Entered, according to Act of Cnngref*, In the year 1S73 brGKOKOl M. Barkis, in the Otfice of the 
 Librarian of Congrats, at <Vtt»hinicton. 
 
¥ 
 
 dzc:- gcoc ere t? ~^ ^ n ~ n ^ n ^ n ^ n ,^ n ^ n no ^ o^arranocroa ' 
 
 O A Collection of COMEDIES, DRAMAS, and FARCES, adapted to either Public 
 W or Private Performance. Containing <t full description oj all 
 
 the necessary Stage Business. 
 
 SPENCER'S UNIVERSAL STAGE. 
 
 1 
 
 rillCE, 15 CENTS EACH. §&** No Plays exchanged. 
 
 O 3. 
 
 Lost in London. A Drama in 
 Three Acts. G Male, 4 Female char- 
 acters. 
 
 Nicholas Flam. A Comedy in Two 
 Acts. By J. B. Buckstone. 5 Male, 
 3 Female characters. 
 
 The Welsh Girl. A Comedy in 
 One Act. By Mrs. Planche. 3 Male, 
 2 Female characters. 
 
 John Wopps. A Farce in One Act. 
 By W. E. Suter. 4 Male, 2 Female 
 characters. 
 
 The Turkish Bath. A Farce in 
 One Act. By Montague Williams 
 and F. C. Burnand. 6 Male, 1 Fe- 
 male character. 
 
 The Two Pucldifoots. A Farce 
 in One Act. By J. M. Morton. 
 Male, 3 Female characters. 
 
 Old Ifonesty. A Comic Drama in 
 Two Acts. By J. M. Morton. 5 
 Male, 2 Female characters. 
 
 Two Gentlemen in a Fix. A 
 Farce in One Act. By W. E. Suter. 
 
 2 Male characters. 
 Smashlnsjton Goit. A Farce in 
 
 One Act. T$y T. J. Williams. 5 Male, 
 
 3 Female characters. 
 Two Heads Better thanOne. A 
 
 Farce in One Act. By Lenox Home. 
 
 4 Male, 1 Female character. 
 John Bohhs. A Farce in One Act. 
 
 Bv J. M. Morton. 5 Male, 2 Female 
 characters. 
 
 12. The Baughter of the Regi- 
 
 ment. A Drama in Two Acts. By 
 
 Edward Fitzball. 
 
 characters. 
 
 13. Aunt Charlotte's Maid. A Farce 
 in One Act. By J. M. Morton. 3 
 Male, 3 Female characters. 
 
 14. Brother Bill and Me. A Farce in 
 One Act. By W. E. Suter. 4 Male, 
 3 Female characters. 
 
 15. Bone on Both Sides. A Farce in 
 One Act. By J. M. Morton. 3 
 
 Male, 2 Female characters. 
 
 6. Bunducketty's Picnic. A Farce 
 in One Act. By T. J. Williams. 6 
 Male, 3 Female characters. 
 
 7. I've -written to Browne. A Farce 
 in One Act. By T. J. Williams. 4 
 Male, 3 Female characters. 
 
 Comedy in ) ^ 
 Wigan. 3 5 
 
 10. 
 
 11. 
 
 Male, 2 Female 
 
 IS. tending a Bland. A Farce in One 
 
 Act. By <i.A. A'Beckct. 3 Male, (p 
 2 Female characters. 
 
 19. My Precious Betsy. A Farce in 
 One Act. By J. M. Morton. 4 Male, 
 4 Female characters. 
 
 20. My Turn Next. A Farce in One Act. $> 
 By T. J. Williams. 4 Male, 3 Fe- V 
 male characters. ^ ? 
 
 21. Nine Points of the Law. A Com- J > 
 edy in One Act. By Tom Taylor. ^ 
 4 Male, 3 Female characters. 
 
 22. The Phantom Breakfast. A 
 Farce in One Act. By Charles Sel- 
 by. 3 Male, 2 Female characters. 
 
 23. Bandelions Bodges. A Farce in 
 One Act. By T. J. Williams. 4 
 Male, 2 Female characters. 
 
 24. A Slice of Luck. A Farce in One 
 Act. By J. M. Morton. 4 Male, 2 
 Female characters. 
 
 25. Always Intended. A 
 One Act. By Horace 
 Male. 3 Female characters. 
 
 26. A Bull in a China Shop. A Com- 
 edy in Two Acts. By Charles Mat- 
 thews. G Male, 4 Female characlcrs. 
 
 27. Another Glass. A Drama in One 
 Act. By Thomas Morton. 6 Male, 
 3 Female characters. 
 
 28. Bowled Out, A Farce in One Act. 
 By H . T. Craven. 4 Male, 3 Female 
 characters. 
 
 29. Cousin Tom. A Commedietta in , 
 One Act. By George Roberts. 3 
 Male, 2 Female characters. 
 
 30. Sarah's Young Man. A Farce in 
 One Act. By W. E. Suter. 3 Male, 
 3 Female characters. 
 
 31. Hit Him, He has ^io Friends. 
 A Farce in One Act. By E. Yates 
 and N. H. Harrington. 7 Male, 3 
 Female characters. 
 
