobbs, Dobbs and Stiibbs. — 
 A Comedy in 2 Acts. By Benjamin Webster. 5 Male and 5 Fe- 
 male characters. Costumes, small clothes, top boots and modern 
 dresses. Scenes, interiors, plain and elegantly furnished. Time of rep- 
 resentation, foi-ty-five minutes. 
 
 Three Temptations (The). — A Masque for the Modems, 
 novel, allegorical, musical and spectacular. In 1 Act. By E. L. 
 Blancharu. 7 Male and 2 Female characters. Costumes, armor, 
 tights, fairy, etc., rich and fine. Scenes, banqueting hall, sea-shore by 
 moonlight, an attic, path in the forest. Allegorical. Time of repre- 
 sentation, one hour. 
 
 There's Millions in It. — A Musical and Dramatic Sketch. 
 By Alfred B. Sedgwick. 2 Male and l Female characters. Cos- 
 tumes modern. Scene, a landscape. Songs and Music. Time of rep- 
 resentation, twenty minutes. 
 
 Thorn Among the Roses (A). — A Comedy in I Act. 2 Male, 
 8 Female characters. "Written to supply a want in female scliools, 
 where very few male actors can be obtained. Time of representation, 
 about thirty minutes. 
 
 Tiger at Large (The); or, The Cad of the " Bus."— A 
 Burletta in 1 Act. By George Blink. 5 Male and 3 Female charac- 
 ters. Costumes, conductor's hat and coat, Hessian boots, livery, 
 modern dresses. Scenes, a street, a room plainly furnished. Time 
 of representation, one hour. 
 
 Time and the Hour. — A Drama in 3 Acts. By J. Palgrave 
 Simpson and Felix Dale. 7 Male and 3 Female characters. An 
 excellent acting play, full of life and incident, the parts of Medlicott 
 and Marian jLJeck being capable of impressive representation— all 
 
 \ 
 
FOB TEE YOVNa FOLKS. 109 
 
 others good. Costtimes of the present period. Scenery, gardens and 
 exterior, cottage and garden, and an old oaken chamber. Time of 
 representation, two hours and a half. 
 
 Time and Title.— A Drama in 3 Acts and a Prologue. By 
 Henry Leslie. 7 Male and 5 Female characters. An effective piece, 
 wltli novel ajjd striking incidents. Costumes, English, present day. 
 Scenery, London and river scenery. Time of representation, two 
 hours. 
 
 Timotliy to tHe Rescue. — A Parce in 1 Act. By Henry J. 
 Byrox. 4 Male and 2 Female characters. In this laughable piece 
 Spangle assumes several personifications. Costumes of the day, and 
 scene, a plain interior. Time of representation, forty-five minutes. 
 
 Tipperary Licgacy (The).— A Farce in 1 Act. By Sterling 
 Coyne. 5 Male and 1 Female characters. Costumes, Newmarket 
 coat, crimson silk vest, plaid trousers, ragged coat, paper cap, cord 
 trousers, policeman's suit, modem dresses, etc. Scene, a street with 
 set houses each side. Time of representation, fifty minutes. An ex- 
 cellent Irish part in this play. 
 
 Tootle, Tootle, Too ; or, Tlie Frenchman and His 
 Pupil.— A Musical Sketch in 1 Act. By Alfred B. Sedgwick. 
 Costumes, modern. Scene, a drawing-room. Songs and Music. Time 
 of representation, fifteen minutes. 
 
 Tournament of Idylcourt. — ^An Allegory. Female charac- 
 ters only. Thirteen speaking parts, interspersed with music and 
 tableaux. Can be performed on a platform, or more elaborately pro- 
 duced. Time of representation, about thirty-five minutes. 
 
 Tragedy Transmogrified. — ^A Burlesque in 1 Act. 3 Male 
 and 2 Female characters. Costumes, modern. Scenes, a plain room, 
 and a stage. Time of representation, thirty minutes. 
 
 Turning the Tables. — A Farce in 1 Act. By John Poole. 
 5 Male and 3 Female characters. One of the happiest efforts of 
 the famous author of " Paul Pry." The part of Jeremiah Bumps is 
 redolent with quaint humor. JH standard acting piece. Dresses and 
 scenery of the present day. Time of representation, sixty-five min- 
 utes. 
 
 T-tveedie's Rights— A Comedy in 2 Acts. By James Al- 
 DERY. 4 Male and 2 Female characters. Has several excellent 
 cliaracters. John Tweedie po^\'erful personation ; Tim "Whiffleu 
 H very funny. Costumes, modern. Scenery, a stone-mason's yard and 
 
 I modest interior. Tme of representation, one hour and twenty-five 
 
 I *• minutes. 
 
 a Twice Killed.— A Farce in 1 Act. By John Oxenford. 6 
 
 " Male and 3 Female characters. Costumes, modern. Scene, land- 
 
 scape and a drawing-room. Time of representation, forty-five min- 
 \ ntes. 
 
 Two Gay Deceivers; or. Black, White and Gray. — 
 A Farce in 1 Act. Bv T. W. Eobertson. 3 Male characters. 
 Adapted from the Fi'encn of one of tlie most laughable vaudevilles on 
 the Parisian stage. Costumes of the present day. Scene, a cell in a 
 police station. Time of representation, forty minutes. 
 
 T-wo Gentlemen at Mivarts. — A Duologue in 1 Act. 2 
 Male characters. Costumes, modern. Scene, a plain room. Timo 
 of representation, twenty minutes. 
 
