SEAVER 
 HACK
 
 UCSB LIBRARY
 
 PARLOR TABLEAUX 
 
 AMATEUR THEATRICALS. 
 
 BY WILLIAM F. GILL, 
 
 BOSTON: 
 
 J. E. TILTON AND COMPANY. 
 I 87 I.
 
 Entered, according to Act of Congress, in the year 1866, by 
 
 J. E. TILTON & CO., 
 In the Clerk's Office of the District Court of the District of Massachusetts.
 
 TO 
 
 HAMMATT BILLINGS, 
 
 AS A TRIBUTE TO 
 
 HIS SURPASSING GENIUS AS AN ARTIST, 
 
 AND HIS MANY 
 
 ESTIMABLE QUALITIES AS A FRIEND, 
 
 THIS VOLUME 
 IS RESPECTFULLY DEDICATED 
 
 BY THE AUTHOR.
 
 INTRODUCTION. 
 
 THE growing popularity of exhibitions of Tableaux 
 Vivants, the success which almost invariably attends 
 them, and the great desire among the rjsing genera- 
 tion to participate in this simple and elegant amuse- 
 ment, have induced the author to make a collection of 
 subjects best adapted for such performance, which 
 would include the most novel selections from all 
 sources, and .at the same time be so practical in 
 every respect as to admit of their successful repre- 
 sentation by the most inexperienced. Tableaux have, 
 for several years, been a favorite entertainment 
 with persons of taste ; and the principal attraction 
 of many charitable exhibitions for the benefit of 
 worthy objects have consisted, in numerous instances, 
 of these beautiful pictures, which, produced with- 
 out any great expense, yet gave the greatest satis- 
 faction to appreciative audiences, and were consid- 
 
 5
 
 6 INTRODUCTION. 
 
 ered amply equivalent to the pecuniary consideration 
 offered for the cause. In view of the fact that a vast 
 number of subjects suitable for tableau representa- 
 tion have been furnished by many incidents of that 
 time, the numerous improvements that have been 
 made in the mechanical production of tableaux, and 
 that no publication including these features has been 
 presented to the public during this time, it is hoped 
 that this manual may be found to comprise all that a 
 patient research through all kinds of material could 
 gather, and be the humble means of a thorough grati- 
 fication of a pure and commendable taste. A pro- 
 gramme for an evening's entertainment should con- 
 sist of from five to ten designs, including varied 
 selections of classical and domestic, serious and comic, 
 tableaux. Music, both vocal and instrumental if pos- 
 sible, should be given between the different repre- 
 sentations, to afford time for the necessary prepara- 
 tions, and prevent any delay, which too frequently 
 occurs, and detracts from the interest of the perform- 
 ance by wearying the audience. As it may be de- 
 sired, by many who are interested in this subject, to 
 possess a complete apparatus for producing tableaux, 
 I will give a brief description of machinery and 
 stage-appurtenances used in their representation.
 
 INTRODUCTION. 7 
 
 The Stage. The most approved form of tableau- 
 stage, and of the most recent fashion, consists of five 
 pieces, forming, when placed together, a platform 
 twelve feet long, eight feet wide, and from two and 
 a half to four feet high, according to the length of 
 the hall or room : the longer the room, the higher the 
 stage. The larger and central portion of the plat- 
 form is of circular form, and about six feet in diame- 
 ter : the top of this piece is covered with smooth 
 boards, cut out, and rounded on the edges. This 
 part of the section rests upon an iron pivot, which 
 passes through the centre. A frame of thick planks 
 diverging from the centre, six in number, like the 
 spokes of a wheel, supports the top ; and small iron 
 wheels, attached to the planks securely, roll upon the 
 floor of this piece, which should also be of boards. A 
 rope wound around the plank frame several times, the 
 end passing through a hole in the stage outside, en- 
 ables the manager of the tableau to revolve this cen- 
 tral platform with any degree of rapidity he may 
 desire ; and beautiful effects may be produced by 
 placing the figures upon this platform in a circle, so 
 that a constantly-changing view is presented to the 
 audience, while the machinery producing it is invisi- 
 ble. The other four portions of the stage form the
 
 8 INTRODUCTION. 
 
 corners ; two of their sides meeting in an angle, while 
 the third is curved, so as to fit on to the central por- 
 tion. The top of the stage and sides may be painted 
 green, which will render the use of a carpet unneces- 
 sary ; and the stage will always be ready for use. 
 This form of a stage is, of course, more expensive 
 than one made of boards and joist : but it is at the 
 same time very convenient for carrying from place 
 to place ; while it. is greatly superior to a stationary 
 stage, in the numerous changes it is capable of pro- 
 ducing in moving-pictures. A few instances where 
 it would be particularly advantageous are mentioned 
 in the list of tableaux ; but it may be applied to a 
 much greater number of those included in this vol- 
 ume. A stage for a parlor may be made of boards 
 joined in three or four sections, so as to be put to- 
 gether in a few minutes, forming a platform of the 
 same surface as the one just described, and placed 
 upon four boxes two or three feet in height ; or quite 
 a respectable temporary stage may be made by un- 
 hinging two closet or any interior doors, removing 
 the knobs, if they have them, and mounting them in 
 the same way upon boxes : of course the doors are not 
 injured, being covered by some carpet, and are strong 
 enough to bear six or eight persons. I have known
 
 INTRODUCTION. 9 
 
 one of the most successful exhibitions I ever witnessed 
 given on such a stage as the one just described. 
 
 The front of the stage should be covered by a strip 
 of green cambric, tacked on to the boards, and hang- 
 ing to the floor of the room. 
 
 The frame for the scenery used in tableaux, either 
 in a hall or parlor, should be made of four pieces of 
 small joist, mortised at the corners of the stage, and 
 reaching just above the top of the curtain. They 
 should be joined together by four narrow boards two 
 inches thick. A frame for the front of tableaux is fre- 
 quently made. It consists of three pieces of board, 
 eight inches wide, placed across the top and sides of 
 the opening, and covered with buff wall-paper, with 
 a bordering of gilt paper. The back of the stage 
 should be covered with black or purple cambric cur- 
 tains, placed close to the wall of the room. There 
 should also be another set of curtains, of the same 
 width, for " vision" scenes. 
 
 For the sides of the stage, four frames, of the height 
 of the curtain and two feet wide, made of narrow 
 strips of wood, and covered with black or purple cam- 
 bric, should be made : these are called wings, and are 
 placed so as to hide the light used in illuminating the 
 tableaux, and to close in the sides. In the centre of the
 
 10 INTRODUCTION. 
 
 top of the frame of each of these wings a groove two 
 inches wide is made, which fits into the side-pieces 
 of the frame-work at the top, securely holding them 
 in place. Wings may also be made by attaching the 
 cambric to narrow pieces of wood at the top and bot- 
 tom, and securing them to the frame by a hook. The 
 top of the stage 'should be closed in by flies, which 
 consist of strips of blue or dark cambric, attached to 
 narrow strips of wood, and placed across the top of 
 the frame in front of the wings. The curtain may be 
 made of green cambric, having a roller of wood at the 
 top and bottom : if small, it can be rolled from one 
 side, like a window-curtain ; or it may be raised like a 
 regular stage-curtain, which is provided with a row 
 of rings or leather loops, placed at intervals of a foot 
 along the sticks at the top and bottom, and smaller 
 brass rings placed at the same distance, on the back 
 of the curtain from top to bottom. Cords are run 
 through all these rings, and pass outside over a pulley, 
 drawing the curtain up in folds. Another form is to 
 have two pieces of scenery, painted in imitation of 
 clouds, placed in front of the opening, and running 
 in a groove, so that they can be drawn aside like fold- 
 ing-doors. Of course, there would have to be consid- 
 erable space on either side to manage this ; but the
 
 INTRODUCTION. 11 
 
 effect is quite pleasing. A very pretty idea for a 
 small stage is to have the frame made of wide gilt 
 picture-moulding; the curtains being of crimson cam- 
 bric, arranged so as to draw apart. Costumes neces- 
 sary for tableaux can generally be got up by persons 
 of ingenuity with but little trouble. In large cities, 
 where costumes can be hired readily at a small ex- 
 pense, many will doubless avail themselves of this facil- 
 ity ; but in places more remote the ambitious manager 
 must not despair, but must remember that these liv 
 ing pictures depend for their success upon the general 
 efl'ects of light and shade more than upon the quality 
 of the dresses. For instance, in statuary tableaux, 
 justly considered the most beautiful given, the figures 
 are invariably dressed in cotton sheets, no other mate- 
 rial approaching this simple costume in its likeness to 
 the original ; and there can be no doubt that the most 
 elegant dresses of v.elvet and gold can, aided by the 
 strong light of the tableaux, be equalled in richness 
 of appearance by costumes manufactured of simple 
 cambric and gilt paper. In this collection there are, 
 however, a great number which will require no dresses 
 or stage properties that cannot be found in any ordi- 
 nary household : and if it is not desired to erect a 
 stage, or put up a curtain, why, a parlor with folding-
 
 12 INTRODUCTION. 
 
 doors will answer all purposes ; or the tableaux can 
 be prepared in any ordinary room, and the audience 
 called in when ready for exhibition. Where tableaux 
 are performed in a hall, there will generally be a large 
 space on either side of the stage which will require 
 to be closed in by cambric curtains, sheets, or flags, 
 attached to the frame of the stage, and extending to 
 the wall. 
 
 Foot-lights are almost indispensable to a stage of 
 any size ; and, where gas cannot be obtained, they 
 may consist of candles or kerosene-lamps, with tin 
 reflectors in front of them. "Within the last two years, 
 there has been an important scientific discovery 
 made, which has induced a marked improvement in 
 the mode of illuminating tableaux : this is the mag- 
 nesium light. A solidified combination of this mine- 
 ral is so prepared, as to be readily ignited with a 
 common match ; and burns with nearly forty times 
 the intensity of gas, with a most brilliant white flame. 
 It is put up in the form of short, narrow strips, and in 
 coils of wire ; the strips being rather better for stage- 
 purposes, as they do not burn quite as rapidly as the 
 wire. A substance like this, that is ready for use at 
 ah 1 times, can be carried in a small compass, and, c f 
 such superior quality of illuminating power, is, of
 
 INTRODUCTION. 13 
 
 course, a great acquisition. It is in fact, when in use, 
 the only really necessary light for tableaux ; for by 
 means of a small tin or wooden box, with one side 
 opened, and furnished with slides of glass of different 
 colors, any shade of light may be produced by igniting 
 the magnesium in the box after placing it upon a 
 small piece of tin, and putting in a glass of the de- 
 sired color. In any of our large cities, the magnesium- 
 lamp may be obtained for any length of time desired 
 by the payment of a small fee. This is quite elaborately 
 arranged for burning the wire, is more convenient 
 than using a box, and costs no more than the strips 
 of wire which would otherwise be consumed. For a 
 single evening's entertainment, where it is desired to 
 have little trouble, the magnesium may be burned on 
 a piece of tin, with a pasteboard behind to throw 
 the light upon the stage. Our readers living out 
 of town can order the magnesium through any promi- 
 nent chemist or druggist in our large cities. Ordi- 
 nary kerosene-lamps, placed in large boxes, with tin 
 reflectors, will furnish a good but not very strong 
 
 light ; and half a dozen of these lamps placed on the 
 
 % 
 sides of the stage, with pasteboard placed behind, 
 
 will do for a small stage. 
 A hall-stage should have, if possible, in addition to
 
 14 INTRODUCTION. 
 
 the foot-lights, a row of similar lights over the top, 
 behind the flies, which are called head-lights, and, for 
 the general order of tableaux, will, with the foot- 
 lights, give sufficient illumination. Colored lights, 
 and lights for vision-scenes, are explained in the lat- 
 ter pages of the book. In describing the subjects 
 given in this collection, it has been almost entirely 
 without reference to scenery, for the reason that it is 
 presumed the majority of readers will prefer their 
 representation as simple as possible ; while, on the 
 other hand, when it is desired to produce them with 
 every such accessory as will add to the brilliant 
 effect, the subject will suggest what scenery is most 
 appropriate, and the taste of the manager will need 
 no other direction. The properties used in the pieces 
 (that is, the chairs, tables, or any other article aside 
 from the costumes) will be found mentioned sepa- 
 rately in connection with the subjects to which they 
 belong ; and no list of necessary articles will be given 
 here, as they will be found quite as readily in their 
 appropriate places. No matter whether the parties 
 are experienced or inexperienced, two or three re- 
 hearsals of positions, <fec., will be found indispensable 
 for a perfect performance ; and any omission of this 
 important element will greatly detract from, if not
 
 INTRODUCTION. 15 
 
 totally destroy, every good effect attempted in the 
 representation. The last rehearsal should, if pos- 
 sible, be a dress-rehearsal, the costumes being worn 
 as they will be on the night of performance. 
 
 Some one person should assume the direction and 
 responsibility of managing, and should see that every 
 thing is in readiness, and also have an understanding 
 with the announcer of the tableaux outside, so that 
 there will be no flurry or ridiculous mistakes made. 
 His' directions should be obeyed by the company im- 
 plicitly ; remembering that any loud talk or disorder 
 behind the curtain is magnified to the audience, and 
 destroys the interest by turning their attention from 
 the tableaux. 
 
 Appropriate poems may be read by the announcer 
 of the tableaux, or by others, previous to their exhi- 
 bition, as they pleasantly vary the entertainment, and 
 enable the audience to understand the subject more 
 appreciably. A simple means of directing the work- 
 ing of the tableaux is by three strokes upon a bell : 
 the first, meaning that the gentleman outside is to 
 announce the piece, or read the poem ; the second is 
 the signal for the figures to take their positions; and 
 the third, for the rising of the curtain. Each per- 
 former should look carefully after his own dresses,
 
 16 INTRODUCTION. 
 
 Ia3*ing them carefully together before the entertain- 
 ment begins ; and the manager must forbid any one's 
 touching another's costume, or, before the evening is 
 over, there will be inextricable confusion, and morti- 
 fying delays in the performance. The manager will 
 find it of great assistance if he carefully notes down 
 from time to time the articles he finds he will require, 
 so that, when the time of exhibition arrives, nothing 
 of importance will be forgotten ; as, without this pre- 
 caution, it might be. 
 
 It will also be well to place in the dressing-rooms 
 a list of the tableaux, in the order in which they are 
 to be represented, which will prevent unnecessary 
 questions, and enable every one to understand when 
 they are to be called upon the stage. In preparing 
 this collection, it has been the design of the author to 
 render the descriptions so simple and comprehensive 
 as to be readily and successfully followed by all de- 
 siring to do so, whether they may have any particular 
 taste for the artistic or not. To originate and pro- 
 duce fine tableaux undoubtedly requires considerable 
 taste, and some knowledge of art : but there can be 
 no reason why a person with a manual before, him, 
 which reduces the art to a mere mechanical study, 
 cannot, profiting by the experience of another, be
 
 INTRODUCTION. 17 
 
 equally successful. Being well aware that what was 
 desired in a work of this kind was not words, but sim- 
 ple directions, the author has, in the main text of the 
 book, divested the descriptions of any unnecessary or 
 flowery verbosity ; preferring to lay his claim to pub- 
 lie favor to the practical utility of the book, rather 
 than to those more entertaining elements which popu- 
 larize the modern novels of the day. He has been 
 in this way enabled to present a greater number and 
 variety of subjects than the limits of the volume 
 would have otherwise allowed, feeling that this plan 
 would meet more general approbation. While the 
 tableaux are described in such a manner that a pre- 
 cise following of the directions would produce satis- 
 factory results, yet it is not presumed that any other 
 arrangement of them would be objectionable, or that 
 some changes might not be made with advantage. 
 Circumstances may be such, that the directions cannot 
 be followed as described ; some figures may not be 
 obtainable, or properties may not be at hand : so that, 
 if nothing more than the titles are accepted in such 
 cases, it will serve one purpose of the manual. To 
 the young manager, the author would commend perse- 
 verance. There will be innumerable little difficulties, 
 not thought of at the start, which must be overcome 
 
 2
 
 18 INTRODUCTION; 
 
 before the enterprise succeeds ; but success is event- 
 ually sure to all who do not fear a little hard work, 
 and who possess a due portion of the natural energy 
 of youth. That the public may find in this volume a 
 pleasant companion to many hours of unalloyed plea- 
 sure and enjoyable study, and that it may prove the 
 humble means of developing a love of the beautiful 
 and of healthful amusement, is the earnest wish of 
 the author. 
 
 NOTE. The positions are given in the text on the supposition that 
 the performer is on the stage, facing the audience.
 
 PARLOR TABLEAUX.
 
 PARLOR TABLEAUX. 
 
 THE MAY QUEEN. 
 
 TWELVE YOUNG LADIES. 
 
 You must wake and call me early, call me early, mother dear : 
 
 To-morrow'll be the happiest day of all the glad New Year ; 
 
 Of all the glad New Year, mother, the maddest, merriest day: 
 
 For I'm to be Queen o' the May, mother ; I'm to be Queen o' the May. 
 
 There's many a black, black eye, they say, but none so bright as mine ; 
 
 There's Margaret and Mary, there's Kate and Caroline : 
 
 But none so fair as little Alice in all the land, they say ; 
 
 So I'm to be Queen o' the May, mother; I'm to be Queen o' the May. 
 
 Little Effie shall go with me to-morrow to the green ; 
 
 And you'll be there too, mother, to see me made the Queen : 
 
 For the shepherd lads on every side'll come from far away ; 
 
 And I'm to be Queen o' the May, mother ; I'm to be Queen o' the May. 
 
 The honeysuckle round the porch has woven its wavy bowers, 
 And by the meadow trenches blow the faint sweet cuckoo-flowers, 
 And the wild marsh-marigold shines like fire in swamp and hollow gray : 
 And I'm to be Queen o' the May, mother ; I'm to be Queen o' the May. 
 
 21
 
 22 PARLOR TABLEAUX. 
 
 All the valley, mother, '11 be fresh and green and still ; 
 
 And the cowslip and the crowfoot are over all the hill; 
 
 And the rivulet in the flowery dale'll merrily glance and play : 
 
 For I'm to be Queen o' the May, mother ; I'm to be Queen o' the May 
 
 So you must wake and call me early, call me early, mother dear : 
 To-morrow'll be the happiest time of all the glad New Year ; 
 To-morrow'll be of all the years the maddest, merriest day ; 
 For I'm to be Queen o' the May, mother ; for I'm to be Queen o' the May. 
 
 TENSTSON. 
 
 THIS simple and beautiful tableau is the sequel to the 
 portion of the poem given above, one of the few which 
 gave his brightest reputation to the Laureate of England. 
 The scene represents a group of young girls gathered in a 
 May-party around the one from among them whom they 
 have selected as their queen/ This young lady should be 
 about sixteen years of age, of clear complexion, and straight 
 features. She stands in the centre of the stage, near the 
 front : her head is turned a little towards the right, so as 
 to afford the audience a two-thirds view of the face. She 
 wears a white - muslin dress, with low neck and short 
 sleeves, blue-silk sash, a small bouquet of flowers upon her 
 bosom, a wreath of small white flowers and rosebuds upon 
 her head, and her hair in long curls : her arms are crossed 
 at her waist.
 
 THE MAY QUEEN. 23 
 
 At the foot of the May Queen, nearer the audience, a young 
 lady of about the same age kneels, holding up towards her 
 a bouquet of flowei-s in her right hand ; while her left rests 
 upon the floor, holding another spray : her face is towards 
 the left, as she kneels, looking upward, presenting a profile- 
 view to the audience. She wears a white skirt, black belt, 
 black velvet or silk bodice trimmed Avith lace, white-muslin 
 jacket, and hair plainly dressed. 
 
 Upon the right side of the May Queen, a girl of about 
 twelve years of age is standing. Her right arm is around 
 tiie waisx of her older companion ; her left holds up a small 
 bouquet towards her : her head leans against the right 
 shoulder of the May Queen, and she looks up towards her 
 with a smiling expression. She wears a pink-muslin dress, 
 or white trimmed with pink, a strand of wax beads around 
 her neck, and a wreath of small flowers in her hair. A 
 young girl, of about the same age as the one just described, 
 stands upon the left of the May Queen, her right arm 
 around her shoulders, her left holding a small basket of 
 flowers. She should be dressed in blue muslin, or white 
 trimmed with purple ; and should stand with her head lying 
 upon the May Queen's shoulder. 
 
 Upon tlje left and right of this group of four just de-
 
 24 PARLOR TABLEAUX. 
 
 scribed, on the outside, six other young girls, from ten to 
 fourteen years of age, take their positions, kneeling upoa 
 the floor, facing each other, with their profiles towards the 
 audience. They carry garlands of artificial flowers, made 
 by fastening paper-roses and other flowers upon a piece of 
 flexible wood or rattan with small wires. They should all 
 be similarly dressed in white muslin, trimmed differently, 
 with flowers in the hair. A long, narrow box should be 
 placed -at the centre of the background, and covered with 
 green. Two or three young girls stand upon this box, 
 which should be about two or three feet high, supporting a 
 pole, at the top of which is a large wreath of artificial paper- 
 flowers, attached by means of different colored ribbons to 
 the pole near the top. The young ladies who are in this 
 position should wear, in addition to the white dress and 
 belt, a spray of artificial flowers, extending from the left 
 shoulder to the right hip. The music should be lively, and 
 the tableau illuminated by a bright-blue light.
 
 NEW-YEAR'S EVE. 25 
 
 NEW-YEAR'S EVE. 
 
 TWO LADIES. 
 
 If you're waking, call me early, call me early, mother dear; 
 
 For I would see the sun rise upon the glad New Year : 
 
 It is the last New Year that I shall ever see ; 
 
 Then you may lay me low i' the mould, and think no more of me. 
 
 To-night I saw the sun set. He set, and left behind 
 The good old year, the dear old time, and all my peace of mind. 
 And the New Year's coming up, mother ; but I shall never see 
 The blossom on the black-thorn, the leaf upon the tree. 
 
 Last May,. we made a crown of flowers ; we had a merry day : 
 Beneath the hawthorn on the green, they made me Queen o' May ; 
 And we dnn;-ed about the May-pole, under the hazel-copse, 
 Till Charles's Wain came out above the tall white chimney-tops. 
 
 There's not a flower on all the hills ; the frost is on the pane : 
 I only wish to live till the snowdrops come again. 
 I wish the snow would melt, and the sun come out on high ; 
 I long to sec a flower so the day before I die ! 
 
 I have been wild and wayward: but you'll forgive me now; 
 You'll kiss me, my own mother, upon my check and brow. 
 Nay, nay ! you must not weep, nor let your grief be wild : ' 
 You should not fret for me, mother ; you have another child.
 
 26 PAKLOU TABLEAUX. 
 
 Good-niglit, sweet mother ! Call me before the day is born. 
 All night I lie awake ; but I fall asleep at morn. 
 Bnt I would see the sun rise upon the glad New Year : 
 So, if you're waking, call me, call me early, mother dear. 
 
 TENNYSON. 
 
 THIS companion-piece to the May Queen is in sad con- 
 trast to the bright, joyous character of that beautiful tab- 
 leau. The scene represents the same young girl who per- 
 sonated the May Queen, lying upon a lounge in the centre 
 of the stage, a victim of disease, and supposed to be at the 
 point of death. She is bolstered up in a sitting position on 
 the lounge. Her head is towards the right, supported upon 
 her right arm, which rests upon the pillow ; the lower limbs 
 are covered with a white counterpane ; and her left hand 
 rests upon her mother's arm. Her face is v;ery pale ; Iwr 
 hnir hangs loosely over her shoulders ; and she looks out 
 straight forward with an earnest expression. She wears a 
 loose white dress. The mother sits beside her, holding her 
 left hand, and looking upon her face with an expresssiou of 
 grief. She is seated on the left of her daughter, in front 
 of the lounge, and with the side of her face towards tho 
 audience. She wears a black-silk dress, white cap, and 
 handkerchief upon her neck. Music very low. Light dim.
 
 CHARITY AND POVERTY. 27 
 
 CHARITY AND POVERTY. 
 
 THREE LADIES AND TWO BOYS. 
 
 Tins tableau owes its principal effect to the contrast 
 between the two great classes of society which obtain in 
 the world, the rich and the poor; and this fact must be 
 borne in mind in arranging the characters. The persons 
 represented are a wealthy young lady ; her young brother, 
 or page ; a poor woman between twenty-five and thirty years 
 of age ; her son, a young boy ; and an old lady, also very 
 poor. The young lady first mentioned stands at the left of 
 the centre of the stage, with a good-sized bundle of clothing 
 in her right hand, held close to her waist, and her left hand 
 extended towards the woman. She should wear a black 
 dress, velvet cape, and hood lined with blue over her head. 
 She should be of light complexion. Her head is turned 
 slightly towards the right, about two-thirds of the face 
 being visible to the audience. The boy, her attendant, 
 stands at her right side, holding a large basket, which he 
 appears to be carrying with difficulty : he looks upwards 
 towards the lady, his face turned away from the audience.
 
 28 PARLOR TABLEAUX. 
 
 He should be of light complexion, with hair curled, and 
 dressed in wine-colored blouse or tunic, knee-breeches, white 
 stockings, and black-velvet cap. The younger of the ladies, 
 representing the poor woman, kneels in the centre of the 
 stage, holding to her lips with her right hand the hand of 
 the lady, which is extended towards her. She is dressed in 
 a brown-cotton waist without sleeves, and blue-serge skirt. 
 Her hair should be allowed to fall dishevelled over her 
 shoulders. Her face is made up very pale, with dark lilies 
 under the eyes and at the corners of the mouth. Her little 
 boy should be but partially dressed : her left arm is held in 
 front of him, as if to prevent him from touching the lady, 
 while he looks toward the audience with a cross expression. 
 The old lady is at the back of the centre of the stage, on the 
 right, kneeling, so that all but her head and shoulders and 
 right arm are concealed from the audience by the woman 
 in front of her. She should be dressed in a long black 
 cloak, cloth hood, and with a cane in her left hand. Her 
 right arm leans upon the woman's left shoulder, and she 
 looks upwards towards the lady with a grateful expression. 
 A bright light should be thrown upon the figures ou the 
 left, the others being left in the shade. Music slow and 
 soft.
 
 THE SHIPWRECKED MOTHER. 29 
 
 THE SHIPWRECKED MOTHER. 
 
 ONE LADY AND A YOUNG BOY. 
 
 I've listened for the storm to cease, 
 Through all the night, in vain : 
 
 The wind seems only to increase, 
 And faster falls the rain. 
 
 Ah, me ! 
 Just hear the pouring rain ! 
 
 I shudder at the very thought 
 
 That makes my darling dead. 
 Ye winds, what anguish have ye brought ! 
 
 What fears for my poor Fred 1 
 Fond heart, 
 
 What fears have you for Fred ! 
 
 But now, amid this storm to-night, 
 
 Hope sadly dies away ; 
 Despair creeps where was fond delight ; 
 
 And I can only pray. 
 Great God, 
 
 Have mercy when I pi-ay ! 
 
 With tears I bring my cause to thee : 
 Great things canst thou perform.
 
 30 PARLOR TABLEAUX. 
 
 My dearest child is on the sea 
 In all this dreadful storm. 
 
 God! 
 Protect him in this storm ! 
 
 THIS scene represents a mother and child cast upon the 
 shore of a desert island, and exposed to the fury of a vio- 
 lent storm. The mother kneels in the centre of the stage, 
 near the front. Her face is toward the left ; her left arm is 
 passed around the shoulders of the boy, holding him close 
 to her ; her right arm is raised over his head, as if endeav- 
 oring to ward off the impending bolt ; and her face is turned 
 upwards with a terrified but imploring expression. She 
 wears a loose white robe with neck cut low, and a black 
 mantle thrown back from her shoulders : her hair is thrown 
 loosely over her shoulders. The boy stands directly in front 
 of the mother : his face is towards the right, his arms clasp- 
 ing his mother around the neck ; while he looks upwards 
 with a terrified expression. He should be about six or eight 
 years of age, and should wear dark trousers, short white 
 shirt open at the neck, and white stockings. Red light 
 should be thrown in flashes upon the figures, or streaks of 
 lightning may be made at the back : there should be the 
 noise of a storm made outside continuously.
 
 WYOMING. 31 
 
 WYOMING. 
 
 SIX GENTLEMEN. 
 
 Scarce had he uttered, when heaven's rage extreme 
 Reverberates the bomb's descending star ; 
 And sounds that mingled, laugh and shout and scream, 
 To freeze the blood in one discordant jar, 
 Rung to the peeling thunderbolts of war. 
 Whoop after whoop with rack the ear assailed, 
 As if unearthly friends had burst their bar; 
 While rapidly the marksman's shot prevailed ; 
 And aye, as if for death, some lonely trumpet wailed. 
 
 Then looked they to the bi'.ls where fire o'erhung 
 The bandit groups in one Vesuvian glare ; 
 Or swept, far seen, the tower, whose clock, unrung, 
 Told legible that midnight of despair. 
 She faints, she falters not, the heroic fair, 
 As he the sword and plume in haste arrayed. 
 One short embrace, he clasped his dearest care. 
 But hark ! what nearer war-drum shakes the glade ? 
 Joy, joy ! Columbia's friends are trampling through the shade ! 
 
 Calm opposite the Christian father rose. 
 
 Pale on his venerable form its rays 
 
 Of martyr-light the conflagration throws :
 
 32 PARLOR TABLEAUX. 
 
 One hand upon his lovely child he lays, 
 And one the uncovered crowd to silence sways ; 
 While, though the battle-flash is faster driven, 
 Unawed, with eye unstartled by the blaze. 
 He for his bleeding country prays to Heaven, 
 Prays that the men of blood may be themselves forgiven. 
 
 CAMPBELL. 
 
 THE story of the massacre at Wyoming, and Campbell's 
 famous poem illustrating the subject, are too we'll known to 
 require explanation here. The scene given represents the 
 plains of the village, and the attack by the Indians, pre- 
 vious to the arrival of the United-States troops. 
 
 Upon the right of^the stage, there should be two or three 
 boxes placed together irregularly, and covered to imitate 
 rocks or green banks. The central figure of the group is 
 an old man, who is in the centre of the stage, kneeling upon 
 his right knee ; his right hand upon his breast, his left hang- 
 ing at his side ; his head towards the right, inclining down- 
 ward ; and his face towards the front. A wound should be 
 painted upon his breast ; and his eyes should be closed, as he 
 leans heavily against a young man, who stands behind him, 
 supporting him by either arm. 
 
 He wears a striped shirt open in front, knee-breeches, 
 brown stockings, and low shoes, with gray wig. His face is
 
 WYOMING. 33 
 
 made up with marks of age, and wears an expression of 
 pain. Behind the old man, and close to him, a young man, 
 from twenty-one to twenty-five years of age, stands. His left 
 arm is around the old man, passing under his arms ; his right 
 is raised above his head, grasping a sickle or reaping-hook ; 
 his body inclined backwards, as if preparing to strike a 
 blow ; while he looks upou the figure of the Indian before 
 him with a fierce expression. He wears a drab coat, 
 light corduroy vest and knee-breeches, blue stockings and 
 buckle-shoes, and a felt hat upon his head. The gentleman 
 representing the Indian chief kneels upon the right of the 
 centre of the stage, with his face and body partially turned 
 from the audience ; his right hand grasping a gun, raised to 
 the height of his waist ; his left hand holding a hatchet, 
 which lies upon the bank ; while he looks towards the centre 
 at the young man, with a malicious expression upon his 
 face. He wears a salmon-colored tunic with crimson 
 skirt, leggins of buckskin trimmed with fur, shoulder- 
 belt trimmed with fur, and head-dress of feathers and 
 beads. His face should be stained copper-color, and he 
 should be of straight features. Another gentleman, also 
 representing an Indian, stands at the right of the stage, 
 near the back. His right hand grasps a gun which rests 
 
 3
 
 34 PARLOR TABLEAUX. 
 
 upon the stage ; his left a hatchet, which is raised above 
 his head ; and his body inclined back, as if about to hurl the 
 weapon forward. His right leg is extended forward ; his 
 left braced back ; and his face is turned toward the lott, 
 looking at the young man who stands in the centre, with ar. 
 expression of triumph upon his face. He wears a bro\vn 
 tunic and scarlet shirt ; shoulder and waist belt of scarlet, 
 trimmed with beads, and buckskin leggius, and shoes 
 trimmed with fur, and a head-dress of feathers ; his face, 
 also, being stained a copper-color. Upon the left of the 
 stage a young man stands, with his back partially turned 
 to the audience. He is near the front ; his face looking 
 towards the right at the Indian, who stands at the back ; 
 both hands grasping a gun, the right at the trigger, the 
 butt resting against his left shoulder, and the barrel pointed 
 at the Indian. His right foot is advanced towards the 
 centre, and his body bent forward. He wears a brown coat, 
 black knee-breeches and stockings, buckle-shoes, striped 
 shirt, and light felt hat. Between this young man and the 
 centre, another young man is seen lying with his head 
 towards the left, his face turned upward with an expression 
 of pain. His eyes are closed, and his hair thrown back 
 from the forehead, showing a wound upon the temple. Ills
 
 BEATRICE CENCI LED TO PRISON. 35 
 
 left limb is bent at the knee, his right extended, and his 
 hands lie naturally at his sides. He wears a black coat, 
 white vest, and shirt thrown open in front, light knee- 
 breeches and buckle-shoes, or black top-boots. He should 
 be of dark complexion, and his face is made up very pale. 
 The hatchets used may be those with steel blades, or made 
 of painted wood ; and the Indian chief may carry a long 
 pointed wooden spear in place of a musket. The light 
 should be a bright-red fire thrown from the right. The 
 music should be loud, but solemn, with sounds of guns made 
 outside. 
 
 BEATRICE CENCI LED TO PRISON. 
 
 NINE LADIES. 
 
 THE subject of this picture is the leading to prison of 
 Beatrice Cenci, the beautiful parricide, by the black nuns, 
 her custodians. 
 
 The characters are represented by eight ladies, of any 
 complexion, but having, if possible, straight features ; and 
 by one young lady of light complexion, straight features, 
 and long hair. The ladies representing the nuns stand in
 
 36 PARLOR TABLEAUX. 
 
 couples in a line extending diagonally from back to front 
 of the stage, presenting a two-thirds view of their faces to 
 the audience. The couples stand at distances of two or 
 feet three apart, according to the size of the stage ; four 
 of the ladies standing in front, and four behind, the lady 
 personating Beatrice, who has her position in the centre of 
 the stage. 
 
 The ladies representing the nuns wear narrow black 
 skirts of alpaca or any plain material, waists of the same, 
 broad white paper-collars round the neck, white handker- 
 chiefs covering the hair, drapery-sleeves to dress, and long 
 black veils thrown over the head, and falling over the 
 shoulders. 
 
 They should also have a string of imitation white beads, 
 attached to a wooden cross, fastened to the waist, and a 
 white paper-cross pinned over the chest. The four ladies 
 on the outside carry a candle, lighted, and held up nearly 
 to the height of the shoulder, in the hand nearest to the 
 audience. The ladies on the inside carry candles, held in 
 the same way in the hand nearest the back of the stage : 
 the other hand hangs naturally at the side, or holds the 
 cross and beads. The young lady representing Beatrice 
 stands in the centre of the stage, two-thirds of her face
 
 THE INTERRUPTED DUEL. 37 
 
 towards the audience, and her head bent forward, looking 
 down. Her hands are clasped over a cross similar to that 
 worn by the nuns, and her hair should be allowed to fall 
 loosely over her shoulders. She wears a plain white dress, 
 long skirt, drapery-sleeves, tied round the waist with the 
 cord to which the beads are attached. Her face, and that 
 of the nuns, should be quite pale. Music very slow arid 
 solemn. A clear white light should be thrown upon the 
 nuns nearest the audience, and on the face of Beatrice. 
 
 THE INTERRUPTED DUEL. 
 
 FOUR GENTLEMEN AND ONE LADY. 
 
 THIS very effective tableau is from one of the great nov- 
 els of the day, and is so entirely original as to render it 
 acceptable even to the most experienced tableau-manager. 
 
 The stage should be covered with pillows, and rolls of 
 clothing placed in different parts, with sheets over the entire 
 stage, to represent a field of snow. Two of the gentlemen, 
 representing the duellists, stand on opposite sides of, and in 
 a line with, the centre of the stage. They stand facing each 
 other, the sides of their faces towards the front, their right
 
 38 PARLOE TABLEAUX. 
 
 hands extended, each pointing a pistol at the other in the 
 act of firing, and looking at each other with a stern expres- 
 sion. They wear square-cut English suits, with knee- 
 breeches, or modern black dress. The lady stands in the 
 centre of the stage, her face turned a little towards the left, 
 with a proud expression ; her body erect ; the left hand 
 holding up her habit, and the right arm raised across her 
 breast. She wears a long riding-habit, and black hat with 
 long feather. At the back of the stage stand the other two 
 gentlemen, representing the seconds. One of them stands 
 with his arms folded, looking out upon the group in front : 
 the other stands with his left arm at his side, and his right 
 raised, extending a white handkerchief, the signal of the 
 firing. They are dressed similarly to the principals, with 
 the addition of hats in keeping with the character of their 
 dress. Music alternately loud and soft. 
 
 A red light should be thrown upon the group in the fore- 
 ground, leaving the others in the shade.
 
 CONSOLATION IN MUSIC. 39 
 
 CONSOLATION IN MUSIC. 
 
 ONE GENTLEMAN AND ONE LADY. 
 
 'Tis Music hath the magic power, 
 
 From opening spring to winter's close. 
 To soothe in sorrow's darkest hour 
 
 The heart oppressed by deepest woes. 
 Sweet Music ! Music hath a magic power! 
 Sweet Music ! Music hath a magic power ! 
 
 'Tis Music brings us back again 
 Joys we prized in youth's bright days, 
 
 When, listening to the witching strain, 
 Time on light wings flew away. 
 
 'Tis Music, 'tis Music, 
 
 'Tis Music lends a golden hue 
 To life's tide as it glides along : 
 
 Then let us render homage due 
 To Music and her sister, Song ! 
 Sweet Music ! Music and her sister, Song ! 
 Sweet Music ! Music and her sister, Song ! 
 
 RICHARD RYAN. 
 
 Tins very fine tableau is from a German subject, repre- 
 senting a lady iu affliction, who has come for comfort and 
 support to an old friend, a professor of music, whose magic
 
 40 PARLOR TABLEAUX. 
 
 tones bring solace to her suffering. At the right of the 
 stage, a parlor-organ, melodeon, piano-forte, or some simi- 
 lar instrument, should be placed, with one end towards tho 
 audience. The professor is seated at the instrument, with 
 his face towards the right, his arms raised, and his fingers 
 touching the keys, as if playing. His face is turned, so as 
 to show about two-thirds to the audience. He wears a long 
 black robe reaching to the ground, with drapery-sleeves, 
 black skull-cap, and long white beard. He should be of 
 straight features, with a thoughtful, dignified expression 
 upon his face, and should be seated in a large arm-chair. 
 
 The lady should be young, and of handsome features. 
 She is seated upon a low chair or stool, to the left of the 
 professor, with her hands folded upon her lap, and her head 
 inclined backward, leaning against the professor's chair ; 
 while her face is turned towards the left, with a quiet but 
 sad expression. She wears a long white muslin robe hang- 
 ing close to the form, with drapery-sleeves, and a black 
 belt. Her hair should be allowed to fall loosely over her 
 shoulders. There may also be upon the stage a small table 
 at the left, and a portfolio of music leaning against the arm- 
 chair on the right. Music of a mournful character, played 
 very softly.
 
 TAKING THE OATH. 41 
 
 TAKING THE OATH. 
 
 THREE GENTLEMEN AND ONE LADY. 
 
 THIS group represents a scene of the late war ; similar 
 incidents of the kind occurring in all of the principal South- 
 ern cities upon their occupation by the Union forces. 
 
 The ladies of New Orleans were particularly bitter in 
 their feelings, and very overbearing in their treatment of 
 the Union soldiers ; but, when it came to be a question 
 of submission or starvation, many were glad to humbly 
 yield, and take the oath of allegiance with becoming 
 humility. 
 
 The scene is supposed to represent the headquarters of 
 the provost-marshal at New Orleans. The characters are 
 a Union officer, a young contraband in attendance, a South- 
 ern lady, and her little boy. 
 
 A barrel, supposed to contain rations, occupies the centre 
 of the stage ; the officer standing behind, with his left hand 
 raising his cap from his head, his right hand extending a 
 Bible towards the lady, and looking at her with a searching 
 expression.
 
 42 PARLOR TABLEAUX. 
 
 He should wear either a lieutenant's or captain's uni- 
 form, dark-blue coat, open in front, and blue pants. He 
 should be tall, and of good features, with mustache and 
 imperial. 
 
 The lady stands on the left of the stage, with her right 
 hand upon the Bible, her eyes looking down towards the 
 ground, and her head inclined forwards ; while her left hand 
 is held in that of her little boy beside her. She wears a 
 gray travelling-dress, with high neck and long sleeves ; a 
 mantle of the same, or of black silk, upon her shoulders ; 
 and a plain white collar, and knot of ribbon, upon her neck. 
 Her hair is uncovered, and plainly dressed. The little boy 
 should be about eight or ten years of age. He stands beside 
 and very close to his mother, on her left, with one hand hold- 
 ing hers ; while with the other he endeavors to cover his face 
 with her dress, as he peeps shyly out at the officer. He is 
 dressed in light jacket and trousers ; collar, and knot of rib- 
 bon, on his neck. 
 
 The young contraband stands on the right of the stage, 
 with his elbows resting on the barrel, and his chin sup- 
 ported on his hands: he looks across at the lady with a 
 wondering expression. He is dressed in striped shirt and 
 trousers, waistcoat, and heavy shoes. Music, " Vive 1' Ame- 
 rica!"
 
 THE BELIEVER'S VISION. 43 
 
 THE BELIEVER'S VISION. 
 
 FOUR LADIES. 
 
 Angels ever bright and fair, 
 Take, oh ! take me to your care ; 
 Spread to your own courts my flight, 
 Clad in robes of virgin white. 
 
 AT the back of the stage, a small platform or long box, 
 two or three feet high, should be placed ; .the edge nearest 
 the front being about three feet from the background of the 
 stage. A small box, about two feet high, should be placed 
 upon this platform, in the centre. A set of dark curtains 
 should be hung, and looped up at the sides, hanging just in 
 front of this platform. A lounge is placed at the left of the 
 stage, just in front of the platform ; and a small table, upon 
 which is a book opened, a tumbler, and glass vials, just in 
 front of the head of the lounge, upon the left. A young 
 lady, the principal figure in the tableau, lies upon the 
 lounge, with her head towards the left, her face towards the 
 audience, and her hands crossed, and lying upon her lap.
 
 44 PARLOR TABLEAUX. 
 
 Her eyes are closed as in sleep ; and her face wears a 
 peaceful, smiling expression. She wears a long white robe 
 hanging in folds, with loose drapery-sleeves. Her hair is 
 light, and hangs loosely over her shoulders. 
 
 Upon the right side of the small platform, at the back of 
 the stage, a young lady representing an angel stands. Her 
 head is bent forward towards the left, and her arms ex- 
 tended with a welcoming gesture towards the sleeping lady, 
 as she looks down upon her with a smiling expression upon 
 her face. She wears a robe of white drapery, with wide 
 flowing sleeves ; wings of paper or muslin on wire frames ; 
 and her hair flowing loosely over her shoulders. Another 
 young lady stands at the left side of the one just mentioned. 
 with her right hand resting upon her companion's shoulder, 
 her left extended towards the sleeping lady, and looking 
 down upon her with a smiling expression. She is dressed 
 similarly to her companion. The remaining lady stands 
 upon the small box behind, with her face turned upwards ; 
 her right hand raised, pointing upwards ; her left at her side. 
 She wears white drapery and wings, with a single silver 
 star upon her forehead. The ladies on the platform should 
 be surrounded with blue smoke. Music, some sacred hymn.
 
 THE SOLDIER'S MOTHER. 45 
 
 THE SOLDIER'S MOTHER. 
 
 THREE LADIES, A BOY, AND A YOUNG GIRL. 
 
 There comes new light to her dimming eye, 
 
 As she opens the fatal scroll 
 With a dying hope, whose wondrous charm 
 
 Holds her back from her nearing goal. 
 No tear for her darling, who, free from harm, 
 
 For his country his life-blood hath shed ; 
 But her thin lips part as the broken heart 
 
 Takes in the record, " Dead ! " 
 
 Old friends and true bend kindly down, 
 
 And are murmuring soft and low; 
 But her dying glance is upon the line 
 
 That is sealing a mother's woe. 
 And the whisper seems like the voice of dreams 
 
 When night's first gloom is gone : 
 " Fighting, he fell with his face to the foe, 
 
 Cheering his comrades on ! " 
 
 The paper fell from a lifeless hand, 
 As she goes to her hero's side ; 
 
 But a smile is stamped on the rigid lip 
 In the life of a mother's pride.
 
 46 PARLOR TABLEAUX. 
 
 For there steals on the air, like a battle-prayer, 
 
 To bless her soul's new dawn, 
 " Fighting, he Jell with his face to the foe. 
 
 Cheering his comrades on ! " 
 
 THE poem which forms the subject of this tableau is 
 said to have been written in commemoration of a sad inci- 
 dent which actually occurred during the late war. The ter- 
 rible trials to which anxious parents must have been sub- 
 jected at that time are beyond description ; and the scene 
 given here is doubtless one of many which occurred at that 
 period. The group consists of a mother, her daughters 
 (one a young lady, the other a child), her young son, and 
 an old lady, a friend of the family. The young lady kneels 
 in the centre of the stage, her face towards the audience, 
 and her arms extended, supporting her mother, who leans 
 heavily against her right shoulder. She wears a blue dress 
 trimmed with white, or a white-muslin, with low neck and 
 short sleeves ; her hair becomingly dressed. Her head is 
 bent downwards, as she looks at her mother with an expres- 
 sion of grief upon her face. 
 