 32. The Christening. A Farce in One 
 Act. By J. B. Buckstone. 5 Male, 
 6 Female characters. 
 
 33. A Race for a Widow. A Farce 
 in One Act. By Thomas J. Wil- 
 liams. 5 Male, 4 Female characters, 
 
 34. Your Life's in Banger. A Farce 
 in One Act. By J. M. Morton. 3 <<p 
 Male, 3 Female characters. 
 
 35. True unto Beath. A Drama in 
 Two Acts. By J. Sheridan Knowles. 
 G Male, 2 Femalo characters. 
 
 ^C)OQOQQQOQOQOQOOOQtiQOOOQOQOQt^COOQO^DOOO , a 
 
THE SEVEN AGES 
 
 / 
 
 $. Tableau Entertainment, 
 
 BY THE AUTHOR OF 
 
 " Sjivia's Soldier," 
 " Once on a Time," " Down by the Sea," " The Last Loaf," 
 " Bread on the Waters," " Stand by the Flag," " The Tempter," " A Drop too 
 Much," " We're all Teetotalers," "A Little more Cider," " Thirty Minutes 
 for Refreshments," " Wanted, a Male Cook," "A Sea of Troubles," 
 "Freedom of the Press," "A Close Shave," ' "The Great 
 Elixir," "The Man with the Demijohn," " Humors of 
 the Strike," " New Brooms sweep Clean," " My 
 Uncle the Captain," " The Greatest Plague 
 in Life," "No Cure, no Pay," "The 
 Grecian Bend," " War of the 
 Roses," " Lightheart's 
 Pilgrimage," 
 "The 
 Sculptor's 
 Triumph," "Too 
 Late for the Train," 
 " Snow-Bound," " The Ped- 
 dler of Very Nice," " Bonbons," 
 "Capulelta," " An Original Idea," "My 
 Brother's Keeper," " Among the Breakers," 
 "The Boston Dip," " The Duchess of Dublin," " A 
 Tender Attachment," " Gentlemen of the Jury," " A Public 
 Benefactor," " The Thief of Time," " The Hypochondriac," " The 
 Runaways," " Coals of Fire," " The Red Chignon," " Using the Weed," 
 " A Loves of a Bonnet," " A Precious Pickle," u The Revolt 
 of the Bees," " Tlie Seven Ages," 
 ^ . ' &c,&c,&cZ 
 
 . 
 
 
 
 " 
 
 , v BOSTON: 
 
 GEORGE M. BAKER & CO., 
 
 149 Washington Street. 
 

 Entered, according to Act of Congress, in the year 1873 by 
 
 GEORGE M. BAKER, 
 
 In the Office of the Librarian of Congress at Washington. 
 
 Hand, A very, &* Frye, Printers; Boston. 
 
THE SEVEN AGES. 
 
 A TABLEAU ENTERTAINMENT. 
 
 [Arrangement for Home Representation. — Across the middle 
 of the longest room in the house stretch curtains to separate in 
 the middle and draw apart- You thus have a room for audience 
 and a stage for performers. The stage should be divided in like 
 manner by curtains to separate in the middle, giving a stage in 
 front for performers, behind for tableaux. The rear or tableau 
 stage should be draped with dark cloth (purple is best) ; there 
 should be entrances on both sides, that the characters in the 
 tableaux may pass on and off without being seen. Should two 
 rooms with folding-doors between be used, the curtains between 
 the audience and the stage can be dispensed with and the doors 
 used instead. 
 
 The performers are directed as though standing on the stage 
 facing the audience, r means Right, l Left, c Centre.] 
 
 SPEAKING CHARACTERS. 
 
 Paul Perplex, an Artist. 
 Fact, a " Stubborn Thing." 
 Fancy, the Artist's Pet. 
 Reason, the " Calm-Eyed." 
 
 The Nurse, the Schoolboy, the Lover, the Soldier, 
 the Father, the Justice, the Patriarch. 
 
 187 
 
188 THE SEVEN AGES. 
 
 COSTUMES. 
 
 Paul. Dressing-gown or velvet jacket, smoking-cap, white 
 pants, slippers. 
 
 Fact. Long brown robe, fastened at the waist with a rope, iron- 
 gray wig, full beard. 
 
 Fancy. Female, gay dress, bright ribbons, floating hair. 
 
 Reason. Female, plain white dress, floating hair. 
 
 The Nurse. Calico dress and cap. 
 
 The Schoolboy. Roundabout jacket, short pants, white stock- 
 ings, rolling collar and cap. 
 
 The Lover. Light pants, black velvet coat, wide collar spread 
 over coat-collar, long black hair, black mustache. 
 
 The Soldier. Military uniform : red coat, blue pants with gilt 
 stripes, sash, and sheathed sword at side. 
 
 The Father. Blue coat with brass buttons, dark pants, white 
 vest, White necktie, gray wig, gray side-whiskers. 
 
 The Justice (corpulent). Brown coat, breeches and top-boots, 
 figured waistcoat, cane. 
 
 The Patriarch. Dressing-gown, nankeen pants, slippers, white 
 waistcoat, long white hair, wrinkled face. 
 
 PART I. 
 
 PROLOGUE. 
 
 [Acted on the stage nearest the audience, front of the seco'nd 
 set of curtains which are closed.] 
 
 Scene. — The painter's studio. Easel, r., with canvas 
 on it. Paul seated in front of it, with pallet and brush 
 in hand. 
 Paul. Mysterious canvas, on thy ghastly face, 
 
 My trembling pencil fails to leave a trace. 
 
 Behind thee lie rich treasures of delight, 
 
 Waiting the mystic touch to charm the sight, 
 
THE SEVEN AGES. 
 
 189 
 
190 THE SEVEN AGES. 
 
 Waiting the master-haDd to break the seal 
 And loose the beauties which thou dost conceal. 
 In vain I seek thy stubborn guard to break, 
 In vain I pray thy tenants to forsake 
 Their prison cells, and with a generous glow, 
 On a poor artist their sweet smiles bestow. 
 Alas ! All vain ; aloof they flickering stand, 
 Mocking the weakness of my unskilled hand. 
 
 for some mighty power to break the chain, 
 To tear the veil, and give my fancy rein ! 
 
 Enter Fancy, r. 
 
 Fancy. Here at your call, my master. 
 
 Paul {rises). Do I dream? 
 
 Fancy. Perhaps ; no matter, it doth really seem 
 By your remarks that some one's wanted here. 
 So I've dropped in to offer you my aid. 
 My name is Fancy. 
 
 Paul. Dear delightful maid, 
 
 Welcome, thrice welcome ! Thy bewitching face 
 With rays of glory fills this gloomy place. 
 