 Two Polts (The).— A Farce in 1 Act. By John Courtney. 
 4 Male and 4 Female characters. Costumes, modem. Scenery, a 
 street and two interiors. Time of roprcacutation. lorty-firo minutes. 
 
 
 i 
 
110 PABLOE AMUSEMENTS 
 
 Uncle's "Will.— A Comedietta in 1 Act. By S. Theybe 
 Smith. 2 Male and 1 Female characters. A brilliant piece; can be 
 easily played in a parlor. Costumes, modern, and naval uniform for 
 Charles. Scenery, set interior, drawing-room. Time of representa- 
 tion, thirty minutes. 
 
 Up for tlie Cattle SKow.— A Farce Jn 1 Act. By Harry 
 Lemon. 6 Male and 2 Female characters. Costumes, English of 
 the present day. Scene, a parlor. Time of representation, forty 
 minutes. 
 
 Using the *'Weed." — 7 Female characters; vralking lady, 
 three school-girls, two old maids, comic servant. Time of represen- 
 tation, twenty minutes. 
 
 Vandylce Bro'wn. — A Farce in 1 Act. By Adolphus 
 Charles Troughton. 3 Male and 3 Female characters. Popular 
 Wherever performed. Costumes of the present day. Scene, a cham- 
 ber, backed by a window. Time of representation, one hour. 
 
 Village Doctor (The). — A Drama in 2 Acts. By Bexjamin 
 "Webster. 4 Male and 2 Female characters. Costumes, small 
 clothes, top boots, military overcoat, coat trimmed with lur, frogs 
 and braid, cord trousers, Hessian boots, morning gown, huntsman's 
 coat, high leather gaiters, lace gown, bonnet and feathers, India 
 shawl, morning dress, etc. Scenes, interiors, plain and richly furnish- 
 ed. Time of representation, one hour and thirty minutes. 
 
 "Virtue Victorious. — A Burlesque in the old Standard Come- 
 dy style in 1 Act. 4 Male and 1 Female characters. Costumes, 
 shooting-jacket, "wide-awake hat, knee breeches, gaiters, shooting 
 boots', riding-coat, butcher's boots, footman's livery, etc. Scenes, 
 outside of a farm-house, plain room. Time of representation, thirty 
 minutes. 
 
 Visions of Freedom. — An Allegory. Female characters only. 
 Sixteen speaking parts, interspersed with music and tableaux. 
 Can be performed on a platform, or more elaborately produced. Time 
 of representation, about thirty-five minutes. 
 
 Volunteer RevicTV (The); or, The l<ittle Man in 
 
 Green.— A Farce in 1 Act. By Thomas J. "Williams. 6 Male 
 
 and 6 Female characters. Easily localized as the " Home Guard," or 
 
 ■ "Militia Muster." Costumes of the day, and scene, a room. Time 
 
 of representation, forty-five minutes. 
 
 "Wanted, a Male Coolt. — A Farce in 1 Scene. 4 Male char- 
 acters. Old man, Yankee, Irishman and Frenchman. Time of rep- 
 resentation, twenty minutes. 
 
 Wanted, a "foung Lady. — A Farce in 1 Act. By "W. E. 
 SuTER. 3 Male characters. Effective for amateurs. Costumes of 
 the day. Scene, a room. Time of representation, forty minutes. 
 
 "War of* the Roses (The).— An Allegory for 8 Female charac- 
 ters who speak, and choruses. Yery successful in the Boston School 
 Exhibitions. Time of representation, twenty-five minutes. 
 
 War to the Knife.— A Comedy in 3 Acts. By Hexry J. 
 Byron. 5 Male and 4 Female characters. A pleasing, entertaining 
 and morally instructive lesson as to extravagant living; capitally 
 adapted to the stage. Costumes of the present time. Scenes, three 
 interiors. Time of representation, one hour and three-quarters. 
 
 Weak Points.— A Comedy in^ 2" Acts. By J. B. Bdckstonk. 
 6 Male and 5 Female characters. ' Costumes, military coat, wrap- 
 per and night-cap, calash and cloak, modern. Scene, interiors, 
 plain and well furnished, passage and landing-place. Time of reprc- 
 Bentation, one hour aud forty minutes. 
 
FOB THE YOUNG FOLKS. Ill 
 
 Wearing of tlie Green. — A Burlesque Drama in 1 Act. 3 
 Male and 3 Female characters. Costumes, conventional dress of tho 
 sta^e Irishman. Scene, a cabin, a fair, a prison. Time of represen- 
 tation, twenty-five minutes. 
 
 We're all Teetotallers. — A Farce in 1 Scene. 4 Male, 2 
 Female characters. 3 Yankees, 1 city ^ent, Yankee dame and Yan- 
 kee girl. Good temperance piece. Time of representation, thirty 
 minutes. 
 
 Wlio is Wlio T or, All in a Fog. — A Farce. Adapted from 
 the French by Thomas J. Williams. 3 Male and 2 Female char- 
 acters. Costumes, modern English dresses as worn by country 
 gentry, and scene, parlor in an old-fashioned country house. Time 
 of representation, thirty minutes. 
 
 Wiflow Hunt (A). — An Original Comedy in 3 Acts. By J. 
 Sterling Coyne. 4 Male and 4 Female characters. An ingenious 
 and "well-known alteration of the same author's "Everybody's 
 Friend," the part of Major Welijngton de Boots having been ren- 
 dered popular by Mr. J. S. Clarke in England and America. Cos- 
 tumes and scenery of the period. Time of representation, two hours 
 and a half. 
 