 The lady representing the mother should appear about 
 forty or fifty years of age. She lies upon the floor of the 
 stage, near the front ; her right haad held by her little girl
 
 THE SOLDIER'S MOTHER. 47 
 
 on the right ; her left, by her son. Her eyes are closed ; and 
 she leans back upon her daughter's shoulder with a smile 
 upon her face, which is very pale. She wears a plain black 
 dress, with white collar and wristbands, and gray hair. The 
 son is a boy of about fourteen years of age. He kneels at 
 the left side of his mother, holding her hand in his right, 
 and looking towards her with a sad expression. 
 
 He should wear a blue jacket and trousers, and white 
 waistcoat, or any similar modern dress. The little girl 
 should be from six to ten years of age. She kneels at the 
 right of her mother, holding her right hand, and looking up 
 at her face with an inquiring expression. She is of light 
 complexion, and dressed in white muslin, with blue sash. 
 
 The old lady friend stands at the right of the stage, with 
 her hands clasped, and looking down towards the mother 
 with an earnest expression. She wears a drab-colored 
 dress, white neckerchief, and white cap. The light upon 
 the tableau is thrown from the left. Music of a very solemn 
 character.
 
 48 PAKLOR TABLEAUX. 
 
 THE SEA OF ICE. 
 
 ONE FEMALE FIGURE. 
 
 THIS is a very impressive tableau, and may be produced 
 without any expensive accessories whatever. The scene is 
 from the well-known play of " The Sea of Ice," and repre- 
 sents the incident from which the drama takes its name. 
 
 A vessel, on board of which is a wealthy Spanish gentle- 
 man, is, at the instigation of one of the mutinous officers, 
 seized by the crew. The ship afterwards drifts from its 
 course, and goes to pieces on the icebergs ; all the crew and 
 passengers being lost, except a young girl, the child of the 
 Spanish gentleman. The stage should be covered with 
 large boxes irregularly arranged, and covered with white- 
 cotton sheets to represent blocks of ice. 
 
 In the centre of the stage, a box higher than the others 
 is placed, upon which the young girl, who should be about 
 eight years of age, kneels, with her hands clasped, her face 
 turned upward with an appealing expression. She is of 
 light complexion, with hair in curls, and dressed in white 
 muslin trimmed with blue, which, though inappropriate to
 
 THE FIRST APPEAL. 49 
 
 the time and place, is represented to have been worn 
 there. 
 
 A strip of paper or canvas may be passed across the 
 stage, near the front, to represent water ; though this is not 
 indispensable. A blue light should be thrown so as to fall 
 upon the face of the young girl. Music should represent 
 th<? roaring of water. 
 
 THE FIRST APPEAL. 
 
 ONE LADY AND ONE GENTLEMAN. 
 
 THE figures personating the characters in this tableau 
 should be dressed in the style of the last century. 
 
 Two bouquets or flower-pots, containing shrubs, may be 
 placed on both sides of the stage, as the place represented 
 is a garden, and a chair some distance back to the right of 
 the centre. . 
 
 The lady should be seated in this chair, looking towards 
 the left, with a little more than one-half of her face towards 
 the audience. She is listening to the young man with at- 
 tention, and looking down towards her work, which she 
 4
 
 50 PARLOR TABLEAUX. 
 
 holds in her left hand, her needle in her right, with Avhich 
 she is just taking a stitch. 
 
 She should be dressed in a blue skirt, over which is a 
 quilted skirt of some scarlet-colored material, looped up ; 
 and she also wears a long white-flowered jacket, with full 
 short sleeves, and low neck. The young man is dressed 
 in blue knee-breeches, striped stockings, and pumps with 
 buckles, a blue cut-away coat, and white-satin vest. AVith 
 his right hand he is nervously fingering a waistcoat-button, 
 while in his left he holds a flower. His right leg is crossed 
 over his left as he stands against the left wing of the stage, 
 looking down earnestly at the lady. To complete her cos- 
 tume, the lady should wear a small cap, and a rose in 
 her hair, which should be combed back in puffs. Music 
 lively. 
 
 THE IMAGE OF MAMMA. 
 
 A LADY AND A YOUNG GIRL. 
 
 THIS tableau brings into requisition a large mirror, which 
 should be placed to the left of the centre of the stage, sup- 
 ported so as to be visible to the audience.
 
 THE MOUNTAINEER. 51 
 
 The characters are a little girl and her mother. The 
 mother should be kneeling on her left knee, with the child 
 supported against her right. Her right arm should be 
 around the child, holding her right hand up in front of the 
 glass ; while her left hand is extended, pointing to the glass. 
 Her head is inclined towards that of the child, and her face 
 wears a smiling expression. She should be dressed in a 
 rich silk .dress, with low neck and sleeves. The child 
 stands looking into the glass, with a smile on her face. 
 She is simply dressed in a white muslin. Music lively. 
 
 THE MOUNTAINEER. 
 
 ONE YOUNG BOY AND ONE LADY. 
 
 THIS is a very simple picture, and may be readily pro- 
 duced wherever a young child of four or five years of age 
 may be made available. On the right of the picture, there 
 should be a piece of scenery, or two or three boxes covered 
 with baize, in imitation of a sloping bank. The female fig- 
 ure stands in the centre of the stage, looking towards the 
 right, the side of her face to the audience. She holds in 
 her right hand a straight branch of a tree, resting that and
 
 02 PARLOR TABLEAUX. 
 
 her right foot on the bank. Her left hand encircles the 
 child behind, who clings to her shoulders ; so that his chin 
 is at the height of her left shoulder, his head visible to the 
 audience. She wears a short dress of drab serge, with low 
 neck and short sleeves, with a blue jacket extending below 
 the waist. Her hair is plainly dressed, and on her head 
 she wears a handkerchief. The child is dressed in a tunic, 
 reaching to the knees (his legs being bare), with a small 
 cloth-cap, without visor, on his head. He looks directly for- 
 ward towards the audience, with a smile on his face. The 
 stage should not be very light ; and, outside, the sound of 
 thunder and of falling rain will add to the effect. Music 
 loud. 
 
 THE WELCOME SHELTER. 
 
 ONE GENTLEMAN AND ONE LADY. 
 
 THIS tableau represents a couple caught in a shower sit- 
 ting on a wooden bench. The lady is dressed in a silk 
 skirt raised from the ground, with a velvet mantilla and 
 lace bonnet. She holds in her right hand her parasol, 
 slightly raised ; while in her left hand she holds her skirt. 
 Her face ia turned toward the left, with an amused expres-
 
 DANTE AND BEATRICE. 53 
 
 sion. The gentleman holds in his right hand his umbrella, 
 opened, leaning forward towards her as if offering its use. 
 His face and upper half of his body should be concealed by 
 the umbrella ; and he should be seated so close to the huly 
 as to touch her right arm as he offers the shelter. Sounds 
 of falling rain may be made outside, and the music should 
 be very lively. 
 
 DANTE AND BEATRICE. 
 
 ONE GENTLEMAN AND ONE LADY. 
 
 " Speak ! speak unto thy lady, that she quench 
 
 Thy thirst with drops of sweetness." Yet black awe 
 
 Which loads it o'er me, even at the sound 
 
 Of Beatrice's name, did bow me down, 
 
 As one in slumber held. Not long that mood 
 
 Beatrice, suffered : she, with such a smile 
 
 As might have made one blest amid the flames, 
 
 Beaming upon me, thus her words began : 
 
 " Thou in thy thoughts art pondering, as I deem, 
 
 ("And what I deem is truth,) how just revenge 
 
 Could be with justice punished : from which doubt 
 
 I soon will free thee, so thou mark my words ; 
 
 For they of weighty matter shall possess thee." 
 
 * PAH A DISK, canto vii.
 
 54 PARLOR TABLEAUX. 
 
 THIS tableau is from the celebrated picture of this sub- 
 ject, which is doubtless familiar -to many as a very beautiful 
 work of art. 
 
 The character of Dante should be personated by a gen- 
 tleman with long, straight features, without beard or whis- 
 kers. His face should be made up so as to appear forty-five 
 or fifty years of age, with heavy black lines under the eyes, 
 and other marks of age. His dress is a long black domino, 
 with drapery-sleeves, a tight-fitting sleeve underneath, and 
 a black hood, closely fitting round the head and face, coming 
 down on the forehead so as to hide the hair entirely. He 
 should stand at the right, looking up at Beatrice, with his 
 left hand on his breast, his right hand and forefinger raised, 
 as if asking some question ; while he looks at her with au 
 earnest expression. 
 
 Beatrice should stand somewhat nearer the front of the 
 stage than Dante, on a long box, hidden from the front by 
 pasteboard painted in imitation of the clouds. She should 
 be dressed in a plain, long robe of white drapery, trailing 
 behind, with long, wide sleeves, and cut so as to show 
 about half the neck. Her hair is combed back quite low, 
 covering the ears ; and she wears on her head a wreath of 
 laurel or ivy, and a long veil falling behind. Her left arm
 
 THE CROWN OF GLORY. 55 
 
 and hand hang naturally at her side, while her right is 
 raised to her bosom. Her face is turned a little towards 
 the right, and she looks upwards with a hopeful expression. 
 The young lady personating Beatrice should be tall, with 
 straight features, and of light complexion. A bright light 
 should be thrown upon Beatrice, and blue smoke should be 
 made around her for clouds. Music very soft. 
 
 THE CROWN OF GLORY. 
 
 FIVE LADIES. 
 
 Vital spark of heavenly flame, 
 Quit, oh ! quit, this mortal frame ! 
 Trembling, hoping, lingering, flying, 
 Oh the pain, the bliss, of dying ! 
 Cease, fond Nature, cease thy strife, 
 And let me languish into life. 
 
 Hark ! they whisper ; angels say, 
 " Sister -spirit, come away ! " 
 What is this absorbs me quite, 
 Steals my senses, shuts my sight, 
 Drowns my spirits, draws my breath ? 
 Tell me, my soul ! can this be death f 
 
 The world recedes, it disappears ! 
 Heaven opens on my eyes ; my ears 
 With sounds serapbic ring.
 
 56 PARLOR TABLEAUX. 
 
 Lend, lend your wings ! I mount ! I fly I 
 O Grave ! where iS thy victory 1 
 Death ! where is thy sting ? 
 
 ALEXANDER POPE. 
 
 THE original picture from which this tableau is taken is 
 a very celebrated painting belonging to one of the London 
 galleries. On the left of the stage, about three feet from 
 the back, a lounge, or couch, is placed, covered with some 
 rich crimson material. 
 
 The principal lady of the group is discovered extended 
 upon the lounge, her head towards the left of the stage, 
 her face turned upwards, with eyes closed, as in sleep, and 
 with a smile upon her face. She is dressed in a Spanish 
 costume, elegant white-satin dress, crimson jacket, and 
 long white-lace veil passing around her head and face, and 
 hanging over her shoulders. Her right hand lies upon her 
 breast ; her left is extended on the couch beside her. Upon 
 the right of the stage, the attendant of the lady is seated 
 rather nearer the front. A book, opened, rests upon her 
 lap, which she holds in her hands ; her head slightly in- 
 clined downwards, as if reading ; her face being towards 
 the left. 
 
 She should be of dark complexion, and costumed in a
 
 THE CROWN OF GLORY. 57 
 
 black-silk dress, black coronet, and long black-lace veil 
 hanging from her head over her shoulders. At the back of 
 the stage, in the rear of the lounge, a long box should be 
 placed as an additional stage for the remaining figures, and 
 covered with green or some dark-colored material. This 
 stage is partially separated from the front by curtains drawn 
 aside sufficiently to exhibit a good view of the figures from 
 the front. Two of the 'ladies stand near the front of this 
 small stage, holding forward, above the lady upon the couch , 
 a wreath of laurel, or a crown made of silver-paper : each 
 has an arm around the other's waist, while the other hand 
 is extended with the crown. They should stand with their 
 faces toward the left, bending over and looking down upon 
 the lady below. They are dressed in simple robes of white, 
 with drapery-sleeves reaching to the elbow, and the hair 
 falling behind in curls. They may also have artificial wiugs 
 of white muslin or paper over a wire frame. The remain- 
 ing lady stands behind the two just described, elevated 
 about a foot higher from the level of the stage. Her left 
 hand is at her side ; her right raised above her head, and 
 pointing upwards ; her face is also turned upwards. She 
 wears a full robe of white drapery, hanging in folds, and a 
 circlet, or crown, upon her head. A bright-blue light should
 
 58 PARLOR TABLEAUX. 
 
 be thrown upon the sleeping lady and the angels, and the 
 latter surrounded with blue smoke. Music, some sacred 
 hymn. 
 
 SCREEN-SCENE FROM THE SCHOOL FOR 
 SCANDAL. 
 
 THREE GENTLEMEN AND ONE LADY. 
 
 Sir Peter. Harkee, have you a mind to have a good laugh at 
 Joseph ? 
 
 Charles Surface. I should like it of all things. 
 
 Sir P. Then i' faith we will. I'll be quits with him for discovering 
 me. He had a lady with him when I called. ( Whispers.) 
 
 Charles S. What, Joseph 1 You jest. 
 
 Sir P. Hush ! A little French milliner ; and, the best of the jest is, 
 she's jn the room now. 
 
 Charles S. The devil she is ! ' 
 
 Sir P. Hush ! I tell you. (Points at screen.) 
 
 Charles S. Behind the screen ! S'life! let us unveil? 
 
 Sir P. No, no ! he's coming : you sha'n't indeed ! 
 
 Charles S. Oh, egad ! we'll have a peep at the little French milliner. 
 (Endeavoring to get towards the screen, Sir PETER preventing.) 
 
 Sir P. Not for the world ! Joseph will never forgive me. 
 
 Charles S. I'll stand by you. 
 
 Sir P. Odds ! here he is. (JOSEPH SURFACE enters as CHARLES 
 throws down the screen.) 
 
 Charles S. Lady Teazle, by all that's wonderful I 
 
 Sir P. Lady Teazle, by all that's damnable !
 
 SCREEN-SCENE FKOM THE SCHOOL BOR SCANDAL. 50 
 
 THE selection from the well-known comedy of "The 
 School for Scandal," given above, explains very well the 
 scene of the tableau. 
 
 The characters are discovered in the positions which they 
 assume, when the screen is thrown down. Sir Peter Teazle 
 is at the right of the stage, near the front ; his hands are at 
 bis sides ; his head bent dowii, as he looks toward Joseph 
 with a sad, reproachful expression. 
 
 He is dressed in a dark or salmon-colored coat and 
 breeches, white -satin vest$ silk stockings, shoes with 
 buckles, lace ruffles, and white wig. Lady Teazle stands 
 at the right of the centre of the stage, some distance back. 
 Her right hand is raised to her lips, and she looks down 
 with a mortified expression. A large dressing-screen is 
 thrown down at her feet. 
 
 She is dressed in an elegant gauze dress, embroidered 
 with flowers ; white-satin petticoat and bodice ; and plume 
 of feathers in her hair, which is rolled back from the 
 forehead. 
 
 Charles Surface is on the left of Lady Teazle, nearer the 
 centre of the stage. His right hand is extended towards 
 the lady ; and he looks at Sir Peter with an amused, sur- 
 prised expression. He should be rather jauntily dressed in
 
 60 PARLOR TABLEAUX. 
 
 a green coat, white waistcoat, light breeches, dress-shoes, 
 and white-silk stockings. 
 
 Joseph Surface is opposite to Sir Peter Teazle, on the 
 left of the stage, near the front. His head is towards the 
 
 right, his hands clasped in front of him ; and he looks 
 
 
 toward Sir Peter with an expression of shame upon his 
 
 face. His dress is a dark coat, black-velvet waistcoat, 
 black-satin breeches, stockings and pumps. 
 
 The room should be handsomely furnished with modern 
 furniture, a small table and Chair on the left ; and a small 
 sofa, or tete-a-tete, at the back. The character of Charles 
 Surface should be represented by a young man, whose gen- 
 eral make-up is careless and bold-looking. Joseph Surface 
 should be older, and made up in rather more sombre style. 
 As it would be difficult to find any music particularly ap- 
 propriate to such a scene, the usual accompaniment may be 
 omitted in this tableau.
 
 THE DUEL IN THE SNOW. 61 
 
 THE DUEL IN THE SNOW. 
 
 FOUR GENTLEMEN AND ONE LADY. 
 
 "I sometimes call myself Justice." 
 
 ANGEL OF THE MIDNIGHT, act iv. 
 
 THIS scene is from the popular melo-drama, u The Angel 
 of the Midnight," which is probably familiar to many city 
 readers, and forms a strikingly original and effective tab- 
 leau. On the rising of the curtain, a large handful of small 
 pieces of white paper, to represent snow-flakes, should be 
 thrown into the air above the stage, and reuewe3, if neces- 
 sary, during the continuance of the tableau. The stage 
 should be covered with white cotton sheets or cloth ; with 
 small evergreens in the background, if convenient. An 
 irregular piece of wood covered with white occupies the 
 centre of the stage. The lady should stand in the centre of 
 the stage, with a staff in her left hand, held close to her 
 body, and her right hand raised above her head, pointing 
 upwards ; her face turned upwards with an earnest expres- 
 sion. She is dressed in a loose slate-colored dres.s with
 
 G2 PARLOR TABLEAUX. 
 
 drapery-sleeves, and a hood of the same thrown back upon 
 her shoulders. She should be tall, of dark complexion, and 
 straight features. 
 
 The gentleman known as Capt. Satan in the play stands 
 at the right of the stage, near the front. The characters in 
 the piece are supposed to have just come from a masque- 
 rade, where the challenge was given ; and he still wears his 
 " Mephistopheles " dress, which consists of red shirt, trunks 
 slashed with black, black cape fastened to the shoulders, red 
 stockings, black shoes, long black wig, black mustache and 
 imperial, with eyebrows made up to correspond. He has 
 just received a fatal wound ; and his right hand, holding 
 his sword, is lowered to the hip, and his left hand placed 
 over his breast. His head is inclined backwards upon the 
 shoulder of the gentleman who supports him : his face still 
 wears an expression of malice and disappointment. His 
 adversary stands at the left of the stage, near the front : 
 his left hand is extended behind him, in the position of 
 "guard;" his right extended, holding his sword a little 
 lowered fi-om the level of his antagonist's breast. His facu 
 wears a determined expression as he looks towards his 
 opponent. 
 
 His costume is a black-velvet cut-away coat, with jet
 
 DUEL IN THE SNOW. 63 
 
 buttons, waistcoat of the same, velvet breeches, black- 
 silk stockings, and buckle shoes. The second of Capt. 
 Satan stands directly behind him, his right arm under the 
 captain's right, his left supporting the captain's left arm. 
 He stands looking down upon him, with an expression of 
 alarm upon his face. He wears an evening-dress of black 
 cloth, and tall silk-hat. The other second is on the left, 
 behind his principal, at some little distance, and nearer the 
 rear of the stage.. His left foot is placed at about two feet 
 in front of the right, as if advancing ; and his head stretched 
 forward as he looks toward the duellist with an anxious 
 expression. He is dressed similarly to the opposite second, 
 with an evening-dress of black cloth, modern, and tall silk- 
 hat. The manager outside should take care that the imita- 
 tion-snow is kept falling, and should provide himself with 
 a sufficient quantity of small pieces of white paper a quar- 
 ter of an inch square for the purpose. A bright white light 
 should be thrown upon the figures. 
 
 Music, " Prayer from Der Freitschutz," or other similar 
 piece, very softly played.
 
 64 PAKLOK TABLEAUX. 
 
 THE TWO BRIDES. 
 
 TWO LADIES. 
 
 Worn with fasting and with vigil, 
 And with centuries of prayers ; 
 With a thousand tasks of penance, 
 And the living death of years ; 
 With half-hearted Aves weary ; 
 Weary with the callous psalm ; 
 Weary with the listless Credo, 
 And the strain of outward calm ; 
 
 Sleep, by evil spirit troubled, 
 
 Fleeing at the matin-bell ; 
 
 Tears that start to eyes scarce waking 
 
 Sighs that will not quit her cell : 
 
 So the long-drawn days have opened 
 
 Of the lonely, loveless life 
 
 Of a bride, the bride of Heaven, 
 
 A living bride, but never wife. 
 
 So she leaves her round of duties, 
 Brings what show of joy she may, 
 To infold her blushing sister 
 In her arms this bridal day :
 
 THE TWO BRIDES. 65 
 
 And she trembles as she greets her 
 With what loving words she can ; 
 Trying to trust in God and mercy, 
 Yet she disbelieves in man. 
 
 A SISTER OF CHARITY, who for years has excluded herself 
 from the world from some bitter disappointment in youth, 
 emerges from her retirement on the occasion of her sister's 
 wedding-day, and is present with the young bride for the 
 first time since the younger sister's childhood. The young 
 bride of twenty, with her bright future before her, and the 
 woman of forty, who knows no further joys in life, and to 
 whom this scene recalls sad recollections of the past, form a 
 striking contrast. The young bride stands at the right of the 
 centre of the stage, her hands elapsed upon her bosom, and 
 looking out towards the right with a pleased, hopeful ex- 
 pression. She is dressed in white, with a wreath of orange- 
 blossoms, and a veil hanging almost to the ground. Her 
 companion is dressed in a robe of black serge with drapery- 
 sleeves, a tight-fitting white cap, white band round the chin, 
 and broad white collar. Her arms are around her sister's 
 neck, her face careworn ; and she looks toward the right 
 with a sad and painful expression. A soft white light 
 should be thrown from right. Music, some sacred hymn. 
 5
 
 t>6 PARLOR TABLEAOX. 
 
 THE WOUNDED SCOUT. 
 
 TWO GENTLEMEN. 
 
 As loftier rise the ocean's heaving crests 
 
 Ere they sink, tempest-driven, on the strand ; 
 
 So do these hearts and freedom-beating breasts, 
 Sublimed by suffering, fall upon our land. 
 
 Wounded ! sweet-lipped word ! for on the page 
 Of this strange history, all these scars shall be 
 
 The hieroglyphics of a valiant age, 
 Deep writ in Freedom's blood and mystery. 
 
 Then deem them not as lost, those bitter days ; 
 
 Nor those which yet in anguish must be spent 
 Far from loved skies and home's peace-moving ways : 
 
 For these are not the lovers you lament. 
 
 It is the glory that your country bore 
 Which you would rescue from a living grave ; 
 
 It is the unity that once she wore 
 
 Which your true hearts are yearning still to save. 
 
 REBELLION RECOBD
 
 THE WOUNDED SCOUT. G7 
 
 THIS is one of many scenes of the kind that doubtless 
 occurred during the late war, and represents a Union sol- 
 dier, badly wounded, supported by a faithful negro refugee, 
 who has fallen in with him, barely in time to rescue him 
 from death. The soldier stands a little to the right of the 
 centre of the stage, his head leaning against his compan- 
 ion's shoulder, his left arm supported by the negro, and his 
 right arm hanging at his side. The right sleeve of the sol- 
 dier's coat should be ripped up ; the seam showing the bare 
 arm, round which a bandage is tied at the elbow, and a 
 small branch of a tree twisted through the bandage, with 
 one end fastened to his belt. 
 
 He should be dressed in the Union uniform, dark-blue 
 coat, and light-blue trousers. His head is bare ; and his face 
 wears an expression of anguish, as, with his eyes partly 
 closed, he leans against the negro. The gentleman personat- 
 ing the negro should be rather tall, and of stout frame : his 
 face, neck, and arms should be properly blacked ; and he 
 should stand with his right arm round the soldier, his left 
 arm raising the left arm of the soldier. His face is looking 
 towards the right with a watchful expression. 
 
 He is dressed in a torn, striped shirt, and short trousers, 
 also torn. Flashes of red light should be thrown from the
 
 68 PARLOR TABLEAUX. 
 
 right upon the figures, leaving the stage very dark at inter 
 vals. Music alternately loud and soft. 
 
 THE LION IN LOVE. 
 
 ONE LADY AND GENTLEMAN. 
 
 Ah ! love was never yet without 
 The pang, the agony, the doubt, 
 Which rends my heart with ceaseless sigh, 
 While day and night roll darkling by. 
 
 Without one friend to hear my woe, 
 I faint, I die, beneath the blow : 
 That love had arrows, well I knew ; 
 Alas ! I find them poisoned too. 
 
 In flattering dreams, I deemed thee mine ; 
 Now hope, and he who hoped, decline : 
 Like melting wax or withering flower, 
 I feel my passion and thy power. 
 
 My light of life, ah ! tell me why 
 
 That pouting lip and altered eye : 
 
 My bird of love, my beauteous mate ! 
 
 And art thou changed ? and canst thou hate ? 
 
 BYHOW.
 
 THE LION IN LOVE. 69 
 
 THIS is a little domestic tableau, and represents an old 
 British-army officer, who, yielding to the tender passion, 
 has become the devoted admirer of a young French lady, 
 who heartily enjoys his awkward but well-meant endeavors 
 to show her attention. A sofa, or tete-a-tete, should be 
 placed in the centre of the stage, upon which the couple are 
 seated, the lady being at the right. Her right arm. is upon 
 the arm of the sofa, while her left is slightly raised 
 and extended, holding a small lace handkerchief ; her head 
 is inclined forward, looking at her companion with an 
 amused expression. She wears a black-velvet basque with 
 drapery-sleeves, and under-sleeves of lace, lace collar, and 
 crimson-silk skirt ; or a handsome evening dress. Her hair 
 should be dressed in the French style, with puffs at the side, 
 and back comb. 
 
 The old officer should be seated on the left of the sofa, 
 his left hand holding a needle up before him, which he is 
 vainly endeavoring to thread with his right : his features 
 are wrinkled with a frown, as he looks at the needle with 
 an anxious expression. He wears a red cut-away coat with 
 gilt buttons and epaulets, trousers of white or buff mate- 
 rial, and a gray wig, with side-whiskers and mustache. 
 His sword and hat are lying upon the floor at his feet. The
 
 70 PARLOR TABLEAUX. 
 
 stage may have a small table with flowers on each side, or 
 ornamental chairs. Music, some lively waltz. 
 
 ANGELS OF BUENA VISTA. 
 
 FOUR GENTLEMEN AND THREE LADIES. 
 
 Close beside her, faintly moaning, fair and young, a soldier lay, 
 Torn with shot, and pierced with lancer, bleeding slow his life away; 
 But, as tenderly before him the lorn Ximena knelt, 
 She saw the Northern eagle shining on his pistol-belt. 
 
 With a stifled cry of horror, straight she turned away her head; 
 
 With a sad and bitter feeling looked she back upon h n r dead : 
 
 But she heard the youth's low moaning and his struggling breath of 
 
 pain, 
 And she raised the cooling water to his parching lips again. 
 
 Whimpered low the dy : ng soldier, pressed her han'l, and faintly smiled. 
 Was that pitying face hi* mother's ? did she watch beside her child ? 
 All his stranger words with meaning her woman's tieart supplied. 
 With her kiss upon his forehead, " Mother! " murmured he, and died. 
 
 But the noble Mexic women still their holy task pursued 
 
 Through that long dark night of sorrow, worn and faint, and lacking 
 
 food : ' 
 
 Over weak and suffering brother with a tender care they hung, 
 And the dying foeman blessed them in a strange and Northern tongue.
 
 ANGELS OF BUENA VISTA. 71 
 
 Not wholly lost, O Father ! is this evil world of ours : 
 Upwards from its dust and ashes spring afresh the Eden-flowers ; 
 From its smoking hell of battle, love and pity send their prayer ; 
 And still thy white-winged angels hover dimly in the air. 
 
 WHITTIER. 
 
 THIS tableau, from the famous poem of the above title, 
 represents a scene upon the battle-field of Buena Vista, in 
 many respects the hardest-fought battle of the Mexican 
 War of 1845 and 1848. It furnishes a subject strikingly 
 beautiful for the purpose of a tableau, and may be pro- 
 duced with but little preparation and expense. 
 
 The foreground of the picture, in the centre, is occupied 
 by two figures, a lady and gentleman, in the position 
 described in the second stanza of the poem quoted above. 
 
 A soldier of the United-States army is discovered lying 
 upon the floor, his head towards the right of the stage, 
 and the upper portion of his body raised from the floor by 
 the lady beside him. He is dressed in the dark-blue coat 
 and trousers worn at that time ; his head is bare ; and the 
 mark of a wound is painted upon his forehead, his face 
 being very pale. 
 
 His right hand rests upon the floor, partially supporting 
 his body ; while his left is raised towards the lady, as if eu-
 
 72 PARLOR TABLEAUX. 
 
 deavoring to grasp her hand. He gazes upwards at the 
 lady, with a faint smile upon his face. 
 
 The lady kneels at his left side, with her right arm 
 thrown around his neck, and raising him, while her left 
 holds a cup of water towards his lips ; and she looks at him 
 with a sad but tender expression on her face. She should 
 be of dark complexion, and her hair should be allowed to 
 fall over her shoulders. Her costume is a dress of white 
 silk or satin, black-velvet bodice, and a long cloak, or robe, 
 with drapery-sleeves, of crimson or black colored material, 
 thrown open in front, with a long black veil upon her head, 
 hanging over her shoulders. On the left of the stage, one 
 of the other ladies is kneeling, looking down at a Mexican 
 soldier, whose head is in her lap : her right hand is laid 
 upon bis head, while her left holds a small cross before 
 him. She should be dressed in a costume of scarlet or 
 crimson colored dress, with black bodice, long black robe, 
 or cloak, with drapery-sleeves, thrown open in front, and a 
 gilt coronet upon her head, with veil falling behind. The 
 soldier lies with his head upon her lap, his eyes closed, and 
 his feet towards the centre of the stage. His face should 
 be very pale ; and he should wear a uniform of dark trousers 
 and green jacket, open in front : his arms should be a!lu\vod
 
 ANGELS OF BUENA VISTA. 73 
 
 to fall naturally at his side. Upon the right of the stage, 
 a soldier in the United-States uniform is lying, with his 
 head towards the right, his face towards the audience ; his 
 right arm extended under his head towards the right, while 
 his left arm hangs naturally by his side. The mark of a 
 sabre-wound is made upon his temple, and his eyes are 
 closed. A lady kneels beside him, a little farther towards 
 the back of the stage, with her hands clasped, as if offering 
 a prayer. She wears u dress of blue silk, dark bodice, and 
 white robe, with drapery-sleeves reaching to the elbow. 
 Her hair is dressed in the Spanish style, with a large comb 
 behind, a coronet of silver or pearl beads, and a long veil 
 hanging over her shoulders. 
 
 Tlie remaining figure of the group is a gentleman, 
 dressed in a uniform of dark-green jacket and trousc/s, 
 lying in the centre of the stage, in the rear of the couple in 
 the foreground. His face is very pale, and his hands are 
 crossed upon his breast. His eyes are closed, and his felt 
 hat, with plume, is laid beside him. A white light should 
 be thrown from the right upon the figures, changing to a 
 brilliant red flame. 
 
 Music alternately loud and soft, ending in some sacred 
 hymn.
 
 74 PAKLOK TABLEAUX. 
 
 MIGNON ET SON PERE. 
 
 ONE GENTLEMAN AND A YOUNG GIRL. 
 
 
 
 THIS tableau is from an old engraving, and represents an 
 old bard and his grandchild in a picturesque attitude. The 
 old man is on the left hand of the picture, and near the 
 front. He is dressed in a loose monk's robe of black or 
 brown serge, with the hood thrown back on his shoulders. 
 He kneels upon his right knee ; while his right arm is car- 
 ried across his body, and rests upon his left knee, which is 
 slightly raised from the floor. His left hand rests upon an 
 okl-fashioned harp beside him ; while, with a fixed, melan- 
 choly air, he gazes forward. He should have a full, pointed, 
 white beard and mustache and wig, to match with a bald 
 front. 
 
 Mignon's costume is a plain white-cotton waisc, with low 
 iieck and drapery-sleeves, showing her arms bare to the 
 elbow. Her skirt is a plain gray serge, with a small scarf 
 for girdle, reaching a trifle below the knees, showing her 
 feet, which are without shoes. The hair should be combed
 
 THE REPRIMAND. 75 
 
 plainly back from her face, and allowed to hang down on 
 her shoulders. Mignon is standing to the right of the old 
 man, looking wistfully at him, with her chin supported upon 
 her left hand, the elbow of which rests upon the back of her 
 right hand, as it lies upon her left hip. This position will, 
 of course, present a -two-thirds view of her face to the 
 audience. A bright white light should be thrown upon the 
 female figure, leaving the old man entirely in the shade. 
 Music very slow and soft. 
 
 THE REPRIMAND. 
 
 SIX OR EIGHT LADIES. 
 
 THE scene of this tableau is laid in a charity-school, and 
 may bring into service any number of young girls from six 
 to fourteen years of age. 
 
 A lady, personating a Sister of Charity, should be seated 
 on the right of the stage, facing the audience, looking 
 towards the left. In her left hand she holds that of one of 
 the little girls, who stands before her; while her right arm 
 is raised, her finger extended* as if admonishing the young
 
 76 PARLOR TABLEAUX. 
 
 girl. She should be dressed in plain black, with very broad 
 white collar, and cap, or hood, also white. The little girl 
 should be dressed in a brown or blue dress, with long calico 
 pinafore. She should stand to the left of the lady, with one 
 finger in her mouth, and looking down towards the ground , 
 as if ashamed. * 
 
 One of the girls should be seated in the right corner of 
 the stage, nearest the audience, with her back towards the 
 audience, looking intently at the lady and young girl. The 
 remaining girls should be seated on low benches, at the rear 
 of the stage. Music lively. 
 
 THE REWARD OF MERIT. 
 
 A LADY AND SIX OR MORE YOUNG GIRLS. 
 
 THIS is a companion-picture to " The Reprimand," and 
 brings into service the same characters. The lady person- 
 ating the Sister of Charity stands in the centre of the stage. 
 She should carry in her hands pictures and cards for re- 
 wards. The children should be ranged around her, some 
 in groups of two or three, pointing at and showing each 
 other their rewards ; while five or six press around her,
 
 v. THE SUCCESSFUL PICTURE. 77 
 
 holding out their hands for the pictures, which she holds 
 towards them. At the back of the stage, seated in rather 
 a high chair, one of the children is seated, with a fool's cap 
 oil her head, holding a book to her face, as if ashamed. 
 The other children should all wear a joyous expression. If 
 it is not practicable for the children all to be dressed uni- 
 formly, they may have aprons alike ; but there should be 
 no mixture of white muslins and brown calicoes, silks and 
 ginghams, as the subject forbids the introduction of nice 
 dresses. Music lively. 
 
 THE SUCCESSFUL PICTURE. 
 
 ONE GENTLEMAN AND TWO LADIES. 
 
 THIS tableau is a natural fireside group of three figures, 
 an artist, his sitter, and her mother. At the left-hand cor- 
 ner of the stage, back, is placed a large arm-chair, in which 
 is seated the mother, looking admiringly upon the picture 
 which stands upon the floor, in front of her, resting upon the 
 back of a Gothic chair, and the back of the picture-frame 
 being thus turned towards the audience. The mother is 
 attired in a plain black dress, with a white-lace cap upon
 
 78 PARLOR TABLEAUX. 
 
 her head, which is inclined forward as she looks at the 
 picture with a pleased expression, and her right hand raised 
 from her lap, as if speaking praises of the portrait. A 
 pair of spectacles completes her costume. The artist stands 
 directly behind the arm-chair, his right arm resting upon 
 the top, his left arm bent, with the hand upon his left hip 
 holding his hat. His legs are crossed naturally, as he 
 stands looking over the old lady at his picture with a 
 satisfied air. His dress should be a plain black, or of some 
 dark cloth. The young lady, who is supposed to have been 
 sitting for the picture, is half kneeling upon the ground, 
 partially supported by her right hand, whicfi rests upon the 
 floor. She is close to her mother's left side, her head about 
 the height of her mother's shoulder from the floor ; her 
 right hand lies naturally upon the folds of her dress ; her 
 hair is tastefully dressed ; and she looks upon the picture, as 
 if tracing a resemblance. She should be dressed in a bright 
 pink or blue silk, a white lace waist, with long sleeves, aud 
 a bodice of dark velvet or silk. 
 
 There may be some small articles of furniture introduced, 
 and a picture or two may be hung at the background. 
 
 A soft white light may be thrown from the right on the 
 faces of all the figures. Music lively.
 
 RAPHAEL'S CHERUBS. 79 
 
 RAPHAEL'S CHERUBS. 
 
 TWO YOUNG BOYS. 
 
 THIS tableau, one of the most beautiful of the collection, 
 will call into service two young boys of from six to ten 
 years of age, with round features and curling hair. They 
 should be dressed in a tight-fitting garment of flesh-colored 
 material, so as to show the natural shape of the upper part 
 of the body. They^hould be provided with small imitation 
 cherub-wings of gauze or paper, fastened to the shoulders. 
 A narrow board, on supports two or three feet high, should 
 extend across the stage, at the back, the top of it covered 
 with blue cambric, or paper of the same color ; the supports 
 being concealed by cloth or cambric, tacked on the board, 
 and extending across, or by a piece of scenery in imitation 
 of clouds. 
 
 The boys representing the cherubs should take their 
 position near the back of the stage, and behind the board 
 just mentioned, one on the right of the centre, the other 
 on the left. The figure on the left should kneel behind the 
 board, his arms lying horizontally on the board, his right
 
 80 PARLOR TABLEAUX. 
 
 
 
 fore-arm crossed over the left, and his chin resting on his 
 right wrist ; while he looks upward with a hopeful expression, 
 his full face being turned towards the audience. In this 
 position, no part of the body, with the exception of the 
 head and arms, will be visible from the front. 
 
 The figure on the right kneels behind the board, so as to 
 display the upper part of his body from a few inches below 
 the shoulders. His right arm is bent at the elbow, so that 
 the right fore-arm and hand rest horizontally on the board, 
 parallel with his body. His left elbow also rests upon the 
 board, his chin being supported on his left hand. He should 
 look upwards towards the left, with a hopeful expression, 
 so as to exhibit a two-thirds view of his face to the 
 audience ; his left wing not being visible to the audience. 
 He should stand so close to the board, that his body will 
 rest against it as he kneels. A thick, blue smoke should be 
 produced back of and around them, while a bright-bluo 
 light is thrown upon their faces. Music, some sacred hymn.
 
 HOMELESS. 
 
 HOMELESS. 
 
 TWO LADIES. 
 
 THIS is a domestic tableau from a modern painting rep- 
 resenting two friendless and homeless orphan-girls. A girl 
 of twelve or fourteen years of age may represent the elder 
 of the two figures. She should be dressed in a plain drab 
 dress, reaching within a few inches of the ground, showing 
 her unclad feet. An ordinary striped woollen shawl should 
 be thrown over her head and shoulders and pinned under her 
 chin. With her right hand she holds to her bosom a small 
 bunch of flowers, while her left hand is around her younger 
 sister's neck. Her position should be a little to the right 
 of the centre of the stage, and looking thoughtfully forward. 
 The younger sister is dressed in a plain blue dress with low 
 neck and short skirt. She wears on her head a hood, and 
 on her shoulder a small cape, showing her bare arms and 
 neck ; or else a shawl arranged as her sister's, and a checked 
 apron tied around her waist. She should stand on the left 
 of her sister, her head slightly inclined towards her, with 
 the forefinger of her right hand in her mouth, and holding 
 6
 
 82 PARLOR TABLEAUX. 
 
 carelessly in her left a few flowers. In age, she should be 
 from three to four years younger than her companion. 
 
 If scenery is used, the background should be a landscape. 
 A soft white light may be thrown upon the figures. Music 
 soft and plaintive. 
 
 GUARDIAN ANGELS. 
 
 TWO LADIES, A BOY, AND A YOUNG GIRL. 
 
 FOR this tableau, two rather tall young ladies (one dark, 
 and the other of light complexion), a girl of twelve, and a 
 boy of five or six years of age, are required. 
 
 The taller of the ladies stands at the left of the centre of 
 the stage, back. She should be dressed in a plain white 
 muslin, without crinoline, with long or drapery sleeves, and 
 with white cotton draped over her shoulders, reaching to 
 the floor. She should have a pair of wings made of tissue- 
 paper over a wire frame, and her hair should be allowed to 
 fall over her shoulders. Her hands are clasped, and she 
 looks down upon the children who are in front of her. 
 
 The other young lady stands on the right of the taller,
 
 GUARDIAN ANGELS. 83 
 
 similarly attired in every respect, with her left hand touch- 
 ing the left shoulder of her companion : she points with her 
 right to the children, thus presenting a two-thirds -view of 
 her face to the audience. A small green bank should be 
 placed at the feet of the young ladies representing the angels, 
 between them and the children. 
 
 The young girl should be seated on this bank, with her 
 head leaning upon her right hand, the elbow of which rests 
 on the bank. 
 
 She is dressed in a black, or some plain, dark-colored 
 dress ; and she looks down, with her eyes partly closed, at 
 the young boy, whose head is in her lap. Her hair is 
 combed plainly, and on her left is placed a small basket. 
 The boy is dressed in a short frock of some plain material, 
 reaching to the knee. He lies upon the girl's lap, face up- 
 wai'ds, with eyes closed, as in sleep ; his left arm, upon 
 which her hand rests, on her knee. His right arm lies 
 across his body, and his legs are crossed naturally. 
 
 A bright-blue fire should be thrown upon the two figures 
 in the background, leaving the children in the foreground in 
 the shade. Music soft and low. 
 
 If scenery is used, the background should be a landscape.
 
 84 PARLOR TABLEAUX. 
 
 VISION OF PAST, PRESENT, AND FUTURE. 
 
 THREE LADIES. 
 
 THREE good-looking young ladies are required to produoo 
 this tableau. As there is nothing else in the picture, of 
 course the interest centres on them. The elder of the young 
 ladies stands upon the left of the picture, with her profile 
 towards the audience, and looking towards the left. She 
 should be dressed in plain dark drapery, falling to the 
 ground, with low neck. 
 
 This figure represents the Past, and should look towards 
 the left with rather a melancholy expression. On her head 
 she wears a wreath of myrtle or ivy-leaves ; her hair other- 
 wise plainly dressed. 
 
 The Present should be represented by a rather tall 
 young lady of light complexion. She stands iu the centre, 
 directly facing the audience, with her right hand slightly 
 raising her dress ; her left resting on her bosom, holding a 
 string of wax-beads, that pass round her neck in a double; 
 strand. Her dress should be a simple white muslin, low
 
 VISION OF PAST, PRESENT, AND FUTURE. 85 
 
 neck, and short sleeves, drapery. Her hair is combed back 
 in front, and should fall in ringlets behind. Her full face 
 is turned toward the audience, and she wears a pleased 
 expression. 
 
 The Future, represented by the youngest lady, should 
 also be a blonde. She stands very close to and a little be- 
 hind the second figure mentioned, so that her left arm and 
 side are concealed from the front. Her head, however, 
 should be inclined to the right somewhat, so as to show 
 the whole face. Her right arm is elevated over her head, 
 with a butterfly on her hand, at which she looks playfully 
 upward. She should wear a white-muslin dress, with small 
 sleeves, a blue-silk sash, and a lace scarf or veil fastened at 
 her waist, and streaming over the right shoulder. Her hair 
 should be combed back in wavy tresses. A light-blue light, 
 with considerable smoke, should light up the picture ; and 
 the lower portion of the figures may be concealed by a piece 
 of scenery painted in imitation of clouds. The revolving 
 platform may be used with advantage in this tableau. 
 Music soft.
 
 86 PARLOR TABLEAUX. 
 
 THE HUGUENOT LOVERS. 
 
 ONE GENTLEMAN AND ONE LADY. 
 
 MILLAR'S celebrated painting furnishes the subject for 
 this tableau. The incident from which the picture takes its 
 name is supposed to have occurred on the day of the Mas- 
 sacre of St. Bartholomew, and represents the parting of a 
 French lady of high rank from her Huguenot lover. 
 
 The tableau should not be attempted unless it can be cor- 
 rectly dressed, and the characters accurately personated. 
 The lady should stand on the right of the centre of the 
 stage, with an expression of entreaty on her countenance, 
 and facing towards the left, so that but little more than 
 half of her face is turned towards the audience. She 
 should be of light complexion, straight features ; and her 
 hair should be allowed to fall over her shoulders. 
 
 Her costume should be a riding-skirt of black velvet or 
 silk ; a basque of the same, with long sleeves, puffed at the 
 shoulders, slashed with white, and with white-lace cuffs. 
 
 She should hold in her hands, behind the gentleman's
 
 THE HUGUENOT LOVERS. 87 
 
 back, a silk scarf of some light color, passing around her 
 neck, over his left arm and under his right, tied in a knot. 
 In this position her left arm will be passed around his 
 waist, under his right arm, with one end of the scarf in her 
 left hand, the other in the right. The gentleman should be 
 tall, with straight features. 
 
 He should stand facing the lady, looking down towards 
 her face with an earnest, assuring expression ; holding her 
 head to his breast with his left hand, while his right arm is 
 passed around her neck. 
 
 His dress is a black-velvet riding-coat ; velvet vest, with 
 white lawn or lace ruffles ; black stockings ; pumps ; knee- 
 buckles ; and one of the long black-velvet hats of the period. 
 The left side of his face only should be towards the audi- 
 ence. The light should be thrown upon the figures, so that 
 the gentleman will be in the shade. If scenery is used, the 
 stage should represent a garden-scene. Music soft.
 
 88 PARLOR TABLEAUX. 
 
 THE ORPHAN'S DREAM. 
 
 ONE LADY AND ONE BOY. 
 
 THE characters in this tableau are a lady representing 
 the mother, and a boy of from four to six years of age. 
 The lady should be of light complexion, young, with long 
 ringlets hanging over her shoulders. She should stand to 
 the left of the boy, who is in an arm-chair in the centre of 
 the stage. Her costume is of some white material, with a 
 drapery of white muslin or lace, and artificial wings of mus- 
 lin or paper. 
 