 Fancy. That's very pretty, — rays of glory. Fine 
 Young man, you are a follower of mine ; 
 
 1 read it in those dreamy eyes, that wavy hair, 
 That sighing bosom, and that languid air. 
 
 How cau I serve you? Speak, and you shall find 
 Faucy a mistress bountiful and kind. 
 
 Paul. O gracious mistress, I would win a name, 
 I long for glory, and I sigh for fame. 
 Upou the canvas 'tis my fond desire 
 To fasten beauty, homage to inspire. 
 
THE SEYEN AGES. 
 
 191 
 
192 THE SEVEN AGES. 
 
 Alas ! my hand is weak ; I strive in vain 
 The dancing, flickering shadows to enchain. 
 
 Fancy. Then come with me ; my realm is beauty's 
 home ; 
 There all unchecked the master spirits roam, 
 Gather bright laurels from the rainbow mints, 
 That color-freighted pour the choicest tints. 
 Come, revel in my fleecy, cloudland bower ; 
 There may be found the talisman of power. 
 
 Paul. Bright seraph, I am thine ; or near or far, 
 I'll follow, follow thee forever — 
 
 Enter Fact, l. 
 
 Fact. Bah ! 
 
 Humbug ! Ne'er listen to the wily maid. 
 Vanishing vapors make her stock in trade ;• 
 There's naught substantial in the realm she rules, 
 Shadows and moonshine are the toys of fools. 
 Turn back with me and deal in stubborn facts ; 
 Stern hardy life's the loadstone that attracts 
 The master spirits of the brush and pen, 
 Who reap bright laurels by portraying men. 
 
 Paul. And who are you? your garb is very queer, 
 Your features rugged, and your speech severe. 
 
 Fact. Men call me Fact. 
 
 Fancy. He is a stubborn thing, 
 
 With neither taste nor beauty, quick to fling 
 His gloomy mantle over Fancy's play, 
 And with the cry of " Duty " bear away 
 Her choicest spirits. Fie upon thee, knave 
 Base and ignoble ! thou art Labor's slave. 
 
THE SEVEN AGES. 
 
 193 
 
 ET -. o 
 
 13 
 
194 THE SEVEN AGES. 
 
 Fact. Nay, neighbor Fancy, thine's a saucy air, 
 A biting tongue for one so debonair. 
 Labor's my master, that I free avow ; 
 The lordly monarch of the forge and plough, 
 The mighty builder and the broadcast sower, 
 Who rears and fashions with a matchless power. 
 Painter, to win a name, come, rove with me, 
 Mid Labor's subjects on the land and sea. 
 
 Fancy. Nay, nay, forbear; the path is rough to 
 tread, 
 Fact's pictures are with ugliness o'erspread ; 
 The sweating, delving busy life of care 
 Can show thee nothing fanciful or fair. 
 
 Fact. 'Twill show thee duty with its aims and ends, 
 Wherein much gloom with genial brightness blends. 
 If thou be wise, let Fancy cloudward go ; 
 She's but a meteor, out of place, below. 
 Fancy. Well, you're polite. 
 Fact. Thank you. 
 
 Paul. No more; 
 
 On my account ne'er quarrel I implore. 
 I thank you both for the expressed desire 
 With power my lagging pencil to inspire. 
 You, Fancy, point me to a fairy wold ; 
 You, Fact, a stronger, sterner realm unfold ; — 
 Now which to choose, I'm very much in doubt. 
 
 Enter Reason, C. (between curtains). 
 Beason. Well, my good friend, I've come to let you 
 
 out. 
 Paul. Another stranger. 
 
THE SEVEN AGES. 
 
 195 
 
 9o 
 
 » 3 O 
 
 » rt- W 
 
 <D g » 
 
 c- °° =* 
 
 sr c o 
 
 ,_, o » 
 ~3 S* 
 
 G Cf I, 
 
 h S- 2 
 
 P a a> 
 
 c 3 -t 
 
 0*0 
 
 s 
 
 o- -• o 
 
 „ o s 
 
 »3J £ 
 
 1 3 
 
 2 » 
 
 1 1 
 
 n a 
 
 P-3 
 
 P* A 
 
196 THE SEVEN AGES. 
 
 Fact. Ah, good neighbor Reason, 
 
 You're always near. 
 
 Fancy. She's never out of season, 
 
 And always welcome ; let her wise decree 
 Settle the difference betwixt you and me. 
 
 Paul. Madam, your visit seems quite apropos. 
 Will it please you some good counsel to bestow 
 On a poor artist, aud for him decide 
 Which, Fact or Fancy, he shall take as guide? 
 
 Reason. Why not take both ? I think, my painter 
 friend, 
 You'll find that Fact and Fancy closely blend. 
 No scene of beauty and no work of skill 
 But needs them both perfection to instil. 
 The realm that Fancy pictures as divine 
 Stern Fact can match with one as good and fine ; 
 In fields that Fact obscures with smoke and steam, 
 Fancy's embedded jewels brighter gleam. 
 Both are your friends ; let them united serve, 
 And what they picture do you well observe. 
 Ne'er heed their quarrels, they but flirt and flout ; 
 The very best of friends sometimes fall out. 
 So set to work and clothe the form of Fact 
 In Fancy's gayest raiment to attract, 
 Then will you tread the path that leads to fame, 
 And iu its inmost temple carve your name. 
 Come, Fact, be stirring, let the painter gaze 
 On healthful life in all its devious ways. 
 Shakespeare, the foremost of poetic sages, 
 Has given to man a scale of seven ages ; 
 Disclose them to our fame-desiring friend, 
 
THE SEVEN AGES. 
 
 107 
 
198 THE SEVEN AGES. 
 
 With brightest hues that Fancy's art can lend. 
 To gain his triumphs all your powers combine, 
 And let your hands his brow with laurel twine. 
 