 Who Got tlie Pig f — An Irish Sketch in 1 Act. By McDer- 
 MOTT and Trumble. 3 Male and 1 Female characters. Costumes, 
 ad libitum. Scene, a plain room. Time of representation, twenty 
 minutes. 
 
 "Who's Yonr Friend 1 or, The Q,neensbary Fete. — ^A 
 Comic Drama in 2 Acts. By J. E. Blanche. 4 Male and 3 Female 
 characters. Costumes, rich and elegant. Scene, garden decorated 
 and lighted up for a fete, saloon handsomely furnished. Time of rep- 
 resentation, one hour and thirty-two minutes. 
 
 Why did Yon Die T— A Petite Comedy in 1 Act. By Chas. 
 Mathews. 3 Male and 3 Female characters. Costumes, square-cut 
 coats, livery, modern dress, etc. Scene, a boudoir. Time of repre- 
 sentation, fifty minutes. 
 
 "Wine Cnp (The) ; or, Saved at Liast. — A Temperance 
 Sketch in 1 Scene. 5 Male and 4 Female characters. Costumes, torn 
 coat, shabby pants, checked pants, fancy vest, child's shabby dress, 
 policeman's uniform, white dress. Scenes, bar-room, prison. Time 
 of representation, twenty minutes. 
 
 A Woman -will be a Woman. — A Duologue in 1 Act. By 
 J. Redding "Ware. 1 Male and 1 Female characters. Costumes, 
 modern. Scene, a drawing-room, handsomely furnished. Time of rep- 
 resentation, twenty-five minutes. 
 
 Womens' Rights.— A Comedietta in 2 Acts. By Eetlaw 
 Spuing. 3 Male and 8 Female characters. Costumes, modern. Scenes, 
 plain room, ladies' club, a village. Time of representation, forty min- 
 utes. 
 
 ■Woman's Vo'ws and Masons' Oaths. — ^In 4 Acts. By 
 A. J. H. Ddganne. 10 Male and 4 Female characters. Has effective 
 situations, fine characters, and beautiful dialogues. Costumes mod- 
 ern, with Federal and Confederate uniforms. Scenery, interiors in 
 country houses, and warlike encampments. Time of representation, 
 two hours and thirty minutes. 
 
 Woodcock's Iiittle Game. — ^A Comedy Farce in 2 Acts. 
 By J. Maddison Morton. 4 Male and 4 Female characters. A spar- 
 kling, lively coinpositiou, by one of tho most humoi-ous dramatic 
 
112 
 
 PARLOR AMUSEMENTS, 
 
 .luthors. The part of "Woodcock has been performed by Charles Ma- 
 thews and Lester AVallack. Costumes of the period. Sceneiy, mod- 
 ern apaitmcBts, handsomely furnished. Time of representation, one 
 hour. 
 
 Wrong Bottle (Tlie).— A Temperanee Sketch in 1 Act. By 
 McDermott and Trumble. 2 Male characters. Costumes, od Zi6i- 
 ium. Scene, a study. Time of representation, twenty minutes. 
 
 Young Collegian (The) (Tlie Cantab).— A Farce in 1 
 Act. By T. W. EoBERTSON. 3 Male and 2 Female characters. A 
 rattling piece, filled with ludicrous situations, which could be splen- 
 didly worked up by a good light comedian. Costumes, modern. Scene, 
 a handsome interior. Time of representation, fifty minutes. 
 
 Young Scamp (Tlie).— A Darky Sketch in 1 Scene. By Add 
 "Weaver. 3 Male characters. The players that can't tickle an 
 audience with this piece had better " hang up de fiddle and de bow." 
 Time of representation, fifteen minutes. 
 
 Your Life's in Danger. — A Farce in 1 Act. By JOHX 
 M ADDISON Morton. 3 Male and 3 Female characters. Scene, well 
 furnished room. Costumes, lapeled coat«, flowered waistcoats, 
 breeches, etc., for males ; velvet dresses, etc., for females. Time of 
 representation, one hour. 
 
ARNOLD'S 
 
 Dialogues, Plays and Speeches. 
 
 A collection of short Dramatic Sketches, TTitty and Sparkling Dialogues, and a 
 A-ariety of Pathetic, Serious and Comic Speeches. Designed for the use of.schools, 
 social gatherings and evening parties, by Anure Arnold. 
 
 CONTENTS. 
 
 Dialogues: 
 
 Mrs. Sniffles' Confession. — 1 Male and 
 1 Female character. 
 
 The French Cook. — 2 Male characters. 
 
 Examiuation Day at the Seminary. — 11 
 Female characters. 
 
 Fashionable Eeciuirements. — 3 Female 
 charactei's. 
 
 The Poet Under Difficulties.— 5 Male 
 characters. 
 
 The Goddess of Folly. — 12 Female char- 
 acters. 
 
 The Light of Love. — 2 Male characters. 
 
 The Debating Club. — 4 Male charac- 
 ters. 
 
 Tlie Fox and the;,Ranger.— 2 Male char- 
 acters. 
 Plats: 
 A Noble Vagabond. — A Sketch in 1 A.ct. 
 
 2 Male characters. Costumes, Spanish. 
 
 Scene, simple. Time in representation, 
 
 fifteen minutes. 
 The Three Men of Science. — A Comic 
 
 Sketch in 1 Act. 4 Male characters. 
 
 Costumes and scenes easy. Time in 
 
 representation, thirty minutes. This is 
 
 n very laughable piece, and cannot fail 
 
 to " bring down the house." 
 