 She bends over the boy, looking down towards his face 
 with an earnest expression ; her hands clasped ; and her pro- 
 file, only, turned towards the audience. She may also wear 
 a lace veil on her hair. 
 
 The boy should be lying in the chair, with his head on 
 the right arm, his eyes closed as if sleeping, his face turned 
 towards the audience. He may be dressed in any costume 
 suitable to his age ; though one of black cloth or velvet 
 would be the most suitable. He should'wear a white shirt
 
 A HARD SHAVE. 
 
 and undersleeves, his jacket being open in front, his skirt 
 reaching to his knees, which are bare. His right leg should 
 lie on the chair, and the left should be hanging crossed over 
 it. His left arm lies on his lap, his right arm against the 
 arm of the chair ; his hand, from which a book has just 
 fallen, hanging down. He should be of light complexion. 
 On the left of the chair, a small table, on which is a bouquet, 
 may be placed. A bright white light should be thrown on 
 the figures from the left. Music, piano. 
 
 A HARD SHAVE. 
 
 ONE GENTLEMAN. 
 
 THIS tableau is represented by one gentleman, who is 
 seated on a stool in the centre of the stage, at a small 
 table. On the table is a small mirror leaning against a 
 broken pitcher, and shaving materials. He is seated with 
 his left side towards the audience, and looking towards the 
 right at the glass. He should be in his shirt-sleeves, his 
 chin covered with lather, his right hand with the razor just 
 shaving the soap off, while his face wears an expression of
 
 90 PARLOR TABLEAUX. 
 
 great pain. He should have his right shirt-sleeve turned 
 up, his left hand resting on his knee. 
 
 The effect depends upon the comic expression produceO 
 by the actor, and may be made very laughable. Music 
 lively. 
 
 COMIN' THROUGH THE RYE. 
 
 ONE GENTLEMAN AND ONE LADY. 
 
 If a body meet a body com in' through the rye, 
 
 If a body kiss a body, need a body cry ? 
 
 Every lassie has her laddie ; nane, they say, have 1 1 
 
 Yet all the lads they smile on ine a-comin' through the rye. 
 
 THE tableau represents the heroine of the above verst 
 in the act of receiving a kiss from one of the laddies men- 
 tioned. She should stand to the right of the centre of the 
 stage, with her face turned slightly towards the right, away 
 from the young man, who stands beside her. Her riirlit 
 hand should be raised before her, as if putting him off. Her 
 costume should be a Highland dress of plaid, or a blue 
 skirt and white peasant-waist, with a scarf thrown over her 
 shoulders.
 
 THE MOTHER'S GRAVE. 91 
 
 The young man should staud at her left, with his right 
 arm around her waist, his left hand holding her left to his 
 breast ; while his head should be inclined forward, his lips 
 touching her cheek. He should be dressed in striped pants, 
 white shirt, and Scotch cap. A landscape may form the 
 background if scenery is used. Music, " Comin' thro' the 
 
 Rye." 
 
 THE MOTHER'S GRAVE. 
 
 ONE LADY, TWO YOUNG GIRLS, AND A BOY. 
 
 A PIECE of board painted white, about three feet in length, 
 should be placed so as to stand upright in the centre of the 
 stage, with a wreath of flowers on the top to represent a 
 marble slab. A girl of from twelve to fourteen years of 
 age should be seated on a small bank in front of the slab, 
 toward the right. 
 
 Her hands may rest upon her lap, and she should hold 
 some sprays of flowers. Her costume should be a dress of 
 some plain black material, white cuffs and collar. Her 
 hair should be allowed to fall in curls over her shoulders,
 
 92 PARLOR TABLEAUX. 
 
 and she should look towards the left with a mournful expres- 
 sion. A girl two or three years younger stands at the left 
 of the slab, leaning against it. Her eyes should be closed, 
 and her dress should be the same as the other girl's, with the 
 addition of a straw hat. A boy of four or five years should 
 be seated on the ground between the two girls. A basket 
 of flowers should be placed before him, and his face should 
 be toward the audience. The curtain at the background 
 should be parted, revealing a lady dressed in white, with 
 her head inclined towards the children, her hands extended 
 over them. A thick blue smoke should surround her. 
 Music, some sacred hymn. 
 
 LIGHT AND SHADOW. 
 
 TWO LADIES. 
 
 THIS tableau should be represented by two young ladies 
 of handsome appearance, one of dark, the other of liglit 
 complexion. The lady of dark complexion, representing 
 Shadow, should be rather taller than her companion. 
 She should stand a little to the right of the centre of the
 
 LIGHT AND SHADOW. 93 
 
 stage, with her left arm around the waist of the young lady 
 representing Light ; her right arm hanging naturally, 
 and concealed by drapery. She should be attired in flow- 
 ing drapery of some crimson or black colored material, 
 displaying her neck, and trailing to the ground. Her hair 
 should be plainly dressed, with a simple wreath of myrtle 
 or ivy-leaves. Her position is looking toward the right, 
 her profile being turned toward the audience. The young 
 lady personating Light should stand in front and slightly 
 to the left of Shadow. She should be dressed in a 
 white muslin with low neck and short sleeves, over which 
 should hang a drapery of some bright-blue material in folds, 
 trailing to the ground. Her hair should be combed back, 
 and allowed to fall in curls over her shoulders ; and on the 
 head she may wear a net of pearl beads. Her back should 
 be toward the audience, and the side of he,r face, as she 
 looks towards the right with a pleased expression. Her left 
 arm passes in front of her companion, and rests on her left 
 shoulder : her right arm also passes around Shadow 
 from behind. She should be so close as to hide from the 
 audience about one-third of the form of Shadow. A 
 bright-blue or white light should be thrown upon the fore- 
 most figure, Light, making a decided shadow on the
 
 94 PARLOR TABLEAUX. 
 
 other young lady. Clouds of smoke may be produced in 
 the background, the figures being as far in the foreground 
 as possible. Music soft. 
 
 THE HOME-GUARD. 
 
 TWO LADIES. 
 
 And in such sacred cause 
 We court no vain applause : 
 
 Our swords are free. 
 No spot of wrong or shame 
 Rests on our banner's fame, 
 Flung forth in Freedom's name 
 
 O'er mound and sea. 
 
 Then let the invader come ! 
 Soon will the beat of drum 
 
 Rally us all. 
 
 Forth from our homes we go : 
 Death, death, to every foe ! 
 Says each maiden low. 
 
 God save us all ! 
 
 THE subject of this tableau is from one of the well- 
 kuown statuettes by Rogers, and represents a lady of per- 
 haps twenty-five years of age, and her younger sister, u
 
 THE HOME-GUARD. 95 
 
 girl of thirteen, keeping guard on the outskirts of one of our 
 Western cities, a scene quite common during the late war. 
 If scenery is used, the back of the scene may represent a 
 village in the distance, or dark woods ; although no particu- 
 lar effect is gained by the use of scenery in this instance. 
 The lady should stand at the right, and near the front of 
 the stage : she grasps in her hands a long pistol, held towards 
 the right, in readiness to fire. She should be quite tall, broad- 
 shouldered, and with a bold, determined expression on her 
 fane, as she looks out towards the right. She is dressed in a 
 short dress of some drab or brown colored material, with low 
 neck, and sleeves reaching to the elbow, and a cloak thrown 
 back over her shoulders. Her hair should be allowed to fall 
 loosely over "her shoulders. The younger lady stands at 
 the left of her sister, with her right arm around her waist, 
 and looking towards the right with an anxious expression. 
 She wears a blue dress, short, with low neck, and a shawl 
 partially covering her head and shoulders. A red light 
 should be thrown upon the figures from the right, and the 
 noise of arms is heard outside. Music, some martial air, 
 as "La Marseillaise."
 
 96 PAKLOB TABLEAUX. 
 
 THE SCULPTOR'S DREAM. 
 
 ONE GENTLEMAN AND THREE LADIES. 
 
 UNDER this title, several tableaux have been presented, 
 both in public and in private exhibitions. The one here 
 described is of the most novel and pleasing form. 
 
 The curtains at the back of the stage should be drawn 
 aside, showing the three female characters, who, dressed as 
 statues, occupy that portion of the stage. The ladies should 
 bo of straight features, and rather tall. 
 
 The taller of the young ladies should stand in the centre 
 of the stage, at the back. Upon her head is a diadem, 
 made of paper to represent marble ; and she holds in her 
 right hand a scroll, to which she points with her left. She 
 should be dressed in a drapery of white, showing the 
 arms and shoulders ; while her hair should be powdered 
 as heavily as possible with white chalk or puff-powder. 
 She should stand erect, pointing as described, and looking 
 towards the front with a proud expression. 
 
 The other young ladies should be in a half-kneeling posi- 
 tion, on either side of the central figure, each with oiiu haud
 
 THE SCULPTOR'S DREAM. 97 
 
 extended, grasping together an imitation goblet, or basket 
 of fruit and flowers, which they hold up as a tribute to the 
 more prominent figure. 
 
 They should be attired in a similar costume to the one 
 just described, except that the hair is simply combed in 
 the Grecian style, with a coil behind, and then powdered. 
 About two-thirds of their face should be towards the audi- 
 ence, and turned upwards towards the central figure, with 
 a smiling expression. 
 
 In the foreground of the picture, at the front of the 
 stage, the young gentleman who personates the sculptor is 
 lying gtretched upon the floor, with his head towards the 
 right, his face turned towards the audience, and his eyes 
 closed, as in sleep. His right arm is extended upon the 
 floor, holding a "chisel ; while his left lies naturally at his 
 side. He should be of dark complexion, his face very pale, 
 and should wear black pantaloons, -wide Byron collar, and 
 a blouse of green or brown material tied with a cord 
 around the waist. A bright white light should be thrown 
 upon the figures, at the back, leaving the sculptor in the 
 shade. Music very soft and slow. 
 7
 
 98 PAI1LOK TABLEAUX. 
 
 THE SAILOR-BOY'S DREAM. 
 
 TWO GENTLEMEN, A BOY, AND ONE LADY. 
 
 THIS tableau is very readily produced, requiring but few 
 stage accessories. In the foreground of the picture, to the 
 right, the two principal characters, a man of twenty-five 
 or thirty years of age and a boy of twelve or fourteen, 
 have their place. The man should be dressed in a blue 
 sailor's shirt, . with white pants, and without shoes. His 
 right hand he holds to his forehead, as if looking out 
 towards the ocean with an earnest expression. His face 
 is turned towards the left, so that scarcely half of his face 
 is visible to the audience. He should be seated on the 
 ground, with his left leg extended, his right bent at the 
 knee ; while his right hand is extended toward the boy's 
 face, as if commanding silence. 
 
 The boy should be lying upon the ground, on his right 
 side, his head resting on a small, green bank, while his 
 eyes are closed as in sleep. He should wear a white shirt, 
 black neck-tie, and blue trousers. His shirt is open at the
 
 THE SAILOR-BOY'S DREAM. 99 
 
 neck, and one of his shirt-sleeves unbuttoned at the wrist, 
 as his right arm lies carelessly by his side. His left hand 
 rests on his left hip, and his left leg is crossed over the 
 right. He should be of light complexion. 
 
 The curtain at the background should be drawn aside, 
 showing the figures of a boy and his mother. The boy 
 should be dressed as is the one just mentioned, with the 
 addition of a jacket and cap. 
 
 The mother is dressed in a plain, drab-colored material, 
 with white-lace cap. She clasps the boy round the neck, 
 and, leaning forward, is about kissing him on the cheek. 
 The boy's arms are passed around the mother's neck, as he 
 stands close to her. These figures should stand upon a 
 table covered, the ends being masked by the curtain at the 
 back. A piece of gauze may be stretched across the stage, 
 if practicable ; or a piece of scenery, in imitation of water, 
 between the two groups. A clear blue or white light 
 should be thrown upon the figures in the background. 
 Music low.
 
 100 FAKLOR TABLEAUX. 
 
 THE REFUGEE. 
 
 TWO GENTLEMEN AND ONE LADY. 
 
 Hard by the porch of the village church 
 Halts a while a dusty traveller to rest. 
 His head droops tired upon his breast ; 
 But the word of prayer wnkes new life there. 
 
 God bless thee, brave, who go to save 
 Our country in her dark, dread hour of danger ! 
 The good man's voice was comfort to the stranger: 
 Duty wipes away a tear as he hurries to the war. 
 
 REBELLION RECOBD. 
 
 THE scene of this tableau is laid in the wilds of Tennes- 
 see during the late war, and represents a Union soldier, 
 who, returning on a short furlough from the army, finds his 
 home desolated by the foe, and is forced, amid great hard- 
 ships, to remove his wife and child to a place of safety. 
 The soldier should be represented by a young man of about 
 thirty years of age. 
 
 He stands at the right of the centre of the stage, his gun 
 over his right shoulder, his left arm around his wife, who
 
 THE REFUGEE. 101 
 
 stands beside him, and looking out, with his face turned 
 slightly towards the right, with a stern, troubled expres- 
 sion. He is dressed in blue pants thrust into his boots, 
 short fatigue-jacket thrown open, military cloak thrown 
 carelessly over his shoulders and tied round his neck, belt t 
 cartridge-box, and felt-hat with brim turned up. His feet 
 are placed as if advancing forward. 
 
 The wife stands at the left of the soldier, her right arm 
 on his left shoulder, with her head bent down, and leaning 
 upon his arm. Her right hand is held by her boy beside 
 her. 
 
 She should be dressed in' a dark-blue skirt, quite short, 
 drab-colored waist with high neck, and sleeves reaching to 
 the elbow, and a shaAvl partially covering her head, and 
 hanging over her shoulders. She stands very close to the 
 soldier, and her eyes are closed as she leans against him. 
 A boy of eight or nine years of age completes the group. 
 He is dressed in an ordinary jacket, open, and short trou- 
 sers. He holds fast to his mother's hand, and stands close 
 to her, looking earnestly at his father. The mother should 
 be very pale, with a careworn expression of countenance. 
 The tableau should not be very brightly lighted. Music, 
 some martial air.
 
 102 PARLOK TABLEAUX. 
 
 THE SOLDIER FROM THE HUDSON. 
 
 TWO GENTLEMEN AND ONE LADY. 
 
 A soldier of our army lay dying at Bull Run : 
 
 Oh, the feast of death was dreadful 'neath that hot and burning sun ! 
 
 No mother's fond devotion, and no sister's earnest care, 
 
 Betokened that a mother's or a sister's hand was there ; 
 
 But a comra le knelt heside him, with his bended head full low, 
 
 'Tis ever thus the travest will feel compassion flow, 
 
 And he listened to the murmur as the blood gushed from his side : 
 
 " My home is by the Hudson, the Hudson's swelling tide. 
 
 " Tell my father, when you see him with sad and tearful eye, 
 
 That I died the death he prayed for me, the death I longed to die : 
 
 With my gaze upon the standard, my weapon to the foe, 
 
 And a wild huzza of ecstasy, I met the welcome blow. 
 
 Oh, mitigate his sorrow ! It will give his anguish rest 
 
 To know my foe's endeavor fell squarely on my breast. 
 
 Where else could traitors strike me ? For I was nursed beside 
 
 The memories of Hudson, of Hudson's storied tide. 
 
 " And one is there, a maiden : God bless her trusting heart ! 
 
 'Tis bitter thus to leave her; 'tis bitter thus to part. 
 
 Long, long ago we plighted our troth forevermore 
 
 In those early days of sunshine, in those happy days of yore. 
 
 With my sword from out its scabbard cut this lock above my brow 
 
 As a token to my loved one : 'tis all that's left her now ! 
 
 God save her darling image ! I can see it still beside 
 
 The waters of the Hudson, the Hudson's glassy tide ! " 
 
 G.
 
 THE SOLDIER FROM THE HUDSON. 103 
 
 THE scene given under the accompanying title is both 
 patriotic and domestic, and represents a Union soldier, who 
 has been wounded in one of the earlier battles of the war, 
 lying in a dying condition upon the battle-field, attended by 
 a devoted comrade, who tenderly supports him as he listens 
 to his last messages to his loved ones at home. 
 
 The wounded soldier lies near the front of the stage, at the 
 right, his lower limbs stretched upon the floor, the upper 
 portion of his body raised and supported by his companion. 
 The right side of his face is towards the audience ; and he 
 looks towards the left with a smile upon his face, which is 
 made up very pale, with a mark of a wound upon the fore- 
 head. His hands are clasped, and extended towards the 
 lady at the left corner of the stage, back ; and he wears light- 
 blue army-trousers, officer's coat, open in front, showing the 
 breast. His companion kneels behind him on his right 
 knee, his arms around the wounded man, holding him 
 closely ; while he looks down towards his face with a sad, 
 earnest expression. He wears light-blue army-trousers, 
 fatigue-jacket, and cap ; while his rifle lies upon the floor of 
 the stage, at his side. The curtain upon the left of the 
 stage, at the back, should be drawn aside, showing a small 
 supplementary stage two or three feet in height, furnished
 
 104 PARLOR TABLEAUX. 
 
 with table and chairs, to represent an interior, the boxes 
 forming the stage being covered with green, or some dark 
 material. The table and chairs are placed near the ex- 
 treme left of this stage ; and in the chair at the right of the 
 table a young lady is seated, with her chin leaning iipou her 
 left hand, her right lying in her lap, holding a letter opened, 
 which she is reading with a smile upon her face, which is 
 turned towards the front, so as to present about a two-thirds 
 view to the audience. She should, if possible, be of light 
 complexion, her hair hanging in long curls behind. She 
 wears a dress of white muslin trimmed with blue, or a 
 plain blue dress, with white-linen collar and cuffs. A cur- 
 tain of black gauze may be intervened between the lady and 
 the group at the front ; or she may be surrounded with a 
 white smoke, made by burning a strip of magnesium near 
 her. Flashes of red light should be thrown on the group in 
 the foreground, and the music, the " Prayer from Der 
 Freitschutz," or some similar piece, played very softly.
 
 ON THE SHORES OF TENNESSEE. 105 
 
 ON THE SHORES OF TENNESSEE. 
 
 THREE GENTLEMEN. 
 
 " Move my arm-chair, faithful Pompey, 
 In the sunshine bright and strong : 
 For this world is fading, Pompey ; 
 1 Massa' won't be with you long. 
 And I fain would hear the south wind 
 Bring once more the sound to me 
 Of the wavelets softly breaking 
 On the shores of Tennessee. 
 
 Mournful though the ripples murmur 
 As they still the story tell, 
 How no vessels float the banner 
 That I've loved so long and well, 
 I shall listen to their music, 
 Dreaming that again I see 
 Stars and stripes on sloop and shallop 
 Sailing up the Tennessee." 
 
 Still the south wind fondly lingers 
 'Mid the veteran's silver hair ; 
 Still the bondman, close beside him, 
 Stands behind the old arm-chair: 
 With his dark-hued hand uplifted, 
 Shading eyes, he bends to see 
 Where the woodland, boldly jutting, 
 Turns aside the Tennessee.
 
 106 PARLOR TABLEAUX, 
 
 Thus he watches cloud-horn shadows 
 Glide from tree to mountain- crest, 
 Softly creeping aye and ever 
 To the river's yielding breast. 
 Ha ! above the foliage yonder, 
 Something flutters wild and free : 
 " Massa, massa, hallelujah ! 
 The flag's come back to Tennessee ! " 
 
 " Pompey, hold me on your shoulder, 
 Help me stand on foot once more, 
 That I may salute the colors 
 As they pass my cabin-door. 
 
 Here's the paper signed that frees you ; 
 Give a freeman's shout with me : 
 ' God and Union ' be our watchword 
 Evermore in Tennessee ! " 
 
 ETHEL L. BEERS. 
 
 THE celebrated poem by Miss Beers furnishes the sub- 
 ject for this very fiue patriotic tableau under the above 
 title. The State of Tennessee was, during the late war, 
 held for some time by the Southerners, although many of 
 the inhabitants still remained loyal. The tableau represents 
 an aged citizen of the State, a Union man, who has for 
 many months writhed under the Southern rule, hourly wait- 
 ing for the Northern troops to arrive, and restore law and
 
 ON THE SHORES OF TENNESSEE. 107 
 
 order to the State ; and his servant, a faithful old negro, 
 who, with watchful care, supports his master in his feeble- 
 ness. About three feet from the background, a strip of light- 
 blue cambric, canvas or paper painted blue, should be 
 . 
 
 stretched across the stage, to represent water. At the left- 
 hand corner of the stage, behind this strip, a boat, or imita- 
 tion-boat made of thick, painted pasteboard bent in the form 
 of a boat, or tacked on a light wooden frame, is placed, with 
 the bow towards the right. A young man is discovered 
 standing in the boat, with his right foot resting upon the 
 forward end, as if advancing, his right hand grasping a 
 large American flag ; while he points, with left fore-finger 
 extended, to the flag. His face is turned towards the front, 
 with an expression of triumph on his countenance as he 
 looks forward. He wears a United-States officer's uniform 
 of dark-blue cloth, and fatigue-cap. The old man stands to 
 the right of the centre of the stage, with his left arm lean- 
 ing on the negro's shoulder, his right raised above his head, 
 as if giving a shout. The side of his face is towards the 
 audience ; and he looks at the officer at the back with a 
 pleased expression, his mouth partly open. He wears a 
 brown coat, nankeen trousers, and white wig; his face 
 made up with marks of age. The negro stands beside
 
 108 PARLOR TABLEAUX. 
 
 the old man, ai his left, his right arm around the old man, 
 supporting him, and his left raised above his head, as if 
 giving a shout. His face is turned towards the officer ; and 
 his mouth should be open, as if shouting. 
 
 He wears a striped-cotton shirt and trousers ; and his 
 face, arms, and hands should be well blacked with burnt 
 cork. Red, white, and blue lights may be thrown alter- 
 nately upon the figures, or a steady red light may be used. 
 Music, the " Star-spangled Banner," played quite loud. 
 
 PAST AND FUTURE. 
 
 TWO LADIES. 
 
 Sighing as through the shadowy past, 
 Like a tomb-searcher, memory rare, 
 Lifting each shroud that time had cast 
 O'er buried hopes. 
 
 MOORE. 
 
 Hope, the brightest of the passionate choir 
 That through the wide world range, 
 And touch with passing fingers that most strange 
 And curious instrument, the human heart. 
 
 SHELLEY.
 
 PAST AND FUTURE. 109 
 
 THIS tableau should be represented by a young lady and 
 by an older lady ; a difference of ten years or more being 
 apparent in their appearance. The older lady should be 
 seated to the right of the centre of the stage, with her left 
 hand lying upon her knee, and her right around the neck 
 of her companion. The side of her face should be turned 
 towards the audience, as she looks to the right with her eyes 
 cast down towards the ground. She should wear a dark 
 skill, with a loose waist of gray-colored material with 
 flowing drapery-sleeves, and undersleeves. She should also 
 wear, depending from the shoulders, a full black drapery, 
 lying in folds across the knees, as she is seated. Her hair 
 is combed very plainly around her face, and she wears a 
 plain white veil of thin muslin upon her head. 
 
 Her face has a very sad expression, as she looks down- 
 ward. The young lady representing Future should be of 
 light complexion and good features. Sb,e is seated a little to 
 the right of the other lady, on a lower seat, and in front of 
 her. Her right elbow should be placed on the knee of her 
 companion, while she supports her cheek upon her right 
 hand. Her left arm rests upon her lap, and she looks up- 
 wards, with her face turned slightly towards the right, with 
 a smiling, hopeful expression.
 
 110 PARLOR TABLEAUX. 
 
 She should wear a plain white dress with low neck and 
 drapery-sleeves, high blue bodice, and a drapery of blue 
 covering her skirt. 
 
 Her hair is tastily dressed, with a braid of natural hair 
 on the front of her head. A bright white light should be 
 thrown upon the younger lady, leaving her companion 
 heavily shaded. 
 
 The music should be slow and solemn at first, then 
 change to a lively waltz. 
 
 HOPE AND FAITH. 
 
 TWO LADIES. 
 
 Her precious pearl, in Sorrow's cup, 
 
 Unmelted at the bottom lay, 
 To shine again, when, all drank up, 
 
 The bitterness shall pass away. 
 
 MOORE. 
 
 Oh, happy that I am ! If thou canst be, O Faith ! 
 The treasure that thou art in life, 
 What wilt thou be in death ? 
 
 THIS is a similar tableau in style to the one of Past 
 and Future, and forms a suitable companion. The young
 
 HOPE AND FAITH. Ill 
 
 lady who represeuts Hope should be seated at the right 
 of the stage, her face turned towards the left, so that the 
 side of her face only is towards the audience. Her hands 
 are holding a book which is lying in her companion's lap ; 
 and she leans forward, looking upward toward her with a 
 pleased, hopeful expression. She is dressed in a robe of 
 white, gathered loosely at the neck, with wide drapery- 
 sleeves, and a drapery of white or blue hanging from the 
 shoulders, and falling over her skirt. Her hair should be 
 combed in a coil behind, with braids at the side ; and she 
 should be of light complexion. 
 
 Faith should be represented by a lady ten or fifteen 
 years older than the younger lady. She should be seated 
 beside her companion, with her hands elapsed and lying 
 upon the younger lady's arm, which is on her lap ; a Bible, 
 opened, also lying there. 
 
 Her face is turned slightly towards the left, and she looks 
 upwards with an earnest, prayerful expression. She should 
 wear a dark skirt, a drab-colored waist with high neck 
 and drapery-sleeves, and a black drapery hanging from 
 the shoulders. Her hair should be combed back plainly, 
 and partially covered by a long white-muslin veil, which 
 reaches nearly to her waist.
 
 112 PARLOR TABLEAUX. 
 
 The seat on which the ladies are placed may consist of 
 a long box covered with dark cloth or cambric. A bright 
 white light should be thrown upon the younger lady, the 
 other figure being heavily shaded. The music should 
 change from quite lively to very grave. 
 
 AWAKENED SORROWS. 
 
 TWO LADIES. 
 
 My soul is dark. Oh ! quickly string 
 
 The harp I yet can brook to hear, 
 And let thy gentle fingers fling 
 
 Its melting murmurs o'er my ear. 
 
 If in this heart a hope be dear, 
 
 That sound shall charm it forth again ; 
 
 If in these eyes there lurk a tear, 
 
 'Twill flow, and cease to burn my brain. 
 
 But bid the strain be wild and deep, 
 
 Nor let thy notes of joy be first : 
 1 tell thee, minstrel, I must weep, 
 
 Or else this heavy heart will burst. 
 
 For it hath been by sorrow nurst, 
 And ached in sleepless silence long ; 
 
 And now 'tis doomed to know the worst, 
 And break at once, or yield to song. 
 
 BYRON
 
 AWAKENED SORROWS. 113 
 
 THE characters in this tableau should be represented 
 by ladies of similar age to those personating Past and 
 Future. A cushioned seat is placed in the centre of the 
 stage, upon which the elder lady is seated : her left arm is 
 upon her knee, her right around the neck of the young 
 lady ; her head is slightly inclined towards the left, and she 
 looks down towards the audience with a sad expression. 
 She should be of dark complexion, with straight features. 
 
 Her costume is a robe of white, or light drab-colored 
 material, with high neck and long sleeves, a drapery of 
 black falling from her left shoulder over her knees, and a 
 veil of white muslin or lawn partially covering her hair, 
 and falling over her shoulders. The younger lady kneels 
 at the right of her companion, her hands clasped, and 
 raised to her right shoulder ; her face turned towards the 
 left, and looking upward to the other's face with an earnest 
 expression. She should be of light complexion. Her cos- 
 tume is a dress of light-blue material, with high neck, and 
 sleeves reaching to the elbow ; and short muslin under- 
 sleeves. Her hair is combed back in curls behind, and 
 she wears a braid of natural hair upon her head. 
 
 The light should be thrown from the right, shading the 
 older lady. Music soft and slow. 
 8
 
 114 PARLOR TABLEAUX. 
 
 THE PICKET-GUARD. 
 
 THREE GENTLEMEN. 
 
 A dreary night ! Nor moon nor star 
 Scarce yields one ray to cheer the gloom. 
 
 Away from camp and comrade far 
 The picket, where may be his tomb. 
 
 Against his sturdy tree close pressed, 
 
 The picket's dripping form is leant ; 
 And, though no shelter, it is rest. 
 
 Thank Heaven, the tempest's wrath is spent ! 
 
 It comes at last. O beam of hope ! 
 
 Thank God, that doth the day restore : 
 The sun mounts up the eastern slope ; 
 
 And comrades, camp, are gained once more. 
 
 REBELLION RECORD. 
 
 THIS tableau represents a picket-guard of three Union 
 soldiers in advance of the forces, to apprise them of any 
 danger which may be apparent. 
 
 One of the number stands in the centre of the stage, his 
 left hand grasping his sword at the hilt ; while his right 
 hand is extended towards the soldier who is at his right with
 
 THE PICKET-GUARD. 115 
 
 a gesture, as if commanding silence. His head is inclined 
 forward ; and he looks out with an anxious expression, as if 
 he heard some sound. 
 
 He is dressed in a captain's uniform, with fatigue-cap. 
 One of the soldiers should stand at the right hand, and a 
 little farther back than the captain. His head' is bent for- 
 ward, as if listening, looking in the same direction as the 
 captain. He grasps his gun, as if about to advance in the 
 position of charge bayonets. 
 
 The other soldier stands in the same relative position, on 
 the left. His head is bent forward ; and his left hand raised 
 over his eyes, as if endeavoring to perceive some object : his 
 right hand grasps his bayonet, which hangs at his side. 
 The soldier should be dressed, if possible, in the Zouave 
 uniform, with red skull-cap with tassel, and leggins ; al- 
 though, if these cannot be procured, the usual uniform of 
 the Union soldiers, with knapsack, will answer. 
 
 A bright light should be thrown upon the figures from 
 the right. Music alternately soft and loud.
 
 116 PARLOR TABLEAUX. 
 
 THE PARDON REFUSED. 
 
 ONE GENTLEMAN AND ONE LADY. 
 
 Oh ! tell me at once that you love me no more ; 
 Oh ! say you are weary, and hope will be o'er : 
 But let me not fruitlessly waste my soul's life 
 Between doubt and despair in this passionate strife. 
 
 It is time, Heaven knows, that I turn from my dream ; 
 'Tis folly, 'tis madness, though sweet it may seem : 
 And, if once from your lips your estrangement I know, 
 I've a pride still at heart that would rise at the blow. 
 
 By all the true tenderness banished so long 
 On thy bosom, soul of my thought and my song ! 
 By all the wild worship poured forth at thy feet, 
 Oh ! soothe me no more with this fatal deceit. 
 
 Now are gone, gone forever, the joy and the bloom : 
 They are fled like the withered flower's blush and perfume. 
 If your love has gone with them, oh ! list to my prayer : 
 Let me rest, though it be in the calm of despair. 
 
 F. S. OSGOOD. 
 
 THESE lines and the tableau illustrate a domestic scene, 
 doubtless very common to the majority of young ladies and 
 gentlemen who have arrived at years of discretion; and for
 
 THE PARDON REFUSED. 117 
 
 that reason will probably be appreciated more particularly by 
 them than by any other class of our readers. The scene 
 represents a young man of from twenty to twenty-five years 
 of age, who is supposed in some way to have offended the lady 
 of his choice, and who is in the act of endeavoring to remove 
 her coldness towards him, humbly suing for pardon. 
 
 He kneels at the left of the centre of the stage, upon his 
 left knee, his left hand clasping hers, which she is endeav- 
 oring to withdraw, his right hand resting upon her waist, 
 while he looks upward towards her with an appealing 
 expression. The lady stands to the right of the young man, 
 her left hand resting in his, her right extended with a 
 gesture of refusal, her head turned from him, and looking 
 toward the right, with an offended expression upon her 
 face. She wears an elegant dress of white silk, or some 
 appropriate evening-dress, with low neck and short sleeves. 
 Her hair is tastily dressed, with a band of gold or a wreath 
 of flowers upon her head. Music should be some lively 
 waltz.
 
 118 PARLOR TABLEAUX. 
 
 THE RECONCILIATION. 
 
 ONE GENTLEMAN AND ONE LADY. 
 
 i 
 
 Come with that true heart, all petty doubts scorning ; 
 
 Come with that smile which is day to my night ; 
 Come with those blushes which mock a May-morning, 
 
 Dear truant tell-tales of love and delight. 
 
 Come with that step, like a flower-sylph's in fleetness ; 
 
 Come with those tresses that gleam as they flow; 
 Come with that lute-tone's ineffable sweetness ; 
 
 Breathe to my bosom its melody low. 
 
 Gem of a life that were joyless without thee ; 
 
 Rose in Hope's wilderness, bird in Love's bower ; 
 Balm, light, and melody floating about thce : 
 
 Which art thou, darling ! bird, jewel, or flower ? 
 
 F. S. OSGOOD. 
 
 THIS is a companion-piece to the tableau of " The Pardon 
 Refused," and introduces the same characters. The inter- 
 view is supposed to have taken place some time after the one 
 previously described ; and, at the time of the incident given 
 here, the young man is exhibited as but partially recovered 
 from the wound his feelings have received at the hands of
 
 THE RECONCILIATION. 119 
 
 the lady, and is, in his turn, offended when she desires to 
 recall her past coldness. 
 
 The young gentleman stands at the left of the stage, near 
 the centre : his right arm rests upon the lady's waist ; his 
 left hand is at his side, in a position as if withdrawing from 
 the lady's grasp ; his face looking down towards her with a 
 reproachful expression. He wears a black dress-frock, 
 white vest, and black pantaloons. The lady stands in the 
 centre of the stage, her face close to the young man, and 
 looking up towards him with an appealing, tender expres- 
 sion upon ier face. Her left hand is upon his shoulder, 
 her right upon his breast ; the right side of her face being 
 towards the audience. She wears an evening-dress of white, 
 blue, or purple, with low neck and short sleeves, and a 
 coronet of pearl beads or a gold band around her head. 
 The room is furnished as a handsome parlor, with small 
 table with flowers upon the left, chair or screen upon the 
 right, and sofa at the back, of the stage. Music should be 
 of a lively character.
 
 120 PAELOR TABLEAUX. 
 
 MAY AND DECEMBER. 
 
 ONE GENTLEMAN AND ONE LADY. 
 
 THIS tableau represents a domestic scene of real life ; one 
 of those of which we frequently hear, but seldom witness. 
 The scene is a drawing-room ; and the stage should be fur- 
 nished with a sofa, or tete-a-tete, placed in the centre, a 
 table upon the left, an arm-chair upon the right, pictures, 
 and so forth. As the curtain rises, an old gentfeman rep- 
 resented as about sixty is discovered seated by a young 
 lady upon the sofa, holding her left hand to his lips ; while 
 he bends forward, and looks up towards her face with a 
 complacent expression. He wears a white wig with bald 
 front, blue coat with brass buttons, buff vest and trousers, 
 with ruffled shirt-bosom. 
 
 The young lady is seated upon the right of the old gentle- 
 man, her left hand in his ; while the fore-finger of her right 
 is raised o her lips, and she looks out towards the audience 
 with an amused expression. She should wear a handsome 
 silk evening-dress, or a white muslin, with blue sash, and 
 her hair tastily dressed. The stage should be well lighted, 
 and the music lively.
 
 THE VILLAGE POST-OFFICE. 121 
 
 THE VILLAGE POST-OFFICE. 
 
 ONE GENTLEMAN AND A LADY. 
 
 THIS scene is probably familiar to any one who has ever 
 travelled through some country village remote from any 
 great centre of civilization. The locality is a shoemaker's 
 shop ; and a low bench should be placed in the centre of the 
 stage, near the front. Upon it is a hammer, round stone, 
 shoes, and other small tools. The postmaster and shoe- 
 maker stands on the left of this bench, holding a large mail- 
 bag in his right hand ; while in his left is a letter, which he 
 looks at steadily, as if endeavoring to read the direction. 
 His head is bald, and he wears a large pair of spectacles : 
 his dress is a white or striped shirt, with sleeves rolled up ; 
 brown vest and trousers, and long apron. A lady* stands 
 on the right of the bench, watching the shoemaker expect- 
 antly, her left hand holding a letter to her lip, and her right 
 opened, and extended towards him. She wears a gray or 
 black dress, light shawl, and bonnet. Music lively.
 
 122 PARLOR TABLEAUX. 
 
 THE BUSHWHACKER. 
 
 A GENTLEMAN, A BOY, AND A LADY. 
 
 THIS is a companion-picture to " The Union Refugee," 
 and, in contrast to that, represents one of the other side 
 about to leave his wife and child, to whom he had returned 
 for a short time, and again enter into those nefarious ex- 
 ploits in which this class of men engaged. The bush- 
 whacker should be represented as about thirty years of age, 
 with long, full brown beard and mustache. He stands at 
 the left of the stage, his right arm holding up his little boy 
 close to him, his left holding his gun, the butt of which rests 
 upon the ground, while the barrel is inclined towards the 
 right. His head is bent over towards the right upon his 
 shoulder, and his eyes closed, as if endeavoring to pay no 
 attention to the remonstrances of his wife, who stands be- 
 side him. He wears a flannel shirt Avith sleeves hanging, 
 leaving the arms bare to the elbows ; gray vest, open in 
 front, showing his breast ; gray pants tucked into his boots ; 
 high boots, with the hasp of a large knife protruding from 
 one leg, and the butt of a pistol or revolver from the other.
 
 THE FISHERMAN'S RETURN. 123 
 
 His hair presents a rough and uncombed appearance. The 
 lady personating the wife of the bushwhacker stands at his 
 right side, with her left arm around his neck, and resting 
 upon his left shoulder ; her right grasping the gun above the 
 point where he holds it, as if endeavoring to restrain him 
 from taking it. Her faced is turned up towards .his with a 
 pained, entreating expression. She wears a short gray dress, 
 large woollen shawl, and snTall handkerchief around her 
 neck : her hair is allowed to fall loosely upon her shoulders. 
 The child should be a boy from three to five years of age. 
 He is supported upon his father's arm, and rests his head 
 upon his father's right shoulder, his hands stroking his 
 beard, while he looks upwards at the outlaw's face with a 
 smile. He wears an ordinary frock, stockings, and shoes. 
 The music should be alternately loud and soft ; and the light 
 should be red, thrown on in occasional flashes. 
 
 THE FISHERMAN'S RETURN. 
 
 A GENTLEMAN, A LADY, AND TWO OR THREE CHILDREN. 
 
 Who, far from children, home, and wife, 
 With ocean holds a constant strife ? 
 Toils hard to live an honest life ? 
 
 The fisherman.
 
 124 PARLOR TABLEAUX. 
 
 Oh ! glad is he to see once more 
 The humble cottage on the shore 
 That ever welcomes to its door 
 
 The fisherman. 
 
 And, as his vessel nears the land, 
 His children run, a merry band, 
 To greet with eye and lip and hand 
 The fisherman. 
 
 His wife, with baby on her arm, 
 Trips down to give him welcome warm ; 
 Acd infancy's sweet lispings charm 
 The fisherman. 
 
 Sometimes that wife will trembling hear 
 The night-storm howling wild and drear, 
 Dreading no coming morn will cheer 
 The fisherman ; 
 
 And, weeping, on her bended knees 
 Will pray to Him who still the seas, 
 " Oh ! send back to his babes and me 
 
 The fisherman." 
 
 
 
 Whose widowed wife should be our care ? 
 Whose children should our bounty share ? 
 His who for us did danger dare, 
 
 The fisherman. 
 
 THIS tableau, as is well explained by the poem, represents 
 an English fisherman on his return from a voyage, greeted
 
 THE FISHERMAN'S RETURN. 125 
 
 by his wife and family. The characters are the fisherman, 
 his wife, and three children. The gentleman taking the 
 character of the fisherman stands upon the right of the 
 stage. His body is bent forward, his right leg extended, 
 and the left resting upon the toe of the left foot, as if ad- 
 vancing : his arms are stretched forward towards his little 
 girl, who stands before him; while he looks towards his 
 wife with a pleased expression. He wears a blue shirt and 
 trousers, tarpaulin or a straw hat, and a beard to match the 
 color of his hair. 
 
 A little girl some four to six years of age stands directly 
 in front of him, towards the centre. She is dressed in a 
 white or blue dress, her hair thrown back in curls, and her 
 arms extended towards her father, with a smiling expression 
 upon her face. 
 
 By the side of the girl, towards the back of the stage, 
 stands the fisherman's son, a boy of about nine or ten years 
 of age. His left hand is at his side, his right raised above 
 his head, as if giving a shout of joy as he looks towards his 
 father. He wears a cloth cap without visor, and ordinary 
 jacket and trousers. 
 
 The lady personating the wife of the fisherman stands at 
 the left-hand corner of the back of the stage. She should
 
 126 PARLOR TABLEAUX. 
 
 hold in her arms a young child, if available ; though thig 
 accessory is not indispensable. Her left foot is placed in 
 advance of her right, as if moving forward ; and she looks 
 towards her husband with a pleased expression. She wears 
 a plain striped calico with loose waist, cap, and handker- 
 chief around her neck. The stage should be bare, with the 
 exception of some poles and a net, which may be laid upon 
 the floor at the back. Music, " Home Again." 
 
 ON THE FENCE. 
 
 TWO MALE FIGURES AND ONE FEMALE. 
 
 THE stage for this scene should represent a rustic retreat, 
 with a long wooden seat extending across the stage from the 
 centre of the background towards the right of the stage. 
 The seat may be a plain wooden plank, about eight feel 
 long by one wide, placed upon two boxes, painted or cov- 
 ered with green, about two feet high. As the curtain rises, 
 a young lady is discovered seated upon the centre of the 
 plank, with her face towards the front. She is simply 
 dressed in a blue dress, Avhite cape, and straw-hat. She 
 does not look at either of the young men, but straight for-
 
 THE RECOGNITION. 127 
 
 ward, with a hesitating expression. Upon the right, in the 
 rear of the seat, a young man gayly dressed, with long side- 
 whiskers and light-kid gloves, is standing. He leans for- 
 ward towards the young lady, offering his right arm with a 
 complacent expression. On the left, a young man, dressed 
 as a farmer, stands looking at the lady with a sheepish ex- 
 pression. The curtain descends ; then quickly rises, show- 
 ing the young lady and farmer together, arm-and-arm, 
 looking contentedly at each other ; while the exquisite on 
 the right raises his hands, and elevates his eyebrows in 
 surprise. Music lively. 
 
 THE RECOGNITION. 
 
 TWO GENTLEMEN. 
 
 THIS subject is from the celebrated picture by Constant 
 Meyer, the artist of Consolation, which first made him 
 famous. Although the sentiment of this picture is entirely 
 different from the one first known, and in many respects 
 not as pleasing, still the subject is entirely original and 
 very striking, forming a very impressive tableau. Like 
 Consolation, it is an episode of the late war between the
 
 128 PARLOR TABLEAUX. 
 
 North and the South, and illustrates one of those terrible 
 incidents naturally growing out of this conflict between 
 friends, relations, and brothers. Nothing could be in 
 greater contrast to the quiet, tender, almost heavenly spirit 
 of the first picture, than the agonizing expression of the 
 Southern soldier in " The Recognition." 
 
 The scene of the picture is a battle-field. Upon the left 
 of the stage, a bank of boxes and pillows, covered with 
 green cambric or baize, should be made, sloping from a 
 height of about three feet from the extreme left of the stage 
 to the level of the centre. 
 
 The characters are a young Union soldier of about nine- 
 teen years of age, and his brother, some seven years older, 
 a soldier of the Rebel army. As the curtain rises, the 
 young Union soldier is discovered lying stretched upon the 
 bank, with his head towards the left, his feet extended 
 towards the centre of the stage. His right arm is close to 
 his side, his left extended on the bank towards the front ; 
 the lower limbs ly-ing carelessly upon the bank. His face 
 is turned upward,, and his coat and shirt open, showing his 
 breast, upon which is the mark of a wound. 
 
 He wears light-blue trousers, one leg of which is 
 turned up, and the limb bandaged, a dark-blue coat, and 
 striped shirt. His eyes are closed as in sleep.
 
 THE FATHER'S OATH. 121) 
 
 The older man kneels behind the young soldier, his right 
 hand grasping firmly the young man's right below the el- 
 bow, his left under his shoulder. He kneels upon his right 
 knee, his head bent forward, and looking upon the face of 
 his companion with an earnest, agonized expression, as he 
 recognizes his own brother in the person of the man he has 
 killed. He wears a brown jacket and pants, black, bushy 
 beard, and a bandage around his head. The stage should 
 be quite dark, with flashes of red light thrown on at inter- 
 vals, succeeded by a bright-blue light. Music alternately 
 loud and soft. 
 
 THE FATHER'S OATH. 
 
 ONE GENTLEMAN AND ONE LADY. 
 
 Linn. If it is Heaven's will to take me from you, Reuben, our com- 
 mon faith teaches us submission ; but, whether long life or early death 
 be my doom, I think you would not wish the one a slow suffering, and 
 the other a bitter agony. Swear to me, Reuben, that you will be true 
 to the trust that the dead reposed in you ; that you will use all your 
 endeavors to find out the lawful owners of the money ; and, when they 
 are found, that you will restore it, intact, to their hands ! ( Taking book 
 from his hand.} Swear to me, Reuben, on your father's copy of the 
 law (placing the book on the head of the cradle), on the head of our 
 sleeping babe 1 
 
 9
 
 130 PARLOR TABLEAUX. 
 
 Reuben. I will, Lina, I will, when we are safe at Bonn. 
 
 Lina. No: here and now! (She draws him toward the crc.dle.) I 
 will not go without your oath. All earthly witness to the trust dies 
 with me ; but the Judge of life and death, he saw, he sees ! Swear, 
 Reuben ! (Music very piano.) 
 