 Fact. She argues fairly. m 
 
 Fancy. Justly, to my mind. 
 
 I give consent. 
 
 Fact. And I. 
 
 p au l You're very kind. 
 
 I am your servant, lead me as you will ; 
 I long at Genius' fount to drink my fill. 
 
 Reason. Then forward. Industry all thirst assuages. 
 Take your first lesson from the seven ages. 
 (Fact takes Paul's right hand and points R. Fancy 
 
 takes his left, Reason steps behind Paul, and points r. 
 
 Curtain falls on picture.) 
 
 PART II. 
 
 THE SEVEN AGES. 
 
 Curtain rises as before ; the first stage is bare, the second 
 curtains closed. 
 
 Enter the Nurse, with babe in her arms. 
 
 Nurse. " You'd scarce expect one of his age 
 To speak in public oti the stage," 
 So I suppose it's really very natteral 
 That for his speech his Nuss should be collateral. 
 Well, he's an infant, bless his precious eyes 
 (Don't squirm so, deary, I'll keep off the flies), 
 
THE SEVEN AGES. 
 
 199 
 
 3 « 
 
200 THE SEVEN AGES. 
 
 A little cherub — (Child cries.) Don't begin to squall, 
 
 You never can deceive the dears at all ; 
 
 They know they are not angels, because why? 
 
 Angels will never drop down from the sky 
 
 To play at human babbies. Massy knows ! 
 
 When their first little game is pains and woes, 
 
 O deary me, I think they are a trial ! 
 
 Dosing with catnip-tea and pennyrial, 
 
 And walking nights, now isn't it severe 
 
 On us poor nurses who receive 'em here? 
 
 " The cry is still they come," for all of that, — 
 
 Bouncers and pigmies, skeleton and fat. 
 
 One half survive, the rest are taken off 
 
 By measles, chicken-pox, and whooping-cough. 
 
 Yet bless 'em, how we love 'em ! (Child cries.) Don't 
 you cry, — 
 
 He's stuck his big fist in his little eye. 
 
 Now say good night. (Child cries.) His speech is 
 said, 
 
 Exit to " put him in his little bed." [Exit, r. 
 
 (Music — "Hash, my babe, lie still and slumber," Piano. 
 Curtains at bach open, disclosing Tableau I. The 
 curtains should be ope?i time enough to count, moder- 
 ately, fifteen, then closed slowly. Music continues till 
 fall of curtain.) 
 
 Enter the School-boy, l. 
 
 School-boy. To school, or not to school, on time, or 
 late, 
 We boys oft find a question for debate. 
 Study is irksome, good behavior's stiff, 
 
THE SEVEN AGES. 
 
 201 
 
202 THE SEVEN AGES. 
 
 Aud old Dame Learning's otten in a miff; 
 
 'Twixt marks and merits wavering and fickle, 
 
 She sternly rules us with a rod iu pickle, 
 
 Impresses strong her lessons on our backs, 
 
 Welted with energy and sealed with whacks. 
 
 " Boys will be boys," we hear the old folks say. 
 
 If they speak true, why rob us of our play? 
 
 For where's the boy, except he be a fool, 
 
 Who, of his choice, would ever go to school? 
 
 His brains to crush 'neath heaps of Roman dust, 
 
 All that remains of that great empire " bust" ; 
 
 To choke and struggle with ill-fated Greece, 
 
 In vain attempt to conquer e'en a peace, 
 
 When sport and exercise their strong arms bare, 
 
 And woo him to the water and the air. 
 
 The light boat waits impatient on the tide, 
 
 Green fields their carpets spread on every side, 
 
 Broad oaks their shadows fling across his way, 
 
 The ball and bat are eager for the play, 
 
 The free air thrills 'him ; naught can hold him back, 
 
 Except the haunting fear of w Hooking Jack," 
 
 And something better, — born of ancient lore, — 
 
 " The path to fame lies through the school-house door." 
 
 [Exit, R. 
 (Music. Curtains at bach open, disclosing Tableau II. 
 After Tableau II. has been shown the usual time, a bell 
 should be struck, when, without the curtain being dropped, 
 the characters instantly change positions to Tableau III. 
 Change, at stroke of bell, to Tableau IV.) 
 
THE SEVEN AGES. 
 
 203 
 
 O oo oo o* 
 
 o b* a -• - 
 
 IS =|| 
 
 3*1 *§* S 
 
 &Stf*8g 
 
 ?|p.ia 
 •*"*'» {Jo* 
 
 Sal g 3 5 
 
 B » » O ? 
 
 <L a 2. O Or 
 
 C -<■ iS.^ 
 
 C — 9 2. 
 rt> 3 _ 1 *3 
 _. © O 
 
 r " * *> ? 
 
 55 r 2 - * 
 
 d a 2.® * 
 
 J; e _^ . 
 ^•"^5 2.=* 
 e ">^ <o 
 
204 THE SEVEN AGES. 
 
 At the fall of the curtain, enter, l., the Lover. He speaks 
 and gesticulates in a burlesque, lackadaisical manner. 
 
 Heigh-ho ! heigh-ho ! Ah me ! good gracious ! 
 
 Cupid doth feed with appetite voracious 
 
 Upon my bleeding heart. O Blousabelle, 
 
 Your sparkliug eyes enslave me with a spell. 
 
 I am enraptured with your beauteous face ; 
 
 Enthralled, bewitched, by your enchanting grace. 
 
 O darling Blousa ! honey-drop of sweetness ! 
 
 Pink of perfection ! violet of neatness ! 
 
 Would I could press thee to this manly breast ! 
 
 Soft-pillowed there thy golden curls to rest, — 
 
 Thy tender form to guard forevermore, 
 
 Devouring words within thy ears to pour, 
 
 To make this dull earth bloom like paradise. 
 
 Heigh-ho ! ah me ! now wouldn't it be nice ? 
 