 Slighted Treasures. — A Petite Come- 
 dy in 1 Act. 4 Female characters. Cos- 
 tumes, modern. Scenery, plain. Time 
 
 in representation, forty -five minutes. 
 The Harvest Slorm. — A Domestic 
 
 Drama in 1 Act. 10 Male characters. 
 
 C'ostumes, modern. Scene, simple. Time 
 
 in repi'csentation, forty minutes. 
 A Silent Woman. — Comedietta in 1 
 
 Act. 1 Male and 1 Female character. 
 
 Costumes, modem. Scene, a drawing- 
 
 I'oom. Time in representation, twenty 
 
 miimtes. 
 
 Furnished Apartments. — A Comic 
 
 Interlude in 1 Act. 5 Male characters. 
 
 Costumes and scenery easy. Time in 
 
 representation, fifty minutes. 
 Tact and Fact. — A Comic Sketch in 
 
 I Scene. 1 Male and 1 Female charac- 
 
 1 Volume, Neat Paper Covers. Price ' 30 cts. 
 
 Bound in Cloth. Price 50 cts. 
 
 Sent by mail, on receipt of the price, by 
 
 HAPPY HOURS COMPANY, Publishers, 
 
 JVo. 1 Cliainberv Street, fiew York. 
 
 ter. Costumes, modern. Scene, a draw- 
 ing-room. Time in representation, 
 fifteen minutes. 
 
 The Babes in the Wood; or, The Fe- 
 rocious Uncle and the Avenging Kobins. 
 — A Domestic Tragedy in 1 Act. 7 
 Male characters. Costumes and scen- 
 ery easy. Time in representation, thirty 
 minutes. 
 
 Too Attentive by Half. — A Comic 
 Sketch in 1 Act. 2 Male and 1 Female 
 character. Costumes, modern. Scene, 
 a handsomely furnished apartment. 
 Time in representation, tliirty minutes. 
 
 Decidedly Cool. — A Comic Sketch in 
 1 Act. 2 Male and 1 Female character. 
 Costumes, modern. Scene, simple. Time 
 in representation, twenty minutes. 
 
 Killing Time. — A Comedietta in 1 Act. 
 1 Male and 1 Female character. Cos- 
 tumes, modern. Scene, an elegant apai't- 
 ment. Time in representation, twenty- 
 five minutes. 
 
 Spekches: 
 Rory O'Mool-e's Present to the Priest. 
 The "Widow Bedott's Letter to Elder 
 
 Sniffles. 
 The Yankee Landlord. 
 Lord Dundreary's Kiddle. 
 Antony and Cleopatra. 
 Lecture on Bad Boys. 
 Hezekiah Stubbing' Oration, July 4th. 
 Old Sugar's Courtship. 
 Mr. Caudle "Wants a " Latch-Kcy." 
 A Mother to Her Boy. 
 The Falls of Lodore. 
 The Battle of Ivry. 
 " All "We Ask is to bo Let Alone." 
 TheTwoKoads. 
 Custer's Last Charge. 
 Spartacus to the Gladiators at Cnpua. 
 Josh Billings on Courting. 
 The Tliree Warnings. 
 The Debating Society. 
 Jimmy Butler and the Owl. 
 Aurelia's Unfortunate Young Man, 
 A Showman on the "Woodchuck. 
 
LITTLE PLAYS FOR LITTLE PEOPLE. 
 
 A series of favorite Tales of cbildliood. arranged in a dramatic form for home 
 performance, school exhibitions, etc. With full directions as regards manage- 
 ment of costumes, scenery, etc. 
 
 CO]!TTENTS. 
 
 Aladdin and the Wonderful Lamp. — 
 A Drama of ups and downs, for young 
 ladies and gentlemen, in 2 Acts. 6 Male 
 and 3 Female characters. Mandarin, 
 ladies in waiting, maids of honor, 
 ushers, guards, gamins, etc. Costumes 
 elaborate. Scenes, mteriors and exteri- 
 ors. Time of representation, one hour. 
 
 Jilue Beard; or, Female Curiosity. — 
 A Sensation Drama in 2 Acts. C Male 
 and 2 Female characters. Costumes, 
 Tui'kish. Scene, a room in Blue Beard's 
 castle. Time of representation, thirty 
 minutes. 
 
 Frog Prince (The).— A Fairy Play in 
 1 Act. 2 Male and 1 Female character. 
 Costumes, doublet, hose, puffed breech- 
 es, Spanish cloak, regal robes, long man- 
 tle and train, etc. Scene, a wood and 
 apartment in a palace. Time of repre 
 sentation, twenty minutes. 
 
 Jack the Giant Killer. — A Fairy Play 
 in 1 Act. 4 Male and 3 Female charac- 
 tex'S. Costumes, Knickerbocker suit, 
 cap and'feathers, short coat, cap. etc., 
 for Jack, any grotesque dress for 
 Giant, neglige dress for ladies. Scene, 
 a plain room. Time of representation, 
 twenty minutes. 
 
 Little Bed Hiding Hood. — ^A Fairy 
 Play in 1 Act. 3 Male and 3 Female 
 
 characters. Costumes, .wolf's mask, 
 tiinic, short wide trousers, long boots, 
 mob cap, quilted petticoat, etc. Scene, 
 interior and exterior of cottage. Time 
 of representation, twenty-five minutes. 
 
 Little Silver Hair and the llcrce 
 Bears. — A Pastoral Drama in 1 Act. 2 
 Male and 2 Female characters. Co.s- 
 tumes, bear's head mask, top boota, 
 flowered waistcoat, "girl of the period " 
 dress, little girl's dress. Scene, wood 
 and interior of cottage. Time of repre- 
 sentation, fifteen minutes. 
 