 Reuben. ( Kneels beside cradle, placing one hand on the book on head of 
 the, cradle.) I swear ! 
 
 THE scene of this tableau is from Tom Taylor's drama 
 of *' Payable on Demand." A proscribed Jew, named Reu- 
 ben Goldsched, who, contrary to the laws of his sect, has 
 married a Christian, thereby losing much of his business 
 and becoming quite poor, receives a deposit of a large sum 
 of money from an aristocrat, at the period of the French 
 Revolution. On the same day that the money is left with 
 Reuben, the marquis to whom it belongs is murdered in the 
 streets. 
 
 The Jew has no clew to the relations of the marquis ; 
 but his wife Lina will not hear of keeping the money, and 
 persuades him to take an oath on the head of their child to 
 seek out the owners, and restore it to them. The cradle of 
 the child is at the right of the centre of the stage, near the 
 front, the head towards the audience, so as to conceal the 
 inside. Lina stands behind the cradle, near the head, her 
 left hand at her side, her right pointing upwards, and arm
 
 ENOCH ABDEN'S RETUBN. 131 
 
 raised, as she looks at Reuben with a pleading expression. 
 Reuben kneels with his right hand upon a book on the head 
 of the cradle, his face looking upwards, and his right hand 
 raised, as if taking an oath. He wears black, pointed 
 beard, black gaberdine, or domino, and shoes. Lina wears 
 a blue skirt and black bodice. There should be a chair and 
 table on the left. A blue light is thrown from the left. 
 Music very piano. 
 
 ENOCH ARDEN'S RETURN. 
 
 THREE GENTLEMEN, A BOY, TWO LADIES, AND A YOUNG 
 
 GIRL. 
 
 And on the right hand of the hearth he saw 
 Philip, the slighted suitor of old times, 
 Stout, rosy, with his babe across his knees : 
 And o'er her second father stooped a girl, 
 A later but a loftier Annie Lee, 
 Fair-haired and tall ; and from her lifted hand 
 Dangled a length of ribbon and a ring 
 To tempt the babe, who reared his creasy arms, 
 Caught at and ever missed it ; and they laughed. 
 And on the left hand of the hearth he saw 
 The mother glancing often toward the babe, 
 But turning now and then to speak with him,
 
 132 PARLOR TABLEAUX. 
 
 Her son, who stood beside her, tall and strong, 
 And saying that which pleased him ; for he smiled. 
 
 " Too hard to bear ! Why did they take me thence f 
 
 O God Almighty, blessed Saviour, thou 
 
 That didst uphold me on my lonely isle ! 
 
 Uphold me, Father, in my loneliness, 
 
 A little longer ! Aid me ; give me strength 
 
 Not to tell her, never to let her know ! 
 
 My children too ! must I not speak to these ? 
 
 They know me not. I should betray myself. 
 
 Never ! no father's kiss for me, the girl 
 
 So like her mother, and the boy, my son ! " 
 
 TENNYSOW. 
 
 THE portion of Tennyson's poem of " Enoch Arden" 
 describing this scene is one of the most pleasing, and is a 
 very fine subject for a tableau. 
 
 The story of Enoch Arden is probably well known to 
 the majority of readers, though it may be well to give a 
 brief sketch of the circumstance of the picture. Enoch Ar- 
 den and Philip Ray were, in their youth, rivals for the hand 
 of Annie Lee. Enoch is the successful suitor, and becomes 
 the husband of Annie. Being a sailor, he is obliged, 
 shortly after his marriage, to leave his wife, and go to sea. 
 His passage is stormy, and his vessel wrecked on a desolate
 
 ENOCH ARDEN'S RETUBK. 133 
 
 island, where he is obliged to remain for many years. He 
 is believed to be dead by his wife, who, after waiting for 
 years, consents to marry Philip Ray. Enoch is finally res- 
 cued from the island, and wanders back to his old home to 
 find his wife another's. 
 
 The tableau represents him looking in at the window of 
 
 Philip's house, where he beholds the happy family, and 
 
 
 
 prays for strength to support him in his bitter disappoint- 
 ment, and for help to bear it in silence. A wooden frame 
 about four feet square, of laths, or narrow boards, should 
 be constructed, with a narrow piece extending longitudi- 
 nally from top to bottom of the frame, dividing the whole 
 space in two equal parts, to represent a window. A large, 
 wide box, two or three feet high, should be placed at 
 the back of the regular stage, to be used as a supplement- 
 ary platform for the figures who occupy the space in the 
 background. 
 
 The frame should be supported on this platform at a dis- 
 tance of about eighteen inches above its level ; and the cur- 
 tains used for the background should be sewed or pinned 
 around the outside of the frame, so as to close in the whole 
 of the back part of the stage, except that occupied by the 
 frame. The frame should be in the centre of the back-
 
 134 PARLOR TABLEAUX. 
 
 ground, at the height of the extra platform, added to the 
 eighteen inches from that above the regular stage. 
 
 The gentleman representing Enoch should stand at the 
 right of the centre of the stage, his left hand upon his 
 breast, his right extended, palm downwards, and his face 
 turned upwards with an earnest, supplicating expression. 
 
 He wears a short green or blue jacket, black waistcoat, 
 
 
 corduroy pantaloons, black-silk cravat with ends hanging, 
 
 broad collar, and tarpauling hat : he also wears gray hair 
 and whiskers ; and his face is pale, and marked with deep 
 lines. The remaining figures of the group are all behind 
 the window-frame. The lady, Enoch's wife, is seated in a 
 chair near the frame, and at the right-hand side : the right 
 side of her face is towards the audience, her hands lying 
 folded in her lap ; and she looks towards her child, who is 
 seated on his father's knee. She wears a slate-colored waist 
 with drapery-sleeves and dark skirt, a white cap partially 
 covering her head. A young man about eighteen years of 
 age stands behind her chair, looking down towards her with 
 a fond expression : his right hand is upon the back of the 
 chair, and he wears a plain, dark suit, with sailor's cravat. 
 The gentleman personating Philip Ray is seated farther 
 back, and nearer the left of the stage. His arms are
 
 THE WIDOW OF GLENCOE. 135 
 
 around his little son, who is in his lap ; and he looks down 
 towards him with a pleased expression. He wears a suit 
 of brown cloth : his hair is gray, his face smooth. The 
 daughter is a young girl about fourteen years of age. She 
 stands at the left of Philip, behind the chair, her right hand 
 upon the back, her left holding a ribbon, with ring attached, 
 before the child, whom she looks at with a smile upon her 
 face. She wears a blue dress, and ribbon at the neck. 
 The child is about two years of age, and stretches out his 
 hands for the ring and ribbon, looking upwards. A bright 
 light should be thrown upon the figures behind the frame. 
 Music, " Home, sweet home." 
 
 FOUR GENTLEMEN AND ONE LADY. 
 
 Do not lift him from the bracken : leave him lying where he fell. 
 Better bier ye cannot fashion : none beseems him half so well 
 As the bare and broken heather, and the hard and broken sod, 
 Whence his angry soul ascended to the judgment-seat of God ! 
 Winding-sheet we cannot give him : seek no mantle for the dead, 
 Save the cold and spotless covering showered from heaven upon his 
 head.
 
 136 PARLOR TABLEAUX. 
 
 Leave the broad-sword as we found it, rent and broken with the blow, 
 That, before he died, avenged him on the foremost of the foe : 
 Leave the blood upon the bosom ; wash not off the sacred stain ; 
 Let it stiffen on the tartan ; let his wounds unclosed remain 
 Till the day when he shall show them at the throne of God on high, 
 When the murderer and the murdered meet before the Judge's eye ! 
 Nay, ye should not weep, my children ! leave it to the faint and weak : 
 Sobs are but a Woman's weapons; tears befit a maiden's cheek. 
 Weep not, children of Macdonald ! weep not, thou his orphan heir ! 
 Not in shame, but stainless honor, lies thy slaughtered father there : 
 Weep not ; but when years are over, and thine arm is strong and sure, 
 And thy step is swift and steady on the mountain and the muir, 
 Let thy heart be hard as iron, and thy wrath as fierce as fire, 
 Till the hour when vengeance cometh for the race that slew thy sire. 
 
 But I will not wrong thee, husband, with my unavailing cries, 
 Whilst thy cold and mangled body stricken by the traitor lies ; 
 Whilst he counts the gold and glory that this hideous night has won, 
 And his heart is big with triumph at the murder he has done. 
 Other eyes than mine shall glisten, other breasts be rent in twain, 
 Ere the heath-bells on the hillock wither in the autumn rain. 
 How I'll seek thee whore thou sleepest ! and I'll veil my weary head, 
 .Praying for a place beside thee, dearer than my bridal bed ; 
 And I'll give thee tears, my husband, if the tears remain to me, 
 When the widows of the foeman cry the coronach to thee. 
 
 W. E. ATTOUN. 
 
 MANY of the Scottish chiefs at the time of King William's 
 accession to the throne in 1688 refused to acknowledge liig 
 right, and still adhered to James. In August, 1691, Wil-
 
 THE WIDOW OF GLEKCOE. 137 
 
 Ham issued a proclamation, offering pardon to all who 
 would take the oath of allegiance before Dec. 31. 
 These terms were accepted by all the chiefs, except Mac- 
 donald of Glencoe. The old chief, however, went to Fort 
 William, on Dec. 31, to take the oath: but the officer, 
 saying he had not sufficient authority to receive it, referred 
 him to the officer commanding at Invernay ; Avhere Macdon- 
 ald repaired, and took the oath, Jan. 6, 1692. The Earl of 
 Argyle, and some other enemies of the Macdonald clan, tak- 
 ing advantage of this unavoidable delay, persuaded King 
 William that the clan were still in rebellion, and obtained 
 permission to extirpate it. Accordingly, one hundred and 
 twenty soldiers, under the command of Campbell of Glen- 
 lyon, were sent to Glencoe on Feb. 1. They were re- 
 ceived with hospitality, and treated as guests, at the chief- 
 tain's castle for two weeks. On Feb. 12, they supped 
 and played cards with Macdonald ; and on the same night 
 he was visited by Lieut. Lindsey, and, as he arose from his 
 bed to order refreshments, was shot through the head ; and 
 his wife received such injuries as resulted fatally the next 
 day. Several families were massacred in the same way, 
 about forty persons in all being killed : a large number, 
 however, escaped to the mountains, where many perished
 
 PARLOR TABLEAUX. 
 
 of starvation. The scene given represents one of the fallen 
 chiefs, surrounded by his wife and friends. The gentleman 
 personating the fallen chieftain should lie upon the floor of 
 the stage, near the front, with his head towards the right, 
 and lying upon his right arm, which is bent under it. His 
 left arm lies at his side, and his lower limbs are extended 
 towards the left. His eyes are closed, his face very pale, 
 and turned towards the audience with a fixed expression. 
 He wears a black tunic trimmed .with gold, belt and kilt, 
 plaid scarf tied over the shoulder, striped stockings, and 
 shoes. His tunic is thrown open in front, showing a wound 
 upon his breast ; and his sword is at his side. The chief- 
 tain's widow kneels behind him. Her right hand is raised 
 above her head, pointing upwards ; her left clasps the hand 
 of her little boy, who stands beside her. She wears a dress 
 of black or crimson, with low neck and short sleeves, a 
 plaid scarf attached to the belt and tied at the shoulders, 
 and a black-lace veil and jet coronet upon her head : her 
 face is very pale, and she looks upwards with an earnest 
 expression. 
 
 The child should be from five to seven years of age. He 
 stands at the left of the lady, his right hand holding her 
 left, his left at his side : he stands close to her, looking up,
 
 IN THE WILDERNESS. 139 
 
 as she points, with a sad expression upon his face. His 
 costume is a tunic of black velvet, with plaid scarf and kilt, 
 striped stockings, shoes, and Scotch cap with feather. 
 
 The two other gentlemen are upon the right of the stage 
 They kneel at the head of their chief, their faces toward the 
 left, presenting a side-view to the audience. The one on 
 the outside, nearest the front, with clasped hands, looks 
 down with an expression of grief at the fallen friend ; while 
 the other bows his head upon his hands, covering his face. 
 They should be dressed in a costume similar to that of the 
 chief, but simpler, and of different color. Flashes of light 
 should be thrown upon the group at intervals. Music slow, 
 and of a mournful character. 
 
 IN THE WILDERNESS. 
 
 ONE GENTLEMAN. 
 
 Mangled, jmcared for, suffering through the night, 
 With heavenly patience the poor boy had lain 
 
 Under the dreary shadows left and right : 
 
 Groaned on the wounded, stiffened out the slain. 
 
 What faith sustained his lone 
 
 Brave heart to make no moan, 
 
 To send no cry from that blood-sprinkled sod, 
 
 Is a close mystery with him and God.
 
 140 PARLOR TABLEAUX. 
 
 But when the light came, and the morning dew 
 
 Glittered around him like a golden lake ; 
 And every dripping flower, with deepened hue, 
 
 Looked through its tears for very pity's sake, 
 He moved his aching head 
 Upon its rugged bed, 
 And smiled, as a blue violet, virgin-meek, 
 Laid her pure kiss upon his withered cheek. 
 
 The strangest posy ever fashioned yet 
 
 Was clasped against the bosom of the lad, 
 As we, the seekers for the wounded, set 
 
 His form upon our shoulders, bound and sad ; 
 Thought he but seemed to think 
 How violets nod and wink ; 
 And as we cheered him, for the path was wild, 
 He only looked upon the flowers, and smiled. 
 
 GEORGE H. BOKKR. 
 
 THIS simple picture represents a scene on the battle-field 
 of the Wilderness, one of the hardest-fought battles of 
 the late war. 
 
 Upon the right of the stage, an irregular box about two 
 feet high is placed, and covered with brown cambric to 
 represent a stump of a tree ; or a small box, covered with 
 green, will answer. The young man personating the 
 wounded soldier should be about twenty years of age, and 
 of handsome features. He lies upon the floor of the stage,
 
 SPIRIT OP '76. 141 
 
 with his right elbow resting upon the stump, his head sup- 
 ported upon his right hand. He leans toward the right, 
 looking down upon a small cluster of violets which he holds 
 in his left hand. His right leg is bent at the -knee, his left 
 extended straight. He wears a flannel shirt, open at the 
 neck ; light-blue trousers, with the left leg turned up nearly 
 to the knee, and a bandage tied round the limb near the 
 ankle. The tableau should be lighted by flashes of red firs 
 thrown from the left. Music alternately loud and soft. 
 
 SPIRIT OF '76 
 
 THREE GENTLEMEN AND THREE LADIES. 
 
 Listen, young heroes ! your country is calling ; ^ 
 Time strikes the hour for the brave and the true : 
 
 Now, while the foremost are fighting and falling, 
 Fill up the i-anks that have opened for you ! 
 
 Stay not for questions while Freedom stands gasping ; 
 
 Wait not till Honor lies wrapped in his pall : 
 Brief the lips' meeting be, swift the hands' clasping ; 
 
 Off to the wars is enough for them all ! 
 
 Break from the arms that would fondly caress you : 
 Hark ! 'tis the bugle-blast ! sabres are drawn ! 
 
 Mothers shall pray for you, fathers shall bless you, 
 Maidens shall weep for you, when you are gone.
 
 142 PARLOR TABLEAUX. 
 
 x 
 " Never or now ! " cries the blood of a nation, 
 
 Poured on the turf where the red rose should bloom : 
 Now is the day and the hour of salvation ; 
 
 " Never or now J " peals the trumpet of doom. 
 
 0. W. HOLMES. 
 
 THIS scene forms a very fine domestic tableau of the 
 Revolutionary epoch of '76, and may be produced with but 
 little expense in the way of time and costuming. The prin- 
 ^ipal figure of the group is a young man of about twenty- 
 five years of age. He is represented as about leaving his 
 family, who are seen busy in preparation for his departure 
 to the field. He stands a little farther back than the centre 
 of the stage, his right hand grasping a musket, with bayo- 
 net attached, which is extended towards him ; his left rest- 
 ing upon the hilt of a sword, which is held towards him 
 from the left. About two-thirds of his face is turned 
 towards the audience, and he looks out towards the right 
 with a determined expression upon his face. He is dressed 
 in a dark uniform-coat of the period, with lace ruffles at the 
 wrists, black vest with broad lace ruffles, black breeches, 
 silk stockings, and buckle-shoes. The old man, his father, 
 stands at his right, holding the gun towards him, the stock 
 lying upon his left hand, while his right is upon the lock ;
 
 SPIRIT OF 76. 143 
 
 and he looks at that part carefully, as if examining its condi- 
 tion. He is dressed in light-brown coat and breeches, dark 
 vest, silk stockings and pumps, and a gray wig, with bald 
 front upon his head. The young man's mother stands at 
 his left, holding the sword in her left hand towards the son ; 
 while her right is raised above her head, and pointed up- 
 wards, as she looks at him with an earnest expression. 
 
 Her dress is of plain black material, with small white 
 shawl over the shoulders, pinned at the waist, and cap with 
 ruffle upon her head. One lady kneels in front of the young 
 man, holding the ends of a sword-belt, which passes over 
 his shoulders, in her hands, in the act of fastening it. She 
 is plainly dressed, with a large handkerchief over her shoul- 
 ders, and her sleeves rolled up above her elbows. In this 
 position, her back is towards the audience. The wife of 
 the officer is seated upon the left of the stage. She holds 
 in her left hand a large white paper, at the top of which is 
 printed or written in large letters the words, " Fourth of 
 July, 1776." The left side of her face is turned towards 
 the audience ; and she looks towards the young man with a 
 firm expression, pointing with her right hand to the paper 
 which she is holding. Her dress is a gray or crimson silk, 
 black-lace shawl, and lace cap upon her head. A chair,
 
 144 PAKLOE TABLEAUX. 
 
 holding a knapsack and hat, may be placed upon the right 
 of the stage. The remaining characters are a young boy 
 and a girl, the children of the officer. The boy is seated 
 in front of his father, a little to the left. He is engaged in 
 pouring gunpowder from a paper into a horn which he holds 
 in his lap. He is dressed in a black-velvet frock, knee- 
 breeches, and gaiters. The little girl is seated at her moth- 
 er's feet, her right arm upon her lap, and looking anxiously 
 at her father. She should be of light complexion, with 
 hair in curls, and dressed in short white-muslin dress, with 
 low neck and short sleeves, and a blue-silk sash. As the 
 curtain rises, a bright-red light should be thrown upon the 
 group, changing to a white, and then to a bright-blue light, 
 which remains until the fall of the curtain. The music is 
 " Hail, Columbia," or some other national American air, 
 played in a spirited manner. 
 
 DAVID'S LAMENT OVER ABSALOM. 
 
 TWO GENTLEMEN. 
 
 His hair was yet unshorn, and silken curls were floating round 
 
 the tassels, 
 
 As glossy now as when, in hours of gentle dalliance, 
 Soothing the snowy fingers of Judaea's daughters.
 
 DAVID'S LAMENT OVER ABSALOM. 145 
 
 His helm was at his feet. 
 
 His banner, soiled with trailing through Jerusalem, 
 
 Was laid reversed beside him ; and the jewelled hilt, 
 
 Whose diamonds lit the passage of the blade, 
 
 Rested like mockery on his marble brow. 
 
 The king stood still until the last echo died 
 
 Upon the pavement ; then throwing back the sackcloth 
 
 From his brow, and laying back the pall 
 
 From the still cold features of his child, 
 
 He bowed his head upon him, and burst forth 
 
 In the resistless eloquence, of woe : 
 
 " Alas, my noble boy, that thou shouldst die ! 
 
 Thou who wert made so beautifully fair ! 
 That death should settle in thy glorious eye, 
 
 And leave hjs stillness in this clustering hair ! 
 How could he mark thee for the silent tomb, 
 My proud boy, Absalom ? 
 
 And now farewell ! 'Tis hard to give thee up, 
 With death so like a gentle slumber on thee. 
 And thy dark sin ! oh ! 1 could drink the cup 
 If from this woe its bitterness had won thee ! 
 May God have called thee like a wanderer home, 
 My lost boy, Absalom ! " 
 
 N. P. WILLIS. 
 
 AT a little distance back of the centre of the stage, a 
 long box covered with black is placed, upon which the 
 young man is lying, with his head towards the right. His 
 10
 
 146 PARLOR TABLEAUX. 
 
 right arm is upon his breast, his left at his side. He wears 
 a crimson-velvet tunic with long sleeves, ornamented with 
 metal plates ; the lower part of his body being covered with 
 a black pall. He is of dark complexion, curling hair, and 
 with face very pale. David kneels behind the bier, his 
 hands clasped, and looking upwards with a sad expression. 
 He wears a long velvet robe trimmed with gold or ermine, 
 with drapery-sleeves, ermine cape, white wig of very long 
 hair, mustache, and full white beard. A gilded helmet 
 may be placed at the foot of the bier on the left, and a 
 sword on the right. 
 
 The young man who personates Absalom should be of 
 handsome, straight features. A bright-blue light should be 
 thrown upon the figures. Music, some sacred hymu. 
 
 EXCELSIOR. 
 
 ONE GENTLEMAN AND ONE LADY. 
 
 The shades of night were falling fast 
 As through an Alpine village passed 
 A youth, who bore, 'mid snow and ice, 
 A banner with the strange device, 
 
 " Excelsior ! "
 
 EXCELSIOK. 147 
 
 His brow was sad ; his eye beneath 
 Flashed like a falchion from its sheath; 
 And like a silver clarion rung 
 The accents of that unknown tongue, 
 " Excelsior ! " 
 
 " Try not the pass," the old man said ; 
 " Dark lowers the tempest overhead ; 
 The roaring torrent is deep and wide." 
 And loud that clarion voice replied, 
 
 " Excelsior I ** 
 
 " Oh, stay ! " the maiden said, " and rest 
 Thy weary head upon this breast." 
 A tear stood in his bright-blue eye ; 
 But still he answered with a sigh, 
 
 " Excelsior 1 " 
 
 " Beware the pine-tree's withered branch ! 
 Beware the awful avalanche ! " 
 This was the peasant's last good-night. 
 A voice replied far up the height, 
 
 " Excelsior ! " 
 
 H. W. LONGFELLOW. 
 
 THIS familiar poem furnishes a very striking and original 
 subject for the tableau. 
 
 The scene represents the youth as he is about to ascend 
 the mountains, with the peasant-girl and the old man at the 
 foot endeavoring to dissuade him from his perilous enter-
 
 148 PARLOR TABLEAUX. 
 
 prise. The stage should be covered with white-cotton 
 sheet, with a pile of boxes, arranged to represent a decliv- 
 ity, sloping from the centre of the stage gradually upwards 
 towards the right. The young man should stand at the- 
 foot of this pile, with his right foot advanced forward upon 
 it, as if ascending : he should carry in his right hand a 
 small banner, either of white cotton or paper, with the word 
 "Excelsior" printed upon it, or cut out of black-colored 
 paper, and sewed on. His left hand is raised, and the fore- 
 finger pointed toward the inscription upon the banner ; and 
 he looks toward it with a determined expression, his lips 
 firmly set. He should be of dark complexion, with straight 
 features, and hair combed back from his forehead. He 
 is dressed in a slate-colored tunic trimmed with black, with 
 white collar, gray stockings, belt, and buckle-shoes. The 
 peasant-girl stands near the right side of the stage, looking 
 up towards the young man. Her clasped hands are ex- 
 tended towards him ; and she leans forward, gazing at him 
 with an appealing expression upon her face. She should be 
 dressed in a blue skirt, black bodice with shoulder-straps, 
 white sleeves, cap, striped stockings, and slippers. 
 
 The old man stands on the left of the stage : his face is 
 turned towards the young man, and his right hand raised,
 
 THE SOLDIER'S DREAM. 149 
 
 pointing upward, as if warning him of the impending 
 storm. He is dressed in a brown jacket, red vest, corduroy 
 breeches, boots, and cloth cap : he also wears a gray wig 
 and whiskers. A handful of small pieces of paper should 
 bte thrown into the air before the curtain rises, to represent 
 snow. The noise of a storm should be made without, and 
 the light on the tableau thrown on in flashes. Music alter- 
 nately loud and soft. 
 
 THE SOLDIER'S DREAM. 
 
 THREE GENTLEMEN, A BOY, TWO LADIES, AND A YOUNG GIRL. 
 
 Our bugles sang trace ; for the night-cloud had lowered, 
 And the sentinel-stars set their watch in the sky ; 
 
 And thousands had sunk on the ground, overpowered, 
 The weary to sleep, and the wounded to die. 
 
 When reposing that night on my pallet of straw, 
 By the wolf-scaring fagot that guarded the slain, 
 
 At the dead of the night a sweet vision I saw ; 
 And thrice, ere the morning, I dreamt it again. 
 
 Methought, from the battle-field's dreadful array, 
 
 Far, far, I had roamed on a desolate track. 
 'Twas autumn ; and sunshine arose on the way 
 
 To the home of my fathers, that welcomed me back.
 
 150 PARLOR TABLEAUX. 
 
 Then pledged we the wine-cup, and fondly I swore 
 From my home and my weeping friends never to part : 
 
 My little ones kissed me a thousand times o'er, 
 And my wife sobbed aloud in her fulness of heart. 
 
 Stay, stay with us ; rest ; thou art weary and worn ; 
 
 And fain was their war-broken soldier to stay : 
 But sorrow returned with the dawning of morn, 
 
 And the voice in my dreaming ear melted away. 
 
 CAMPBELL. 
 
 THIS scene represents an episode of one of our battle- 
 fields during the late war. Although the poein accompany- 
 ing is not of recent date, the sentiment is equally applicable 
 to all periods. The stage is cleared, with the exception of 
 a small pile of straw, or a green bank upon the left side. A 
 set of curtains should be placed at about three feet in front 
 of the background ; and a platform about two feet high may 
 be placed between these curtains and the background, though 
 this is not indispensable. A young man lies upon the straw, 
 at the left : his face is towards the background, his head 
 towards the left, and his limbs extended towards the right ; 
 his eyes are closed, and his arms lie naturally at his 
 sides. He wears light-blue pants, dark-blue coat open in 
 front, and dark fatigue-cap. The remaining figures are 
 grouped behind the curtains at the back, which should be
 
 THE SOLDIER'S DREAM. 151 
 
 drawn aside, so as to afford a complete view of all the cha- 
 racters. A young man stands a little to the left of the centre 
 of <he stage, near the front : his face is towards the right, 
 looking down upon his wife, who stands in front of 
 him ; and his hands are extended, grasping those of his 
 children, who stand on either side. He wears light-blue 
 trousers, dark-blue coat, fatigue-cap, and is represented as 
 .bout thirty years of age, and resembling as nearly as pos- 
 sible, in height and feature, the gentleman lying in the fore- 
 ground. This may be accomplished by two gentlemen of 
 similar complexion combing the hair in the same way, and 
 wearing false beards of the same shape. The lady represent- 
 ing the soldier's wife stands a little in front of the centre 
 of the stage. Her face is towards the left, her head leaning 
 upon the right shoulder of her husband, and her hands ex- 
 tended, and lying upon his shoulders. She wears a dark- 
 blue dress, white undersleeves, and small cap upon her 
 head, or hair in curls behind. A young boy stands at the 
 left side of the soldier, and nearer the front : his left hand 
 rests in that of the soldier, his right grasps his arm ; and 
 he looks up towards him with a pleased expression, his face 
 being turned towards the right. He should be eight or nine 
 years of age, and should wear a jacket and trousers of dark
 
 152 . PARLOR TABLEAUX. 
 
 cloth, with knot of bright ribbon tied at the neck. Upon 
 the soldier's right, a little girl six or seven years of age 
 stands. -Her position is just behind the mother, close to her, 
 holding her father's right hand in both of hers, and looking 
 up towards him with a smiling expression, her face towards 
 the left, showing a profile view to the audience. She wears 
 a dress of some bright-colored material, with neck cut low, 
 
 and hair in curls. A table and two chairs should be placed 
 
 . * 
 
 near the background, at the right. A gentleman represent- 
 ing the father of the soldier stands at the right side of the 
 table, as if just rising from the chair placed there. His right 
 hand is raised to his forehead, shading his eyes ; his head 
 is inclined forward towards the left, and his left arm ex- 
 tended with a gesture of surprise. He wears a blue coat, 
 buff vest, and black trousers, or a morning-gown, and bald 
 gray wig. The lady personating the mother stands at the 
 left side of the table, nearer the centre of the platform. Her 
 face is towards the left, turned upwards, and her hands 
 clasped upon her breast. She wears a black dress, white 
 handkerchief around her neck, white cap, and gray hair. 
 
 A clear white or blue light should be thrown upon the 
 group in the background ; the front of the stage being quite 
 dark, or lighted by occasional flashes of red fire thrown 
 from the right. Music, " Home, sweet home."
 
 CONSOLATION. 153 
 
 CONSOLATION. 
 
 ONE GENTLEMAN AND ONE LADY. 
 
 A gleam that dazzled ; light that came and went, 
 Struggling to rise ; and then a long-drawn breath, 
 
 Thus, on a camp-cot stretched .beneath my tent, 
 I came to life from out a sleep like death. 
 
 'Midst dreams of home, and of a mother's care, 
 I felt the pressure of a stranger's hand ; 
 
 Heard her soft voice ascend in fervent prayer ; 
 And saw bright angels close beside her stand. 
 
 With willing hands she bathed my aching head; 
 
 Spoke of the anxious nights and weary days 
 Through which my life hung on a slender thread, 
 
 " Not unto me, to God, give all the praise ! " 
 
 Read golden words from out the Book of life, 
 Pointing with upraised finger to the skies ; 
 
 Told me that victory crowned that day's fierce strife ; 
 Whispered of Him whose mercy never dies. 
 
 What though her cross, and, more, her simple dress, 
 Bespoke allegiance to the Church of Rome ? 
 
 Is there a patent on the power to bless 1 
 
 Can but one church supply the place of home ?
 
 154 PARLOR TABLEAUX. 
 
 Think you she stopped to question what my creed 
 When first they found me bleeding on the sod ? 
 
 Should I have asked her, " Are we both agreed 
 As to the form in which to worship God ? " 
 
 There is a church broad as the heaven above ; 
 
 Its faith as pure as God's resplendent throne ; 
 Its creed, humanity ; its precept, Love : 
 
 Sister of Mercy, these are all thine own. 
 
 W. H. K., "Evening Transcript," May 31, 1865. 
 
 THIS beautiful and simple tableau is from the celebrated 
 painting by Constant Meyer, which, at the time of its exhi- 
 bition in Boston in the spring of '65, attracted very general 
 attention, and excited warm admiration, not only from its 
 wonderful drawing and coloring, but from its inherent poet- 
 ry of sentiment, which touched the hearts of all who were so 
 fortunate as to see it. The picture represents a young Union 
 soldier lying wounded upon a hospital-bed, with one of the 
 order of Sisters of Charity kneeling beside him, reading and 
 speaking to him words of comfort and hope. A low bed, or 
 a pile of two or three mattresses, should be placed just back 
 of the centre of the stage, with pillows upon the right end, 
 and covered with blankets. A small, plain, wooden table 
 is placed upon the left of the stage, upon which is an ordi- 
 nary tin dipper and a small glass vial.
 
 CONSOLATION. 155 
 
 The young soldier lies upon the blanket, with his head 
 towards the right, the upper part of his body raised by pil- 
 lows, his face towards the audience, his hands clasped, 
 lying upon the pillow under his right cheek. He should be 
 of dark complexion, with black mustache. His face is very 
 pale, with lines under the eyes ; and he wears a thoughtful, 
 attentive, but rather painful expression of countenance. His 
 dress is a dark-blue fatigue-jacket, with sleeves turned back, 
 shirt open at the neck, lighi>-blue trousers, and bandage tied 
 around his head. His lower limbs are partially covered by a 
 blanket. The lady kneels at the right of the bed or mattress- 
 es, at a point about in the centre of the stage. A small book 
 is in her right hand : her left is raised, the forefinger point- 
 ing upwards ; and she looks down toward the book, with her 
 face towards the audience, with a benevolent expression. 
 She wears a long black robe with very wide drapery-sleeves, 
 broad white collar cut in a circular shape, about six inches 
 wide, a white band tied close to her face, white cap and 
 lawn veil upon her head, and beads with cross, attached 1o 
 the waist. She should have dark hair, with clear complex- 
 ion and straight features. 
 
 The curtains at the back should be parted at a little to the 
 left of the centre, showing the wall behind. A blue or a
 
 156 PARLOR, TABLEAUX. 
 
 white light should be thrown upon the figures from the right. 
 Music, " Come, ye disconsolate." 
 
 THE CHRISTMAS-TREE. 
 
 TWO GENTLEMEN, A LADY, AND SEVEN OR MORE CHILDREN. 
 
 Christmas is here : 
 Winds whistle shrill, 
 Icy and chill. 
 Little care we ; 
 Little we fear 
 Weather without, 
 Sheltered about 
 The mahogany-tree. 
 
 Here let us sport, 
 Boys, as we sit ; 
 Laughter and wit 
 Flashing so free. 
 Life is but short : 
 When we are gone, 
 Let them sing on 
 Round the old tree. 
 
 Evenings we knew 
 Happy as this ; 
 Faces we miss, 
 Pleasant to see.
 
 THE CHRISTMAS-TREE. 157 
 
 Kind hearts and true, 
 Gentle and just, 
 Peace to your dust 
 We sing round the tree. 
 
 W. M. THACKERAY. 
 
 THIS is a familiar scene, probably, to almost all readers : 
 if there be any to whom the subject is a novelty, I trust the 
 idea here given will be a source of pleasure to them in the 
 realization. Upon the right of the centre of the stage, two 
 chairs are placed, in which are seated the grand father and 
 mother of the children, taking part. The old man is seated 
 nearer the centre of the stage, with his right arm around a 
 little girl, who looks up with a pleased expression, holding 
 up a doll towards him : he wears a morning-gown, buff 
 trousers, and waistcoat. The grandmother is seated on the 
 right, with her left hand upon the head of a little boy be- 
 side her, who looks up towards her, holding up a new toy 
 for her admiration : she is dressed in black, with white 
 handkerchief and cap. On the left of the stage, near the 
 front, a girl of about ten is seated, with a large doll before 
 her, holding up her fore-finger as if talking. On the right a 
 young boy is riding a rocking-horse, with a small whip 
 raised above his head. The tree is a spruce or fir tree : it
 
 158 PARLOK TABLEAUX. 
 
 is placed at the left of the centre of the stage, on a small 
 table ; and the branches hung with horns-of-plenty, toys, 
 books, bags of candy, candles lighted, and so forth. A gen- 
 tleman stands beside, holding out books and toys ; and the 
 remaining eight children crowd around, holding out their 
 hands, with their faces half turned from the audience. Mu- 
 sic lively. 
 
 CHRISTMAS EVE. 
 
 ONE LADY AND A YOUNG GIRL. 
 
 'Twas the night before Christmas, when all through the house 
 
 Not a creature was stirring, not even a mouse. 
 
 The stockings were hung by the chimney with care, 
 
 In hopes that St. Nicholas soon would be there ; 
 
 The children were nestled all snug in their beds, 
 
 While visions of sugar-plums danced in their heads ; 
 
 And mamma in her kerchief, and I in my cap, 
 
 Had just settled our brains for a long winter's nap : 
 
 When out on the lawn there rose such a clatter, 
 
 I sprang from my bed to see what was the matter. 
 
 Away to the window I flew like a flash, 
 
 Tore open the shutters, and threw up the sash. 
 
 CLEMENT C. MOORE
 
 CHRISTMAS EVE. 159 
 
 THE design of this tableau, though not adhering strictly to 
 the traditional visitation of St. Nicholas, is rather more 
 poetical and picturesque than that described by the poem 
 particularly. The scene represents a young girl lying upon 
 a couch, and her good angel, who stands near, holding out 
 gifts to her. A lounge, upon which are sheets, counterpane, 
 and pillow, should be placed at the back of the stage, and 
 curtains looped above it on either side. The young girl, 
 who is from eight to ten years of age, lies vpon the lounge, 
 with her head towards the left, and he: .ace towards the 
 audience : her eyes are closed, and her arms lie naturally 
 upon the counterpane, which is turned back ; and she wears 
 a white night-dress with low neck. 
 
 The angel should be represented by a young lady of from 
 twelve to sixteen years of age. She stands behind the lounge, 
 at the foot, with her face turned towards the left, looking 
 down towards the sleeping girl ; her profile presented to the 
 audience. She holds in her hands, which are extended, a 
 small basket, with dolls and other toys hanging out. Her 
 hair should be combed back in curls ; and she wears a white 
 robe without sleeves, and wings of muslin or paper. A 
 blue smoke should surround the angel. Music soft, but 
 lively.
 
 160 PARLOR TABLEAUX. 
 
 CHRISTMAS MORNING. 
 
 ONE LADY AND A YOUNG GIRL, 
 
 A meny, merry Christmas, 
 To crown the closing year ! 
 Peace and good-will to mortals, 
 And words of holy cheer ! 
 
 What though the dreary landscape 
 B* robed in drifting snow, 
 If ou the social hearthstone 
 The Christmas-fire may glow ? 
 
 What though the wind at evening 
 Blow harsh o'er land and sea, 
 If eager hands and joyful 
 Light up the Christmas-tree 1 
 
 Soft falls its pleasing lustre 
 Upon the group around, 
 On merry laughing childhood, 
 And age with glory crowned. 
 
 With eyes of rapture beaming, 
 Each little guest receives 
 Affection's token gleaming 
 From out the shining leaves.
 
 CHRISTMAS MORNING. 161 
 
 THIS is a companion-picture to the tableau of Christmas 
 Eve, and should always be given in connection with that, 
 as it is easily produced, and carries out the idea of the first 
 named in a very pleasing manner. The lounge in this 
 scene should be turned round, so that the head is towards 
 the right. A small square table should be placed in front 
 of the centre of the lounge, towards the audience, upon 
 which are placed horns-of-plenty, paper-boxes gayly colored, 
 fruit, and toys. The young girl is sitting upon the lounge, 
 her right arm bent, the elbow resting on a pillow, and hold- 
 ing a doll : her left arm is extended, and she holds in her 
 left hand a stocking upside down, the contents of which she 
 watches intently. Her face is towards the left, presenting 
 about a two-thirds view to the audience ; and she is dressed 
 as in the previous tableau. The angel is towards the foot 
 of the lounge, her arms raised and extended, as if about to 
 fly upwards : her face is partially turned away from the 
 girl's, and she is surrounded with a thick blue smoke. Mu- 
 sic a lively waltz, and tinkling of a small bell. 
 
 11
 
 162 PARLOR TABLEAUX. 
 
 JONATHAN'S COURTSHIP. 
 
 ONE GENTLEMAN AND TWO LADIES. 
 
 THIS is a comic tableau, in two movements, readily repre- 
 sented, and always sure to please. The characters are a New- 
 England mother and daughter, and her Yankee sweet-heart. 
 
 The young lady is seated in the centre of the stage, 
 in an ordinary wooden or chip-bottomed chair. A basket 
 of apples is placed at her side, a plate in her lap. As the 
 curtain rises, she is discovered in the act of peeling an 
 apple, the detached skin of which is hanging down. She is 
 seated looking towards the right, head inclined downwards ; 
 her left side being turned towards the audience. She is 
 Pressed in a plain calico, with apron and shoes, her hair 
 hanging in two braids behind, tied with ribbon. 
 
 The young man should stand at some little distance behind 
 her chair, holding his hat in one hand, the other extended, his 
 feet placed as if advancing ; while he looks toward the audi- 
 ence with a knowing expression, as if to show that he is about 
 to surprise the young lady. His dress is a swallow-tailed, 
 blue-cloth coat, very long, with brass buttons ; yellow vest,
 
 JONATHAN'S COURTSHIP. 163 
 
 cut low ; striped trousers, very short ; and gaiter-boots, or 
 very large shoes. He should wear on his neck a wide, 
 starid-np collar, and gay neckerchief; on his head a wig 
 of light sandy hair, combed very straight ; and should carry 
 a white-beaver hat in his hand. The mother should be at 
 the back of the stage, with only her head protruding from 
 the curtains at the background, as she watches the couple 
 in the front with a menacing expression. The figures should 
 remain in the positions described for about twenty seconds 
 after the rise of the curtain ; when the young lover should 
 suddenly step forward, grasp the young lady, and kiss her 
 on the cheek, stepping back, and looking down sheepishly 
 after so doing. At the same time, the young lady should 
 drop the apple and knife, and rise, with her finger in her 
 mouth, looking down towards the ground. The mother, at 
 the same time, steps out from behind, and raises a broom 
 over her head, and looks angrily at the couple. The figures 
 should remain in this position for the same length of time 
 as the first part occupied, when the curtain should fall. 
 Mudc, " Yankee Doodle."
 
 164 PARLOR TABLEAUX. 
 
 THE COMING STORM. 
 
 ONE LADY AND TWO BOYS. 
 
 THIS is a comic domestic tableau, readily produced, and 
 always sure to excite a great deal of merriment. The 
 characters are an old lady, and two bflys of from ten to four- 
 teen years of age. The old lady is seated on the right-hand 
 corner of the stage, with her right arm leaning on a table 
 at her right side. Her eyes should be closed, as if sleeping, 
 and her head inclined on her right shoulder ; while her left 
 hand lies on her lap, holding her spectacles. She should be 
 plainly dressed, with a checked apron, and a spotted neck- 
 kerchief over her shoulders : on her head she should wear 
 a ruffled cap. One of the boys should stand at her left 
 side, a little behind her. In his left hand he should hold, 
 close to her left ear, a paper-bag blown up ; while his right 
 hand is raised as if about to burst it. He should stand 
 gazing at the old lady with a mischievous expression. The 
 other boy stands behind, looking over the left shoulder of 
 the first with an amused expression. 
 
 In about thirty seconds after the curtain rises, the boy
 
 THE TORN BREECHES. 165 
 
 holding the bag should explode it ; while the old lady starts 
 up in amazement, dropping her spectacles, and the boys 
 look at each other, laughing, and pointing at her. The 
 curtain should be dropped quickly. Music lively. 
 
 THE TORN BREECHES. 
 
 ONE LADY AND A YOUNG BOY. 
 
 THE characters in this picture are an old lady, and her 
 grandson of from six to eight years of age. An old arm- 
 chair should be placed at the right of the stage, and facing 
 towards the right. A table should also be placed at the 
 right of the chair, on which is a pincushion, work-basket, 
 and so forth. The old lady should be dressed in plain 
 calico dress, checked apron, and a cap. In her hands she 
 should hold a small pair of boy's trousers, her right hand 
 protruding through a hole in the knee ; while she looks 
 towards the boy with a menacing expression. The boy 
 should stand leaning against the left arm of the chair, with 
 his back towards the old lady, and looking down towards 
 the left with u sorrowful expression. He should be partially 
 dressed in a gray waistcoat, shirt, collar, shoes, and .stock-
 
 166 PARLOR TABLEAUX. 
 
 ings, his knees bare, and his arms folded behind him. 
 Another table may be placed upon the stage at the right- 
 hand side, and other kitchen-utensils in the background. 
 Music lively. 
 
 THE VILLAGE BARBER. 
 
 ONE GENTLEMAN AND ONE BOY. 
 
 THIS very amusing tableau represents an old village 
 barber in the act of using the shears on a young rustic 
 specimen of about ten or twelve years of age. The old 
 man should stand to the right of the centre of the stage, 
 with his left hand on the top of the boy's head, holding it 
 back. His position should be looking down towards the 
 boy, with his head inclined towards the right. He should 
 bold the shears in his right thumb and fore-finger, with a 
 lock of the boy's hair between the arms of the shears. His 
 dress should consist of a black waistcoat, linen or calico 
 jacket, high shirt-collar, and long apron tied round his 
 waist, and reaching to the ground. A wig with bald top, 
 and a pair of spectacles, will complete his costume. The 
 boy should stand in front of the old barber, to the left,
 
 HIS ONLY PAIR. 1G7 
 
 facing towards the right, his head inclined backward, and 
 making a wry face, as if crying. He should wear a calrco 
 blous", and a long apron over his shoulders. The back- 
 ground of the picture may represent a barber-shop. Music 
 lively. 
 
 HIS ONLY PAIR. 
 
 A LADY, A YOUNG GIRL, AND A BOY. 
 
 THE scene represented is a poorly-furnished kitchen. In 
 the centre of the stage, a woman is seated with a pair of 
 boy's trousers in her lap. She should be seated so that her 
 face is turned towards the audience, holding in her right 
 hand a pair of shears, with which she is about cutting the 
 trousers in her left hand. She should wear a plain calico 
 dress, loose waist, and striped apron. The boy should be 
 seated on a table to the left of the stage, his face turned 
 towards the right, and looking down with a sorrowful ex- 
 pression at an apple which he holds in his lap. He should 
 wear a jacket, collar, and shirt, leaving his legs bare. A 
 girl of about twelve years of age should stand at the right, 
 looking over her mother's shoulder, her face towards the
 
 168 PARLOR TABLEAUX. 
 
 left. She should wear a plain calico dress, and a broad 
 scarf or small shawl over her shoulders, her feet being bare. 
 An old chair and one or two kitchen-utensils may be scat- 
 tered over the floor. The light should be thrown from the 
 left. Music soft. 
 
 THE ONCONVANIENCE OF SINGLE LIFE. 
 
 ONE GENTLEMAN. 
 
 THIS amusing tableau is from the well-known picture 
 representing an Irish bachelor among the numerous dis- 
 comforts of his solitary life. He should be seated on a 
 bench or stool in the centre of the stage, with a tattered 
 coat lying across his knees. He should hold in his left 
 hand a needle, which he is vainly endeavoring to thread. 
 His right eye should be closed, and his mouth puckered up 
 with the effort he is supposed to be making to accomplish 
 his object. 
 