 Over a picture of successful love 
 
 My loDging eyes too oft delighted rove, 
 
 Let me rehearse for your amusement here 
 
 How Zekiel wooed and won his Hulda dear. 
 
 {Recitation of LoweIVs poem, " The Courtin." Exit 
 Lover, r. Lively music. Curtains at back open, dis- 
 closing TableauW. After the usual time, strike the bell, 
 and the characters change positions to Tableau VI At 
 sound of bell, change to Tableau VII. Curtain falls. 
 
 Enter Soldier, l. 
 
 Soldier. When Peace, the olive-crowned, with ashen 
 face, 
 Forsakes her throne, and to grim War gives place ; 
 
THE SEVEN AGES. 
 
 205 
 
206 THE SEVEN AGES. 
 
 "When Treason stalks abroad, when Riot roars, 
 When Crime grows rampant, and Rebellion soars, 
 The Soldier, armed and mailed with martial power, 
 Stands forth the master-spirit of the hour. 
 The loud drum thrills him with its wild alarms, 
 The clash of steel his manly bosom warms, 
 The whirr of bullets and the cannon's roar 
 Make the hot blood in quicker currents pour, 
 Till, filled from crown to toe with bloody zeal, 
 No foeman can resist his crushing heel. 
 Up ! on the ramparts, where with fierce assail 
 And deadly purpose, ploughs the iron hail ; 
 Down ! in the pit where ambush lieth low, 
 Fearless, defiant, leaps he on the foe. 
 So brave, so valiant, Glory doth delight 
 To wreathe his brow with laurels green and bright. 
 But when across the field of Labor's life 
 Peals the loud trump, dread harbinger of strife ; 
 When through the workshop, busy marts of trade, 
 Through student's study, 'neath the classics' shade, 
 Through fashion's halls, where folly rules the hour, 
 Through homes that cherish love's domestic power, 
 Sounds the shrill notes that wake the hearts of all 
 To hurry forwardjat their country's call, 
 Sternly as Patriot he doth nobly stand 
 Against all foes to guard his native land. 
 A nation's gratitude, with smiles and tears, 
 Freshens his memory all the coming years ; 
 And grand old Freedom, midst her brightest joys, 
 Points proudly to her gallant soldier boys. 
 
 [Exit, R. 
 
THE SEVEN AGES. 
 
 207 
 
 e -t 
 
 » a 8 
 
 OB P d 
 
 B B S- 
 
 5" 
 
 
 
 
 4 
 
 
 '~ 
 
 -4 
 
 
 s. 
 
 
 * 
 
 •"4 
 
 CO 
 
 > 
 
 Sj 
 
 15 
 
 S 
 
 
 
 r 1 
 
 5, 
 
 gg 
 
 M 
 
 E? 
 
 
 > 
 
 •< 
 
 P 
 
 X 
 
 
 
 
 OB 
 
 
 
 
 JQ 
 
 3 
 
 o 
 
 ? 
 
 
 
 H 
 
 C- 
 
 3 
 
 
 c 
 
 ; r 
 
 S 
 
 n 
 
 
 
 
 ^ 
 
 H 
 
 
 
 O 
 
 
 so 
 
 M 
 
 
 
 
 
 a. 
 
 H 
 
 
 po 
 
 ra 
 
 
 O 
 
 Sh 
 
 
 c 
 
 
 
 
 
 
 
 
 
 
 i 
 
 o 
 
 
 a 
 
 3 
 
 
 
 
 a 
 
 g 
 
 
 i 
 
 3 
 
 
 a: 
 
 oq 
 
 
 
 < 
 
 
 
 
 
 P 
 
 3; 
 
 Z 
 
 
 p 
 
 1 
 
 
 » 
 
 ° 3 
 
208 THE SEVEN AGES. 
 
 (Curtains at back are drawn, disclosing Tableau VIII. 
 Do not follow strictly the positions in the drawing, but 
 make the picture animated and striking. Music should 
 be of a martial character. Curtain falls.) 
 
 Enter the Father, l. 
 
 Father. And what's a father? Some say an old 
 fellow 
 With hair turned gray, and features turning yellow, 
 Full of his aches and pains, — a queer old chap 
 For whom his family don't care a rap, 
 Save that he pays the bills, keeps out of sight, 
 And locks the house up carefully at night. 
 Some say a tyrant, ruling with a sneer, 
 All frowns and wrinkles, with a voice severe 
 For youthful follies, and a stinging snap 
 When pealing laughter robs him of his nap. 
 And some say — bless them ! — he's earth's paragon, 
 The kindest mortal that the sun shines on ; 
 For all our woes, the ever-ready friend, 
 With kindly heart, to cheer and comfort lend. 
 Of all our joys, so ready e'er to share, 
 Warmed by his smile, they seem more bright and fair. 
 On all our secrets locks the trusty door, 
 And proves himself a confidant secure 
 For all our follies, eager to advise, 
 Lenient, forgiving, generous, and wise. 
 Half-way betwixt the cradle and the grave, 
 Washed by a sea of troubles, wave on wave, 
 The father takes his place, a beacon-light 
 To guide the wayward bark of youth aright. 
 
THE SEVEN AGES. 
 
 209 
 
 14 
 
210 THE SEVEN AGES. 
 
 The fierce and augiy winds of strife may roar, 
 Misfortune's sullen clouds may hover o'er, 
 Yet through the darkest night of fear and woe, 
 The light of love, with calm and steady glow, 
 Flashes upon the tossed and sin-opprest, 
 A talismauic harbinger of rest. 
 Honor the father ! History's bright page 
 Records his sacrifice in every age. 
 Turn backward to the ancient Roman days, 
 When stern Virgiuius did the world amaze. 
 When wicked Appius — vile and crafty knave ! — 
 The fair Virginia sought' to make his slave, 
 The noble father, with his cruel kuife, 
 Her honor saved at cost of her dear life ; 
 Look on this picture, let its teachings prove 
 Fathers can slay as well as save for love. \_Exit, R. 
 