 Loves of Little Bo-Peep {The). — In 1 
 Act. 5 Male and 4 Female characters. 
 Costumes, square-cut coats, knee- 
 breeches, flowered waistcoats, silk 
 stockings, shoes and buckles, farmer's 
 dress, flowered gown, quilted petticoats, 
 traveling dress, shepherdess' hat and 
 ribbons, etc. Scenes, kitchen and a field. 
 Time of representation, forty minutes. 
 
 Rohin Hood; or. The Merry Men nj 
 Sherwood Forest. — A Sylvan Drama in 
 2 Acts. 11 Male and 3 Female charac- 
 ters. Costumes, tunic, annor, tights, 
 russet boots, bishop's dress, monk's 
 dress, crown, dresses trimmed with er- 
 mine, etc. Scenes, a forest, a grand 
 hall. Time of representation, forty-five 
 minutes. ' 
 
 This book contains full directions for producing the " elaborate scenery and cos- 
 tumes " of the above plays in any parlor, at very little trouble and expense. 
 PRICE 30 CSNTS. 
 
 HOf ¥E MANAGED OUR PRI7ATE THEATRICALS; 
 
 Or, a Guide to the Amateur Stage. 
 
 Containing plain directions for the construction and arrangement of the Stage, 
 painting the Scenery, getting up the Costumes, making the Properties and Ac- 
 cessories, Hints on Stage Effects, instructions for making Calcium Lights, etc., 
 etc. Prepared for the use of schools, private families and dramatic clubs. 
 CONTENTS IN PART. 
 
 Introduction. Construction of a 
 Stage. Proscenium and Auditorium. 
 The Curtain and Drop. Lighting the 
 Stage. Scenery and Scene Painting. 
 Costumes, Properties and Accessories. 
 Stage Effects, etc.. etc. 
 sixteen Descriptive Illustrations and Diagrams 
 
 PRICE 25 CJEIVTS. 
 Either of the above will be sent by mail, on receipt of the price, by 
 HAPPY HOURS COMPANY, Pnblisliers,* 
 
 No. 1 Cliambers Street, Jiew Y'oik. 
 
 Penelope Anne — ^A Musical Farce 
 in 1 Act. 4 Male, 1 Female character. 
 Costumes and Properties easy. Scene, 
 Public Room in a small hotel on the 
 Continent. Time ia representation, 
 about thii-ty minutes. 
 
EVENING ENTERTAINMENTS. 
 
 A collection of Plays, Charades, Tableaux, TVax Works, Parlor Games, Amuse- 
 ments, etc., etc. 
 
 CONTENTS. 
 
 ," JLK is not Gold that Glitters.''— A 
 Dramatic Proverb in 1 Scene. 2 Male 
 and 3 Female characters. Costumes, 
 modern. Scenery, simple. Time in rep- 
 resentation, twenty minutes. 
 
 Pilgrimage.— An Acting Charade in 
 4 Acts. 4 Male and 4 Female charac- 
 ters. (One an Irish servant.) Cos- 
 tumes, modern. Scenery, simple. Time 
 in representation, forty -five minutes, 
 
 A Little Flay for Little Folks.— (A 
 Christmas Piece). 4 Male and 3 Female 
 characters. Costumes, easy. Scene, a 
 back parlor. Time in representation, 
 twenty minutes. 
 
 The Miser's Supper. — A Trick Panto- 
 tnime. 3 Male characters. Costumes, 
 scenery and properties simple and easy. 
 Time in representation, fifteen minutes. 
 
 Jarley's Wax Works.— ^ Male and 5 
 Female characters. Costumes and scene 
 easily arranged. Time in representa- 
 tion, thirty minutes. 
 
 Tableau Yivants. -^The Surrender of 
 Calais, 1347. Queen Isabella and Roger 
 Mortimer, 1330. The Marriage of Hen- 
 17 VII with Elizabeth of York, 1486. 
 3Iurder of David Rizzio, 1566. Charles 
 I and His Children, 1649. All of the 
 above can easily be arranged with ma- 
 terial in almost any family. 
 
 Farlor Gatnes and Amusements. — 
 The One-Syllable Game. The Dialogue 
 Game. The Game of Clumps. The 
 Blind Feeding the Blind. Blowing out 
 the Candle — an Optical Delusion. A 
 Match Under the Microscope. The 
 Modus Operandi of Table Raising. Act- 
 ing Rhymes. Seeing through youi' hand. 
 To Take oif a Person's Shirt while His 
 Clothes are on. 
 
 Chemical Recreations. — Rosin Grapes. 
 To Hold Paper over the Flame of a 
 Candle without Burning it. Cold and 
 Hot, Which is Which ? The Candle In- 
 visibly Extinguished. 
 
 PRICE 15 CE:]VT8. 
 
 THE HOLIDAY GUEST. 
 
 A collection of Stories, Games and Amusements for winter evenings. 
 CONTENTS. 
 
 The Editor's Cliristmas Greeting, il- 
 lustrated. Found in a Muniment Chest, 
 by the author of "Lady Audley's Se- 
 cret." The Death's-Head Club— A Le- 
 gend of Savannah. Carol. A Million 
 a Minute. Card Tricks, 5 illustrations. 
 Modern Popular Conjuj-ing. Games for 
 the Little Ones. Blue Beard Tableaxix, 
 3 illustrations. An Acting Drama. Tlie 
 Boomerang, illustrated. Amusing Ex- 
 
 periments. The Mystery of the Floating 
 Head, 2 illustrations. The Dancing 
 Skeleton. Bobbing Around; or, , The 
 Game of Families. Lost and Found in 
 the Snow. Nuts to Crack. Puzzles, 
 Enigmas, Charlies, Conundrums, etc., 
 etc., 24 illustrations. The Christmas 
 Tree, illustrated, etc., etc., etc. Ouo 
 volume, paper covers. 
 