 His dress should be a long brown or gray coat, patched 
 at the elbows, corduroy trousers with one leg turned up, 
 showing his boot, vest thrown open, standing collar with 
 one side turned down, and felt-hat with rim rolled up. He
 
 A RAAL CONVANIENCE. 169 
 
 should have a crop wig of short red hair. At the left cor- 
 ner of the stage, there should be a basket of potatoes over- 
 turned, and a table on the right with plates, pots, pans, and 
 other utensils, in great confusion. Music lively. 
 
 A RAAL CONVANIENCE. 
 
 ONE GENTLEMAN AND A LADY. 
 
 THIS is a companion to the previous tableau, the gen- 
 tleman appearing in that also appearing in this picture, 
 although he is supposed to have changed his state ; and 
 his wife now appears in the scene. The gentleman, dressed 
 in trousers, stockings, and shirt, should stand to the right 
 of the stage, his face turned towards the left, and looking 
 down toivards the woman. His right hand should be 
 raised to his shirt-collar, which is thrown open ; while in 
 his left hand he holds a small button extended towards the 
 wife. He should wear a rather troubled expression on his 
 face. The lady personating the wife should be seated to 
 the left of the centre, a little farther back than the man. 
 Her head should be inclined to the right as she looks up
 
 I 
 
 170 PARLOE TABLEAUX. 
 
 towards him, with a smile on her face. In her hand she 
 should hold the thread ; and she should wear a plain calico, 
 with a handkerchief on her head. A work-basket should 
 be placed at her feet, and a table on the left, with every 
 thing arranged in an orderly manner. Music lively. 
 
 THE FLOWER OF THE FAMILY. 
 
 ONE YOUNG GIRL. 
 
 THIS is a comic tableau that invariably surprises as well 
 as interests an audience. 
 
 As the curtain rises, an empty flour-barrel is discovered 
 on the stage, which is quite dark, with the word " Flour " 
 painted in large black letters on the front. The curtain 
 should be dropped quickly, and the second part of the tab- 
 leau be prepared instantly. Half of the barrel must be cut 
 away, and the remaining hoops and staves secured ; and, in 
 the second part, the inner side of the half-barrel turned to- 
 ward the audience, showing a little girl about six years of 
 age, seated on a cricket inside the barrel, and looking out 
 demurely towards the audience. She is dressed in white 
 muslin trimmed with blue ribbon, with a strong white light
 
 PATIENCE AND IMPATIENCE. 171 
 
 thrown upon her. The inside of the barrel should, if pos- 
 sible, be lined with some dark material, as it will relieve 
 the figure. If the revolving 'platform is used, the change 
 of the barrel's position may be effected without dropping 
 the curtain, merely turning up the lights in the change. 
 Music lively. 
 
 PATIENCE AND IMPATIENCE. 
 
 ONE LADY AND THREE BOYS. 
 
 THE original of this picture is probably familiar to al- 
 most everybody, though hardly, perhaps, as a tableau. It 
 has however, whenever presented, always been well re- 
 ceived and appi-eciated. A lady personating an old grand- 
 mother is seated in an arm-chair, at the right of the 
 stage. Before her, a little boy of about eight or ten years 
 is standing, holding the old lady's yarn, which she is wind- 
 ing from his wrists. The old lady's face is turned towards 
 the left, and she looks down towards the boy with an impa- 
 tient expression. In one hand she holds the ball, and with 
 the other she endeavors to disentangle a knot in the yarn. 
 She should be plainly dressed, with a cap upon her head,
 
 172 PARLOR TABLEAUX. 
 
 and a large handkerchief around her neck. The boy is in 
 his shirt-sleeves, and stands looking up with a mournful ex- 
 pression. Two other boys may be introduced, who stand 
 at the back, making faces, and pointing to the boy holding 
 the yarn. The room should have plain kitchen-furniture. 
 
 MOVING IN. 
 
 TWO GENTLEMEN, A BOY, THREE LADIES, AND A YOUNG 
 
 GIRL. 
 
 You must wake and call me early, call me early, husband dear : 
 
 To-morrow'!! be the maddest time of all the glad New Year ; 
 
 Of all the circle of the year, the maddest, muddiest day : 
 
 For to-morrow's the first of May, my love ; to-morrow's the first of May! 
 
 I sleep so sound all night, my dear, that I shall never wake 
 
 If you do not call me loud when the day begins to break. 
 
 But there are other things will break, I guess, besides the day : 
 
 For to-morrow's the first of May, my love ; to-morrow's the first of May ! 
 
 And, oh ! tell Bridget, husband, to be careful how she moves 
 The earthenware and crockery, and other things she loves; 
 And, if upon the sidewalk you should hear a dreadful crash, 
 You'll know our china diuuer-set has gone to eternal smash.
 
 MOVING IN. 173 
 
 Of course, some common things will break, some*ostly ones, perhaps ; 
 But you can't expect to move, you know, without a few mishaps. 
 And, when we've got the moving done, you'll have some bills to pay : 
 For to-morrow's the first of May, ray love ; to-morrow's the first of May ! 
 
 THE unpleasant reminiscences of moving are doubtless 
 familiar to most housekeepers in one way or another. The 
 cene here given is one that has or may have occurred to 
 more than one of our readers. 
 
 The stage represents an ordinary room, with chairs, 
 tables, tubs, and a variety of furniture of all kinds, piled in 
 the corners and at the back of the stage. There is a small 
 table a little behind the centre of the stage, and a chair to the 
 right of this table, with a smashed bandbox, with the cover 
 off, upon the seat. A lady personating a servant-girl is seen 
 upon the left of the stage : she kneels upon the floor of the 
 stage, her body thrown forward towards the right, her hands 
 grasping a large picture or mirror which lies upon the floor, 
 and her face turned towards the right, looking up at the 
 lady on the opposite side with a terrified expression. She 
 wears a striped calico dress with sleeves rolled up, checked 
 apron, and handkerchief upon her head. The lady of the 
 house stands at the right of the stage, near the front. Her 
 hands are raised above her head with a gesture of surprise ;
 
 174 PARLOR TABLEAUX. 
 
 * 
 
 her face is towards the left ; and she looks at the servant 
 with a startled and angry expression. A pair of gas- 
 shades lie at her feet, and some pieces of broken glass may 
 be strewn around. 
 
 She wears a black dress, white apron, and white hand- 
 kerchief upon her head^ and should be represented as about 
 forty years of age. 
 
 The father of the family stands to the left of the lady, 
 nearer the centre : he carries a large box labelled " Cigars" 
 under his right arm ; and in his left holds up a bonnet, an 
 old, flattened-out one will do, which he is supposed to 
 have sat upon accidentally, and which he looks at with an 
 amazed expression, his face being towards the left. 
 
 He wears a blue or drab coat, yellow waistcoat, and 
 trousers and felt-hat. He should be represented as about 
 forty or fifty years of age. A young lady, the elder daugh- 
 ter of the flock, stands at the left of the father, in the cen- 
 tre of the stage : her right hand is doubled up, and raised 
 above her head ; and she carries a large pasteboard box un- 
 der her left arm. Her face is turned towards the right, 
 upon her father, with an angry expression. 
 
 She wears a white skirt, black mantilla, and white bon- 
 net. A young girl about ten or twelve years of age standa
 
 MOVING IN. . 175 
 
 at the left of the elder sister, holding a large doll in her 
 right arm, and a basket, labelled " Kittens" in large letters, in 
 her left. Her face is turned towards the left, looking at 
 the servant with an expression of surprise. She wears a 
 plain blue dress cut short, and small shawl over her shoul- 
 ders. At the feet of this young girl, and in front of the 
 servant, a boy two .years younger than the girl is lying 
 upon his back, with his head towards the right, and his 
 arms extended on either side upon the floor : his face is 
 turned upwards, and made up with a crying expression. A 
 wooden rocking-horse or small wheelbarrow, or any other 
 similar toy, which he is supposed to have been carrying, is 
 tipped bottom upwards, and lies upon his breast. He should 
 be close to the servant, as his fall is supposed to have been 
 caused by a collision with her ; and he should wear the ordi- 
 nary dress of boys of that age. 
 
 The music should be the song of " Sweet Home," played 
 very lively, without regard to the time in which it ia 
 written.
 
 176 PARLOR TABLEAUX. 
 
 MOVING OUT. 
 
 TWO GENTLEMEN, THREE LADIES, AND A YOUNG GIRL. 
 
 There's many a finer house, they say ; bat there's none so bright aa 
 
 this : 
 
 We've many a nice arrangement here, which we shall sadly miss, 
 These pleasant rooms, the balcony, the trees around the door : 
 When we moved in there was but one ; we planted seven more. 
 
 The honeysuckle round the porch has woven its wavy bowers, 
 And in the garden we have reared a bright array of flowers. 
 But, i hough we've loved our home so well, we've got to move away : 
 For to-morrow's the first of May, my love ; to-morrow's the first of 
 May ! 
 
 Our carpets they must all come up, our pictures all come down : 
 If you'll unscrew the looking-glass, I'll wrap it in my gown. 
 The books I'll leave for you to pack ; be careful they're not jammed : 
 The chandelier may go by cart ; the globes should go by hand. 
 
 Be sure and take the hammer round, we shall have need of that ; 
 Save all the paper you can find, and don't forget the cat. 
 Don't mix the pickles and preserves, nor throw the old brooms away : 
 For to-morrow's the first of May, my love ; to-morrow's the first of 
 May ! 
 
 IT is the well-known custom of the inhabitants of our me- 
 tropolis to migrate from their old to their new habitations
 
 MOVING OUT. 177 
 
 upon th6 first day of May ; that is, of those who find it 
 necessary to remove : and the number is so great among the 
 large population of that city, that it is all in an uproar of 
 confusion annually at that time. The scene given is not an 
 exaggeration of many that have occurred under the circum- 
 stances. 
 
 The stage represents an ordinary room, with tables, 
 chairs, and other furniture, placed in a heap in the corners, 
 or tied round with cords : at the back of the stage, an empty 
 flour-barrel is placed, with the head taken off. A lady rep- 
 resenting the mother of the family stands at the left of the 
 stage, and facing towards the left. She holds in her right 
 hand a pair of gas-shades : her left arm is piled up with arti- 
 cles of glass-ware, dishes, and so forth. She wears a black 
 dress, white apron, and white handkerchief, and should be 
 represented as about forty years of age. A lady personat- 
 ing the servant stands behind the first lady mentioned, 
 towards the right : her body is facing towards the left ; her 
 head turned half way towards the front, with an angry ex- 
 pression upon her face. She carries in her left hand a valise 
 stuffed full, and in her right a pail : her hands with these 
 utensils are raised to the height of her waist, supporting a 
 large looking-glass or picture which rests upon her. She 
 12
 
 178 PARLOR TABLEAUX. 
 
 tt ears a striped calico dress, checked apron, and handker- 
 chief around her head. 
 
 A young girl about ten or twelve years of age stands be- 
 hind the servant : her body is facing towards the left ; her 
 head turned halfway towards the right, with a bewildered 
 expression upon her face. She carries in her left hand a 
 basket labelled " Kittens," and in her right a large doll aud 
 other articles. She wears a blue dress cut short, with 
 white apron. A young lady, the elder sister of the one just 
 described, stands behind the young girl, near the right of 
 the stage. She is facing towards the audience, with a dis- 
 mayed expression upon her face. She carries in either hand 
 a set of three paper bandboxes tied together, and a pile 
 of three or four more resting on these sets, and piled on 
 top perpendicularly, almost obscuring her head from the 
 audience : her arms are held as close as possible to the pile 
 endeavoring to support it. She wears a white-muslin dress, 
 black mantilla, and white bonnet. A boy about eight or 
 ten years of age brings up the rear of this pile. He is on the 
 extreme right, facing towards the left, and carryiug in his 
 right hand a bandbox, which is raised above his head, 
 towards the pile of bandboxes carried by his sister ; and in 
 his left he drags a wooden rocking-horse or small wheel- 
 barrow.
 
 KING LEAR. 179 
 
 At the back of the stage, the gentleman personating the 
 father is seen, with his right leg in the barrel placed there, 
 his left hanging outside, holding a hammer in his right 
 hand, and, with both hands raised above his head, support- 
 ing a picture-frame by the corner, which is supposed to 
 have fallen with him : his mouth is open, as if uttering an 
 expression of pain. He wears a blue coat, yellow trousers 
 and waiscoat, and bald wig. This tableau may be given 
 in connection with Moving In, and previous to that, or sepa- 
 rately, as both are described in detail ; though, as they are 
 so simply produced, it would add to the interest to represent 
 them as a series. Music, " Jeannette and Jeannot." 
 
 KING LEAR. 
 
 FIVE GENTLEMEN. 
 
 Lear. Let the great gods, 
 
 That keep this dreadful pother o'er our heads, 
 Find out their enemies now ! Tremble, thou wretch, 
 That hast within tliee undivulged crimes 
 Unwhipt of justice ! Hide thee, thou bloody hand ! 
 Thou perjured, and thou simular man of virtue, 
 Thou art incestuous ! Caitiff, to pieces shake,
 
 180 PARLOR TABLEAUX. 
 
 That, under covert and convenient seeming, 
 Has practised on man's life ! Close pent-up guilts, 
 Rive your concealing continents, and cry 
 These dreadful summoners grace ! I am a man, 
 More sinned against than sinning. 
 
 Kent. Alack, bare-headed ! 
 
 Gracious my lord, hard by here is a hovel : 
 Some friendship will it lend yon 'gainst the tempest. 
 Repose you there, while I to this hard house 
 (More hard than is the stone whereof 'tis raised; 
 Which even but now, demanding after you, 
 Denied me to come in) return, and force 
 Their scanty courtesy. [Enter GLOSTEE irith a torch, 
 
 Lear. What's he ? 
 
 Kent. Who's there ? What is't you seek ? 
 
 Gloster. What ! are you there ? Your names ? 
 
 Edgar. Poor Tom ; that eats the swimming frog, the toad, the tad- 
 pole, the wall newt and the water ; who is whipped from tithing to 
 tithing, and stocked, punished, and imprisoned ; who hath had three 
 suits to his back, six shirts to his body, horse to ride, and weapon to 
 wear. 
 
 Glos. What ! hath your grace no better company? 
 
 Lear. Oh, cry you mercy ! 
 Noble philosopher, your company. 
 
 SHAKSPEAEE. 
 
 THIS very effective tableau from Shakspeare's great 
 tragedy represents King Lear, after he has left Goueril his 
 daughter, wandering, exposed to the furies of a raging 
 storm in a desolate heath. He is sought out here by Kent,
 
 KING LEAR. 181 
 
 a faithful friend, who, disguised as a servant, offers him 
 shelter ; and by the Duke of Gloster, who, though friendly 
 to his daughter, takes pity on the old man, and persuades 
 him to seek shelter. The other characters are the court 
 jester who attends Lear, and Edgar, son of the Duke of 
 Gloster, whom he has offended, and from whom he is en- 
 deavoring to escape, disguised as a madman, clothed but 
 scantily in blankets. The scene opens where Lear, meeting 
 Edgar nearly naked, proceeds to tear off his own robes, 
 and offer them to Edgar. The gentleman representing 
 Lear stands in the centre of the stage, near the front. His 
 right foot is advanced forward, his left extended behind. 
 His right arm is raised, extended upwards towards the 
 right, grasping one end of his drapery, which he is endeav- 
 oring to throw off: his left grasps the drapery upon his 
 bosom. His face is turned towards the right, looking up 
 with a fierce expression. He wears a skirt of crimson 
 trailing behind ; a white drapery thrown over his shoulders 
 and upper part of his body, showing the neck. He should 
 have straight and rather prominent features, with gray wig, 
 and beard very much disordered. Gloster stands on the 
 right of the stage. He holds above his head, in his right 
 hand, a burning torch : his left is extended towards Lear with
 
 182 PARLOR TABLEAUX. 
 
 a gesture of entreaty ; and his face is turned towards the 
 left, looking upon Lear with an anxious expression. He 
 wears a suit of armor, with a crimson mantle thrown over 
 and almost covering it. He should be made up old, but not 
 as old as Lear. Kent kneels upon the floor of the stage, a 
 little to the left of Gloster, with his left hand upon his knee, 
 and his right extended towards Edgar, who is at the left of. 
 the stage ; and his face is turned towards the left, looking at 
 Edgar. He wears a livery suit of light-brown, dark-brown 
 mantle, and helmet. He should also wear gray wig and 
 short beard. Edgar is at the extreme left of the stage. He 
 is seated upon the floor, with his knees drawn up, his elbow 
 resting upon his knees, and his chin upon his right hand. 
 His face is turned towards the right, looking at Gloster, as 
 if fearing recognition. He is dressed in blankets, arranged 
 so as to show the arms bare, and the legs below the knees, 
 with flesh stockings, and long black wig ; hair tied in 
 horns in front, or with feathers on the head. The jester 
 stands at the left side of Lear, with his left hand on Lear's 
 left arm, his right hand on Lear's right shoulder, his face 
 towards the right, looking over Lear's left shoulder at 
 Gloster. He wears a blue cone-shaped cap, salmou-col- 
 ored waist and trunks, flesh stockings, shoes, and blue man-
 
 TRIAL-SCENE FROM THE MERCHANT OF VENICE. 183 
 
 tie over his shoulders. The noise of a storm should be 
 heard outside, flashes of red and blue light should be thrown 
 upon the group, and streaks of lightning may be made upon 
 the curtain behind. 
 
 TRIAL^SCENE FROM THE MERCHANT OF 
 VENICE. 
 
 TEN GENTLEMEN AND TWO LADIES. 
 
 Shylock. Most learned judge! A sentence: come, prepare. 
 
 Portia. Tarry a little : there is something else. 
 This bond doth give thee here no jot of blood : 
 The words expressly are a pound of flesh. 
 Take, then, thy bond ; take thou thy pound of flesh : 
 But, in the cutting it, if thou dost shed 
 One drop of Christian blood, thy lands and goods 
 Arc, by the laws of Venice, confiscate 
 Unto the state of Venice. 
 
 Gratiano. O upright judge ! mark, Jew, O learned judge ! 
 
 Shy. Is that the law ? 
 
 Por. Thyself shall see the act ; 
 For, as thou urgest justice, be assured 
 Thou shall have justice more than thou desir'st. 
 
 Gra. O learned judge ! mark, Jew, a learned judge ! 
 
 Shy. I take this offer, theii : pay the bond thrice, 
 And let the Christian go.
 
 184 PARLOR TABLEAUX. 
 
 Bassanio. Here is the money. 
 
 For. Soft! 
 
 The Jew shall have all justice : soft ! no haste : 
 He shall have nothing but the penalty. 
 
 Gra. O Jew ! an upright judge, a learned judge. 
 
 Por. Therefore prepare to cut off the flesh. 
 Shed thou no blood ; nor cut thou less, nor more, 
 But just a pound of flesh : if thou tak'st more 
 Or less .than a just pound, be it but so much 
 As makes it light or heavy in the substance, 
 Or the division of the twentieth part 
 Of one poor scruple ; nay, if the scale do turn 
 But in the estimation of a hair, 
 Thou diest, and all thy goods are confiscate. 
 
 MERCHANT OF VENICE. 
 
 THIS scene, from Shakspeare's celebrated play, forms one 
 of the most striking stage tableaux that has ever been pre- 
 sented. The characters are Shylock, the Jew ; Antonio, the 
 Merchant of Venice ; the Doge of Venice ; Bassanio and 
 Gratiano, friends of Antonio ; Portia, betrothed to Bassauio ; 
 Nerissa, her maid ; and the attendants of the doge. Anto- 
 nio, being unable to pay a debt to Shylock of three thousand 
 ducats, forfeits to him, by the bond between them, a pound 
 of flesh. Portia, who is interested in Antonio's behalf for 
 B.is.sauio's sake, appears before the doge on the day of trial, 
 lu lawyer's attire, to defend Antonio. She awards the Jew
 
 TRIAL-SCENE FROM THE MERCHANT OP VENICE. 185 
 
 the forfeit of the flesh, but denies him one drop of blood : 
 and the scene represents Shylock, baffled of his sanguinary 
 object, offering to release the Christian by the payment of 
 three times the amount originally loaned ; which demand 
 Portia refuses. 
 
 The tableau cannot be represented very well upon a small 
 stage, as the scene is intended to represent a large council- 
 chamber. A large throne-shaped chair, with arms, should 
 be placed upon the right of the stage, resting upon a low 
 flight of steps, covered with green or crimson. A narrow 
 table is placed a little to the right of the centre of the stage, 
 covered with crimson cloth, with the end towards the audi- 
 ence. A large book, supported on a pile of books placed 
 under it, is at the end of the table nearest the front. Por- 
 tia stands at the left side of the table, at the end nearest the 
 audience ; the forefinger of her right hand pointing towards 
 the page of the book, her left hand extended, holding a 
 scroll, unrolled. Her face is turned half way towards the 
 left, as she looks towards Shylock with a commanding ex- 
 pression. She wears a long, black, flowing robe, with dra- 
 pery-sleeves, white neck-tie, black-velvet cap, and hair 
 combed under in a roll behind, or with a wig over it : she 
 should be tall, and of straight features. Shylock stands at
 
 186 PARLOR TABLEAUX. 
 
 the left of the stage, near the front. He holds in his right 
 hand a long-pointed sheath-knife against his breast, pointing 
 downward ; and in his left a pair of scales (a straight piece 
 of wood painted, with two small plates hanging from either 
 end, will answer). His face is towards the right, looking 
 out towards the audience with a disappointed but malicious 
 expression. He wears a long brown gaberdine trimmed 
 with black, broad white collar, gray wig with long hair and 
 bald front, and pointed gray beard. His features should be 
 straight and prominent, and he is made up with dark lines 
 of age. 
 
 Bassanio stands at the right side of the table, at the end 
 nearest the audience, his right hand extended towards the 
 Jew, holding a bag supposed to contain gold ; while his left 
 hand rests on the table, upon which are several other bags 
 of gold. His face is towards the left, as he looks at Portia 
 with an attentive expression. He wears a salmon-colored 
 tunic, red tights, crimson cape lined with white, sword-belt, 
 sword, and buckle-shoes. He should be of dark complexion, 
 with black mustache and imperial. Antonio stands beside 
 the table, directly behind Bassanio. His hands are tied be- 
 hind him, his face turned towards the left, looking towards 
 Shylock with an anxious expression. His face is very pale,
 
 TRIAL-SCENE FROM THE MERCHANT OF VENICE. 187 
 
 and he wears an iron-gray wig and chin-whiskers. His cos- 
 tume is a black-velvet tunic and cloak, black stockings and 
 gaiters : his tunic is thrown open at the neck, showing the 
 breast bare. Gratiano stands directly behind Antonio, with 
 his right hand extended towards Shylock, his left resting 
 upon Nerissa's shoulder, who stands at his left ; while his 
 head is inclined forward, as he looks at the Jew, smiling 
 with an exulting expression upon his face. He wears a 
 buff-colored tunic, light-purple cape, flesh-colored tights, 
 sword-belt, sword, and gaiters. He should be represented 
 as rather younger than Bassanio, with mustache and small 
 imperial. Nerissa leans against the lower end of the table, 
 near the back of the stage ; her elbows resting upon a book 
 lying there, and her face turned towards Portia with a con- 
 fident expression. She wears a long brown robe with drape- 
 ry-sleeves, white neck-tie, cap, and hair in the same style 
 as Portia's. The doge is seated at the right of the stage, 
 upon the throne placed upon the steps. His head is inclined 
 forward, leaning upon his left hand : his right hand is upon 
 the right arm of the chair, as he looks towards Portia and 
 Shylock with an earnest expression. His costume is a long 
 scarlet or crimson robe, ermine cape, gold coronet, with 
 crimson hood hanging over the back of the head, white wig
 
 188 PARLOR TABLEAUX. 
 
 and beard. Upon the right of the steps, a young man is 
 seated at a small table covered with crimson cloth, upon 
 which are ink and papers, with a pen in his right hand, 
 looking towards the Jew. He wears a black-velvet tunic 
 and cape, or a long black robe. A gentleman dressed as a 
 soldier, in full armor and helmet, is seated at the left of the 
 steps, with a long-handled axe in his right hand, resting 
 upon the floor. The remaining gentlemen should stand at 
 the back of the stage, on the left. They are dressed as sol- 
 diers, or similarly to Bassanio : they stand as if conversing, 
 looking towards the group at the front, and pointing to Shy- 
 lock and Antonio. The tableau should be brightly lighted, 
 and the music of a solemn character. 
 
 SCENE FROM PERICLES. 
 
 ONE GENTLEMAN AND TWO LADIES. 
 
 Marina. Sir, I will use 
 
 My utmost skill in his recovery, 
 Provided none but I and ray companion 
 Be suffered to come near him. 
 
 Lysimachus. Come, let us leave her ; 
 
 And the gods make her prosperous ! [MARINA sings.
 
 SCENE FROM PERICLES. 189 
 
 Lysimachus. Marked he your music ? 
 
 Marina. No, nor looked on us. 
 
 Lys. See ! she will speak to him. 
 
 Mar. Hail, sir ! My lord, lend ear. 
 
 Pericles. Hum ! ha ! . 
 
 Mar. I am a maid, 
 
 My lord, that ne'er before invited eyes, 
 But have been gazed on comet-like. She speaks, 
 My lord, that maybe hath endured a grief 
 Might equal yours, if both were justly weighed. 
 Though wayward Fortune did malign my state, 
 My derivation was from ancestors 
 Who stood equivalent with mighty kings; 
 But time hath rooted out my parentage, 
 And to the world and awkward casualties 
 Bound me in servitude. 
 
 Pericles. My fortunes, parentage, good parentage, 
 To equal mine ! was it not thus ? What say you ? 
 
 Mar. I said, my lord, if you did know my parentage, 
 You would not do me violence. 
 
 Pericles. I do think so. 
 
 I pray you, turn your eyes again upon me. 
 You are like something that What countrywoman ? 
 Here, of these shores ? 
 
 PERICLES, act v. scene 1. 
 
 THIS picture represents the scene from Shakspeare's play 
 of " Pericles," where Marina his daughter, escaped from 
 Cleon, comes to the vessel of Pericles, and rouses him from 
 his despondency by declaring her relationship. Upon the
 
 190 PARLOR TABLEAUX. 
 
 left of the stage, near the back, a lounge covered with crira* 
 son should be placed, with a small footstool of the same 
 color in front of it. Pericles should be represented as be- 
 tween forty and fifty years of age. He lies upon the lounge, 
 with his face downwards, and head towards the left, in the 
 act of raising himself upon his arms, which are braced 
 against the lounge. The right side of his face is towards 
 the audience, with an expression of grief; and his hair is 
 combed carelessly. He is almost entirely covered by a large 
 black cloth or mantle, which extends over his left arm, 
 head, and the remainder of his body, with the exception of 
 his right arm, which is left bare to the elbow. 
 
 Marina should be personated by a young lady of eighteen 
 or twenty years of age, of clear complexion and straight 
 features. She stands at the right of Pericles, beside the 
 lounge, her left hand raised to the height of the forehead, 
 and holding a small harp, which may be made of paste- 
 board, cut out in an appropriate shape, with strings of cord ; 
 her left arm is extended across the waist, her fingers touch- 
 ing the strings of the harp ; the right side of her face is 
 turned towards the audience, her head towards the left, 
 looking down upon the face of Pericles ; her left knee is bent, 
 the foot resting on the footstool in front of the lounire. >She
 
 ROMEO AND JULIET. 191 
 
 wears a long white-muslin robe, tied round with a blue rib- 
 bon a few inches below the waist, low neck, and short wing- 
 sleeves, and gold bands round her hair. A young lady of 
 about the same age stands behind her, with her left arm 
 round her waist, her right touching Marina's dress behind, 
 and her head leaning on her right shoulder. She wears a 
 plain blue flowing robe with wing-sleeves, and a single 
 band upon her hair : her face is towards the left. Music 
 very soft. Light thrown upon the ladies, and shading the 
 gentleman. 
 
 ROMEO AND JULIET. 
 
 ONE GENTLEMAN AND ONE LADY. 
 
 Juliet. Wilt thou be gone ? It is not yet near day. 
 It was the nightingale, and not the lark, 
 That pierced the fearful hollow of thine ear: 
 Nightly she sings on yon pomegranate-tree. 
 Believe me, love, it was the nightingale. 
 
 Romeo. It was the lark, the herald of the morn ; 
 No nightingale. Look, love, what envious streaks 
 Do lace the severing clouds in yonder east ! 
 Night's candles are burnt out, and jocund day 
 Stands tip-toe on the misty mountain-tops: 
 I must be gone and live, or stay and die.
 
 192 PARLOK TABLEAUX. 
 
 Juliet. Yon light is not daylight; I know it, I : 
 It is some meteor that the sun exhales, 
 To be to thee this night a torch-bearer, 
 And light thee on the way to Mantua. 
 Therefore stay yet : thou need'st not to be gone. 
 
 Romeo. Let me be ta'en, let me be put to death : 
 I am content, so thou wilt have it so. 
 I'll say yon gray is not the morning's eye : 
 'Tis but the pale reflex of Cynthia's brow ! 
 Nor that is not the lark, whose notes do beat 
 The vaulty heaven so high above our heads. 
 I have more care to stay than will to go. 
 Come, death, and welcome ! Juliet wills it so. 
 How is't, my soul ? Let's talk : it is not day. 
 
 Juliet. Oh ! think'st thon we shall ever meet again ? 
 
 Romeo. I doubt it not ; and all these words shall serve 
 For sweet discourses in our time to come. 
 
 ROMEO AND JULIET, act iii. scene 5. 
 
 THIS scene represents the parting of Romeo with Juliet 
 in her chamber, whither he has returned for a few hours 
 from his banishment at Mantua. He is ready to stay with 
 Juliet at the risk of his life ; but, as the day dawns, she 
 urges him to go, and they separate, never to meet again, he 
 with cheerful hopes of the future, she with painful misgiv- 
 ings of their fate. The stage represents a nicely-furnished 
 room, with a small table and chair at the left side, near the 
 front, a large arin-chair on the right, and small stand, with
 
 ROMEO AND JULIET. 193 
 
 vase of flowers upon it. Romeo stands at the right of the 
 centre of the stage, his face towards the audience, his body 
 turned about one-fourth of the way towards the left : his 
 arms are around Juliet's waist ; and he stands, not close to 
 her, but as if about to turn away. He wears a tunic of 
 crimson velvet trimmed with gold, and with wide drapery- 
 sleeves, sword-belt and sword, hat with white feather, lace 
 collar, white tights, and shoes cut low, or gaiters. He 
 should be of dark complexion, with dark curly hair and 
 handsome features ; his face wearing a smiling, confident ex- 
 pression, as he looks towards Juliet. Juliet stands at the 
 left of Romeo, her left hand resting on his right shoulder ; 
 her right grasping his left arm, as if endeavoring to detain 
 him : her face is turned upward towards him with an 
 anxious, entreating expression, the left side of her face 
 being towards the audience. She wears a white-silk dress, 
 trailing behind, with low neck, and puffed sleeves reaching 
 below the elbow, lace under-sleeves and sash, necklace of 
 large pearl beads, and strands of pearl beads upon her head. 
 
 She should be of light complexion, with hair in curls be- 
 
 
 hind. A white light should be thrown from the right of the 
 
 stage, rather dim, as the curtain rises, but growing gradu- 
 
 13
 
 194 PARLOR TABLEAUX. 
 
 ally brighter until its fall. Music, the love-duet from 
 " Faust," or some similar piece, played very softly. 
 
 TOMB-SCENE FROM ROMEO AND JULIET. 
 
 TWO GENTLEMEN AND ONE LADY. 
 
 Friar Laurence. Romeo ! [Advances. 
 
 Alack, alack ! what blood is this which stains 
 The stony entrance of this sepulchre ? 
 What mean these masterless and gory swords 
 To lie discolored by this place of peace ? 
 
 [Enters the monument. 
 
 Romeo ! Oh, pale ! Who else ? What ! Paris, too ? 
 And steeped in blood ? Ah, what an unkind hour 
 Is guilty of this lamentable chance ! 
 The lady stirs. f JULIET wakes and stirs. 
 
 Juliet. O comfortable friar ! where is my lord ? 
 I do remember well where I should be, 
 And there I am. Where is my Romeo ? [Noise within. 
 
 Friar. I hear some noise. Lady, come from that nest 
 Of death, contagion, and unnatural sleep. 
 
 A greater Power than we can contradict 
 
 
 Hath thwarted our intents : come, come away. 
 
 Thy husband in thy bosom there lies dead, 
 And Paris too. Come, I'll dispose of thee 
 Among a sisterhood of holy nuns.
 
 ROMEO AND JULIET. 195 
 
 Stay not to question ; for the watch is coming. 
 
 Come, go, good Juliet. [Noise again.] I dare stay no longer. [Exit. 
 
 Juliet. Go, get thee hence ; for I will not away. 
 What's here ? A cup, closed in my true love's hand ? 
 Poison, I see, hath been his timeless end. 
 O churl ! drink all, and leave no friendly drop 
 To help me after ? I will kiss thy lips : 
 Haply some poison doth yet hang on them 
 
 To make me die with a restorative. [Kisses him. 
 
 [Noise without.] Yea, noise ? Then I'll be brief. O happy dagger ! 
 
 [Snatching ROMEO'S dagger. 
 This ia thy sheath : [stabs herself] there rust, and let me die ! 
 
 [Falls on ROMEO'S body, and dies. 
 ROMEO AND JULIET, act v. scene 3. 
 
 THE narrative of the portion of Shakspeare's play intro- 
 ducing this scene is, that Juliet, a young and beautiful lady 
 of Verona, having been secretly married to an enemy of 
 her father's house, named Romeo, who is banished for kill- 
 ing a friend in a duel, is instructed, by a friendly friar, of a 
 way to rejoin her husband ; namely, by taking a certain 
 drug, which would cause her to appear as dead for two days : 
 she would be carried to the tomb, and awake at the end of 
 that time to find her husband ready to bear her away. 
 Through some inadvertence, Romeo is not informed of this 
 plot by the friar, and, hearing that Juliet is dead, hastens to 
 her tomb, there to die. He finds Paris, also a lover of
 
 196 PARLOR TABLEAUX. 
 
 Juliet, by her tomb ; and a duel ensues, in which Paris is 
 killed, and Romeo commits suicide by taking poison, and 
 falls upon the ground in front of the tomb. Juliet awakes, 
 and, being told by Friar Laurence of Romeo's death, refuses 
 to go with the friar, but kills herself with Romeo's dagger. 
 The scene given represents Juliet as she awakes in the 
 tomb. At the back of the stage, a small platform, or box, 
 about five feet long by two feet high, should bafcplaced ; the 
 side towards the front painted in imitation of stone, or 
 
 covered with drab cambric. A set of curtains should be 
 
 
 hung so as to close in the space on the sides behind the 
 
 box, leaving a square opening about four feet wide in the 
 centre. 
 
 The top of the platform, or box, should be covered with 
 black cloth or cambric. Juliet is seated upon the centre of 
 the platform, her lower limbs extended towards the left, 
 her face looking in the same direction, at Friar Laurence, 
 who stands beside the tomb, with a terrified expression 
 upon her face. Her right arm is raised, extended toward 
 the right, holding the veil, which she is throwing oif her 
 head ; and her left arm is extended towards the friar, who 
 stands at the left. She wears a white silk or satin clvcss, 
 with low neck and long sleeves, necklace of pearl beads,
 
 ROMEO AND JULIET. 197 
 
 and long white-lace veil extending over her shoulders and 
 arms, and held up in her right hand. Romeo lies upon the 
 floor of the stage, in front of the centre of the small plat- 
 form, with his feet towards the right, his face turned up- 
 wards, very pale, and with eyes closed ; his left hand lying 
 upon his breast, and right arm at his side. He wears a 
 crimson or white waist and trunks, and crimson mantle, 
 lace collar and cuffs. 
 
 Friar Laurence stands beside Juliet, about two feet from 
 the centre of the platform, on the left. He holds a spade, 
 leaning against the floor, in his left hand ; and his right is 
 raised above his head, holding a dark lantern, the rays of 
 which fall full upon Juliet's face. The left side of his face 
 is towards the audience ; and he wears a long black robe, 
 with hood thrown back, and tied around the waist with a 
 string of beads and wooden cross attached, and white wig 
 with cowl, or bald. The stage should be dark, with the ex- 
 ception of the light from the lantern ; and the music should 
 be very solemn.
 
 198 PAELOR TABLEAUX. 
 
 SCENE FROM THE TEMPEST. 
 
 TWO GENTLEMEN AND ONE LADY. 
 
 Miranda. If by your art, my dearest father, you have 
 Put the wild waters in this roar, allay them. 
 The sky, it seems, would pour down stinking pitch, 
 But thai the sea, mounting to the welkin's cheek, 
 Dashes the fire out. Oh ! I have suffered 
 With those I saw suffer, a brave vessel, 
 Who had no doubt some noble creatures in her, 
 Dashed all to pieces. Oh ! the cry did knock 
 Against my very heart. Poor souls ! they perished. 
 Had I been any god of power, I would 
 Have sunk the sea within the earth, or e'er 
 It should the good ship so have swallowed, and 
 The freighting souls within her. 
 
 Prospero. Be collected'; 
 
 No more amazement : tell your piteous heart 
 There's no harm done. 
 
 Miranda. Heavens thank you for't ! And now I pray you, sir, 
 (For still 'tis beating in my mind,) your reasou 
 For raising this sea-storm ? 
 
 Prospero. Know thus far forth, 
 
 ^y accident most strange, bountiful fortune, 
 Now, my dear lady, hath mine enemies 
 Brought to this shore. Here cease more questions.
 
 SCENE FROM THE TEMPEST. 199 
 
 Thou art inclined to sleep : 'tis a good dulness, 
 
 And give it way. I know thou canst not choose. [MIRANDA sleeps. 
 
 Come away, servant, come : I am ready now. 
 
 Approach, my Ariel, come. [Enter ARIEL. 
 
 Ariel. All hail, great master ! grave sir, hail ! I come 
 To answer thy best pleasure ; be it to fly, 
 To swim^ to dive into the fire, to ride 
 On the curled clouds : to thy strong bidding task 
 Ariel and all his quality. 
 
 SHAKSPEARE'S TEMPEST, act i. scene 2. 
 
 THE story of the play of" The Tempest," from which this 
 tableau is taken, is, that Prospero, Duke of Milan, being dis- 
 possessed of his throne and crown by his brother Antonio, 
 is landed upon a desolate island, where, living alone with his 
 young daughter for many years, he acquires a knowledge 
 of the magic arts from his books, by which means he is en- 
 abled to release Ariel, a young boy who had been confined 
 twelve years in a tree by a witch, and whom Prospero en- 
 dows with supernatural power, and makes him his servant. 
 The .scene of this picture is during a storm that Prospero 
 causes Ariel to raise for the purpose of driving the ship of 
 his brother Antonio, who is near, by some strange chance, 
 upon the shore of the island. Miranda, his daughter, de- 
 sires him to stay the storm, and save the lives of the crew : 
 but he assures her that they are all safe ; and, under his
 
 200 PARLOR TABLEAUX. 
 
 spell, she sleeps, while he summons Ariel to hear his re* 
 port. Upon the right side of the stage, about half-way 
 back, a pile of boxes should be placed, irregularly, to rep- 
 resent rocks, and covered with brown or drab cambfic. 
 Prospero stands at the right of the stage, near the front. His 
 back is towards the audience, and his head turned away, 
 looking back, about one-quarter of the face being visible to 
 the audience. His left arm is raised, and the hand ex- 
 tended with a gesture of command towards Ariel, who 
 stands at the back of the stage. He holds in his right hand 
 a long Avand of wood, reaching from the floor nearly to the 
 shoulder. He wears a long black robe, trailing behind, 
 with fur collar, square black cap, and gray whiskers. The 
 gentleman taking this character should be tall, and with 
 straight features. 
 
 Ariel should be represented by a lad of from fourteen to 
 sixteen years of age, or by a young lady dressed in the 
 same style. 
 
 He stands at the back of the stage, in the centre, upon a 
 box about two feet high, covered with drab or brown cam- 
 bric, in imitation of a rock : he stands as if just having 
 leaped upon the rock, with his lower limbs some distance 
 apart, and his arms extended towards Prospero with a ges-
 
 SCENE FROM THE TEMPEST. 201 
 
 ture of obedience. His face is towards the audience, as he 
 looks straight forward at his master with a pleased expres- 
 sion. He should wear a white tunic trimmed with gold 
 fringe or paper, flesh-colored tights, or stockings, and short 
 wings of muslin or paper upon his shoulders. Miranda is 
 a young lady of about sixteen or eighteen years of age. 
 She is seated at the foot of the pile of rocks, upon the right : 
 her right arm, bent at the elbow, lies upon a rock ; and her 
 head leans over upon the arm, with the eyes closed, as in 
 sleep. Her face is towards the audience, her left arm lying 
 naturally by her side, and her lower limbs crossed. She 
 wears a white-muslin dress with low neck, hanging close to 
 her form ; a long white mantle thrown back over her shoul- 
 ders, and covering her left arm ; and a wreath of small 
 white flowers upon the front of her hair, which hangs in 
 curls. Ariel should be surrounded with a blue smoke, the 
 light falling on Miranda also. The noise of a storm should 
 be made outside.
 
 202 PARLOR TABLEAUX. 
 
 VISION OF CAESAR. 
 
 THREE GENTLEMEN. 
 
 Brutus. It is well done ; and thou shalt sleep again. 
 I will not hold thee long. If I do live, 
 
 I will be good to thee. [Music and a song 
 
 This is a sleepy tune. O murderous slumber ! 
 Lay'st thou thy leaden mace upon my boy, 
 That plays thee music ? Gentle knave, good-night : 
 I will not do thee so much wrong to wake thee. 
 If thou dost nod, thou break 'st thy instrument; 
 I'll take it from thee : and, good boy, good-night. 
 Let me see ; let me see. Is not the leaf turned down 
 Where I left reading ? Here it is, I think. [He sits down. 
 
 Enter the Ghost of CJESAB. 
 
 How ill this taper burns ! Ha ! who comes here ? 
 I think it is the weakness of mine eyes 
 That shapes this monstrous apparition. 
 It comes upon me ! Art thou any thing ? 
 Art thou some god, some angel, or some deril, 
 That mak'st my blood cold, and my hair to stare? 
 Speak to me what thou art. 
 
 Gliost. Thy evil spirit, Brutus. 
 
 Bru. Why com'st thon ? 
 
 Ghost. To tell thee thou shalt see me at Philippi. 
 
 Bru. Well: 
 Then I shall see thee again !
 
 VISION OF (LESAR. 203 
 
 Ghost. Ay, at Philippi. [ Ghost vanishes. 
 
 Bru. Why, I will see thee at Philippi, then. 
 Now I ha.ve taken heart, thou vanishes!, 
 Ill sprite ! I would hold more talk with thee. 
 Boy ! Lucius ! Varro ! Claudius ! sirs, awake ! 
 
 Claudius ! 
 
 JULIUS CAESAR, act iv. scene 3. 
 
 THIS scene from the historical play of " Julius Caesar " 
 represents an incident supposed to have taken place at the 
 camp of Brutus, previous to his battle with Mark Antony 
 and Octavius Csesar, at Philippi. The ghost of the mur- 
 dered Caesar is represented as appearing to Brutus as a 
 foreboding of his fate at that battle. The stage represents 
 the extei'ior of the tent of Brutus. At the back the cur- 
 tains are draped, meeting at the top in a point to represent 
 a tent. Brutus is seated to the left of the centre of the 
 stage upon a small stool, at a table upon which is a tall 
 lamp burning. The heel of his left foot presses against the 
 chair, while his right foot is advanced towards the centre. 
 His face is turned a little towards the right, so as to exhibit 
 about a three-quarters view to the audience. His right arm 
 is extended towards the centre, palm downward, with an 
 expression of alarm : his left lies upon the table, holdiug a 
 paper. He should be represented as about thirty or forty
 
 204 PARLOR TABLEAUX. 
 
 years of age, of manly features, with a startled expression 
 upon his face, and his lips open, as if uttering an exclama- 
 tion. He wears a long dressing-robe of some plain mate- 
 rial, with drapery-sleeves, open from the neck to the waist ; 
 white shirt, with gold border round the neck, cut low, show- 
 ing the upper part of the breast ; flesh stockings, and sandals. 
 The gentleman representing the ghost of Caesar stands at 
 the right, near the back of the stage. His right arm holds 
 his drapery together at the breast : his left is extended, with 
 palm downward, directly towards Brutus at the left. His 
 face is turned about one-third towards the left, with a steady 
 look upon the face of Brutus. His face is very pale, his 
 features prominent ; and he wears a long white drapery- 
 robe, with a drapery in the form of a large white cloak 
 thrown over his shoulders, and held together upon his 
 
 breast in his right hand, and a wreath of laurel upon his 
 
 
 
 head. He is made up rather older than the gentleman per- 
 sonating Brutus. At the left of Brutus, in front of the 
 table, the young attendant, who has been beguiling the hours 
 with music, is seen sleeping. His right arm rests upon the 
 table, his head upon his arm ; and his left arm is raised 
 in front of his face, which is towards the right. He 
 wears a crimson-colored tunic, scarlet mantle, flesh stock-
 
 BELSHAZZAR'S FEAST. 205 
 
 ings, and sandals. He should be about sixteen or seventeen 
 years of age, with dark curly hair. A small harp made 
 of pasteboard, gilt, lies at his feet ; and a broad short-sword 
 is on the floor, at the foot of Brutus. 
 
 The figure of Cassar should be at some distance behind 
 that of Brutus, and should be surrounded with a blue smoke. 
 A clear white light should be thrown upon the face of Bru- 
 tus from the left. Music very piano. 
 
 BELSHAZZAR'S FEAST. 
 
 EIGHT GENTLEMEN AND SIX LADIES. 
 