 (Sad music. Curtains open, disclosing Tableau IX. 
 Curtain falls.) 
 
 Enter the Justice, l. 
 
 Justice. Well, what's the matter? Burglary or theft? 
 Why am I rudely of my rest bereft? 
 Whose hencoop's plundered? Hey? whose ducks and 
 
 geese 
 Have sloped with some despoiler of the peace? 
 What murderous youngster has been breaking bones, 
 Or smashing windows with obdurate stones? 
 Hay? No complaint? well, this is very queer; 
 I thought I heard a call for " Justice " here, 
 And I'm that high, official dignitary, 
 Learned, pompostuous, disciplined, and wary, 
 
THE SEVEN AGES. 
 
 211 
 
212 THE SEVEN AGES. 
 
 Whose frown doth terrify the sneaking scamp 
 "With dreams of iron bars and dungeons damp. 
 Ahem ! the squeak of law is in my tread ; 
 From off my path wild urchins slink with dread ; 
 The biggest blackguard of a saucy crew 
 Shuts fast his mouth whene'er I come in view ; 
 The straight-laced deacon with his stiffened back, 
 The learned doctor, the successful quack, 
 The gifted parson, and the man of wealth, 
 Admiring glances c;ist at me by stealth, 
 Because I hold the scales that win or lose, 
 And make them bend whichever way I choose, — 
 That is — of course — by interlectual sway. 
 I'm always right, — the scales the right obey, — 
 And so I'm ready to euforce the laws, 
 And find a verdict in a righteous cause, 
 Provided that the culprit is not rich, 
 For iu that case my fingers always itch 
 To place across the bridge of this wise nose 
 A pair of spectacles with golden bows. [Exit, R. 
 
 (Music. Curtains open, disclosing Tableau X. Curtain 
 falls.) 
 
 Enter the Patriarch, l. 
 
 Patriarch. " Last scene of all, which ends this strange 
 eventful history, 
 Is second childishness, and mere oblivion." 
 Nay, nay, good master Shakespeare, thou art wrong, 
 For richest joys around the aged throng. 
 Upon the record of ascending years, 
 Oft flecked with sunshine, blotted oft with tears, 
 
THE SEVEN AGE*. 213 
 
 "Where can be found so kind and true a friend 
 As keen-eyed Memory, who doth freely lend 
 Unto the " seventh age" her matchless power, 
 To deck and glorify the sunset hour? 
 Upon the patriarch she doth free bestow 
 Her brightest jewels plucked from long ago : 
 Pleasures of youth, deep buried in the past, 
 Wakened to life, come merrily trooping past ; 
 Triumphs of manhood, with new laurels crowned, 
 And prouder bearing, thickly gather round. 
 The babe, the youth, the lover, soldier, sage, 
 Each in his time displays again his age ; 
 Each at the summons will repeat his part, 
 And all are welcome to the old man's heart. 
 What scene of happiness so pure and bright 
 As " home, sweet home," the temple of delight, 
 Wherein the patriarch as an honored guest 
 Beloved, respected, finds a welcome rest, 
 Until the Master's messenger of peace 
 Shall bid life's sentinel his watch to cease ! 
 Then ends the journey, then earth's race is run, 
 Then the eternal age is entered on. [Exit, R. 
 
 (Music, ''''Home, sweet Home." Curtain opens, disclosing 
 Tableau XI. Bell ' strikes, and change to Tableau 
 XII. Music sad and soft until the curtain falls. 
 
 CURTAIN. 
 
Plays for Amateur Theatricals. 
 
 BY GEORGE M. BAKER. 
 
 Author of "Amateur Dramas," " The Mimic Stage" " The Social 
 Stage" &c. 
 
 DRAMAS. In Three Acts. 
 
 My Brother's Keeper. 5 male, 3 female characters. 15c. 
 
 In Txvo Acts. 
 
 Among the Breakers. 6 male, 4 female characters. 15c. 
 Sylvia's Soldier. 3 male, 2 female characters. 15c. 
 Once on a Time. 4 male, 2 female characters. 15c. 
 Down by the Sea. 6 male, 3 female characters. 15c. 
 Bread on the Waters. 5 male, 3 female characters. 15c. 
 *The Last Loaf. 5 male, 3 female characters. 15c. 
 
 In One Act. 
 
 Stand by the Flag. 5 male characters. 15c. 
 *The Tempter. 3 male, 1 female character. 15c. 
 
 COMEDIES AND FARCES. 
 
 The Boston Dip. 4 male, 3 female characters. 15c. 
 The Duchess of Dublin. 6 male, 4 female characters. 15c. 
 
 * We're all Teetotallers. 4 male, 2 female characters. 
 
 15c. 
 *A Drop too Much. 4 male, 2 female characters. 15c. 
 Thirty Minutes for Refreshments. 4 male, 3 female 
 characters. 15c. 
 
 * A Little More Cider. 5 male, 3 female characters. 15c. 
 
 Male Characters Only* 
 
 Gentlemen of the Jury. 12 characters. 15c. 
 A Tender Attachment. 7 characters. 15c. 
 The Thief of Time. 6 characters. 15c. 
 The Hypochondriac. 5 characters. 15c. 
 A Public Benefactor. 6 characters. 15c. 
 
 •Temperance pieces. 
 
PLAYS FOR AMATEUR THEATRICALS. 
 
 COMEDIES AND FARCES (continued). 
 
 The Runaways. 4 characters. 15c. 
 Coals of Fire. 6 characters. 15c. 
 Wanted, a Male Cook. 4 characters. 15c. 
 A Sea of Troubles. 8 characters. 15c. » 
 
 Freedom of the Press. 8 characters. 15c. 
 A Close Shave. 6 characters. 15c. 
 The Great Elixir. 9 characters. 15c. 
 *The Man with the Demijohn. 4 characters. 15c. 
 Humors of the Strike. 8 characters. 15c. 
 New Brooms Sweep Clean. 6 characters. 15c. 
 My Uncle the Captain. 6 characters. 15c. 
 