 PItlCf: 10 CENTS. 
 
 Either of the above will be sent by mail, on receipt of the price, by 
 HAPPY HOURS COMPANY, Publisliers, 
 
 No. 1 CUambors Street, New York* 
 
PARLOR AMDSEMENTS FOR THE YOUNG FOLKS. 
 
 Designed for the use of Schools, Church Societies, Home Amusement, etc., etc. 
 By G-. B. Bartlett. New edition. Revised and enlarj^ed. Every one of the 
 entertainments contained in this worlc have been tried before large audiences iu 
 liundreds of cities, under the personal supervision of the author, and they are now 
 simplified and arranged for performance by old and young. 
 
 CONTENTS. 
 
 Hints on Tableaux. 
 Scenes in the Life of Marie Stuart. 
 Elaborate Tableaux. 
 The Lily Maid of Astolat. 
 Jarley "VVax "Works. 
 The Babes in the "Wood, a Pantomime. 
 The Magic Mirror, a "V'ision. 
 The Miser's Supper, a Pantomime. 
 Love in Ambush, a Pantomime. 
 The Sleeping Beauty, a Pantomime. 
 Aidd Robin Gray, an Illustrated Ballad. 
 The Mistletoe Bough, an Illuslratcd 
 Ballad. 
 
 Neat Paper Covers. 
 Bound in Cloth 
 
 Price. 
 
 Yilikens and His Dinah, an Illustra- 
 ted Ballad. 
 
 Charades (fifteen different ones). 
 
 Games of Thought. 
 
 The Mental Index. 
 
 Declamation, with Selections. 
 
 Social Amusements, or, Eull Directions 
 for a Hall Entertainment and liow to 
 I)repare it in any City or Village. 
 
 Private Theatricals. 
 
 List of Plays suitable for Private Per- 
 formances. 
 
 30 cts. 
 
 75 cts. 
 
 Parlor Tableaux ; or, Animated Pictures. 
 
 Eor the use of Families, Schools and Public Exhibitions. By TON'T Dexier, 
 author of " Tony Denier's Parlor Pantomimes," " Amateur's Guide," " Shadow 
 Pantomimes," etc. Containing about eighty popular subjects, with plain and ex- 
 plicit directions for arranging the stage, dressing-rooms, lights, fuU description of 
 costumes, duties of stage manager, properties and scenery required, and all the 
 necessary directions for getting them up. Among the contents there ai'e nine 
 tableaux for male and an equal number {or female characters only. A great num- 
 ber of them introduce groups of boys and many more groups of girls only ; otliers 
 again introducing both ; and still more iu which entire classes can take part. 
 Everything is stated in a plain, simple manner, so that it will be easily understood ; 
 everything like style or unnecessary show has been avoided. For public or pri- 
 vate entertainment, there is nothing which is so interesting and instructive as the 
 tableau. Price /25ct8. 
 
 Shadow Pantomimes ; or, Harlequin in the Shade. 
 
 How to get them up and how to act in them ; with full and concise instruc- 
 tions and numerous illustrations. Also, full and complete descriptions of proper- 
 ties and costumes. 
 
 CONTENTS. 
 
 Introduction; Shadow Bluff, or, "Who's 
 "W-ho ? Tooth Drawing Extraordinary ; 
 Amputation like "Winking ; The Haunt- 
 ed House; "We Won't Go Home till 
 Morning; Jocko, or the Mischievotis 
 Monkey ; The Madcap Barber ; Crib- 
 baf^e. or. The Devil among the Cards; 
 The Lover's Stratagem ; The Game of 
 
 Base Ball; Regular Hash, er. The 
 Boardlng-House Conspiracy: The Me- 
 chanical Statue ; The African Serc- 
 iiaders ; The Model Prize Fight ; The 
 Magic Cask, or, The Industrious and 
 Idle Apprentice; The Tragical Duel, 
 or, The Comical Rivals ; Old Dame 
 Trot and Her Comical Cat. 
 
 It has been the aim of the author to provide harmless home amusement for old 
 and young, excluding everything objectionable to sound morality and good home- 
 training. By Tony Denier, Pantomimist, author of " Tony Denier's Parlor Pan- 
 tomimes," " Parlor Tableaux," "Amateur's Guide," etc. Price. , ..,,., ^5 cts* 
 
 Either of the above sent by mail, on receipt of the price, by , 
 
 HAPPY HOURS COMPANY, Pablisliers, 
 
 No. 1 C]iaml>ers Street, New York. 
 
DARKY PLAYS. 
 
 A collection of Ethiopian Dramas, Farces, lutcrluclcs, Burlesque Operas, Ec- 
 centricities. Extravaganzas, Comicalities, Whimsicalities, etc., etc. As played 
 by the principal "burnt-cork" performers all over the Union. In Six JParts. 
 16mo. Illuminated paper cover. 
 
 CO]S"TEIiTS QF EACH PART. 
 