 Joy holds her courts in great Belshazzar's hall, 
 Where his proud lords attend their monarch's call : 
 The rarest dainties of the teeming East 
 Provoke the revel, and adorn the feast. 
 
 But why, O king ! - 
 
 Why dost thou start, with livid cheek ? why fling 
 The untasted goblet from thy trembling hand ? 
 Why shake thy joints 1 thy feet forget to stand ? 
 Why roams thine eye, which seems in wild amaze 
 To shun some object, yet returns to gaze/ 
 Then shrinks again, appalled, as if the tomb 
 Had sent a spirit from its inmost gloom ?
 
 206 PAULOR TABLEAUX. 
 
 Awful the horror when Belshazzar raised 
 His arm, and pointed where the vision blazed ; 
 For see, enrobed in flame, a mystic shade, 
 As of a hand a red, right hand displayed ! 
 And, slowly moving o'er the wall, appear 
 Letters of fate, and characters of fear ! 
 In death-like silence grouped, the revellers all 
 Fixed their glazed eye-balls on the illumined wall. 
 
 T. S. HUGHES. 
 
 THIS splendid stage-tableau was suggested by the large, 
 unfinished painting by Allston, now in the possession of the 
 Boston Athenaeum, which, had it been completed, would 
 probably have been most in accordance with the original 
 description of the event, in existence. The number of 
 characters incidental to a complete representation of the 
 tableau renders its performance upon a very small stage 
 impossible ; and it should not be attempted, except upon a 
 good-sized platform. The stage should be set with a long 
 table at the back, extending from left to right, upon which is 
 a crimson cloth, with plates, bouquets of flowers, and fruit 
 covering the top. At the right corner of the stage, a throne- 
 shaped chair is placed, with a footstool, and covered with 
 crimson cloth. The soothsayer stands in the centre, of the 
 stage, near the front. His left hand is raised, and extended 
 towards the left, pointing upwards at a point one-half the
 
 BELSHAZZAR'S FEAST. 207 
 
 distance from the floor to the top of the curtain : his right is 
 clinched at his side ; and he stands erect, looking towards the 
 right, at the king, with a stern expression upon his face. He 
 wears a long brown robe, reaching to the feet ; a heavy 
 drapery of purple or black, hanging from the right shoulder, 
 below the waist, and thrown back over the left shoulder ; 
 gray wig, and pointed beard. The gentleman representing 
 this character should be tall, with straight, prominent fea- 
 tures. The king is seated upon the right of the stage, near 
 the front, with his face turned upward towards the left, look- 
 r ing with a fixed expression at the place to which the sooth- 
 sayer points, where the illuminated writing is supposed to be 
 inscribed. His right hand rests upon the right arm of the 
 chair ; his left lies upon his left knee, which is extended ; and 
 his body is inclined forward. He wears a flowing robe of 
 yellow or salmon-colored drapery, with neck cut low, and 
 trimmed with a border of crimson ; heavy gilt crown, and or- 
 .namental girdle. He should be of straight features and 
 dark complexion. The queen stands beside the throne, at 
 the left of the king. Her face is turned towards the left, 
 looking upwards at the writing with an amazed expression. 
 Her right hand is raised to her bosom : her left is at her 
 aide. She wears a long crimson or black velvet robe,
 
 208 PARLOR TABLEAUX. 
 
 trimmed with gilt bullion-fringe and pearl beads ; gold baud 
 upon her head, from which hangs a long black veil, ex- 
 tending over her shoulders ; and a sash, trimmed with pearl 
 beads, extending from her waist over her left shoulder. This 
 character should be represented by a lady twenty-five or 
 thirty years of age, who should be of dark complexion. 
 
 The three wise men are on the left side of the stage, near 
 the front : two of them stand with their faces turned towards 
 the right, looking upon the soothsayer with a startled ex- 
 pression ; while the other stands nearer the back of the 
 stage, his face towards the audience, pointing upward 
 towards the point where the writing is supposed to be. 
 They wear long, flowing robes of black, purple, and brown, 
 belted at the waist ; turbans with cloth flap upon their 
 heads ; and sandals. The two nearest the front have dark 
 beards ; the other, a white beard and wig. At the left of the 
 centre of the stage, two ladies kneel, their faces towards 
 the soothsayer, heads inclined forward, and hands clasped 
 as they look toward him with an expression of entreaty. 
 The lady nearest the front wears a handsome pink silk with 
 low neck, sash over the shoulder, and coronet of pearls 
 upon her head. Her companion is costumed in blue-silk 
 dress, with white shoulder-scarf, and silver coronet Upon her 
 head.
 
 BELSHAZZAR'S FEAST. 209 
 
 A figure dressed as a soldier stands upon the right of the 
 stage, in front of the table. He holds in his right hand a 
 battle-axe, which is lowered below the level of his waist. 
 His left hand is extended back ; his body inclined forward, 
 as he looks towards the left, at the writing, with an expres- 
 sion of terror. 
 
 The table is occupied by six or eight guests, ladies and 
 gentlemen, who are seated generally at the side nearest the 
 back of the stage ; some looking forward, with an earnest 
 expression, at the soothsayer ; others gazing at the writ- 
 ing with a terrified expression, or exchanging significant 
 glances. The gentlemen wear long robes of pink, scarlet, 
 and purple, richly trimmed, and light turbans. The ladies 
 wear long dresses of white, blue, and yellow, with shoulder- 
 scarfs and head-dresses. The stage, back from the centre, 
 should be lighted by a clear white light ; Avhile a bright-red 
 light is placed at the point where the writing is supposed to 
 be, and is thrown upon the figures at the front. Music of 
 a stormy character. 
 14
 
 210 PARLOK TABLEAUX. 
 
 THE CORSAIR'S BRIDE. 
 
 ONE GENTLEMAN AND ONE LADY. 
 
 She rose, she sprang, she clung to his embrace, 
 Till his heart heaved beneath her hidden face. 
 He dared not raise to his that deep-blue eye 
 Which downcast drooped in tearless agony. 
 Her long fair hair lay floating o'er his arms 
 In all the wildness of dishevelled charms ; 
 Scarce beat that bosom where his image dwelt, 
 So full, that feeling seemed almost unfelt ! 
 
 Hark ! Peals the thunder of the signal-gun ! 
 It told 'twas sunset ; and he curse'd that sun. 
 Again, again, that form he madly pressed, 
 Which, mutually clasped, imploringly caressed ; 
 And, tottering, to the couch his bride he bore ; 
 One moment gazed, as if to gaze no more ; 
 Felt that for him earth held but her alone ; 
 Kissed her cold forehead ; turned. Is Conrad gone ? 
 
 BYRON. 
 
 BYRON'S poem of "The Corsair," the hero of which is 
 represented as a villain in every respect, except his true 
 love for the fair Medora, is probably well known to many 
 readers. The tableau represents the parting of the corsair 
 with his lady-love after one of their stolen interviews, and 
 the last one in which they are destined to meet.
 
 THE CORSAItt'S BRIDE. 211 
 
 
 
 The gentleman personating the corsair stands at the left 
 of the centre of the stage, with his right arm around the 
 lady's waist, his left extended towards her. His face is 
 towards the right, looking down upon the lady with a sad 
 but tender expression ; and his body is slightly drawn back, 
 as if endeavoring to withdraw from her embrace. He 
 should be of dark complexion, straight features, with heavy 
 black mustache and imperial ; and should wear loose white 
 trousers, reaching a few inches below the kn&es ; white 
 shirt, trimmed with gold ; blue cut-away jacket, trimmed 
 with gold, and lined with red ; Fez cap, with tassel ; sabre 
 and belt, and slippers. The lady stands in the centre of 
 the stage. Her face is towards the left, looking up at her 
 lover with an entreating expression. Her left arm is 
 passed around his neck ; her right hand grasps his left 
 arm at the wrist. She wears a loose white robe with short 
 sleeves and low neck. Her hair should be of light color, 
 and allowed to fall loosely over her shoulders. The light 
 should be thrown so as to fall upon the lady's face. Music 
 very piano. A lounge, with counterpane, and sheets 
 turned back upon it, may be placed at the back of the 
 stage.
 
 212 PABLOR TABLEAUX. 
 
 THE VEILED PROPHET. 
 
 ONE LADY AND TWO GENTLEMEN. 
 
 Scarce had she said 
 
 These breathless words, when a voice deep and dread 
 As that of Monker, waking up the dead 
 From their first sleep, so startling 'twas to both, 
 Rang through the casement near, " Thy oath ! thy oath ! " 
 
 Heaven ! the ghastliness of that mind's look! 
 " 'Tis he ! " faintly she cried, while terror shook 
 Her inmost core; nor durst she lift her eyes, 
 Though through the casement now nought but the skies 
 And moonlit-fields were seen, calm as before. 
 
 " 'Tis he, and I am his ! all, all, is o'er ! 
 Go, fly this instant, or thou'rt ruined too ! 
 My oath, my oath ! God ! 'tis all too true, 
 True as the worm in this cold heart it is ! 
 
 1 am Mokanna's bride ! -his, Azim, his ! 
 
 The dead stool round us while 1 spoke that vow : 
 Their blue lips echoed it ; I hear them now ! 
 ( Their eyes glared on me while I pledged that bowl . 
 'Twas burning blood ! I feel it in my soul ! 
 And the Veiled Bridegroom hist! I've seen to-night 
 What angels know not of, so foul a sight, 
 So horrible, oh ! never mayst thou see 
 What there, lies hid from all but hell and me ! 
 But I must hence. Off, off ! I am not thine, 
 Nor Heaven's, nor Love's, nor aught that is divine ! " 
 
 MOORE.
 
 THE VEILED PROPHET. 213 
 
 THIS scene is from the well-known legend of " The 
 Veiled Prophet " in Moore's poem of " Lalla Rookh," and 
 is one of a number of tableaux presented at the time of 
 its original publication, at the Prussian court, by several 
 of the nobility of that kingdom. The legend is located in 
 Oriental regions. The young hero of the poem, Azim, 
 who is in love with the fair Zelica, is removed from her 
 society by Mokanna, a false prophet, who, hideous in as- 
 pect, and malicious in character, wears a gorgeous but 
 impenetrable veil of silver, which covers his deformity, 
 and shrouds him in mystery. He persuades Zelica that 
 Azim is dead ; and she, in her sorrow, yields herself to 
 Mokanna, and takes a solemn oath to remain his bride. 
 She then finds, that, in place of becoming the votary of 
 a devout prophet, she has placed herself in the power of a 
 hideous monster, and is almost heart-broken at her 
 wretched fate ; when Azim suddenly returns, renews his 
 vows of constancy, consents to retain her as she is, and at 
 last overcomes her scruples, and is about to bear her away, 
 when the Veiled Prophet appears at the window, exclaiming 
 to Zelica, " Thy oath ! thy oath!" and, despite Azim's 
 importunities, she turns from him, and flies back to the 
 prophet's palace.
 
 214 PARLOR TABLEAUX. 
 
 The scene given represents Azim and Zelica at the 
 moment when the prophet appears uttering the solemn 
 warning. The curtain upon the left side of the background 
 is drawn aside, showing the Veiled Prophet : he stands 
 with his right hand raised above his head, the forefinger 
 pointing upward. His left arm is raised, the palm turned 
 downwards, and held just above his head, in a horizontal 
 position. His face and front are towards the audience, and 
 he stands erect and immovable. He wears a long robe of 
 flowing white drapery, with tight-fitting sleeves, trimmed 
 with silver paper or tinsel ; veil of white cotton, striped 
 with silver paper or tinsel, covering the face completely ; 
 and a turban of white, fitting close to the head, and orna- 
 mented with a crown of silver round the front. Zelica 
 should be personated by a young lady of dark complexion 
 and handsome features. She kneels at the right of the 
 centre of the stage, on her left knee, upon a cushion placed 
 there. Her right hand is raised to her head ;. her left hand 
 extended towards the centre, lying in that of Azim. Her 
 face is turned half way towards the left, looking forward 
 with a startled, despairing expression. Her right limb is 
 bent at the knee, and extending over tne edge of the 
 cushion ; then touches the floor. She wears a long white
 
 THE VEILED PROPHET. 215 
 
 skirt ; over-skirt of crimson, open in front ; large flowing 
 robe of crimson drapery, lined with white, and trimmed 
 with gold stars, hanging behind ; white-gauze veil, trimmed 
 with stars, and hanging from the right side of her head to 
 her waist, and extending from there over her right shoul- 
 ders : a pair of white slippers and tight-fitting sleeves com- 
 plete her costume. Her hair is combed loosely, one end 
 hanging over her left shoulder, in front ; the other hanging 
 over her right, behind. Azim should be represented by a 
 young gentleman of dark complexion, with long curling hair, 
 and mustache with very long ends : he stands directly be- 
 hind Zelica, his right hand extended forward on a level with 
 his waist ; his left extended, grasping that of the lady. He 
 leans upon his right leg, his body inclined forward, his left 
 extended backward : his face is turned towards the front, 
 looking out with a surprised expression. He wears a white 
 tunic, reaching to the knee, trimmed around the neck and 
 bottom of the skirt with two rows of gilt paper, or tinsel, 
 and cut low in the neck, showing a ruffled shirt ; blue scarf, 
 trimmed with yellow fringe, one end hanging over the left 
 shoulder ; sword-belt and sword ; armor-leggins, or stock- 
 ings, covered with small gilt plates of paper ; sandals ; and 
 turban of white, with a band of gold round the front, to
 
 216 PARLOR TABLEAUX. 
 
 which is attached a plume of white feathers floating be- 
 hind. 
 
 A white smoke and light should surround the figure of 
 the prophet, while the figures in the foreground are lighted 
 by a bright-blue flame thrown upon their faces. The 
 music should be slow and solemn. 
 
 EVENING-HYMN OF THE HUGUENOTS. 
 
 Hark ! 'tis the breeze of twilight calling 
 
 Earth's weary children to repose ; 
 While, round the couch of Nature falling, 
 
 Gently the night's soft curtains close. 
 
 Soon o'er a world of sin in sleep reclining, 
 Numberless stars, through yonder dark, 
 
 Shall look like eyes of cherubs shining 
 From out the veils that hid the ark. 
 
 Guard us, O Thou who never sleepest ; 
 
 Thou who, in silence throned above, 
 Throughout all time, unwearied, keepest 
 
 Thy watch of glory, power, and love ! 
 
 Grant that beneath thine eye, securely, 
 Our souls, awhile from life withdrawn, 
 
 May in their bosoms stilly, purely, 
 
 Like " sealed fountains," rest till dawn. 
 
 MOOBE.
 
 EVENING-HYMN OF THE HUGUENOTS. . 217 
 
 THIS beautiful stage-tableau is one of the most novel and 
 pleasing presented in this volume. It represents a small 
 party of exiled Huguenots departing from their native land 
 by one of the rivers of France. The oarsmen have ceased 
 from their work, and all join in listening to the evening 
 hymn as it floats out over the still waters. At the back of 
 the stage a boat should be placed, made of pasteboard, with 
 the side nearest the front painted, and bearing near the 
 stern the name " Coligny." A mast may be placed at the 
 left end of the boat, and a sheet, mounted like a square-sail, 
 placed upon the mast, if desired, to carry out the effect. 
 A strip of paper or canvas about two feet high, -painted blue, 
 should be placed in front of the dummy boat, separating it 
 from the audience, to imitate water. A young man about 
 twenty years of age stands in the centre of the boat. His 
 face is towards the right, and turned up, with lips open, as 
 if singing. He holds in his hands an open book, at the height 
 of his waist ; and his face wears a devout expression. He 
 wears a long brown waistcoat reaching below the waist, with 
 long sleeves, broad white collar, knee-breeches of a brown 
 color, cut loose, slate-colored stockings, cape, and pumps. He 
 should be of light complexion, if possible, with long hair and 
 straight features. A young lady, of about the same age as
 
 218 PARLOR TABLEAUX. 
 
 the young man, stands at his left side. Her face is towards 
 the right, and she looks in that direction with a calm expres- 
 sion. Her hands are clasped over a small book, which she 
 holds in front of her. She wears a skirt of lavender silk ; 
 basque of the same material, with drapery-sleeves, showing 
 lace undersleeves ; neck of the dress cut low and pointed, with 
 a wide lace collar around the. neck, and white lace veil hang- 
 ing from her head over her shoulders. She should be of light 
 complexion, with straight features. At the extreme left of 
 the boat, two of the sailors are seated : the one at the side 
 towards the back leans backward with his eyes closed, and his 
 hands crossed over a book which lies upon his lap. He wears 
 a red shut, blue trousers, and slippers, and brown beard upon 
 his face. The sailor nearer the front leans forward, with his 
 left arm upon an oar, which extends over the side of the boat, 
 his right arm upon his knee, and his head inclined forward, 
 with an attentive expression upon his face. At the right of 
 the centre of the boat, a woman is seen kneeling over a 
 young boy, who lies upon a pile of clothes in the bottom of 
 the boat : she kneels with her arms around the boy, her 
 head partly turned towards the right, and looking down 
 towards the boy with a thoughtful expression. She wears 
 a plain brown dress, white neck-kerchief, and white hand-
 
 EVENING-HYMN OF TUB HUGUENOTS. 219 
 
 kerchief around her head. The boy should be about four 
 years of age : he lies upon the blankets which extend over 
 the edge of the boat, with his eyes closed, and head towards 
 the right. He wears a white-cotton night-dress, the lower 
 part of his body being covered with blankets. At the right 
 of the centre, at the rear side of the boat, a young lady of 
 about sixteen kneels : her face is towards the front, turned 
 upwards with lips open as if singing ; and her hands are 
 clasped in front of her. She wears a bright-blue dress, with 
 white collar, and hair in ringlets. At the right end of the 
 boat, a gentleman representing an old sailor is seated : a 
 large book rests upon his knees, which he holds in his hands ; 
 and he looks down as if reading, with a thoughtful expres- 
 sion. He wears a red vest with yellow sleeves, brown 
 trousers, large collar, red cap, gray wig and beard. The 
 tableau is not a difficult one to produce ; the boat being 
 easily made with some barrel-hoops for a frame, and thick 
 pasteboard for covering. A white light should be thrown 
 upon the figures, and the music is some sacred hymn.
 
 220 PAKLOK TABLEAUX. 
 
 HAIDEE AND JUAN. 
 
 ONE GENTLEMAN AND TWO LADIES. 
 
 Her brow was overhung with coins of gold, 
 That sparkled o'er the auburn of her hair, 
 
 Her clustering hair, whose longer locks were rolled 
 In braids behind; and, though her stature were 
 
 Even of the highest for a female mould, 
 
 They nearly reached her heel ; and in her air 
 
 There was a something that bespoke command, 
 
 As one who was a lady in the land. 
 
 But with our damsel this was not the case : 
 Her dress was many-colored, finely spun ; 
 
 Her locks curled negligently round her face, 
 But through them gold and gems profusely shone ; 
 
 Her girdle sparkled, and the richest lace 
 
 Flowed in her veil ; and many a precious stone 
 
 Flashed on her little hand : but, what was shocking, 
 
 Her small snow feet had slippers, but no stocking. 
 
 Young Juan slept all dreamless ; but the maid % 
 Who smoothed his pillow, as sbe left the den, 
 
 Looked back upon him, and a moment staid, 
 And turned, believing that he called again.
 
 HAIDEE AND JUAN. 221 
 
 He slumbered : yet she thought, at least she said, 
 
 (The heart will slip even as the tongue and pen,) 
 He had pronounced her name ; but she forgot 
 That at this moment Juan knew it not. 
 
 BYBOJT. 
 
 THE scene of this tableau is from Byron's poem ; the 
 6nding of Juan, and carrying him to the cave, where Hai- 
 dee had him laid upon a couch made from choice furs and 
 clothing, being previous to the portion of the poem here il- 
 lustrated. Juan should be represented by a young man about 
 eighteen years of age, of dark complexion, and handsome 
 features. A pile of mats and clothing should be placed in 
 the centre of the stage, and covered with a fur robe, or 
 something similar. When the curtain rises, the young 
 man is discovered lying upon the fur cushion, upon his 
 right side, with his face towards the audience : his arms 
 are extended above his head on the cushion ; and his eyes 
 closed, as in sleep. The lower part of his body should be 
 covered by a cloak of some crimson or blue material ; while 
 he wears on his waist a white shirt with ^turn-down collar, 
 and black neck-tie. The young lady personating Haidee 
 should stand in the centre of the stage, bending over the 
 young man, with hands extended, as if trying to catch 
 some sound. There is a smile on her face ; and her left
 
 222 PARLOR TABLEAUX. 
 
 baud is extended towards her attendant, as if commanding 
 silence. She should wear a robe of white silk or muslin, 
 under a Grecian jacket of wine-colored velvet, trimmed 
 with gilt braid ; a bod*ice of blue, spangled ; a broad scarf 
 of blue or white satin, fringed with gold ; slippers ; and on 
 her head a coronet of gold-paper disks in imitation of 
 coins, attached to a turban, with a long lace veil falling 
 from the left side. Her hair should be allowed to fall in 
 long curls behind. The attendant should be similarly 
 dressed, though more plainly, and with different colors ; 
 her hair being ornamented with a silver coronet. She 
 should stand at the left, looking towards Haidee, with her 
 right hand beckoning her to come, and with her left point- 
 ing to the door. She wears an anxious expression on her 
 face. A bright light may be thrown upon the two promi- 
 nent figures of the picture. Music slow and soft. 
 
 TRUST. 
 
 ONE LADY. 
 
 THIS is a companion to the statuary tableau of Palmer's 
 "Faith;" and, although the original is not a statue, the 
 tableau is intended to represent the figure as such. On the
 
 STATUE-SCENE FROM THE MARBLE HEART. 223 
 
 right-hand corner of the front of the stage a long wooden 
 box should be placed, standing on end, and covered with 
 white cotton to represent marble. The lady should stand 
 with her right arm leaning on the box, which should be of 
 proper height; her left hand crossed over her right wrist. 
 Her face is turned towards the left, and looking upward 
 with a confident expression. She should be dressed iu a 
 white drapery-robe with low neck, and an additional drape- 
 ry passing over her right arm, and wound over her left 
 side. Her hair should be combed back from her face, 
 heavily powdered with white, and with a braid of the same 
 extending round the front of her head, in the style of a 
 coronet. Her light foot should be raised, and placed upon 
 a stone in front, at the side of the pedestal. A white light 
 should be thrown from the left. Music, some sacred hymn. 
 
 STATUE-SCENE FROM THE MARBLE HEART. 
 
 TWO GENTLEMEN AND THREE LADIES. 
 
 Phidias. (Addressing the statues.) La'is, Aspasia, and Phryr.e, to 
 me you owe your existence. I love you. You know I am poor. 
 
 Diogenes. A bad argument, Phidias ; a very bad argument. Poverty 
 is a spectre they all fly from : it extinguishes even gratitude j and
 
 224 PARLOR TABLEAUX. 
 
 gratitude (laughing in derision) O rara avis! if thou art a wonder in 
 hearts of flesh and blood, who can expect to find ihee in marble? 
 
 Phidias. I am poor, very poor ; but I love you. Remain with him 
 to whom you owe your glory and immortality. ( The statues continue 
 motionless. ) 
 
 Gorgias. Now for me. I am Gorgias, the Crcesns of Athens. I 
 am richer than all the kings of Asia. I offer you palaces paved with 
 gold ; you shall be enshrined in diamonds ; Poesie shall exhaust herself 
 in praises of your beauty ; and all the great ones of the world shall 
 worship you. Aspasia, Lais, and Phryne. which do you choose 
 ( The statues turn tlieir heads, open their eyes, and smile upon GORGIAS.) 
 
 Phidias. (Starting with a cry of agony.} Ah! monsters of ingrati- 
 tude, they forsake me ! ( Covers his face with his hands.) 
 
 Gorgias. (Triumphantly.) Poor Phidias, Gorgias is again a con- 
 queror ! 
 
 Diogenes. O marble ^hearts, marble hearts! false ones of the past, 
 false ones of the future ! woe to the man who loves you ! Your gold- 
 bought smiles have ever been, and ever will be, ministers of ruin, 
 
 misery, and death. 
 
 THE MARBLE HEART, act i. scene 1. 
 
 SELBT'S popular play of "The Marble Heart" is doubt- 
 less familiar to many readers, patrons of tbe drama in any 
 of our large cities. The accompanying tableau, though 
 devoid of any very elaborate stage-effect, is justly regarded 
 as one of the most striking pictures ever presented on the 
 stage. 
 
 The scene represented is described in the lines quoted 
 above, and represents the statues in the act of turning away
 
 STATUE-SCENE FROM THE MARBLE HEART. 225 
 
 from Phidias, and smiling upon Gorgias. At the back of 
 the stage, a long narrow box or platform is placed in the 
 rear of the curtain, forming the general background. The 
 platform should be two or ^iree feet high, and covered with 
 green baize or any dark-jcolored material. 
 
 The statues should be represented by three young ladies, 
 tall, with straight features. The taller of the ladies stands 
 in the centre of the platform : her left hand hangs at her 
 side, holding a scroll of white paper ; her right hand is 
 raised to her bosom. She stands erect, with about two- 
 thirds of her face towards the audience, and looking towards 
 the left at Gorgias, with a smile upon her face. She wears 
 upon her head a crown of white paper, to represent marble ; 
 and her hair is very heavily powdered with white chalk, to 
 represent the same substance. Her costume is a plain robe 
 of white, covered, with the exception of a small portion, 
 by heavy folds of white drapery hanging from her shoulders, 
 and covering her arms to the elbow. The lady representing 
 the statue La'is stands on the right of the central figure : 
 her left hand rests upon the shoulder of the statue beside 
 her ; while in her right she holds a goblet, painted white, 
 iu imitation of marble, before her companion. She stands 
 so that about half of her face is turned toward the audience ; 
 
 15
 
 226 PARLOR TABLEAUX. 
 
 and, looking towards the left, also smiles upon Gorgiaa 
 She wears upon her head a wreath of white-paper leaves. 
 in imitation of a laurel wreath in marble ; and her hair is 
 also heavily powdered. Her dress is a plain robe of white, 
 with low neck and short sleeves, and white drapery, leaving 
 the arms and neck exposed. The remaining lady, repre- 
 senting the statue Phryne, stands at the left of the central 
 figure, her right hand upon the shoulder of the lady at her 
 left, holding a wreath of white-paper leaves toward her. 
 She stands close to her companion, looking with a smiling 
 expression upon Gorgias. 
 
 Phidias is at the right of the centre of the stage, some 
 distance from the front, kneeling upon his left knee, his face 
 turned from the audience and covered by his hands, as his 
 head is bowed in grief. His dress is a slate-colored tunic 
 with white Grecian border, stockings, and sandals. Gorgias 
 stands on the left of the centre of the stage, looking towards 
 Phidias with a triumphant expression ; the left side of his 
 face being turned towards the audience, and his right hand 
 extended, pointing towards the statues. He wears a tunic 
 of crimson color, a white toga profusely ornamented with 
 gold, flesh-colored stockings, and crimson buskins, with a 
 golden circlet and white ribbon upon his head. A very
 
 STATUE-SCENE FROM THE MARBLE HEART. 227 
 
 powerful white light should be thrown upon the statues from 
 the right, behind the inner curtain ; the intensity of the light 
 assisting very much in throwing the figures into bold relief 
 from the background, and enhancing their statuesque ap- 
 pearance. The curtains ordinarily used as a background 
 should be placed in front of the small platform at the back, 
 and looped up at the sides sufficiently to show the figures 
 distinctly. An additional covering for the background will 
 necessarily be required, which should be of some black- 
 colored material. 
 
 If desired, the characters of Phidias and Gorgias may 
 be omitted in the representation of the tableau, the statues 
 alone being exhibited. This may be desirable where cos- 
 tumes appropriate for the two gentlemen cannot be obtained, 
 lu this case, the central figure should stand with her face 
 towards the audience, presenting a front view, her eyes 
 being closed. The other ladies stand looking up towards 
 the face of the central lady, their eyes being closed, and 
 their hands in the position already described. Music very 
 soft and low. 
 
 The costume of the lady representing Phryne is the same 
 as that of Lais, with the exception of the laurel wreath. 
 "Wigs of white worsted placed over the hair will give a very 
 correct imitation of marble to all statue figures.
 
 228 PARLOR TABLEAUX. 
 
 THE LIGHT OF THE HAREM. 
 
 TWO LADIES. 
 
 " For me, for me ! " 
 Cried Nourmahal impatiently, 
 " Oh ! twine that wreath for me to night 1 " 
 Then rapidly, with foot as light 
 As the young musk-roe's, out she flew 
 To cull each shining leaf that grew 
 Beneath the moonlight's hallowing beams 
 For this enchanted wreath of dreams, 
 Anemones, and seas of gold, 
 And new-blown lilies of the river, 
 And those sweet flowerets that unfold 
 Their buds on Camadeva's quiver. 
 
 No sooner was the flowery crown 
 
 Placed on her head than sleep came down, 
 
 Gently as nights of summer fall, 
 
 Upon the lids of Nourmahal ; 
 
 And suddenly a tuneful breeze, 
 
 As full of small, rich harmonies 
 
 As ever wind that o'er the tents 
 
 Of Azab blew was full of scents, 
 
 Steals on her ear, and floats and swells.
 
 THE LIGHT OF THE HAREM. 229 
 
 ; *; ; Like the first air of morning creeping 
 Into those wreathy, Red-Sea shells, 
 Where Love himself, of old, lay sleeping. 
 
 MOOKB. 
 
 THIS beautiful tableau, from Moore's poem of " Lalla 
 Rookh," represents Nourmahal, the heroine of the portion of 
 the poem entitled " The Light of the Harem," after she has 
 been banished by the sultan, Selim, for some slight differ- 
 ence between them. She is attended by a faithful slave 
 named Namouna, who is an enchantress versed in the most 
 potent magic arts, and who, at her mistress's request, 
 pledges herself to cast a spell over Selim, and restore him 
 to her lady's heart. The scene represented discloses the 
 enchantress crowning the lady with flowers, and throwing 
 her into a deep slumber, while she goes to practise her 
 magic upon Selim. A couch of pillows should be made 
 just back of the centre of the stage, and covered with 
 crimson or blue cambric, with the end towards the right 
 raised nearly perpendicular by pillows piled together. The 
 lady lies upon the couch, her back resting upon the pile of 
 pillows upon the left ; her face turned towards the right, the 
 left side towards the audience ; her arms crossed carelessly 
 over her bosom ; her lower limbs extended towards the
 
 230 PARLOR TABLEAUX. 
 
 right, the right crossed over the left limb. Her head is in- 
 clined slightly forward towards the right, and her eyes closed, 
 as in sleep. She wears a long, loose white robe, cut low in the 
 neck, and covering the feet ; or open in front, showing full 
 white trousers, fastened at the ankle ; long blue scarf, fringed 
 with gold ; wide drapery of blue, lined with yellow, attached 
 at the shoulders, and lying over the pillow ; and a wreath 
 of beautiful flowers upon her hair, which hangs in curls 
 behind. A small guitar lies at her left side. 
 
 The lady's companion kneels behind the couch, facing the 
 audience. Her left hand is raised, touching the wreath upon 
 the front of the lady's head ; her right is extended, as if 
 making passes over the lady's face ; while her face is turned 
 towards her with an earnest expression. She wears a long 
 robe of pink cambric with wide drapery-sleeves, long strand 
 of large black beads around her neck, garland of flowers in 
 her lap, and plain gold band upon the front of her head ; the 
 hair combed back, and hanging behind. A bright-blue or 
 white light should be thrown, so as to fall upon the lady's 
 face ; and the music should be soft, and pleasing in style.
 
 THE BOUQUET OF BEAUTY. 231 
 
 THE BOUQUET OF BEAUTY. 
 
 THREE LADIES. 
 
 THIS tableau comprises a group of three young ladies, of 
 good form and features, who should be carefully and ele- 
 gantly dressed. 
 
 The central figure of the group should be represented by 
 a lady somewhat taller than her companions. She should 
 stand with her left side towards the audience, her face 
 towards the right, looking upwards, so as to afford a three- 
 quarters view to the audience. She should be dressed in 
 lavender, corn, or scarlet-colored silk, with low neck and 
 sash, and a black-lace mantilla or scarf thrown over the 
 arms, and hanging below the waist behind. Her hair 
 should be combed back in puffs, and she should wear on her 
 head a wreath of flowers. Before her, in her right hand, 
 she may hold a bouquet of flowers ; while her left hand is 
 extended, the fingers pointing to the flowers. One of the 
 ladies should stand on the left of the central figure, leaning 
 on her right shoulder, with her hands crossed upon it. She 
 should t e of light complexion ; and, as she looks towards
 
 232 PARLOR TABLEAUX. 
 
 the audience, her head should be inclined towards the left, 
 her hair falling over her shoulders. Her dress should be 
 of white or light-blue silk, with low neck and lace under- 
 sleeves. She should wear a pleased expression. 
 
 The lady on the right should be dressed in more sombre 
 colors than her companions. She should stand with her 
 head towards the right, looking towards the audience, with 
 rather a sad expression, her right hand being extended 
 towards the flowers held by the lady in the centre. Her 
 hair should be combed plainly, and she should wear on her 
 head a black-lace veil. In this position, her waist, below the 
 shoulders, will be concealed by the taller lady from the audi- 
 ence. Clouds of blue smoke may be produced in the back- 
 ground ;. and a bright-blue light should be thrown from the 
 left upon the figures at that 'side of the stage, leaving the 
 lady on the right heavily shaded. Music soft. 
 
 VISION OF MARGUERITE. 
 
 TWO GENTLEMEN AND ONE LADY. 
 
 Fanst. What wilt thou do for me ? 
 
 Mephiitopheles. Any thing in the world ; all things. But say, first 
 what would you have. Abundance of gold ?
 
 VISION OF MARGUERITE. 233 
 
 Faust. No : I would have a treasure which contains them all. I 
 wish for youth. 
 
 Mephis. Very well ! very well ! very well ! I can indulge the caprice. 
 
 Faust. Well ; and what must I give in return ? 
 
 Mephis. A trifle, almost nothing. Here shall I be at thy service ; 
 but down yonder thou shalt be at mine. 
 
 Faust. Down where ? 
 
 Mephis. Down yonder. Come on. Sign! But what ! Thy hand 
 trembles. What can be done to encourage thee? See! youth calls 
 thee ! Lift thine eyes. ( Vision of MARGUERITE at the wheel. Rises.) 
 
 Fanst. Wonderful ! 
 
 Mephis. Ah, ha ! How 'do you like it ? 
 
 Faust. Give me the pen. 
 
 Mephis. Come on, then ! And now, master, I invite thee to a cup 
 in which there is neither poison nor death, b'ut young and vigorous life. 
 
 Faust. Lead on, lead on ! O beautiful, adorable vision ! 
 
 Mephis. Come on ! 
 
 Faust. I shall see her again. 
 
 Mephis. To-day, doubtless. 
 
 FAUST, act i. 
 
 THIS beautiful tableau is from the celebrated opera of 
 " Faust," and represents Mephistopheles showing to Faust, 
 previous to his transformation, the vision of Marguerite, a 
 beautiful girl whom he is destined afterwards to meet. A 
 table with an hour-glass, large book, and papers, is placed 
 upon the right of the stage, with an old-fashioned arm- 
 chair beside it. Faust stands at the right of the centre of 
 the stage, his face turned from the audience, looking to-
 
 234 PABLOR TABLEAUX. 
 
 wards Marguerite, who appears at the back of the stage. 
 His head is inclined forward, and his hands clasped to his 
 breast, as he gazes at the vision with an expression of won- 
 der and delight. He wears a long black robe with drapery- 
 sleeves, small black-velvet cap, and full white beard. 
 
 The gentleman representing Mephistopheles should be 
 tall, and with rather sharp features. He stands at the left 
 of the centre of the stage, with his left hand upon his hip, 
 his right hand raised, with finger pointing to the figure 
 of Marguerite at the back of the stage. He wears a black 
 mustache and pointed . imperial ; wig of long black hair, 
 with his eyes made up with gold-leaf round the lashes ; his 
 face having a malicious but triumphant expression as he 
 looks towards Faust. His dress is a red waist with long 
 sleeves ; red trunks slashed with black ; red stockings and 
 slippers ; black-velvet cloak, trimmed with red, thrown 
 back over the shoulders ; and black cap with long red 
 feather. 
 
 Marguerite is upon a small stage at the back, about two 
 feet above the level of the main stage. She is seated in 
 the centre, with an old-fashioned spinning-wheel before her, 
 with her right hand in her lap ; her left extended, holding 
 a thread which passes over the wheels. Her costume is a
 
 ' THE ENCHANTED BRIDE. 235 
 
 dress of light blue, with low neck and short sleeves, 
 trimmed with white. She should be of light complexion ; 
 and, as she is seated, her face is turned towards the audi- 
 ence with a smiling expression. Where a wheel cannot be 
 obtained, she may be represented as weaving a garland of 
 flowers. A bright-blue light should be thrown upon the 
 lady, and occasional flashes of red light upon the gentle- 
 men. Music very soft. An opening three feet wide 
 should be made in the curtains in front of the extra stage, 
 which should be masked by a strip of the same color as the 
 curtails tacked on the front ; or, if scenery is used, the 
 opening should be surrounded by imitation-clouds, painted 
 on pasteboard ; a portion of which, large enough to show 
 the figure of the lady, is cut out. 
 
 THE ENCHANTED BRIDE. 
 
 ONE GENTLEMAN AND FOUR LADIES. 
 
 Gently ! Lo, the warrior kneels ! 
 Soft the lovely hand he steals ; 
 Soft the kiss, and soft to clasp; 
 But the warder leaves her grasp ; 
 Lightning flashes, rolls the thunder.
 
 236 PARLOR TABLEAUX. 
 
 Gnyeth startles from her sleep. 
 
 Totters tower, and trembles keep, 
 
 Burst the castle-walls asunder. 
 
 Fierce and frequent were the shocks. 
 
 Melt the magic halls away; 
 
 But beneath their mystic rocks, 
 
 In the arms of bold De Vaux, 
 
 Safe the princess lay, 
 
 Safe and free from magic power, 
 
 Blushing like the rose's flower 
 
 Opening to the day. 
 
 And round the champion's brows were bound 
 
 The crown the Druidcss had wound 
 
 Of the green laurel-bay ; 
 
 And this was what remained of all 
 
 The wealth of each enchanted hall, 
 
 The garland and the dame ; 
 
 But where should warriors seek the meed 
 
 Due to high worth for daring deed, 
 
 Except from Love and Fame ? 
 
 BRIDAL OF TRIERMAIN, canto 3. 
 
 THIS very pleasing picture is from Scott's legend of the 
 " Bridal of Triermain." The legend is that Gnyeth, the 
 daughter of King Arthur, and a beautiful lady descended 
 from the Genii, whom Arthur had deserted, having been in- 
 structed by her mother to take vengeance upon the king in 
 some way, obeys by allowing twenty knights of the Round
 
 THE ENCHANTED BRIDE. 237 
 
 Table to be slaughtered in a tournament for her hand, and 
 for this cruelty is condemned by Merlin to long-continued 
 sleep in an enchanted castle. The fortress in which she is 
 confined is only visible at certain times, and the entrance 
 then almost unattainable. But the Baron of Triermain, 
 who has seen the lady in a dream, determines upon her 
 rescue from the castle ; and, after a search of twelve 
 months, at length discovers the entrance, vanquishes all 
 the guardians of the captive, and restores her to the world ; 
 the spell of enchantment having lasted five hundred years. 
 The scene of the tableau represents the knight in the 
 chamber of the enchanted castle, and the lady, who is just 
 restored to consciousness, rising from her couch. There 
 are also four other ladies, guardians of Gnyeth, who vainly 
 endeavor to tempt him from accomplishing his object. A 
 lounge covered with scarlet or light-blue colored material 
 should be placed at the back of the stage, upon a low, nar- 
 row box covered with green, to raise it above the level of 
 the floor. Curtains should be placed in front of the lounge, 
 and looped up on the sides. 
 
 The lady is in the position of rising from the couch, 
 the upper portion of the body raised to a sitting position ; 
 her right hand upon her knee, and her left resting upou
 
 238 PARLOR TABLEAUX. 
 
 that of the gentleman, looking at him with a smile upon 
 her face and a half-surprised expression. Her costume is 
 an elegant crimson dress trimmed with gold, with low neck, 
 and drapery-sleeves reaching to the elbow ; and a coro- 
 net of pearl beads upon her hair, which is allowed to fall 
 loosely over her shoulders. The lady should be of good 
 features and dark complexion. 
 
 The knight stands at the right of the lady, beside the 
 couch : he leans forward, with his arms around her waist, 
 raising her towards himself, and looking at her with a 
 pleased yet earnest expression. He is dressed in a tunic 
 of purple or scarlet material, velvet leggings ornamented 
 with small metal plates, sword-belt and sword, and san- 
 dals. He should be tall, and of good features. 
 
 Two of the young ladies are upon the right of the stage, 
 kneeling, at a distance of two or three feet apart ; one near 
 the front, the other in a line with the first, farther back to- 
 wards the centre : their hands are extended towards the 
 knight, holding wreaths of flowers towards him, and look- 
 ing at him with a smiling expression. They should be of 
 attractive appearance, and dressed in short white-muslin 
 dresses, white stockings, and slippers ; with flowers in the 
 hair ; and a sash of red or blue extending over the slioul-
 
 EMANCIPATION. 239 
 
 ders, and hanging at the side. On the opposite side of the 
 stage, near the front, still another lady, similarly dressed, 
 and in a similar position, kneels ; while a few feet back, on 
 the left, a lady dressed in white drapery hanging in folds, 
 with a laurel-wreath upon her head, kneels, extending a 
 crown of green leaves toward the knight. A bright-blue 
 light should be thrown upon the knight and the lady, and a 
 white light upon the ladies in the foreground ; the curtains 
 at the back partially separating the two groups. Music, 
 " I dreamt I dwelt in marble halls," from Balfe's " Bohe- 
 mian Girl." 
 
 EMANCIPATION. 
 
 ONE GENTLEMAN AND TWO LADIES. '. 
 
 THIS is a very showy tableau, and will answer well for a 
 finale. The prominent figure of the group, the Genius of 
 Liberty, should be represented by a young lady of dark com- 
 plexion, tall, and with straight features. Her hair should 
 be combed back, hanging down her shoulders ; while on her 
 head she wears a coronet with stars. Her form is draped 
 in white, with low neck and bare arms ; and the drapery
 
 240 PARLOR TABLEAUX. 
 
 looped up, showing the right limb. In her left hand she 
 holds a scroll extended ; and in her right, close to her bosom, 
 a green branch, for the olive-branch of peace. She stands 
 with her face slightly turned towards the right, looking for- 
 ward. On her left, keeling on her knees, her arms crossed 
 over her bosom, and looking upward towards the first- 
 named figure, is the other lady, who represents a mulatto. 
 On her head she wears a handkerchief for a turban ; while 
 around her form the Union flag is draped, showing her bare 
 neck. The male figure of the group represents a negro, 
 dressed in shirt and striped trousers. He kneels upon his 
 left knee, with the right foot extended, and holding over the 
 head of the first figure, at whom he looks beseechingly, the 
 Union flag. A strong red light with thick smoke should be 
 thrown upon the picture. Music, " Hail, Columbia ! " 
 
 THE GENIUS OF LIBERTY. 
 
 ONE LADY. 
 
 THE lady personating this picture should be tall, of dark 
 complexion, and with straight features. She should stand 
 looking towards the left, her face towards the audience,
 
 MAKING UP THE QUARREL. 241 
 
 with her left arm bent, her hand to her forehead, as she 
 gazes out with an earnest expression. She is dressed in a 
 drapery of hlue, looped up ahove the left knee, revealing 
 that limb, which is advanced in front of the right. She 
 should wear over the waist a drapery of some bright-red or 
 white material, covering the right arm nearly to the wrist, 
 but allowed to flow loosely under the left arm, leaving the 
 neck and left arm uncovered. In her right hand she should 
 carry an American flag, slanting towards the right. On her 
 head she should wear a crown of stars, and her hair should 
 be allowed to fall over her shoulders. If convenient, another 
 larger flag may be arranged for a background. 
 
 Alternate lights of red, white, and blue, may be thrown 
 on the picture, if practicable ; if not, a single light of either 
 color will answer. Music, " The Red, White, and Blue." 
 
 MAKING UP THE QUARREL. 
 
 ONE YOUNG BOY AND A GIRL. 
 
 THE characters in this tableau should be represented by 
 a boy and a girl of from four to six years of age. The girl 
 should be of light, the boy of dark complexion. The boy 
 
 16
 
 242 PAKLOB TABLEAUX. 
 
 should stand at the left of the centre of the stage, very 
 straight, with his hands at his sides, and with a frown on his 
 face, looking towards the audience. His dress should be 
 a simple frock of some dark material, with short sleeves. 
 The girl should be dressed in a white-muslin dress, with 
 short sleeves and low neck, with a small cape just covering 
 her right shoulder, and thrown back so as to show nearly 
 the whole of her neck and waist. Her arms are clasped 
 around her brother's neck, her left over his right. She 
 should be looking towards the left with a hopeful expres- 
 sion, the right side of her face towards the audience, and 
 standing so close to the boy, that the right side of his face is 
 partially concealed from the audience. Her hair should be 
 dressed in -ringlets. A bright white light should be throAvu 
 from the right upon the girl's face, shading the boy's face. 
 Music lively.
 
 FAITH. 243 
 
 FAITH. 
 
 ONE LADY. 
 
 My faith can see with weary eye 
 
 The dawn of heaven on earth's blue sky ; 
 
 And from afar 
 Shines on my soul the morning-star. 
 