 Female Characters Only. 
 
 The Red Chignon. 6 characters. 15c. 
 
 Using the Weed. 7 characters. 15c. 
 
 A Love of a Bonnet. 5 characters. 15c. 
 
 A Precious Pickle. 6 characters. 15c. 
 
 The Greatest Plague in Life. 8 characters. 15c. 
 
 No Cure No Pay.. 7 characters. 15c. 
 
 The Grecian Bend. 7 characters. 15c. 
 
 ALLEGORIES. Arranged for Music and Tableaux. 
 
 The Revolt of the Bees. 9 female characters. 15c. 
 Lightheart's Pilgrimage. 8 female characters. 15c. 
 The War of the Roses. 8 female characters. 15c. 
 The Sculptor's Triumph, i male. 4 female charac- 
 ters. 15c. 
 
 MUSICAL and Dramatic Entertainments. 
 
 The Seven Ages. A Tableau Entertainment. Numer- 
 ous male and female characters. 15c. 
 
 Too Late^or the Train. 2 male characters. 15c. 
 
 Snow-bound ; or, Alonzo the Brave and the Fair 
 Imogene. 3 male, 1 female character. 25c. 
 
 Bonbons ; or, The Paint- King. 3 male, 1 female char- 
 acter. 25c. 
 
 The Pedler of Very Nice. 7 male characters. 15c. 
 
 An Original Idea, i male, 1 female character. 15c. 
 
 Capuletta; or, Romeo and Juliet Restored. 3 male, 
 1 female character. 15c. 
 
 * Temperance piece. 
 
K& yjQjO * 
 
 SPENCER'S UNIVERSAL STAGE. 
 
 3G. Diamond cut IHamoiid. An In- 
 terlude in One Act. By \Y. H. Mur- , 
 ray. 10 Male, 1 Female character. | 
 
 37. Look after Brown. A Farce in 
 
 One Act. By George A. Stuart, 
 M. D. <» Male, 1 Female character. 
 
 38. Mongeieneur. A Drama in Three 
 
 Acts. By Thomas Archer. 15 Male, | 
 3 Female characters. 
 $ 39. A very pleasant Evening. A . 
 Farce in One Act. By XV. E. Suter. 
 3 Male characters. 
 
 40. Brother Ben. A Farce in One 
 
 Act. By . I. M. Morton. 3 Male, 3 
 Female characters. 
 
 41. Only a Clod. A Comic Drama in ' 
 
 One Act. By J. P. Simpson. 4 Male, 
 1 Female character. 
 ) 42. Gaspardo the Gondolier. A ' 
 Drama in Three Acts. By George 
 Almar. 10 Male, 2 Female charac- 
 ters. 
 
 43. Sunshine through the Clouds. 
 
 A Drama in One Act. By Slingshy 
 Lawrence. 3 Male, 3 Female char- I 
 acters. 
 
 44. Don't Judge by Appearances. 
 A Farce in One Act. B.v J. M. Mor- i 
 
 53. Who's Who. A Farce in One Act. 
 
 By T. J. Williams. 3 Male, 2 Fe- 
 male characters. 
 
 54. Bouquet. A Farce in One Act. 2 
 
 Male, 3 Female characters. 
 
 55. The Wife's Secret. A Play in 
 
 l"ive Acts. By George W. Lovell. 
 10 Male, 2 Female characters. 
 
 5C. The Babes in the Wood. A 
 
 Comedy in Three Acts. By Tom 
 Taylor. 10 Male, 3 Female charac- 
 ters. 
 
 57. Putkins : Heir to Castles in the 
 Air. A Comic Drama in One Act. 
 By W. K. Emerson. 2 Male, 2 Fe- 
 male charac.ers. 
 
 > 
 
 45. 
 
 48. 
 
 4'.). 
 
 50. 
 
 51. 
 
 4 52. 
 
 ton. 3 Male, 2 Female characters. 
 IVursey Chickweed. A Farce in 
 
 One Act. By T. J. W T illiams. 4 
 
 Male, 2 Female characters. 
 Mary Moo; or, Which shall I 
 
 Marry? A Farce in One Act. By 
 
 W. E. Suter. 2 Male, 1 Female 
 
 character. 
 East Lynne. A Drama in Five 
 
 Acts. 8 Male, 7 Female characters. 
 The Hidden Hand. A Drama in 
 
 Five Acts. By Robert Jones. Id 
 
 Male, 7 Female characters. 
 Sil verstone's Wager. A Commedi- 
 
 etta in One Act. By li. K. Andrews. 
 
 4 31 ale, 3 Female characters. 
 Dora. A Pastoral Drama in Three 
 
 Acts. By Charles Keade. 5 Male, 
 
 2 Female characters. 
 
 Blanks and Prizes. A Farce in 
 
 One Act. By Dexter Smith. 5 , 
 
 Male, 2 Female characters. 
 Old Gooseberry. A Farce in One 
 
 Act. By T. J. Williams. 4 Male, I 
 
 2 Female characters. 
 
 58. An Ugly Customer. A Farce in 
 
 One Act. By Thomas J. Williams. 
 3 Male, 2 Female characters. 
 
 59. Blue and Cherry. A Comedy in 
 
 One Act. 3 Male, 2 Female charac- 
 ters. 
 (50. A Doubtful Victory. A C<>medy (t) 
 in One Act. 3 Male, 2 Female char- (, ) 
 acters. ( \ 
 
 61. The Scarlet tetter. A Drama in (J) 
 
 Three Acts. 8 Male, 7 Female char- 
 acters. 
 
 62. W T hich will have Him P A Vau- 
 " deville. 1 Male, 2 Female charac- 
 ters. 
 
 63. Madam is Abed. A Vaudeville in <P 
 
 One Aft. 2 Male, 2 Female charac- ( \ 
 ters. <P 
 
 64. The Anonymous Kiss. A Vaude- 
 
 ville. 2 Male, 2 Female characters. 
 