 Paut l.—Deaf^In a Horn; 1 Scene. 
 2 Male characters. — Desdemonum; 3 
 Scenes. 6 Male, 1 Female character. — 
 De Trouble Begiiis at Nine; 1 Scene. 2 
 Male characters. — Challenge Dance; ] 
 Scene. 3 Male characters. — Mishaps of 
 C'cesar Crum; 3 Scenes. 3 Male, 2 Fe- 
 male characters. — New Year's Calls; 5 
 Scenes. 5 Male, 2 Female characters. — 
 Nobody's Son; 1 Scene. 2 Male charac- 
 ters. — Sciijio Africanus; 3 Scenes. 3 
 Male, 1 Female character.— A'ccjics at 
 Gurney's {Scenes in the Studio); 1 
 Scene. 3 Male characters. — 16,000 
 Tears Ago; 1 Scene. 3 Male characters. 
 — Dancing Mad; 1 Scene. 6 Male, 1 
 Female character. 
 
 Paet II. — The Coopers; 1 Scene. 6 
 Male, 1 Female cliaracter. — Jolly Mil- 
 lers; 1 Scene. 3 Male, 1 Female char- 
 acter. — Mischievous Nigger; 1 Scene. 
 
 4 Male, 2 Female characters. — Shain 
 Doctor; 3 Scenes. 4. Male, 2 Female char- 
 ncters. — Virginia Mummy; 4 Scenes. 
 C Male, 1 Female character. — Fighting 
 for the Union; 3 Scenes. 4 Male, 2 Fe- 
 male characters. — Dixie; 1 Scene. 3 
 Male, 1 Female character. 
 
 Part HI.— Ticket- Taker; 1 Scene. 5 
 Male characters. — Uncle Jeff; 5 Scenes. 
 
 5 Male, 2 Female characters. — Black 
 Shoemaker; 1 Scene. 4 Male, 2 Female 
 characters. — Rooms to Let; 1 Scene 2 
 Male, 1 Female character. — Troublesome 
 Servant; 1 Scene. 2 Male characters. 
 —Oh, JIusli! 3 Scenes. 4 Male, 1 Fe- 
 male character. — Quack Doctor; 1 Scene. 
 4 Male, 1 Female character. — Darky 
 Tragedian; 1 Scene. 2 Male charac- 
 ters. 
 
 Part TV.— Three Slack Smiths; 1 
 
 Scene. 3 Male characters. — Great Ar- 
 rival; 1 Scene. 3 Male characters. — 
 Les Miser ables (Unhappy Pair); 1 
 Scene. 3 Male characters. — Hop of 
 Fashion; 2 Scenes. 5 Male, 2 Female 
 characters.— 2Vie Wreck; 1 Scene. 4 
 Male, 2 Female characters. — Dat Same 
 Old Coon; 2 Scenes. 4 Male, 2 Female 
 characters. — De Maid ob de Hunkpun- 
 cas; 1 Scene. 2 Male characters. — Bones 
 at a Ra-ffle; 2 Scenes. 3 Male charac- 
 ters. — An Elephant on Ice; 1 Scene. 2 
 Male characters. 
 
 Paut V. — Maaic Penny; 3 Scenes. 6 
 Male, 1 Female character. — Vilikens 
 and Dinah; 1 Scene. 4 Male, 1 Female 
 character. — Old Hunks; 1 Scene. 3 
 Male ch&vnctQvs,.— Highest Price for Old 
 Clothes; 1 Scene. 3 Male characters. — 
 Stage-Struck Darky; 1 Scene. 2 Male, 
 
 1 Female charactei*. — Black Crook Bur- 
 lesque; 2 Scenes. 7 Male, 2 Female 
 characters. — Turkeys in Season; 2 
 Scenes. 3 Male characters. — Old Dad's 
 Cabin; 1 Scene. 2 Male, 2 Female 
 characters.— Att7i<j/ Chloe; 1 Scene. 1 
 Male, 1 Female character. 
 
 Part VI.— Bone Squash; 8 Scenes. 9 
 Male, 3 Female characters. — The Black 
 Statue; 1 Scene. 4 Male, 2 Female char- 
 acters. — Mazeppa; 2 Scenes. 7 Male, 2 
 Female characters. — Jack's the Lad; 
 Scenes. "7 Male, 2 Female characters. — 
 Feast; 1 Scene. 4 Male, 2 Female char- 
 actors. — The Hypochondriac; 2 Scenes. 
 
 2 Male characters. — The Actor and the 
 Singe)'; 1 Scene. 4 Male characters. — 
 Shylock; 3 Scenes. 5 Male, 2 Female 
 characters. — Old Uncle Billy; 1 Scene. 
 2 Male, 1 Female character. 
 
 PRICE, EACH PART, 30 CENTS. 
 
 Sent by mail, on receipt of the price, by 
 
 HAPPY HOURS COMPANY, Publisliers, 
 
 No. 1 Cbambers Street, New York. 
 
muvstrbLi gags 
 
 en's Hand-BooK. 
 
 Containing some of the "best jokes and repartees of the most celebrated " burnt 
 cork " performers of our day. Bones- and Tambo in all sorts and manner of 
 scrapes. Also, containing a rich collection of Ballads, humorous aud pathetic, 
 Ethiopian Dialogues, Sketches, Plantation Scenes, Eccentric Doings, Humorous 
 Lectures, Laughable Interludes, Huge Africanisms, Burlesque Speeches, Mirth- 
 provoking "Witticisms, Conundrums, Tarns, Plantation Songs and Dances, etc., 
 etc. In short, a complete Hand-Book of Burnt Cork Drollery, which will be 
 found alike useful to the professional and amateur. 
 
 co:n"te]^ts. 
 
 A Bh'd that Can't be Plucked. 
 
 Annihilating Time and Space. 
 