 PALMER'S celebrated statue furnishes the subject for this 
 tableau, which is readily produced, and, like others of this 
 kind, very effective. On the right of the stage, an irregular 
 pile of boxes, and clothing of various kinds, covered with 
 white cloth, to imitate the pile of white marble of the 
 sculptor, should be placed. A wooden cross should be pre- 
 pared, painted white or covered with white paper, and placed 
 behind the pile of marble, half facing to the right. This 
 structure, with the cross, should be quite high : perhaps 
 about eight feet high will answer very well. 
 
 The lady personating Faith should stand in the centre 
 of the stage, her face turned towards the right, so that the 
 side only is towards the audience. Her right foot is placed 
 in advance of her left as if moving forward, her hands clasped 
 at her righfr side. She gazes upward at the cross with au
 
 244 PARLOB TABLEAUX. 
 
 earnest, trusting expression. She is dressed in a long flow- 
 ing robe of white drapery, with low neck and wide sleeves. 
 The robe is gathered up a little on the right from the foot 
 which she is advancing. She should be of straight features, 
 with hair combed back and tied behind, very heavily pow- 
 dered with chalk or puff-powder to represent marble. The 
 lady should be without slippers, or any covering for the feet 
 except white-cotton stockings. 
 
 Music, some sacred hymn. A bright white light should be 
 thrown from the left upon the figure, leaving her right side 
 heavily shaded* 
 
 DEATH OF HINDA. 
 
 (From " The Fire-Worshippers.") 
 FOUR GENTLEMEN AND ONE LADY. 
 
 But see ! what moves upon the height 1 
 Some signal ! 'Tis a torch's light. 
 What bodes its solitaiy glare ? 
 In gasping silence toward the shrine 
 All eyes are turned : thine, Hinda, thine, 
 Fix their last fading life-beams there.
 
 DEATH OF HIND A. 245 
 
 'Twas but a moment : fierce and high 
 The death-pile blazed into the sky, 
 And far away, o'er rock and flood, 
 Its melancholy radiance sent; 
 While Hafed, like a vision, stood 
 Revealed before the burning pyre, 
 Tall, shadowy, like a Spirit of Fire 
 Shrined in its own grand element ! 
 " 'Tis he! " the shuddering maid exclaims 
 But, while she .speaks, he's seen no more : 
 High burst in air the funeral flames, 
 And Iran's hopes and hers are o'er ! 
 
 One wild, heart-broken shriek she gave, 
 Then sprang as if to reach that blaze, 
 Where still she fixed her dying gaze, 
 And, gazing, sank into the wave, 
 Deep, deep, where never care or pain 
 Shall reach her innocent heart again ! 
 
 MOORE. 
 
 THIS scene, from Moore's poem of "Lalla Rookh," forms 
 one of the most effective stage-tableaux presented in this 
 volume, and requires no more preparation than many others 
 which are far less striking and original. The incidents of 
 this subject are substantially as follows. Hinda, the 
 daughter of a Moslem prince, is in love with a Gheber, or 
 fire-worshipper, who, unknown to her, is Hafed, her father's 
 deadliest enemy. In a war with the Moslems, she is
 
 246 PARLOR TABLEAUX. 
 
 carried off by her Gheber lover, whom she then learns is 
 Hafed. He learns from her that one of his troop has be- 
 trayed him to the Moslems, and that he is to be taken on 
 the night of the day in which she informs him ; and having 
 determined with his few followers to sacrifice himself to the 
 fire-god, when all hope was gone, he prepares for the sacri- 
 fice, and sends Hinda back to her father. The boat carrying 
 Hinda is about crossing the lake, at night, when a brilliant 
 light is seen from a cliff on the shore ; and the startled girl 
 rises to see her lover cast himself uppn the burning pile ; and 
 stretching her arms towards the flame, with a wild shriek, 
 she leaps into the waves. There should be a strip of can- 
 vas or paper, painted blue, placed across the stage, about 
 four feet from the back, extending from right to left, to 
 represent water. Behind this strip, a frame of wood or 
 pasteboard, about ten feet long, and covered with canvas 
 or paper, painted brown in imitation of a boat, is placed : 
 the precise shape is, of course, immaterial ; and the article 
 can be put together, so as to show well from the front, with 
 but little trouble. A pole may be placed near the right end 
 of the boat, upon which is fastened a sheet, with narrow 
 sticks run through the hem, for a square-sail. The young 
 lady representing Hinda stands upon a small box placed
 
 DEATH OF HINDA. 247 
 
 near the edge of the boat, near the centre. Her left foot 
 rests upon the box ; her right is extended forward over the 
 edge of the boat, as if leaping off; her arms are raised 
 above her head, and extended towards the left ; her body is 
 inclined forward, her head towards the left, and b*r face 
 looking upwards with a tender but resolute expression. 
 She wears a long white robe, trimmed at the wrists and 
 shoulders with gold and blue, and cut high in the neck ; 
 broad girdle and sash of yellow and blue (or a short white 
 skirt, with white pantaloons and slippers) ; head-dress of 
 pearl beads ; and hair combed back, and hanging loosely 
 behind. She should be of dark complexion and handsome 
 features. Upon the right of Hinda, just in front of the 
 sail, the gentleman representing the captain of the Gheber 
 guard stands. His right leg is bent at the knee, and ad- 
 vanced, his left extended backward : his left hand grasps 
 the handle of an oar, the blade of which extends over the 
 forward edge of the boat. His right arm is extended, as if 
 endeavoring to grasp Hinda ; his face turned towards her ; 
 and his body inclined towards the left. He wears a long 
 crimson tunic, open in front, and cut low in the neck ; white 
 shirt cut low in the neck, loose yellow trousers, and sandals ; 
 orange-colored belt ; small cap, with tassel, on the back of
 
 248 PARLOR TABLEAUX. 
 
 his bead ; and black beard and mustache. He should be 
 of dark complexion"; and he wears an alarmed expression 
 as he looks towards Hinda. One of the Ghebers stands di- 
 rectly behind Hinda, farther back from the front. His left 
 hand grasps the sheath of a sword, which he holds up above 
 his waist ; his right grasps the hilt. His body is inclined 
 backward, towards the right ; and his face turned upward 
 towards the fire upon the left, with a determined expression. 
 He wears a blue tunic, open in front, and cut low in the 
 neck ; white shirt, trousers and slippers, and small red cap. 
 At the left of this young man stands one of the Ghebers. 
 His head is inclined backward, towards the right ; his face 
 turned towards the fire at the left with an amazed expres- 
 sion ; his right hand raised to his forehead, his left at his 
 side. He is dressed similarly to the young man just de- 
 scribed ; and wears, in addition, a black beard. The remain- 
 ing gentleman kneels at the extreme left of the boat, his 
 hands clasped, his head inclined backwards, and face turned 
 upward towards the fire with an expression of fear. He is 
 dressed similarly to the last gentleman mentioned. A 
 bright-red light, and smoke, should be made at the left, hung 
 high} or raised some distance from the floor of the stage, so 
 as to fall upon the group as if from a lofty cliff. Tho 
 music should be alternately loud and soft.
 
 PAST, PRESENT, AND FUTURE. 249 
 
 PAST, PRESENT, AND FUTURE. 
 
 TWO LADIES AND TWO GENTLEMEN. 
 
 THIS is a very pleasing domestic tableau, representing a 
 family group of an old man, his daughter, and grand-chil- 
 dren, a boy and a young girl. The old man should be 
 seated a little in the rear of the centre of the stage in an 
 old-fashioned arm-chair, facing a little towards the left : 
 his right arm is around the boy's neck, who stands close to 
 his right side ; and the boy's left hand is clasped in his. 
 The character personated is supposed to be a retired French 
 navy-officer, and may be represented as such, or in the plain 
 dress of a gentleman. The most appropriate costume is a 
 dark-blue coat, white waistcoat, black pants, and top-boots. 
 His face is turned towards the left, looking down toward 
 the little girl, who is at his feet : his hair should be white, 
 the forehead bald ; and he wears a white mustache and im- 
 perial. The young lady stands to the left of the old man, 
 with her right hand resting on the back of the chair ; her 
 head slightly inclined towards the left, and looking toward 
 the audience. She is dressed in a handsome white evening-
 
 250 PARLOIl TABLEAUX. 
 
 dress, with lace bertha, and drapery-sleeves. The boy 
 stands upon the right of the old man, close to him, with his 
 legs crossed naturally, looking down at the little girl, who 
 is at the left : he is dressed in a dark-blue navy-jacket, 
 white waiscoat and trousers, slippers, and white stockings. 
 The young girl is at the feet of the old man, half reclining 
 upon the floor : she holds a doll in her right arm ; while her 
 left hand is raised, and the forefinger pointed, as if speak- 
 ing to the doll. She wears a dress of white muslin, with 
 low neck and short sleeves ; and a blue sash. She should 
 be of light complexion, with her hair curled in ringlets ; 
 her face, in the position described, being turned towards the 
 right. On the right of the stage, a decanter, with glasses, 
 and a plate of fruit, may be placed ; and on the left a simi- 
 lar table, upon which is a bouquet of flowers. A white 
 light may be thrown from the left upon the ladies, leaving 
 the rest of the picture in the shade. Music, piano.
 
 THE CRUSADER'S TRIUMPH. 251 
 
 THE CRUSADER'S TRIUMPH. 
 
 * 
 
 ONE GENTLEMAN AND FOUR LADIES. 
 
 A rude Silenus oft the days of old 
 
 Have seen unclose, and yield some goddess fair ; 
 
 But never yet did sylvan image hold 
 
 Charms such as issued from the myrtle rare : 
 
 For forth a lady stepped with golden hair, 
 
 With angel mien and grace, 
 
 In whom, albeit of visionary air, 
 
 Rinaldo starts Armida's form to trace, 
 
 The same expressive eye, fond smile, and radiant face. 
 
 Sorrow and joy into her looks she cast; 
 
 A thousand passions, which one glance betrays. 
 
 " And art thou then, indeed, returned at last 
 
 To thy forsaken love ? " she pensive says. 
 
 " Why com'st thou hither, my beloved ? to raise 
 
 My drooping soul, and with remembered charms 
 
 Solace my widowed nights and lonely days ? 
 
 Or to wage war, and scare me with alarms ? 
 
 Why hide thy lovely face ? why show those threatening arms ? " 
 
 Thus, as she wooes, her beautiful bright eyes 
 Rueful she rolls, and pale as death appears ; 
 Feigning with every tear the sweetest sighs, 
 And melancholy moans, and bashful fears.
 
 252 PARLOR TABLEAUX. 
 
 It might have moved a heart of stone to tears 
 To hear how fondly she herself deplored ; 
 But he, unmoved by all he sees and hears, 
 Cautious, not cruel, to the plaints she poured ' 
 No longef pays regard, but draws his fatal sword. 
 
 TASSO. 
 
 THIS scene represents an imaginary incident, supposed to 
 have taken place at the time of the Crusades, and is related 
 by Tasso in his famous poem upon the subject. Rinaldo, a 
 knight of the army of Crusaders, is informed, that, if he 
 would triumph, he must resist the blandishments that the 
 sylvan goddesses of the woods would throw around him as 
 he passed through ; and should strike down a tall myrtle- 
 tree that stood above all other trees on the plain, and was 
 the fabled abode of the queen of the wood-nymphs. As he 
 arrives at the grove, the various nymphs emerge from the 
 trees, carrying viols, lutes, and harps, and singing sweet 
 music to him : and, as he reaches the myrtle-tree, the queen, 
 who has assumed the shape of his lady-love, emerges, and 
 endeavors to tempt him from his course ; but, in spite of her 
 protestations, he draws his sword, and cuts down the tree, 
 thus destroying the spell, and insuring his triumph. 
 
 The knight stands a little to the left of the centre of the 
 stage, with his left hand holding the scabbard of his sword,
 
 THE CRUSADER'S TRIUMPH. 253 
 
 while his right is upon the hilt, and it is drawn about one- 
 fourth of the distance out ; his right foot is advanced ; his 
 face is towards the right, showing a profile view to the au- 
 dience ; and he looks towards the lady with 'a stern and 
 earnest expression. He wears a full armor-dress, with leg- 
 gings of the same ; white Crusader's stir-coat belted at the 
 waist, with a large red cross upon the front, reaching to 
 the knees ; #nd gilt helmet, with plume and visor : he should 
 be of dark complexion, with straight features. The lady 
 personating the goddess of the wood should be young, and 
 of light complexion : she stands at the right of the stage, 
 with her left foot extended towards the left ; her face turned 
 one-third towards the left ; her head inclined forward, with 
 eyes cast down ; and her arms extended forward with a ges- 
 ture of welcome. She wears a-white robe, with low neck, 
 hanging close to the form, and looped up to the height of 
 the knee, above the left foot ; strands of pearl beads upon 
 her neck, reaching to the waist ; streamers of white lace or 
 muslin, banded at the shoulder, and floating over her arms ; 
 hair in long curls, or hanging loosely over her shoulders ; 
 and flesh-colored stockings. Two of the attendant ladies 
 stand a little back of the centre of the stage, between the 
 knight and the lady just described : the one on the right car-
 
 254 PARLOR TABLEAUX. 
 
 ries a harp in her right hand, raised to the height of her head , 
 while her left is raised, touching the strings. The lady on the 
 left carries a tambourine in the same position. Their faces 
 are turned towards the knight with a smiling expression. 
 They wear white robes hanging close to the form, with low 
 neck ; mantle of blue floating behind ; and flowers in their 
 hair. The remaining lady stands just behind the knight, 
 upon the left : her arms are raised above her head, extend- 
 ing towards the front ; and the right foot is extended towards 
 the right : her face is inclined towards the right, as she 
 looks towards the knight with a smiling expression, holding 
 a garland in her hands. She wears a white robe, scarlet 
 mantle, and flowers in her hair. A white light should be 
 thrown upon the group as the curtain rises, changing to a 
 bright blue. Music, a lively waltz. 
 
 AURORA. 
 
 ONE GENTLEMAN AND EIGHT LADIES. 
 
 THE purposes of an elaborate stage-tableau are admirably 
 displayed in this mythological subject. The scene repre- 
 sents the goddess Aurora, accompanied by the Hours and
 
 AURORA. 255 
 
 Pleiads, heralding the chariot of day, which pursues its 
 fiery course, driven by Apollo. An imitation chariot should 
 be made, about three feet in height ; the frame made of thin 
 strips of wood, and the outside covered with pasteboard or 
 
 paper, painted blue, and heavily gilt. The front of the chariot 
 
 
 should be curved outwards, and the sides sloping at an 
 
 angle of forty-five degrees towards the right : there will be 
 no wheels required, as the sides of the chariot will not be 
 visible to the audience, being obscured from sight by the 
 young ladies who stand in front. A covered box, two feet 
 in height, should be placed inside the chariot for a seat. A 
 box nearly three feet in height, and covered with bright-blue 
 paper, is placed directly in front of the chariot, on the left. 
 The lady personating Aurora stands upon this box, in front 
 of the chariot : her body is inclined forward towards the left, 
 resting upon the right foot, which is advanced in front of the 
 left ; her left arm is raised, and extended forward towards the 
 left, holding a wreath of flowers ; her right is extended on a 
 level with her breast, towards the left, holding a bouquet and 
 garland of flowers ; her face is turned towards the audience, 
 looking back towards the centre at Apollo. She wears a 
 dress of light-blue tarlatan, cut low in the neck, and reach- 
 ing just below the knees, with full sleeves gathered just
 
 256 PARLOR TABLEAUX. 
 
 above her elbows, flesh stockings, a long white mantle or 
 scarf thrown over the left shoulder, and a silver-paper stai 
 upon the front of her head. She should be of light com 
 plexion, with hair thrown back in rolls, and hanging 
 behind. 
 
 The young man personating Apollo is seated upon the 
 box within the chariot, in the centre of the stage : his face 
 is towards the left, looking straight forward in that direc- 
 tion with an earnest expression, the right side being towards 
 the audience ; his right hand grasps the side of the chariot 
 nearest the audience ; his left holds the reins, which extend 
 over the front edge of the chariot, on the left of Aurora, aud 
 are fastened to some point outside the stage, on the left. He 
 wears a tight flesh-colored jacket ; bright-blue cape, thrown 
 back over his shoulders, and attached to his waist at a point 
 between his shoulders behind : his lower limbs rest upon a 
 small footstool, and are covered by a crimson drapery hang- 
 ing in front like a carriage Afghan. He should be from 
 seventeen to twenty years of age, of light complexion, curl- 
 ing hair, and straight features. 
 
 The Hours are represented by seven young ladies, who 
 stand in a semicircle around the chariot. The young lady 
 at the extremity of the semicircle, nearest the front, stands
 
 AURORA. 257 
 
 in front of the chariot, near the left of the stage : her face 
 is turned from the audience, looking towards Apollo ; her 
 right hand is extended towards Aurora ; her left touches 
 the hand of her nearest companion on the right. She wears 
 a white robe cut low in the neck, with long white streamers 
 hanging from the shoulders, and her hair arranged in braids 
 coiled behind. She should be of light complexion. 
 
 Nearer the right of the stage, at the side of the young 
 lady just mentioned, stands another, with her face towards 
 the audience, looking toward the front with a pleasant ex- 
 pression : her left hand is held by the lady on the left ; her 
 right, by a lady on her other side. She wears a dark-blue 
 dress cut low in the neck, with drapery-sleeves reaching to 
 the elbow, and a silver band around her hair. 
 
 Still nearer the right stands a third young lady. Her 
 face is towards the left, the side being towards the audience. 
 Her hands are clasped in those of the ladies on either side ; 
 and her left foot is placed forward, as if advancing. She 
 wears a scarlet dress cut low in the neck, and reaching just 
 below the knees, flesh stockings, and gilt baud upon her 
 hair. The fourth lady stands at the right, in a line just 
 behind the chariot. Her face is towards the left, her hands 
 held by ladies on either side. She wears a white dress with 
 17
 
 258 PARLOR TABLEAUX. 
 
 full drapery-sleeves ; a heavy white drapery thrown back 
 from the shoulders, and hanging behind ; and a white-lace 
 veil, wound, turban-like, around her head. The fifth lady 
 stands on the side of the chariot nearest the back of the 
 stage, her face towards the audience, her right hand ex- 
 tended towards the right, her left held in that of the lady at 
 her left side. She wears a crimson dress cut low in the 
 neck, with white scarf extending from her waist over her 
 left shoulder, and her hair hanging loosely behind. The 
 sixth lady stands on the same side of the chariot, nearer the 
 left of the stage, her face turned towards the left, looking 
 towards Aurora, her hands clasped in those of her compan- 
 ions on either side. She wears a pink-tarlatan dress cut 
 low in the neck and hanging just below the knee, gilt band 
 upon her head, and hair in curls behind. The seventh 
 young lady stands just opposite, with her face turned 
 towards Apollo with a pleased expression, her left hand 
 extended towards Aurora, her right held by the lady beside 
 her. She wears a white dress cut low in the neck, white 
 streamers from the shoulders, and hair hanging loosely be- 
 hind. She should be of dark complexion. 
 
 A clear white light should be thrown from the left, 
 mingled with a not very intense crimson light, so as to
 
 THE BOUQUET OF LIBERTY. 259 
 
 give a rose- color to the united light. Music, some lively 
 march. 
 
 This picture is a very appropriate finale for an evening's 
 display, if sufficient resources are at hand to produce it as 
 described. 
 
 THE BOUQUET OF LIBERTY. 
 
 TWELVE OR MORE YOUNG LADIES. 
 
 THIS is a very brilliant tableau, and very appropriate for 
 the finale of an evening's entertainment. The characters 
 should be personated by quite young ladies, of good form 
 and features ; the number varying according as they are 
 attainable for performance. Their costumes should be uni- 
 form dresses of white muslin, with a sash of red and blue 
 silk or bunting passing over the shoulder, and under one 
 arm ; the dresses being cut with low neck and short sleeves. 
 They should carry in their hands artificial flowers arranged 
 around hoops of rattan or wire, and held up so as to form a 
 semicircle, as they sit looking directly towards the audience 
 with a smiling expression. 
 
 They should be arranged so as to form a pyramid, four
 
 260 PARLOR TABLEAUX. 
 
 or five on the lower tier, three or four on the next, two or 
 three on the next, and so on ; making four or five rows. 
 The young lady surmounting the pyramid should wear a 
 Liberty-cap, and may carry a small Union shield. The 
 pyramid which supports the young ladies should be formed 
 of boxes, arranged so as to produce the desired effect, and 
 covered with white-cotton cloth. 
 
 The revolving platform may be introduced in this tableau 
 with fine effect, the young ladies being arranged on a cone- 
 shaped pyramid on the platform ; so that, when it revolves, 
 a symmetrical figure is exhibited on all sides. A larger 
 number of performers would, of course, be required in this 
 arrangement. 
 
 As the curtain rises, the performers are exhibited in the 
 position described, all singing a verse of " Columbia, the 
 Gem of the Ocean," or " The Star-spangled Banner." After 
 singing the verse, they should remain motionless while a 
 brilliant red light is thrown upon their faces, quickly giving 
 place to a white flame, which, in turn, is followed by a bright 
 blue. Music the same as that of the song used, and quita 
 loud.
 
 THE COUKT OF TiLE FAIRIES. 261 
 
 THE COURT OF THE FAIRIES. 
 
 ONE YOUNG GENTLEMAN, A BOY, AND TEN YOUNG LADIES. 
 
 Fairy. Over hill, over dale, 
 
 Thorough bush, thorough brier, 
 
 Over park, over pale, 
 
 Thorough flood, thorough fire, 
 
 I do wander everywhere, 
 
 Swifter than the moone's sphere ; 
 
 And I serve the fairy queen, 
 
 To dew her orbs upon the green. 
 
 The cowslips tall her pensioners be ; 
 
 In their gold coats, spots you see ; 
 
 Those be rubies, fairy favors ; 
 
 In those freckles live their savors. 
 
 I must go seek some dew-drops here, 
 
 And hang a pearl in every cowslip's ear. 
 Farewell, thou lob of spirits ! I'll be gone : 
 Our queen and all her elves come here anon. 
 
 Puck. The king doth keep his revels here to-night : 
 Take heed the queen come not within his sight ; 
 For Oberon is passing fell and wrath, 
 Because that she, as her attendant, hath 
 A lovely boy, stolen from an Indian king : 
 She never had so sweet a changeling. 
 And jealous Oberon would have the child 
 Knight of his train, to track the forest wild;
 
 262 PAKLOB TABLEAUX. 
 
 But she, perforce, withholds the lovely boy, 
 Crowns him with flowers, and makes him all her joy. 
 And now they never meet in groves or green, 
 By fountains clear, or spangled starlight sheen, 
 But they do square that all their elves, for fear, 
 Creep into acorn-cups, and hide them there. 
 
 SUAKSPEABE. 
 
 THIS scene represents the fairy queen, Titania, surround- 
 ed by her suite of attendant elves, holding her own private 
 court within a lonely wood, in defiance of Oberon, king of 
 the fairies, with whom she has quarrelled on account of a 
 young boy she has stolen for a page, and refuses to give 
 up. 
 
 At the back of the stage, a series of three or four boxes, 
 from one to four feet in height, covered with green, should 
 be placed to represent a terrace of green banks. The 
 young lady representing Titania is seated upon the second 
 or third of these boxes : her right arm is passed around the 
 neck of the young boy who stands beside her ; her left 
 places a crown of flowers upon his head ; while she looks 
 down towards him with a fond expression. She should be 
 young, of light complexion, and with hair in curls ; and 
 should wear a white muslin or silk dress, with train of the 
 same, or of lace ; long, floating, wing-shaped sleeves ; lace
 
 THE COURT OF THE FAIBIES. 263 
 
 sash ; and a coronet of pearl beads upon the front of her 
 hair, with lace and flowers hanging behind. She may also 
 wear a small bouquet upon her bosom, and flowers upon her 
 skirt. A young boy of about six or eight years of age 
 stands beside the queen, at her right. He should be of 
 dark complexion, with black, curly hair : his hands rest 
 upon the lap of the queen, and his face is turned upward 
 towards her. He wears a white tunic trimmed with gold, 
 scarlet sash, and white stockings and slippers. Directly 
 behind the queen, upon the highest step, a very young girl, 
 not more than eight years of age, should stand, with her 
 face towards the audience, and holding in her hands, over 
 the queen's head, a wreath of flowers. She wears a short 
 muslin dress, with low neck and short sleeves ; knots of 
 , blue ribbons at the shoulders, and a long blue sash ; wreath 
 of small white flowers upon her head ; white stockings, and 
 slippers. She should be of light complexion, and should 
 wear her hair in curls. 
 
 Upon either side of the steps, two young ladies of from 
 twelve to fourteen years of age are placed, holding garlands 
 of flowers, made by twining paper-flowers around hoops of 
 wire or rattan. The young lady upon the left holds her 
 garland so as almost to meet that of the opposite lady, and
 
 264 PARLOR TABLEAUX. 
 
 her face is turned about one-third towards the right. The 
 lady upon the right holds her garland towards the left, so 
 as nearly to meet that of the opposite lady ; and her face in 
 the same relative position, towards the left. The garlands 
 are raised higher than their heads, and are in a line between 
 the queen and the little girl behind her. These two ladies 
 are similarly dressed in pink-muslin dresses, with white 
 sash ; or white muslin with blue sash, made full and quite 
 short ; and white stockings. Four young ladies, from ten 
 to sixteen years of age, kneel upon either side of the stage, 
 in a line from front to back : they carry in their right 
 hands wands of wood covered with silver paper ; and their 
 faces are turned half way towards their queen, at the back. 
 Their dresses should be of pink or white muslin, made short 
 and full ; white stockings, and hair dressed with flowers. 
 As the curtain rises, a white light should be thrown upon 
 the group, changing to a bright blue before it falls. Music, 
 a lively waltz.
 
 THE SEASONS. 265 
 
 THE SEASONS. 
 
 ONE GENTLEMAN AND THREE LADIES. 
 
 8PEING. 
 
 Come, gentle Spring ! ethereal mildness, come ! 
 And from the bosom of yon dropping cloud, 
 While music wakes around, veiled in a shower 
 Of shadowing roses, on our plains descend. 
 Lend me your song, ye nightingales I oh ! poor 
 The mazy-running soul of melody 
 Into my varied verse ; while I deduce, 
 From the first note the hollow cuckoo sings, 
 The symphony of Spring, and touch a theme 
 Unknown to fame, the Passion of the Groves. 
 
 From brightening fields of ether fair disclosed, 
 Child of the Sun, refulgent Summer, comes, 
 In pride of youth, and felt through Nature's depth ; 
 He comes attended by the sultry Hours, 
 . And ever fanning breezes on his way ; 
 While from his ardent look the turning Spring 
 Averts her blushful face, and earth and skies, 
 All smiling, to his hot dominion leaves.
 
 266 PARLOR TABLEAUX. 
 
 AUTUMN. 
 
 When the bright Virgin gives the beauteous days, 
 
 And Libra weighs in equal scales the year, 
 
 From heaven's high cope the fierce effulgence shook 
 
 Of parting Summer, a serener bine, 
 
 With golden light enlivened, wide invests 
 
 The happy world. Attempered suns arise, 
 
 Sweet-beamed, and shedding oft through lucid clouds 
 
 A pleasing calm ; while broad and brown, below, 
 
 Extensive harvests hang the heavy head. 
 
 Rich, silent, deep, they stand ; for not a gale 
 
 Rolls its light billows o'er the bending plain, 
 
 A calm of plenty, till the ruffled air 
 
 Falls from its poise, and gives the breeze to blow. 
 
 All Nature feels the renovating force 
 Of Winter, only to the thoughtless eye 
 In ruin seen. The frost-concocted glebe 
 Draws in abundant vegetable soul, 
 And gathers vigor for the coming year. 
 A stronger glow sits on the lively cheek 
 Of ruddy fire. Luculent along 
 The purer rivers flow : their sullen deeps, 
 Transparent, open to the shepherd's gaze, 
 And murmur hoarser at the firing frost. 
 
 THOMSOX. 
 
 THIS subject has been so fully illustrated by the various 
 designs from artists of all ages and nations, as to render 
 its exhibition as a tableau very simple and appropriate.
 
 THE SEASONS. 267 
 
 In the centre of the stage, a small box or step, covered 
 with bright-green baize, should be placed, about two feet 
 high, and broad enough to allow of one lady standing 
 upon it. 
 
 This pedestal is occupied by the young lady who person- 
 ates Summer. She stands upon it, with her face towards 
 the front, her head inclined a little towards the left, and 
 grasping in her hands the handle of a wooden garden-rake, 
 covered with artificial flowers, which she holds at her left 
 side. 
 
 She wears a long skirt of yellow or white tarlatan, low 
 neck, and sleeves, wreath of scarlet and white flowers, and 
 a gilt butterfly upon the front of her hair. She should be 
 of light complexion, with hair in curls. The young lady 
 representing Spring is on the left of Summer, kneeling 
 upon the floor of the stage, in front of the pedestal. She 
 carries in her right hand a small nosegay of flowers, which 
 she holds up towards Summer, and holds upon her left 
 wrist a wreath of artificial flowers held forward : the left 
 side is turned from the audience as she looks up towards 
 Summer with a smiling expression. She wears a dress of 
 white drapery, trailing behind, with low neck and short 
 sleeves ; girdle of light-blue gauze ; mantle of the same color,
 
 268 PAKLOB TABLEAUX. 
 
 extending from her waist over her right shoulder ; and white 
 flowers with green intertwined in her hair. Autumn is rep- 
 resented by a young lady, who kneels upon the floor of the 
 stage, in front of the pedestal, to the right of Summer. 
 The left side of her face is toward the audience, looking up- 
 ward towards Summer with a smiling expression. She 
 holds a gilt goblet in her left hand ; and in her right a 
 bunch of grapes hanging over the goblet, which is held 
 towards Summer. She wears a white-drapery robe, cut 
 low in the neck, with short sleeves, crimson sash, and 
 mantle of the same color passing from her waist over her 
 right shoulder. She should be of dark complexion, with 
 hair in curls, and a wreath of oak-leaves upon the front. 
 Winter is personated by a gentleman, who is made up very 
 old, with gray, bald wig, and white beard. He is nearer 
 the front of the stage, facing to.wards the right, stooping 
 over a trip'od, which should be partly filled with alcohol 
 lighted. He bends so low as not to obscure the three la- 
 dies, his shoulders shrugged as with cold, and his hands 
 extended over the fire. He wears a long black robe Avith 
 hood thrown back, with short drapery-sleeves showing the 
 arms. As the curtain rises, a white light should be thrown 
 upon the figures, changing to a bright blue as it descends. 
 Music lively at first, gradually becoming more solemn.
 
 NIOBE. 269 
 
 NIOBE. 
 
 TWO LADIES. 
 
 To stone the gods have changed her ; but in vain : 
 The sculptor's art has made her breathe again. 
 
 GREEK EPIGRAM. 
 
 THE original from which this tableau is taken is one of 
 the most admired of the ancient statues in the imperial 
 gallery of Florence. 
 
 The story is, that Niobe, the Queen of Thebes, hav- 
 ing seven sons and seven daughters, of whom she was 
 justly proud, was, unfortunately, so presumptuous as to 
 compare herself to the gods, and seek the worship which 
 mortals only accorded to them. On the occasion of the 
 annual celebration in honor of Latona, and her offspring 
 Apollo and Diana, when the people were assembled to 
 make their offerings and vows to these deities, Niobe ap- 
 peared among the multitude, and haughtily demanded to 
 know why they should prefer beings whom they had never 
 seen to those who stood before their eyes. She then com-
 
 270 PARLOR TABLEAUX. 
 
 manded the people to have done with their solemnities. 
 They obeyed, and the sacred services were left unfinished. 
 
 The gods, indignant, immediately proceeded to punish 
 this sacrilege ; and arrows, descending from on high, slew, 
 one by one, the seven sons of Niobe. She, though filled 
 with anguish, was not penitent, and, raising her arms to 
 heaven, defiantly exclaimed, that, though bereaved, she was 
 still richer than her conqueror. The words had scarce 
 sounded, when one of the sisters fell ; and soon all had sunk 
 dead, except one, whom the mother clasped, and, as it 
 were, covered with her whole body, crying, " Spare me one, 
 and that the youngest ! oh, spare me one of so many ! " 
 and, while she spoke, that one fell dead. The tableau 
 represents Niobe in the act of pleading for the girl. She 
 stands at the right of the centre of the stage, her face 
 turned towards the right with an expression of anguish and 
 supplication. Her left arm is extended, as if shielding her 
 child ; her right lying upon the daughter's shoulder, draw- 
 ing her close to herself. She wears a robe of white drape- 
 ry, with low neck and short sleeves, belted at the waist ; 
 and a mantle of white drapery over her left arm and shoul- 
 der. Her hair is dressed in the Grecian style, with white 
 bands on the front, and powdered white. The girl should
 
 THE MIDSUMMEK-NIGHT'S DREAM. 271 
 
 be about twelve years of age. She kneels close to ber 
 mother, whose lower limbs shield her body ; her arms 
 raised, grasping her mother's waist as if in terror ; and her 
 face turned upward towards the right with an expression 
 of fear and entreaty. Her costume is a plain white robe 
 belted at the waist, with short sleeves and low neck ; and 
 hair in the Grecian style, heavily powdered. A white light 
 is thrown from the right. Music, imitating a storm. 
 
 THE MIDSUMMER-NIGHT'S DREAM. 
 
 , ONE GENTLEMAN AND TWO LADIES. 
 
 Helena. But who is here ? Lysander ! on the ground ! 
 Dead ? or asleep ? I see no blood, no wound. 
 Lysander, if you live, good sir, awake ! 
 
 Lysander. And run through fire, I will, for thy sweet sake, [ Waking. 
 Transparent Helena ! Nature here shows art, 
 That through thy bosom makes me see thy heart. 
 "Where is Demetrius ? Oh, how fit a word 
 Is that vile name to perish on my sword ! 
 
 //' /. Do not say so, Lysander ; say not so. 
 "What though he love your Hermia ? Lord, what though 1 
 Yet Hertnia still loves you : then be content. 
 
 Lys. Content with Hermia ? No : I do repent 
 The tedious minutes I with her have spent.
 
 272 PARLOR TABLEAUX. 
 
 Not Hermia, but Helena, I lore : 
 Who will not change a raven for a dove ? 
 The will of man is by his reason swayed ; 
 And reason says you are the worthier maid. 
 Things growing are not ripe until their season ; 
 So I, being young, till now ripe not to reason : 
 And, touching now the point of human skill, 
 Reason becomes the marshal to my will, 
 And leads me to your eyes, where I o'erlook 
 Love's stories written in Love's richest book. 
 
 Hd. Wherefore was I to this keen mockery born f 
 When, at your hands, did I deserve this scorn ? 
 But fare you well : perforce I must confess 
 I thought you lord of more true gentleness. 
 Oh that a lady, of one man refused, 
 Should of another, therefore, be abused ! 
 
 MIDSUMMER-NIGHT'S DEEAM, act ii. scebe 3. 
 
 THIS picture, from the play of " The Midsummer-Night's 
 Dream," represents the scene where Helena, having pursued 
 vainly her loved one, Demetrius, comes suddenly upon Ly- 
 sander, sleeping upon a bank near Hermia his betrothed. 
 Surprised at thus meeting him, she arouses him to ask his 
 purpose there ; and he awakes, and addresses- her in words 
 of love, much to her astonishment, having had his eyes 
 anointed during sleep by the juice of a flower whose magic 
 influence caused the person so touched to fall in love with
 
 THE MIDSUMMER-NIGHT'S DREAM. 273 
 
 the first person he sees upon waking, no matter what the form 
 or face. This flower had been given to Puck by Oberon, 
 king of the fairies, who instructed him to squeeze the juice 
 upon the eyes of a young Greek he would find (meaning 
 Demetrius), who avoided Helena, whom Oberon wished to 
 serve ; but Puck comes upon Lysander, and, thinking him 
 the young Greek meant by Oberon, anoints his eyes in- 
 stead, and, of course, causes him to fall in love with Helena, 
 whom he first sees upon awaking, although she does not be- 
 lieve his protestations. 
 
 Upon the left of the stage, about half way back, a wooden 
 box or a pile of pillows, covered with green, should be 
 placed to represent the bank used in the piece. Lysander 
 kneels upon the floor of the stage on the left, at some dis- 
 tance from the bank, nearer the front, upon his right knee, 
 his left bent, and advanced towards the front. His left arm 
 is extended towards Helena, who stands in the centre of the 
 stage ; and his right raised towards Hermia, with a gesture 
 as if casting her off; while he looks upward towards 
 Helena with an earnest expression, the left side of his face 
 being towards the audience. He should wear a tunic of 
 white, trimmed with gold ; a crimson mantle thrown over 
 his right shoulder, and hanging behind ; flesh-colored tights, 
 18
 
 274 PARLOR TABLEAUX. 
 
 and sandals. A suitable dress of this kind may be procured 
 at the costumer's, or extemporized in this way, the gentle- 
 man wearing a white shirt, white stockings, and slippers ; 
 and a drapery of crimson cambric, or any other material, 
 covering his lower limbs to the knee, and thrown back over 
 his right shoulder. The gentleman representing Lysander 
 should be tall and good-looking. 
 
 Helena stands in the centre of the stage, to the right of 
 Lysander, looking down with a vexed expression, as if an- 
 noyed by the declaration she does not believe. Her head is 
 turned slightly to the left, so as to present a three-quarters 
 view of the face to the audience : her left arm lies across 
 the waist ; her right upon her bosom, holding one end of 
 the drapery, which passes over her shoulders. She wears a 
 white robe, with double skirt, hanging close to her form ; a 
 white mantle over her shoulders, and a white turban upon 
 her head. Hermia should be represented by a younger lady 
 than Helena. She lies upon the bank, with her head towards 
 the left, upon her left side, with her face towards the audi- 
 ence. Her eyes are closed, and her right hand lies close to 
 her face upon the bank. She wears a white-muslin robe, 
 with blue mantle. A bright white light should be thrown 
 from behind upon Helena, to represent moonlight, far
 
 FAUST AND MARGUERITE. 275 
 
 enough towards the left to fall upon Lysander's face, but 
 leaving Hermia in the shade. Music soft, but lively. 
 
 FAUST AND MARGUERITE. 
 
 ONE GENTLEMAN AND ONE LADY. 
 
 THE opera of " Faust," by Gounod, is well known ; and 
 the libretto, for the most part adhering to the original story, 
 furnishes in its description of the garden-scene the subject 
 of this tableau. There should be a set of curtains at the 
 back of the stage, about three feet in front of the extreme 
 background. A wooden frame about three feet square 
 should be made, and placed at the centre of the set of cur- 
 tains, which should be pinned or sewed around the frame, 
 closing in all of the remainder of the stage. A long box 
 should be placed upon the floor of the stage, behind this 
 frame, about two feet high ; and the frame placed at a dis- 
 tance above equal to the height of the lady's waist, who 
 stands behind. In front of the frame, towards the audience, 
 a long narrow box, of the same height as the one behind, 
 should be placed for a step to reach the opening. A small 
 table should be placed upon the right corner of the stage,
 
 276 PARLOR TABLEAUX. 
 
 near the front, upon which is a small bright-colored box and 
 a bouquet of flowers. 
 
 The lady representing Marguerite should be of clear, 
 light complexion. She stands upon the box behind the win- 
 dow, leaning out, and clasping her arms around Faust, 
 while she .looks down towards him with an expression of 
 tenderness. She wears a white dress with low neck, blue 
 sash, and blue trimmings, looped up at one side with a large 
 knot of ribbon, showing the skirt underneath. 
 
 Faust stands upon the step at the outside of the window, 
 and upon the left, his face towards the left, and his profile 
 towards the audience. He should be tall, with dark curling 
 hair, black mustache and imperial. His arms are passed 
 around her waist, while her arm is around his neck ; and 
 he looks upwards, with his head inclined towards her, with 
 an earnest but fond expression. He wears a black or crim- 
 son velvet cape trimmed with gold, velvet waist and 
 trunks slashed with white, white stockings, buckle-shoes, 
 ruffles, sword-belt, and sword. The music may be that 
 given at the finale of this scene in the opera, or something 
 very soft and sentimental. A bright-blue light should be 
 thrown upon the faces of the characters.
 
 THE GRECIAN FLOWEE-GIRL. 277 
 
 THE GRECIAN FLOWER-GIRL. 
 
 ONE LADY. 
 
 THIS simple and beautiful tableau should be represented 
 by a young girl from twelve to fourteen years of age, of 
 light complexion, and handsome features. She should 
 stand in the centre of the stage, her face towards the audi- 
 ence, with a large basket upon her head, filled with a great 
 profusion of artificial flowers of gay colors. Her arms are 
 raised, supporting the basket on either side. She wears a 
 white dress, with low neck and short sleeves ; strands of wax 
 beads .upon her neck ; white stockings, and white or red 
 slippers ; and a broad scarf or mantle of blue, with ends of 
 crimson extending from her left shoulder across the waist, 
 and hanging over the right side : her hair is in curls, and 
 her skirt trimmed with a spray of artificial flowers ; and 
 she should look towards the audience with a smiling expres- 
 sion. The stage should be well lighted, and the music 
 lively.
 
 278 PARLOR TABLEAUX. 
 
 THE GUARDIAN ANGEL. 
 
 TWO LADfES. 
 
 THIS picture represents a young peasant-girl in a lonely 
 wood, praying for protection and safety, and restoration to 
 the friends whom she has lost : her guardian angel appears 
 close by, as if in answer to her prayer. The young girl 
 rests with her lower limbs upon the floor of the stage ; while 
 her right hand, leaning upon the stage, supports the upper 
 portion of her body in an upright position ; her left hand is 
 upon her breast, her eyes closed, and her face turned up- 
 wards. She wears a blue skirt, scarlet or white waist with 
 low neck, and her hair loose upon her shoulders. The lady 
 representing the angel should be tall, and of dark complex- 
 ion : she stands farther back, towards the left of the stage, 
 with her arms extended towards the young girl, and looking 
 towards her. She should wear a long white robe, and drape- 
 ry-sleeves, with an over-skirt ; a silver band, with star in 
 the centre, upon her head ; and wings of paper or musliu on 
 a wire frame. A blue smoke should surround her, reflect- 
 ing the light upon her face, leaving the young girl in the 
 shade. Music, some sacred hymn.
 
 DEPARTURE OF THE PILGRIMS. 279 
 
 DEPARTURE OF THE PILGRIMS. 
 
 SEVEN GENTLEMEN AND EIGHT LADIES. 
 
 A COLLECTION of tableaux emanating from this country 
 would be hardly complete, without one picture, at least, rep- 
 resenting its early history. The tableau of the above title 
 gives, in the best-approved grouping known, a representa- 
 tion of the principal leaders among the Pilgrim Fathers. 
 The scene represents the departure from Delfthaven of the 
 small party of John Robinson's followers, including Capt. 
 Miles Standish, John Winslow, and other names, which have 
 since passed into history. The tableau will require a pretty 
 large stage, and is not intended to be produced upon any 
 other. In the rear of the centre of the stage, a platform of 
 
 boxes, the top of which is about eight feet square, is erected, 
 
 and covered to represent a rock or a bank, and should be 
 
 about three feet in height. A box about four feet long by 
 two high is placed upon the right side of the stage, the end 
 towards the front, and resting between the higher bank and 
 the front : this should be covered with green to represent a 
 bank. The gentleman personating the leader of the band,
 
 280 PARLOR TABLEAUX. 
 
 John Robinson, kneels near the front edge of the high bunk, 
 upon his left knee ; his right leg bent, and extended for- 
 ward : his face is towards the audience, turned upwards 
 with an earnest expression ; and his arms are raised as if 
 asking a blessing. He wears a dark-brown waist and short 
 skirt puffed ; long puffed-sleeves, showing the white under- 
 neath ; broad white collar and cuffs ; loose knee-breeches, 
 and pumps ; dark slate-colored cap, thrown back from his 
 shoulders ; and brownish-gray wig, and chin-whiskers. He 
 should be of straight features, with square forehead. An 
 elderly woman is seated at his left upon the high bank, 
 with her lower limbs bent at the knee, her hands crossed 
 upon her knees, and her head resting upon her hands, in- 
 clined forward, so that the forehead touches her hands. 
 She wears a dark-brown dress with long sleeves and white 
 cuffs, black cap, and gray wig. At the right of the central 
 figure, a lady about twenty-five years of age is seated, with 
 her face turned towards the audience, with a thoughtful ex- 
 pression ; her right elbow resting upon her knee, and her 
 chin resting upon her right hand ; her left hand lying upon 
 her lap. She wears a slate-colored handkerchief hanging 
 down on the left of her face, and a dress of a lighter shade 
 of brown than the lady on the left, with white collar and
 
 DEPARTURE OF THE PILGRIMS. 281 
 
 cuffs. The remaining figure upon the high bank is an elder- 
 ly gentleman, seated upon, the left. His hands are crossed 
 upon his knees, his face inclined forward towards the left, 
 with an attentive expression. He wears a slate-colored 
 waist with long sleeves, trunks of the same color, stockings, 
 pumps, white collar, cuffs, gray wig, and chin-whiskers : a 
 short brown cloak completes his costume. Upon the lower 
 bank, at the right of the stage, at the end nearest the back, 
 an elderly woman is seated : her face is towards the left, 
 looking forward with an attentive expression ; and her hands 
 are clasped upon her lap. She wears a slate-colored skirt ; 
 red cloak, and hood of the same color ; and gray front of 
 hair. A younger lady is seated at the left of the elderly lady : 
 her face is turned away from the front, looking towards the 
 leader ; her left hand rests upon her lap, her right upon the 
 shoulder of a lady who kneels at her feet. She wears a 
 dark-brown dress with neck trimmed with fur, white cuffs, 
 and black-lace veil hanging over her head and shoulders. 
 