 65. The Cleft Stick. A Comedy in 
 
 Three Acts. 5 Male, 3 Female char- 
 acters. 
 
 66. A Soldier, a Sailor, a Tinker, 
 
 and a Tailor. A Farce in One 
 Act. 4 Male, 2 Female characters. 
 
 67. Give a Hog a Bad Name. A 
 
 Farce. 2 Male, 2 Female Characters. 
 
 68. Bamon and Pythias. A Farce. 
 
 r> Male, 4 Female characters. 
 
 69. A Husband to Order. A Serio- (I 
 
 Comic Drama in Two Acts. 5 Male, <- ) 
 3 Female characters. 
 
 70. Payable on Demand. A Domes- 
 
 tic Drama in Two Acts. 7 Male, 1 
 Female character. 
 
 k 
 
 Price, 15 cents each. Descriptive Catalogue mailed free on application to 
 CEO. M. BAKER & CO., 
 149 Washington St., 
 
 A 
 
LIBRARY OF CONGRESS 
 
 )C Plays for Amateur LjLKsLS? , 
 
 By GEORGE M. BAKER. 
 
 Author of " Amateur Dramas, 
 
 The Mimic Stage." " The Social Stage," " ZVie Drawing-room Stage," 
 '■A Bakers Dozen," l(C. 
 
 Titles in this Type are Sew Plays. 
 
 DRAMAS. 
 
 In Three A cts. Cts. 
 
 My Brother's Keeper. 5 male, 3 
 
 female characters 15 
 
 In Two Acts. 
 
 Among the Breakers. 6 male, 4 
 female characters T 5 
 
 Sylvia's Soldier. 3 male, 2 female char- 
 acters 1 5 
 
 Once on a Time. 4 male, 2 female char- 
 acters *5 
 
 Down by the Sea. 6 male, 3 female 
 characters x 5 
 
 Bread on the Waters. 5 male, 3 fe- 
 maie characters '5 
 
 The Last Loaf. 5 ma e, 3 female char- 
 acters l 5 
 
 In One A ct. 
 
 Stand py the Flag. 5 male characters. 15 
 
 The Tempter. 3 male, 1 female charac. 15 
 
 COMEDIES and FARCES. 
 
 The Boston Bip. 4 male, 3 female 
 characters J 5 
 
 The Buchess of Bublin. 6 male, 
 4 female characters 15 
 
 We' i.E all Teetotalers. ^ 4 male, 2 
 female characters '• 15 
 
 A Drop too Much. 4 male, 2 female 
 characters 15 
 
 Thirty Minutes for Refreshments. 
 4 male, 3 female characters 15 
 
 A Little More Cider. 5 male, 3 fe- 
 male characters 15 
 
 Male Characters Only. 
 Gentlemen of the Jury. 12 char. 15 
 A Tender Attachment. 7 char. . . 15 
 The Thief of Time. 6 char. ... 15 
 The Hypochondriac. 5 char. . . 15 
 A Public Benefactor. 6 char. . .'15 
 
 The Uunaways. 4 char 15 
 
 Coals of Fire. 6 char 15 
 
 Wantkd, a Male Cook. 4 char. ... 15 
 A Sea of Troubles. 8 char 15 
 
 FARCES. 
 
 Freedom of the Press. 8 char. ... 15 
 
 A Close Shave. 6 char 15 
 
 »5 
 
 '5 
 '5 
 15 
 15 
 
 The Great Elixir. 9 char 
 
 The Man with the Demijohn. 4char. 
 Humors of the Strike. 8 char. . . . 
 New Brooms Sweep Clean. 6 char. . . 
 My Uncle the Captain. 6 char. . . . 
 Female Characters Only. 
 
 The Red Chignon. 6 char 
 
 Using the Weed. 7 char. ..... 
 
 A Love of a Bonnet. 5 char. . . . 
 
 A Precious Pickle. 6 char .... 
 
 The Greatest Plague in Life. 8cha. 
 
 No Cure, no Pay. 7 char 
 
 The Grecian Bend. 7 char 
 
 ALLEGORIES. 
 
 A rranged for Music and Tableaux. 
 
 The Bevolt of the Bees. 9 female 
 characters 
 
 Lightheart's Pilgrimage. 8 femaL- 
 characters 
 
 The War of the Roses. 8 female char- 
 acters 
 
 The Sculptor's Triumph, i male, 4 fe- 
 male characters 
 
 MUSICAL AND DRAMATIC. 
 
 The Seven Ages. A Tableau En- 
 t rtainmei t. Numerous male and fe- 
 male characters 
 
 Too Late for the Train. 2 male char- 
 acters. 
 
 Sn<w bound : or. A1.ON70 the Brave 
 and Ti e Fair Imogen e. 3 male, 1 
 female character 
 
 Bonbons; or. The Paint-King. 3 ma'e, 
 1 female character 
 
 The Pfdi.er of Very Nice. 7 male 
 characters 
 
 An Original Idea, i male, 1 female 
 character 
 
 Capuletta : or, Romeo and Juliet 
 Restored. 3 male, 
 
 female character 
 
 X 
 
 TEMPERANCE PIECES. 
 
 The Last Loaf. 5 male, 3 female characters 
 
 The Tempter. 3 male, 1 female character 
 
 Wk'ke all Teetotalers. 4 male, 2 female characters. 
 A Drop too Mich. 4ma 1 e, 2 female characters. . . . 
 A Little More Cider. 5 male, 3 female characters. . 
 The Man with the Demijohn. 4 characters 
 
l|f 
 
 LIBRARY OF CONGRESS 
 
 IIIIIVIIMIIVIIIIIIII 
 
 015 785 411 
 
 Hollinger Corp. 
 pH 8.5