 Beautiful Isle of the Tropical Sea. 
 
 Bet, The. 
 
 Big Fortune, A. 
 
 Blackberrying. 
 
 Bones and his Little Game, 
 
 Bones and the Monkey Tricks. 
 
 Bones as a Fortune T'eller. 
 
 Bones as a Legitimate Actor. 
 
 Bones as a Prize Fighter. 
 
 Bones as a " Stugent in de Expensary." 
 
 Bones as a "Walkist. 
 
 Bones assists at the Performance of a 
 
 New Piece. 
 Bones Attends a Spiritual Seance. 
 Bones gets Stuck. 
 Bones in Love. 
 
 Bones keeps a Boarding-Housc. 
 Bones on G-eorge "Washington. 
 Bones on the Light Fantastic. 
 Bones Plays O'Fella. 
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 Bones tells a "Fly " Story. 
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 Conundrums. 
 Dancing Mad. 
 
 Dat's What I'd Like to know. 
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 " Far Away in Alabam'." 
 Four-Elcveii-Forty-Four. 
 Four Meetings, The. 
 
 From de Poiks. 
 
 Gal from Lackawanna, The. 
 
 Girl at the Sewing Machine, The. 
 
 " Go "Work for Your Libin'." 
 
 Hannah Jane and Mo. 
 
 How Bones Became a Minstrel. 
 
 How Tambo look his Bitters. 
 
 Impulsive Oration. 
 
 Jeallusest of Her Sect. 
 
 Legal Problem, A. 
 
 Liberal Discount for Cash 
 
 Manager in a Fix, The. 
 
 Mathematics. 
 
 Merry Life, A. 
 
 Momentous Question. y 
 
 Mosquitoes. 
 
 Notes. 
 
 Ob Course. 
 
 Pomp and Ephy Green. 
 
 Presidency on de Brain. 
 
 Proposed Increase of Taxes. 
 
 Kailroad Catastrophe. 
 
 King, liing de Banjo. 
 
 Eough on Tambo. 
 
 School's In. 
 
 Shakspeare with a Vengeance. 
 
 Simple Sum in Arithmetic. 
 
 Tambo's Traveling Agent. 
 
 Tlie Pervisions, Josiai*. 
 
 Thieves. 
 
 Tonsorial. 
 
 Toast, A. 
 
 TJncle Eph's Lament. 
 
 Waiting to See Him Oft. 
 
 "Way Down in Georgia 'Fo' de Wa'. 
 
 "Western Serenade. 
 
 You Bet. 
 
 Etc., Etc., Etc. 
 
 PRICE 30 CEXT8. 
 ^eut by mail, on receipt of the price, by 
 
 HAPPY HOURS COMPANY, Publishers, 
 
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SPBUGHIAIVA. 
 
 An unrivaled collection of the most popular pieces of the clay, embracinjj 
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 in no other work of the kind. 
 
 CONTENTS. 
 
 Buck Eanshaw's Funeral. 
 
 Burial of Little XcU. 
 
 The Cane-bottomed Chair. 
 
 The Drummer Boy's Burial. 
 
 The Dutchman's SchmaH Pox. 
 
 Ginevra. 
 
 The Goddess of Slang. 
 
 Hope and Fear. 
 
 Jim TTolf and the Cats. 
 
 Katrina Xikes Me Poody "Well. 
 
 Mark Twain's First Interview with 
 
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 Metamora to the Council. 
 3fiss Maloney Goes to tlie Dentist. 
 Miss Maloney on the Chinese Question. 
 Mr. Coville's Easy Chair. 
 
 The Kaughty Little Girl. 
 The New Tear's Sleigli Pidc. 
 Xorman Leslie's Address to Ihe Jury. 
 Oh, Why should the Spirit of Mortal be 
 
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 Out of the Old House. 
 The Professor of Signs. 
 Recollections of My Chiistmas Tree. 
 Schneider Sees Leah. 
 Shamus O'Brien. 
 Slieridan's Ride. 
 
 Signor BiUsmithi's Dancing Academy. 
 Tom O'Conner's Cat. 
 Vat Ton Please. 
 Widow Bedott to Elder Sniffles. 
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 Grotleib Klcbcyergoss on the War. 
 
 Stick a pin de're, Brudder Horace. 
 
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 Burlesque Speech. 
 
 Sergeant Buzfuz in the case of Bardell 
 
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 De Milk in de Cocoanut. 
 Courting in French Hollow. 
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 A Night's Adventure. 
 Crystal Palace (A Nigger Lecture). • 
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 Patriotic Nigger Speech. 
 
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 Man, A Nigger Analysis of Natui'al 
 
 History. 
 The Fmnchman and the Rats. 
 Hans Schlackenlichter's Snake. 
 Ze Moskeetare. 
 Gotlieb Klcbcyergoss Again. 
 A Puzzled Dutchman. 
 A Dutch Cure. 
 
 Burlesque Oration on Matrimony. 
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 No. 1 Cliambers Street, Ne^v York. 
 
THEATRICALS AND ELOCUTION. 
 
 The Actor's Art. 
 
 Its Eequisites and hovr to obtain tliem, its Defects, and hovr to remove them. 
 By Chaules AVilliam Smith, Professor of Elocution in the University of Oxford, 
 anthor of "Clerical Elocution," '• Keadiug, Speaking and Action,"' " Common 
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 Hand Book of Elocution and Oratory. 
 
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 to practical utility, by a favorite tragedienne of the stage. By attention to its 
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 Preliminary Remarks on the Leading Principles of Elocution. Family Reading. 
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