 Directly in front of this lady, a lady of about twenty-five 
 years of age kneels, with her head upon the lap of the lady 
 just described, her arms lying extended upon the knees of 
 the lady, and her body inclined towards the right. She 
 wears a pink-silk dress, open in front, showing an underskirt
 
 282 PARLOR TABLEAUX. 
 
 of blue, the neck cut low, and covered with deep lace ; puffed- 
 lace sleeves ; and hair neatly arranged. At the end of this 
 bank nearest the front, a gentleman is seated, with his face 
 towards the audience ; his head inclined forward, supported 
 upon his right hand, the elbow of which rests upon his kuee ; 
 his left hand also lying upon his knee : he wears a thought- 
 'ful, attentive expression. His costume is a slate-colored 
 waist, with sleeves and trunks of the same color ; low shoes, 
 broad white collar, and brown cape, with brown hair and 
 chin-whiskers. A young man is extended near the front of 
 the stage, with his face towards the audience, looking out 
 with a thoughtful expression ; his head supported upon his 
 left hand, the elbow resting upon the ground ; his right ly- 
 ing across his body, holding his hat, which just touches the 
 ground ; and his right leg crossed over the left, and extended 
 towards the right. He wears a long brown jacket with 
 skirt, black-velvet breeches, russet boots, sword-belt, and 
 sword, long black curly hair, mustache, and imperial. A 
 lady, represented as about thirty years of age, kneels at the 
 left of the centre of the stage : her face is turned a little 
 towards the left, her arms around a lady who leans upon her 
 from the left side ; while she looks at the lady with an at- 
 tentive expression upon her face. She wears a plain dark
 
 DEPARTURE OF THE PILGRIMS. 283 
 
 blue dress, white neckerchief, and brown hood covering 
 the back of her head. Seated upon a low stool at the left 
 of the figure just described is a young lady : her face is 
 turned towards the right, and her head leaning upon the 
 left shoulder of the lady just mentioned ; her eyes are 
 closed, and her face wears an expression of grief; her 
 hands lie upon her lap ; and her body is inclined forward, as 
 if leaning heavily against her companion. She wears a 
 handsome yellow skirt trailing behind, lace under-sleeves, 
 and wide lace collar around her neck. About two feet be- 
 hind this last-mentioned lady, a lady is seen, standing with 
 her back towards the audience, her head bent forward upon 
 her hands, Avhich are raised to her eyes, as if weeping. She 
 wears a crimson dress with wide collar and cuffs. Just 
 beside this lady, close to her, at her right, a gentleman per- 
 sonating her husband stands : his face is towards the left, 
 looking towards her with an assuring expression ; his arms 
 are around her waist, supporting her ; and the right side of 
 his face turned towards the audience. He wears a long, 
 brown, soldier's waist, slate-colored breeches, boots, and 
 breastplate. He should be young, of straight features, and 
 light complexion. Just in front of the high bank, two 
 young boys, of about eight years of age, are seen standing,
 
 284 PARLOR TABLEAUX. 
 
 their hands clasped together, and looking up at the leader. 
 They wear similar dresses of black or brown, with belt, 
 and low shoes. A bright-white light may be throw upon 
 the group ; or a very fine effect may be produced by using 
 red, white, and blue lights alternately. Music, some sacred 
 hymn 
 
 NOTES AND RECIPES. 
 A brilliant Bed Fire. 
 
 THESE recipes for producing red fire have been repeat- 
 edly tried, and ai % e generally used at the best theatres in 
 England and America. First recipe : 
 
 Dry nitrate of strontian, 1 oz. 
 
 Sulphur, 3 drs. and 6 grs. 
 
 Oxy muriate of potash,* 1 dr. and 12 grs. 
 
 Sulphuret of antimony, 2 drs. 
 
 Charcoal, 1 dr. and 1 scr. 
 
 * The oxymuriate must be powdered by itself, and mixed with the other 
 ingredients, carefully, on paper; otherwise it will explode, to the imminent 
 danger of the operator.
 
 NOTES AND RECIPES. . 285 
 
 Secoud recipe: 
 
 Nitrate of strontian, 1 oz. 
 Chlorate of potass. 3 dwta. 
 Charcoal, 3 dwts. 
 Meal-powder, 3 dwts. 
 
 A delicate Slue Fire. 
 
 Nitrate of barytes, 77 parts by weight. 
 
 Sulphur, 13 " " 
 
 Chlorate of potass. 5 " " * 
 
 Realgar, 2 " " " 
 
 Charcoal, 3 " " " 
 
 Mix and inflame as for red fire. This recipe is for the 
 flame used iu fairy and apparition scenes, and casts a pecu- 
 liar soft, whitish-blue light, accompanied by much white 
 smoke. 
 
 Green Fire. 
 
 A brilliant green fire may be made from the following 
 recipe : 
 
 Flour of sulphur, 13 parts. 
 
 Dry nitrate of baryta (powdered), 77 parts. 
 
 Oxymuriute of potassa, 5 parts.
 
 286 PARLOR TABLEAUX. 
 
 Metallic arsenic, 2 parts. 
 Charcoal, 3 parts. 
 
 All the ingredients should be finely pulverized, and 
 thoroughly mixed. A little calainine should be added, if 
 it is desired to have the flame burn more slowly. 
 
 Flashes of Light. 
 
 Flashes of light, of any desired color, are produced by 
 suddenly withdrawing the light, leaving the stage dark, and 
 as suddenly throwing it on again. The light is used in this 
 way in several battle-pieces in the collection. 
 
 Colored Lights. 
 
 Colored lights may be produced by placing squares of 
 glass, of various colors, before a strong light burned in a tin 
 vessel ivith reflector. 
 
 Sounds like falling Eain. 
 
 For this purpose, a box three or four feet long, and 
 about one foot wide, should be obtained, and small pegs of
 
 NOTES AND RECIPES. 287- 
 
 wood, one or two inches high, inserted in the bottom, at 
 distances of two or three inches apart. A 'quart of dried 
 beans or peas should be placed at one end of the box, and 
 that end raised slowly, allowing the peas to roll gradually 
 down to the lower end. This may be repeated, as many 
 times as desired, by alternately raising the ends of the box ; 
 and the sounds produced are very natural. 
 
 Sounds like distant Artillery. 
 
 Sounds of the distant firing of cannon are produced by 
 striking upon a sheet of iron, suspended by a rope ; or 
 allowing a heavy ball to fall and roll upon a carpeted floor. 
 
 Sounds of rolling thunder may be made by shaking the 
 sheet of iron slowly, repeating the action at intervals," as 
 may be desired. 
 
 Flashes of Lightning. 
 
 A very good imitation of flashes of lightning may be 
 made by mixing gunpowder with a small quantity of water 
 and gum-arabic, and applying the mixture with a brush to 
 the scene, at the background of the stage, which should be 
 painted to represent dark clouds. The flashes should be
 
 288 PARLOB TABLEAUX. 
 
 put on in irregular forked lines, the ends being near the 
 sides of the stage. Touch a lighted fuze to these lines at 
 intervals of a few seconds, and they will ignite quickly, 
 resembling flashes of lightning. 
 
 To make Wrinkles, Flesh-wounds, &c. 
 
 Wrinkles may be made by using India ink, moistened 
 with water. As marks of age, they are applied to the fore- 
 head, under the eyes, and at the corners of the mouth. 
 Flesh-wounds may be made with rouge, applied thickly to 
 the desired part ; or with rose-pink, moistened with water. 
 The face may be stained a copper color, to represent Indian 
 characters, by the use of Spanish brown, mixed with oil, 
 and rubbed in thoroughly. To make the face black for 
 negro characters, use lamp-black mixed with oil, or burnt 
 cork. 
 
 Stage-fire and Incantations. 
 
 Dissolve nitrate of copper in alcohol. Light the solution, 
 and it will burn with a beautiful emerald-green flame. 
 Pieces of sponge suspended, and strips of flannel, dipped in 
 the solution, wound around various articles, and lighted, are 
 used for incantation-scenes on the stage.
 
 AMATEUR THEATRICALS. 
 
 19
 
 AMATEUR THEATRICALS. 
 
 THE favor with which the drama is now generally re- 
 garded has induced of late years a wide-spread and 
 growing interest, not only in the regular stage, but in the 
 performances of amateur societies, many of which have 
 been formed in the cities and country towns ; and the ex- 
 perience of previous performances has developed a taste 
 for novelties, and pieces of a style suitable to such represen- 
 tation, which it is the object of the author to supply in this 
 department of the book, by suggesting those productions 
 which have stood the test of actual performance, and may 
 be recommended as certain of making a favorable impres- 
 sion. The details of the stage-appurtenances are similar 
 to those described in the introduction ; and, where scenery 
 is not used, pieces should be. selected having only indoor 
 scenes introduced. The theatrical terms here subjoined 
 will be found of use, as simplifying the descriptiou of the 
 
 291
 
 292 
 
 AMATEUR THEATRICALS. 
 
 pieces. Properties are articles used in any of the pieces ; 
 such as furniture, paintings, letters, &c. Make-up : this 
 term is used, signifying the preparation of the performer's 
 personal appearance in his characters, both as regards 
 dress, and the getting-up of the face with lines or wig, as 
 the case may be. A gag is a word or sentence introduced 
 into the part, which is not printed in the piece. The gen- 
 tleman who plays the principal young-man's parts is called 
 the leading juvenile man ; the leading old-man's parts, 
 the first old man ; the secondary old-man's parts, the second 
 old man. The heavy man is the gentleman who plays the 
 very serious villain's parts. The gentleman who plays the 
 leading humorous parts is called the first low-comedy 
 man ; the gentleman playing the secondary humorous parts, 
 the second low-comedy man. The gentleman who plays 
 the secondary young-man's parts is called the first walking 
 gentleman. * The lady playing the principal parts is called 
 the leading lady ; the lady playing the next important 
 parts, the first walking lady. The lady playing the leading 
 old-woman's parts is called the first old woman : the sec- 
 ondary old-woman's parts are played by the second old wo- 
 man. The soubrette is the lady playing the chambermaid 
 parts or the comedy characters corresponding to those
 
 AMATEUR THEATRICALS. 293 
 
 played by the first low-comedy man. Eccentric and char- 
 acter parts are those not particularly belonging to any 
 regular line, but representing some peculiar characteristics. 
 Utility parts are those played by persons necessary to the 
 business of the piece, but who have little to do or say. To 
 persons unacquainted with the details of preparing ama- 
 teur theatricals, a few hints may be of some service, and 
 prevent mortifying errors. The performers should be very 
 careful never to play with their backs toward the audience, 
 unless the business of the piece absolutely requires it. 
 They should bear in mind to keep the stage well dressed ; 
 that is, not huddle together in one corner of the stage, 
 leaviug the remainder unoccupied, but have the characters 
 arranged always so as to fill the stage equally. The prime 
 elements of a good performance are study and rehearsals : 
 no matter how talented the performer, his attempts will fail 
 of effect without sufficient rehearsals. Inexperienced per- 
 formers will require from three to six rehearsals on the most 
 simple pieces, before attempting a regular performance. 
 
 When on the stage, the performer should be careful to 
 attend to all that is said by other performers, as, if he pays 
 attention ouly to his own part, it will be apparent, and take 
 off from the natural effect. The design of the accompany-
 
 294 AMATEUR THEATRICALS. 
 
 ing descriptive list is to furnish amateurs with desirable 
 pieces for performance, and save trouble and expense in 
 ordering from a printed list of titles a great number of 
 pieces, not one out of ten of which is at all adapted to ama- 
 teurs. The style of the characters is also given for the 
 same reason, that the manager shall be able to see at 
 once if he has ladies and gentlemen at hand competent to 
 play the parts. 
 
 If any one of these objects is attained by this portion of 
 the volume, it will not have been written in vain, and, aided 
 by experience, will smooth the mazy path of the votaries of 
 private theatricals.
 
 COMEDIES. 
 
 MONEY. 
 
 NINE GENTLEMEN AND THREE LADIES. 
 
 THIS admirable comedy by Bulwer, though not generally 
 classed among those best adapted for amateur acting, has, 
 nevertheless, been given by unprofessionals with marked 
 success, and is to be recommended to any company of mode- 
 rate experience. 
 
 The characters are Alfred Evelyn, leading juvenile ; Sir 
 John Vesey, first old man ; Graves, first low comedy ; Stout, 
 eccentric comedy ; Lord Glossmore, light comedy ; Sir 
 Frederick Blount, fashionable coxcomb ; Capt. Dudley 
 Smooth, light comedy ; Sharp, a lawyer ; a male servant ; 
 Clara Douglas, leading lady ; Lady Franklin, light comedy ; 
 and Georgina, niece to Sir John Vesey, walking lady. The 
 piece requires scarcely any properties ; is dressed in modern 
 style ; but the changes of scene are such as to render 
 
 295
 
 296 AMATEUR THEATRICALS. 
 
 scenery necessary. The club-scene is generally omitted in 
 private representations of the piece, as it requires additional 
 characters, and is not at all necessary to the business or plot 
 of the piece. Time of representation, one hour and three- 
 quarters. 
 
 THE LITTLE TREASURE. 
 
 TWO ACTS. 
 FOUR GENTLEMEN AND THREE LADIES. 
 
 THIS charming little comedy was first produced in Lon- 
 don in 1855, and, from its fund of natural humor and sim- 
 plicity, is peculiarly well adapted to the amateur stage. Its 
 style is entirely domestic, and its characters and situations 
 so simple as to be sufficiently intelligible to the most inex- 
 perienced amateur ; and can scarcely fail of commanding 
 applause wherever represented. 
 
 The principal character is Gertrude, daughter of parents 
 who have been separated many years, and who are at last 
 reconciled through her efforts. She is represented as about 
 sixteen years of age, and of a somewhat forward and teas- 
 ing character, softened by the desire to bring about good
 
 SYLVIA'S SOLDIER. 297 
 
 results. The remaining characters are Capt. Walter May- 
 deublush, represented as a very bashful young man, and 
 affording an excellent opportunity for a display of light- 
 comedy acting by the leading man of the company ; Sir 
 Charles Howard, father of Gertrude, a genteel-comedy 
 part ; Hon. Leicester Fluttermore, a fashionable coxcomb ; 
 Mr. Allembourne, walking gentleman ; Lady Florence How- 
 ard, mother of Gertrude, genteel-comedy part ; and Mrs. 
 Meddleton, mother of Lady Florence, an admirable old- 
 woman's part ; with two or three servants, which are much 
 better omitted. The piece can be played without scenery, 
 consisting of two interior scenes, the dresses being modern. 
 Two or three supernumerary gentlemen will give effect to 
 the tableau at the end of the first act. Time of representa- 
 ation, one hour. 
 
 SYLVIA'S SOLDIER. 
 
 TWO ACTS. 
 THREE GENTLEMEN AND TWO LADIES. 
 
 THIS little comedy represents an episode of the late war 
 between the North and the South, and belongs to a collec-
 
 298 AMATEUK TIIEATKICALS. 
 
 tion of pieces, especially designed for private representation, 
 called " The Amateur Drama." It .is original in its char- 
 acter ; and when well cast, and performed, as it should be, 
 in a sprightly manner, will be a success wherever played. 
 
 The characters are Horace Lyford, the patriotic young 
 hero of the piece, a fine-comedy part for a gentleman of 
 versatility ; Arthur Horton, a young man of rather timid 
 character, and a part filled with ludicrous points for the 
 low-comedy man ; Mr. Horton, a good old-man's part ; 
 Sylvia Horton, his d'atighter, represented as a very patriotic 
 young lady, who carries through the serious part of the 
 piece, played by the leading lady ; and Bessie Bray, in love 
 with Arthur Horton, and with him working up the under- 
 plot of the piece, played by the soubrette, and sparkling 
 with good points. No scenery will be required ; and the 
 costumes are, of course, modern. Time of representation, 
 one hour.
 
 DOING FOR THE BEST. 299 
 
 DOING FOR THE BEST. 
 
 TWO ACTS. 
 FIVE GENTLEMEN AND THREE LADIES. 
 
 AMONG the recent English comedies, no one has made a 
 more favorable impression than this short domestic piece, 
 which, in many respects, is well adapted to the amateur 
 stage. 
 
 The characters are Dick Stubbs, represented as a poor 
 English workman, who is of a kind heart, always carrying 
 for his guiding motto the title of the comedy, but who sud- 
 denly forgets his honest principle upon acquiring an unex- 
 pected fortune, and dismisses his daughter's lover, a poor 
 but formerly respected fellow-workman. Stubbs, however, 
 at length sees the injustice of his conduct, and the family 
 happiness is restored. The part is carefully written and 
 worked up ; and in the hands of a good, but not broad, low- 
 comedy actor, is a very artistic character. Harry, the son 
 of Stubbs, is a short part for the walking gentleman ; Bill 
 Hawkins is a good second-comedy part ; Mr. Parchment, 
 a short part for the old man ; Thomas is a servant's part ;
 
 300 AMATEUR THEATRICALS. 
 
 Betsey Stubbs, wife to Dick Stubbs, is an admirable old- 
 woman's part ; Jane is a lively soubrette's part ; and Emily, 
 a very fair part for the walking lady. Scenery is not neces- 
 sary, but would be very appropriate if attainable ; and 
 some costumes will be required. Time of representation, 
 one hour. 
 
 DON CAESAR DE BAZAN. 
 
 THREE ACTS. 
 EIGHT GENTLEMEN AND THREE LADIES. 
 
 THE drama of " Don Caesar " is a favorite piece with the 
 leading actors of our theatres ; and it possesses many claims 
 to favor from the lively style in which it is written, the 
 beautiful music interspersed, and the careful manner in 
 which many of the characters are elaborated. 
 
 The character of Don Caesar is a dashing comedy part 
 for the leading man, requiring the greatest assurance in 
 manner, voice, and action, and a corresponding make-up of 
 the personal appearance of the performer. The part abounds 
 in witty points and flashes of good-natured sarcasm, and is
 
 DON C^SAE DE BAZAN. 301 
 
 very taking "with the audience. Don Jose is a very good 
 villain's or heavy-man's part, and quite an important one in 
 the plot of the piece. Charles II., King of Spain, is a 
 very good second juvenile-gentleman's part. Marquis de 
 Rotundo is a short but amusing old-man's part. Lazarillo 
 is a very interesting young page of Don Caesar's, 'usually 
 played by the soubrette of the company. Captain of the 
 Guard, Judge, Pacolo, and Lopez, are utility parts. Mari- 
 tana, represented in the piece as a beautiful young gypsy- 
 girl, ambitious of rank and fortune, and beloved by Don 
 Csesar, is a very fair leading juvenile-lady's part. Countess 
 de Rotundo is a very amusing old-woman's part, affording a 
 good opportunity for some excellent burlesque acting. There 
 should also be three or four soldiers, who sing in the chor- 
 uses in the first act. The piece has frequently been per- 
 formed successfully by amateurs, but requires a great deal 
 of preparation, and attention to rehearsal, and considerable 
 outlay in the way of scenery and costumes, which will pro- 
 bably prevent its Very general performance. It is recom- 
 mended only, when, as in large cities, resources of every 
 kind are at hand, and it is desirable to produce some- 
 thing very brilliant. Time of representation, one hour and 
 a quarter.
 
 302 AMATEUR THEATRICALS. 
 
 STILL WATERS RUN DEEP. 
 
 THREE ACTS- 
 SIX OR SEVEN GENTLEMEN AND TWO LADIES. 
 
 IN the list of the standard drama, there are probably but 
 very few pieces in any way suitable for private peribrrn- 
 ance. The comedy of the above title, which has proba- 
 bly attained as wide a representation on the regular 
 stage as any modern play ever written, is a notable excep- 
 tion ; having but a limited number of important parts, and 
 those of such a style as to be readily and successfully per- 
 formed by any intelligent company of amateurs. John 
 Mildmay, the leading character of the piece, is of decidedly 
 original style, opening in the earlier scenes with an appa- 
 rent simplicity of manner, which, to the surprise of all who 
 had previously misunderstood his real nature, develops into 
 one of deep thought and a knowledge of the world, com- 
 pelling the respect and admiration of those who thought 
 him devoid of all manly qualities. Although the part is 
 sometimes played by the low-comedy man, it has none of
 
 STILL WATERS RUN DEEP. 303 
 
 the features of that line of business ; nor should it be played 
 as a very juvenile part, but, as the author intended it, as 
 one of Nature's gentlemen of the somewhat mature age of 
 thirty or thirty-five. 
 
 Capt. Hawksley is also rather a peculiar character, repre- 
 senting the fashionable villain of society, with all the char- 
 acteristics of the criminal toned down by the mask of edu- 
 cation and polished manners. 
 
 The part is sometimes played by the leading man. Mr. 
 Potter is a simple and rather jovial old-man's part, played 
 by the first old man. Dunbilk, a confederate of Hawksley, 
 is an Irish character, quite short, and sometimes omitted. 
 
 Jessop is a servant's part. Markham and Langford are 
 utility parts, appearing only in the last scene. Mrs. Stern- 
 hold, the leading-lady's or first old-woman's part, is repre- 
 sented as a widow lady, rather worldly and of excitable 
 temperament, and in love with Hawksley. It is a part 
 of a great deal of character, and important in carrying 
 through the piece. Mrs. Mildmay is the young wife of 
 John Mildmay, and of not very forcible character, who, fol- 
 lowing the lead of Mrs. Sternhold, her aunt, forgets the 
 respect due to her husband, John Mildmay, but comes to a 
 happy understanding at last. The part is quite an interest-
 
 304 AMATEUR THEATRICALS. 
 
 ing one for the second or walking lady. Time of represen. 
 tation, one hour and three-quarters. Scenery can be dis- 
 pensed with, if desired ; and the curtain must then be 
 dropped twice in the second act. 
 
 THE MARRIED RAKE. 
 
 ONE ACT. 
 TWO GENTLEMEN AND THREE LADIES. 
 
 THIS is a lively little comedy, with plot so slight, that it 
 is sometimes called a farce, although it is really of a rather 
 higher order. Mr. Fred. Flighty, the hero of the piece, is 
 a dashing light-comedy part, and full of sharp points. Mrs. 
 Trictrac, a young widow who makes it her duty to expose 
 the erratic Flighty to his unsuspecting wife, is the leading- 
 lady's part. In the course of the piece, she assumes the 
 character and dress of a cornet of hussars. For the length, 
 it is one of the best light-comedy parts written. 
 
 Mrs. Flighty, the unsuspecting wife, a second-lady's part, 
 is also a very good comedy character. Susan is a capital 
 soubrette's part, and should be in the hands of a young
 
 A PRETTY PIECE OF BUSINESS. 305 
 
 lady of talent and experience. There is also a servant's 
 part, not of any length, but which cannot very well be 
 omitted. The piece is quite simple, and generally desirable 
 where the numbers of a company are limited. Time of 
 representation, three-quarters of an hour. 
 
 A PRETTY PIECE OF BUSINESS. 
 
 ONE ACT. 
 TWO GENTLEMEN AND THREE LADIES. 
 
 THIS is a sparkling little comedy, very brisk in its style, 
 and so simple, that almost any one might attempt it with 
 success. There are scarcely any stage-properties required, 
 and the piece can be carried through with but very little 
 trouble. The characters are Capt. Felix Merryweather, a 
 dashing light-comedy part, usually played by the leading 
 man ; Dr. Launcelot Shee, also a capital comedy part, usu- 
 ally played by the first low comedian ; Miss Charlotte 
 Shee and Mrs. Fanny Grantley, equally excellent comedy 
 parts in the leading-lady's line ; and Dobson, one of the 
 liveliest chambermaid or soubrette's r>arts ever acted. The
 
 306 AMATEUR THEATRICALS. 
 
 comedy has but one scene, an interior ; is filled with natural 
 humor and laughable mistakes, without any objectionable 
 features whatever. Time of representation, three-quarters 
 of an hour. 
 
 THE SERIOUS FAMILY. 
 
 THREE ACTS. 
 FOUR GENTLEMEN AND FOUR LADIES. 
 
 THIS is a favorite piece with amateurs, although the 
 character of the plot is too frequently distasteful to many, 
 as it is a satire upon religion, too keen and sweeping to 
 pass unnoticed ; and, for either public or private perform- 
 ance, care must be taken that the representation shall not 
 be offensive to the audience in any case. The leading char- 
 acter is Aminadab Sleek, pictured as a hypocritical preacher ; 
 and the part is full of points, affording a wide scope for a 
 good low-comedy actor, who is almost invariably sure to 
 make a hit in this serio-comic role. Lady Sowerby 
 Creamly, of the same school as Sleek, is also a very good 
 part played by the first old woman. Widow Delmaiue is a
 
 SIMPSON & CO. 307 
 
 sparkling light-comedy part, played by the leading lady. 
 Mrs. Charles Torrens and Emina Torrens are good walk- 
 ing-ladies' parts. Capt. Murphy Maguire is also a fine- 
 comedy part, played by the leading man. Mr. Charles 
 Torreus is a first light-comedian's part, and. Fred. Vincent 
 is a tolerable walking-gentleman's part. 
 
 The piece should not be played by inexperienced ama- 
 teurs, as the points are not sufficiently strong to carry the 
 piece through without careful action. Time of representa- 
 tion, one hour and a half. 
 
 SIMPSON & CO. 
 
 TWO ACTS. 
 
 
 THREE GENTLEMEN AND FOUR LADIES. 
 
 THIS very fine old English comedy, frequently performed 
 upon the regular stage, is not so well known to amateurs ; 
 probably from its somewhat obscure title, which would give 
 to the casual observer but an indifferent idea of the charac- 
 ter of the piece. The incidents of this comedy are purely 
 domestic, not in the least overdrawn, and abounding in
 
 308 AMATEUR THEATRICALS. 
 
 natural humor ; while there is scarcely a part which is not 
 excellent in its way. The characters are Mr. Peter Simp- 
 sou, an old-fashioned, Platonic business-man ; first old- 
 man's part. Mr. Bromley, his partner, a young man of 
 somewhat liberal moral principle ; leading-juvenile part. 
 Mr. Foster, a clerk in the house of Simpson & Co. ; utility 
 man. Mrs. Simpson, wife of Peter Simpson, a lady of 
 rather jealous disposition, who persists in ascribing Brom- 
 ley's indiscretions to her innocent husband ; first old-woman's 
 part. Mrs. Bromley, wife to Bromley, whom she unsus- 
 pectingly dotes upon ; juvenile-lady's part. Mrs. Fitz- 
 allan, a young widow related to Mrs. Bromley, to whom 
 Bromley pays his addresses under an assumed name ; walk- 
 ing-lady's part. And Madame la Trappe, a French smuggler, 
 who unsuspectingly arouses Mrs. Simpson's suspicions of her 
 husband by presenting a note at the house, which had been 
 given by Bromley to the lady from whom she received it ; 
 second old-woman's part. The piece is one, that, in the 
 hands of amateurs of some experience, cannot fail of hearty 
 appreciation from the numerous close-setting hits that will 
 tell with good effect on all the married spectators, and will be 
 scarcely less enjoyed by those not as fortunate. There 
 being but t\vo scenes, and those interiors, the use of sceuery
 
 MARRIED LIFE. 309 
 
 is not necessary ; and the properties are such as can be 
 found at hand in any household. The character of Madame 
 la Trappe is sometimes omitted ; but the point of the plot 
 is improved by retaining it, if possible. The dresses are 
 modern, with the exception of Mr. Simpson, who wears an 
 old-fashioned English gentlemau's costume. Time of rep- 
 resentation, one hour and a quarter. 
 
 MARRIED LIFE. 
 
 THREE ACTS. 
 FIVE GENTLEMEN AND FIVE LADIES. 
 
 THIS admirable comedy, by Buckstone, is of the style best 
 adapted for private representation ; and, were it not for the 
 number of important characters included in the cast, it 
 would undoubtedly be a favorite piece with amateurs. 
 
 The characters are Mr. Samuel Coddle, a perfect type of 
 the whimsical, testy, and exacting old married man, who 
 makes himself, friends, and wife, thoroughly uncomfortable 
 by his unreasonable complaints, to the great amusement of 
 the audience : it is in many respects the leading part of the
 
 310 AMATEUR THEATRICALS. 
 
 piece, and should be in the hands of some gentleman ex- 
 perienced in character-acting. Mr. Lionel Lynx is a fine- 
 comedy part, usually played by the leading man. Mr. Fred. 
 Younghusband is also a first-rate comedy part, of about 
 equal importance with that of Lynx. Mr. Henry Dove is 
 an admirable low-comedy part, quiet, but affording a good 
 opportunity for any gentleman in the humorous line. Mr. 
 George Dismal is, as the name implies, a rather sombre char- 
 acter, usually played by the heavy man, and is quite short. 
 Mrs. Henry Dove is represented as rather old, very strict, 
 and much exercised to keep her husband in good manners. 
 Mrs. Samuel Coddle, the leading-lady's -part, has many very 
 good points, and her scenes with Mr. Coddle are very 
 amusing. Mrs. Lionel Lynx is represented as a young 
 wife of a very jealous disposition ; Mrs. Coddle in the 
 piece being the particular object of her displeasure, ami 
 the innocent cause of many stormy scenes between Mrs. 
 Lynx and her husband. Mrs. Fred. Younghusband is rep- 
 resented as a not very amiable young married lady, too 
 frequently at sword's-point with her husband. Mrs. George 
 Dismal is, like her husband, of a very sombre disposition ; 
 not as young as the other ladies in the piece, but appar- 
 ently quite as unhappy : the part is usually played by the
 
 TWO CAN PLAT AT THAT GAME. 311 
 
 old woman of the company. The comedy is thoroughly 
 domestic, and filled with the numerous incidents and contre- 
 temps supposed to grow out of " married life ; " and, if it can 
 be well cast, is sure to take with any audience, the features 
 being too natural and carefully worded to offend. Time of 
 representation, one hour and three-quarters. The changes 
 of locality in the scenes would probably require the use of 
 scenery. 
 
 TWO CAN PLAY AT THAT GAME. 
 
 ONE ACT. 
 TWO GENTLEMEN AND ONE LADY. 
 
 THIS sprightly little comedy is just the thing for a parlor 
 entertainment, where the stage is small, and a piece is re- 
 quired introducing a small number of characters. The 
 scene represented is an ordinary room well furnished, the 
 style of the piece and the characters very simple, and the 
 dresses modern. Howard Leslie, the leading-man's part, is 
 a nonchalant comedy-character, carrying through the piece 
 with a dry humor and provoking self-possession. Charles 
 Arundel, the young married friend whom Leslie is visiting,
 
 312 AMATEUR THEATIUCALS. 
 
 is written somewhat in the same vein as the part of Leslie, 
 and is of about equal importance. Lucy Arundel is the 
 young wife of Charles, who, influenced by her aunt, a French 
 novel, and her own jealousy, tries to get Leslie out of the 
 house, and away from her husband, by persuading him 
 (Leslie) that she loves him, and he must remove himself. 
 He discovers her games, and humors it by a declaration ; 
 while Charles, coming in, discovers them, and the lady is at 
 last vanquished. Time of representation, forty-five min- 
 utes. 
 
 THE RIGHTS OF MAN. 
 
 TWO ACTS. 
 THREE GENTLEMEN AND TWO LADIES. 
 
 FOR a parlor-performance, this comedy can also be 
 warmly recommended. The point of the piece turns upon 
 the oft-disputed point, as to who shall rule ; and is satisfac- 
 torily settled in this particular case, as it no doubt has been 
 in many others in the same way. The characters are Sir 
 William Thornton, a domineering old English baronet, played 
 by the first old man. Hon. Arthur Ellesmere, a young po-
 
 THE HONEYMOON. 313 
 
 fitical intriguer ; a very good comedy part for the leading 
 man. Walter Grenville, a young lawyer, played by the 
 walking gentleman. Lady Aurora, a gay young widow, in 
 love with Arthur Ellesmere ; a dashing comedy part for the 
 leading lady. Helen Aubrey, niece to Sir William, a young 
 lady rather opposed to matrimony, but finally conceding to 
 superior arguments ; and Emily, the uncomplaining wife of 
 Sir William, who discovers at last the secret of vanquish- 
 ing the rights of man ; both very good second-lady's part. 
 
 Scenery is not necessary, there being but one scene, an 
 ordinary parlor, nicely furnished. Time of representation, 
 one hour and thirty minutes. 
 
 THE HONEYMOON. 
 
 THREE ACTS. 
 EIGHT GENTLEMEN AND THREE LADIES. 
 
 THE comedy of " The Honeymoon," which has for over 
 fifty years maintained a brilliant position upon the regular 
 stage, has within the past two years been successfully per- 
 formed upon the amateur stage. Although a reading of the
 
 314 AMATEUR THEATRICALS. 
 
 piece would seem to present many difficulties to its private 
 representation, yet they can be readily overcome ; and the 
 satisfaction of a creditable performance will amply repay 
 the preliminary labor. 
 
 The characters are numerous, and almost all excellent. 
 Duke Aranza is the leading part, and is generally made up 
 as about thirty years of age, and possesses some splendid 
 points for dramatic and elocutionary effects. Rolando, a 
 young soldier, is of nearly equal importance with the duke's 
 part ; and is written in a dashing style, which takes well 
 with the audience, and possesses many brilliant points. 
 Balthazar is a very natural old-man's part ; his speeches 
 being well and forcibly written. Count Montalban is a 
 very good walking-gentleman's part, requiring to be care- 
 fully dressed. Jaques (the mock duke) is a capital low- 
 comedy part, affording an admirable opportunity for bur- 
 lesque acting, invariably receiving the applause of the audi- 
 ence. Lopez is a short and quite humorous part, and 
 Campillio and Pedro are servants' parts. 
 
 Juliana, the leading-lady's part, possesses a great deal 
 of character, and exhibits well the versatility of the lady 
 performing it. Volante is a sprightly comedy part, quite 
 important, and full of taking points. Zamora is a highly
 
 DELICATE GROUND. 315 
 
 interesting part for the soubrette, very naturally written, 
 and involuntarily enlisting the sympathies of the audience. 
 The play is printed in five acts, but is seldom so performed 
 at the regular theatres. It is reduced to three acts by 
 omitting scene three in the third act as printed, scene one 
 in the fourth act, scene three in act four, the mask-scene 
 in the second scene of the fifth act ; and by playing the 
 second and third acts in one, and also the fourth and fifth 
 together : by this arrangement, the part of Lampedo is omit- 
 ted. The piece will require scenery and costumes. Time 
 of representation, one hour and a half. 
 
 DELICATE GROUND. 
 
 ONE ACT. 
 TWO GENTLEMEN AND ONE LADY. 
 
 THE comedy of " Delicate Ground " has always been a 
 favorite with amateurs ; probably for the reason that it has 
 so slight a plot, that they cau hardly fail of getting through 
 the piece tolerably Avell ; and private audiences are generally 
 disposed to be generous. The principal merit it possesses
 
 316 AMATEUR THEATRICALS. 
 
 is, that it introduces but three characters ; so small a num- 
 ber, that they can be obtained almost anywhere. The 
 characters are Citizen Sangfroid, the leading-man's part, 
 and a nonchalant and rather amusing piece of comedy act- 
 ing ; Monsieur Alphonse, an old lover of Madam Sangfroid, a 
 rather foppish comedy part ; and Pauline, wife to Sangfroid, 
 a lively comedy part for the leading lady. The piece is 
 Frenchy, and rather colloquial in its style, but too superficial 
 for any great effects in action. No scenery will be required, 
 and the piece may be dressed modern, or in the French 
 costume of the last century. Time of representation, forty- 
 five minutes. 
 
 A MORNING CALL. 
 
 ONE ACT. 
 ONE GENTLEMAN AND ONE LADY. 
 
 WHEN the resources of ladies and gentlemen are exceed- 
 ingly limited in the available talent required for an amateur 
 performance, the little comedy of the above title is stig. 
 gested. 
 
 Though having scarcely an apology for a plot, it still
 
 ALL THAT GLITTERS IS NOT GOLD. 317 
 
 possesses some attractiveness in the way of sprightly dia- 
 logue ; and a few original interpolations in the text, with 
 some local hits, will make its representation quite pleasing. 
 The leading-man's part is Sir Edward Ardent, whose ad- 
 vances to Mrs. Chillingtone being repulsed, he feigns indif- 
 ference, and at last wins the victory. 
 
 Mr?. Chillingtone, played by the leading lady, enjoys 
 the pleasure of trifling with Sir Edward for a brief time, 
 but finally yields in the usual feminine way, to his satis- 
 faction and that of the audience. 
 
 The piece should be carefully rehearsed, and the perform- 
 ance not hurried through. Time of representation, three- 
 quarters of an hour. 
 
 ALL THAT GLITTERS IS NOT GOLD. 
 
 TWO ACTS. 
 SIX GENTLEMEN AND THREE LADIES. 
 
 THIS comedy, by the well-known Mortons, has, from its 
 numerous interesting features, always been a great favorite 
 with amateurs, as well as regular theatre patrons. The
 
 318 AMATEUR THEATRICALS. 
 
 scene is laid in one of the numerous factory-villages in 
 England ; and the plot is simple and natural, but little expe- 
 rience being required, to effectively present the drama. 
 
 The characters are Jasper Plum, represented as an old 
 man having grown rich by cotton-spinning, and proprietor 
 of a large factory ; a very fine old-man's part, replete with 
 natural humor and well-conceived fits of anger. Stephen 
 Plum, the leading-young-man's part, is more difficult, the 
 lines being given with the Yorkshire accent, but possessing 
 numerous strong points of pathos and humor. Frederick 
 Plum, brother of Stephen, a gentlemanly part, played by 
 the walking gentleman. Sir Arthur Lascelles, a fashiona- 
 ble villain's part, short, but well written, and effective in 
 good hands. Toby Twinkle, one of the best low-comedy 
 parts ever written for the English stage ; frequently chosen 
 as a star part by professionals in this* line, and of 
 almost equal prominence with the leading part. It is, 
 however, by no means a difficult assumption ; and, if played 
 as written, can hardly fail of applause. Harris is a servant 
 of the Plums ; a bumpkin's part, very short, but quite hu- 
 morous. Martha Gibbs is the leading juvenile-lady's part. 
 She is represented, as the piece opens, as an operative in 
 Plum's factory, whom Stephen loves, much against the
 
 THE DUMB BELLE. 319 
 
 wishes of his father, who finally consents to receive her as 
 Stephen's wife, provided that, for the space of three months, 
 she does nothing to forfeit his good opinion ; and upon her 
 constancy, while exposed to numerous temptations during 
 this time, centres the interest of the piece. Lady Leather- 
 bridge is an intriguing woman of the world, and is an 
 excellent old-woman's part ; and Lady Valeria, wife to 
 Frederick Plum, a good walking-lady's part. The servants 
 mentioned in the book may be used outside the stage for 
 the shouts incident to the business of the piece. The piece 
 can be played, if desired, without scenery. Time of repre- 
 sentation, one hour and a quarter. 
 
 THE DUMB BELLE. 
 
 . 
 
 ONE ACT. 
 FOUR GENTLEMEN AND TWO LADIES. 
 
 THIS lively little comedy only needs to be known to be 
 admired by all hearing it, and is very well adapted to 
 amateurs. The characters are all very good, and the point 
 of the piece ingenious and amusing.
 
 320 AMATEUR THEATRICALS. 
 
 The characters are Capt. Vivian, a returned officer, in 
 search of a woman who can hold her tongue, an excellent 
 light-comedy part ; Mr. Manvers, a very good old-man's 
 part ; Smirk, a capital Irish servant's part ; James, a gar- 
 dener, generally omitted ; Eliza, daughter of Mr. Manvers, 
 who personates the dumb belle with great effect on Vivian, 
 effecting a radical cure in his sentiments ; and Mary, ser- 
 vant to Eliza, a good chambermaid's part. The piece re- 
 quires no costumes of importance, and can be played by 
 almost any company of amateurs. Time of representation, 
 forty minutes. 
 
 WHO KILLED COCK ROBIN? 
 
 TWO ACTS. 
 TWO GENTLEMEN AND TWO LADIES. 
 
 THIS is one of Charles Matthews's freshest comedies, and 
 is full of the humor which always gives life to his produc- 
 tions. The situations are very amusing, and the dialogue 
 contains scarely a single dull speech. 
 
 The characters are Abel Tinkle, a retired muffin-specu-
 
 DAT AFTER THE WEDDING. 321 
 
 lator, and a capital part for the first old man ; Jack Rag- 
 gett, a philosophical and independent man of the world, a 
 very original character for the light comedian ; Satanella, 
 daughter of Abel Tinkle, and a thorough-bred descendant 
 of the Incas, of fierce temper and questionable disposition, 
 who marries Raggett for the purpose of being revenged 
 upon him (a great part for the leading lady) ; and Hannah, 
 servant of the Tinkle family, a pert young lady, fond of 
 her leisure, an excellent soubrette's part. The piece will 
 require some preparation as regards properties, but can be 
 played without scenery. Time of representation, one hour 
 and fifteen minutes. 
 
 DAY AFTER THE WEDDING. 
 
 ONE ACT. 
 THREE GENTLEMEN AND TWO LADIES. 
 
 THE petit comedy of the above title has always been a 
 favorite with actors of the regular stage, although it pos- 
 sesses no attraction of plot or amusing scenes to recommend 
 it. It is desirable for private representation, for the reason 
 21
 
 322 AMATKUK TIIKATUICALS. 
 
 that there are but few characters, and those such as would 
 be very generally attainable. 
 
 Col. Freelove is the leading-gentleman's part, and is 
 written in the rather dry-comedy style. Lord Rivers is of 
 about the same range of character, but rather more serious. 
 James is a servant's part. Lady Elizabeth is the very im- 
 pulsive, capricious, and decidedly unmanageable bride of a 
 day, whose eccentricities are, however, happily terminated 
 by the ingenious ruse of Col. Freelove, played by the lead- 
 ing lady and Mrs. Davies, an old-woman's or chambermaid's 
 part. The positions and text should be very carefully re- 
 hearsed, as every thing depends on the sprightly action of 
 the business. No scenery will be required. Time of repre- 
 sentation, thirty minutes. 
 
 WHO SPEAKS FIRST? 
 
 ONE ACT. 
 THREE GENTLEMAN AND TWO LADIES. 
 
 THIS is a lively little domestic comedy, or rather episode, 
 representing a young gentleman and his bride shortly after
 
 WHO SPEAKS FIRST? 323 
 
 the honeymoon. They have quarrelled ; and each has deter- 
 mined to keep silence until the other speaks first, and are 
 supposed to have adhered to their determination for a whole 
 week ; when Capt. Charles, a brother of the lady, who has 
 been absent many years, returns, and comes upon the scene, 
 provokes the husband's jealousy and the lady's anger by his 
 familiarity (not being recognized), and, forcing them to a 
 vigorous dispute, explains his identity, and the scene closes 
 pleasantly. 
 
 The part of Charles is an admirable light-comedy char- 
 acter. Ernest Militant is the young and irascible husband, 
 also an excellent part. Potter is an amusing old man's 
 part ; Mrs. Militant, a very forcible comedy part for the 
 leading lady ; and Smart, a dashing soubrette's part. The 
 piece should be played in a lively manner, and is generally 
 very taking. No scenery or fancy costumes will be ie 
 quired. Time of representation, forty-five minutes.
 
 324 
 
 AMATEUR THEATRICALS. 
 
 ONLY A CLOD. 
 
 ONE ACT. 
 FOUR GENTLEMEN AND TWO LADIES. 
 
 THIS is a short domestic drama, very simple in its plot, 
 and, from the class of characters represented, can readily 
 be performed by any company of amateurs. The scene 
 is laid in England, and is a little picture of one of those 
 unfortunate mesalliances of a rather rough country gentle- 
 man with a lady of superior education ; although, in this case, 
 the parties come to a happy understanding at last. 
 
 Harry Thorncote, the leading-man's part, is an unpolished 
 country gentleman, who unsuspectingly entertains at his 
 house two gentlemen, who treat him as an inferior, with a 
 patronizing air, and at the same time take advantage of his 
 hospitality to pay their addresses privately to his wife. They 
 are discovered by Harry, their plans discomfited ; and Mrs. 
 Thorncote at last recognizes the true worth of her husband. 
 Sir Cyril Beaumorris and Mr. Babbleton are men of the 
 world ; and Owlet is a servant's part. Grace Thorncote,
 
 ONI/T A CLOD. 325 
 
 the leading-lady's part, is represented as a lady, who, de- 
 spising her husband's unpolished manners, is attracted by 
 Sir Cyril's easy flattery, but learns his real intention, and 
 gladly makes reparation to her husband. The piece re- 
 quires no scenery. Time of representation, forty minutes.
 
 DRAMAS, 
 
 SECOND LOVE. 
 
 THREE ACTS. 
 THREE GENTLEMEN AND THREE LADIES. 
 
 THIS is a pleasing domestic drama, very natural and 
 original in its plot, and admirably adapted to the amateur 
 stage. 
 
 The character of Elinor Mowbray, the blind heiress, is 
 extremely touching and forcible, and, in the hands of a lady 
 who excels in emotional parts, would be very effective. 
 Ralph Thornhill, the leading-juvenile-gentleman's part, is 
 represented as the simple but generous-hearted cousin of 
 Elinor Mowbray, the companion of her childhood, and to 
 whom she at last turns when she finds her first lover has 
 deceived her Col. Dangerfield is also represented as a 
 cousin of Elinor's, who, under an assumed name, wins her 
 
 326
 
 SECOND LOVE. 327 
 
 love with the intention of obtaining her supposed fortune : 
 at the same time he also woos Mildred Vernon, a friend of 
 Elinor's, but is discovered by Elinor, who, unknown to him, 
 has regained her sight. The part is an excellent one for 
 the heavy man of the company. Hawbuck is a servant in 
 Elinor Mowbray's house, who, apparently stupid, is really 
 on the alert at all times, and plays an important part in the 
 unravelling of the plot, and in the final discovery of Danger- 
 field. The part is generally given with the Lancashire 
 dialect, and is a very fine low-comedy character. Mildred 
 Vernon is a very good second-lady's part, requiring to be 
 well costumed, and played with spirit. Lucy is represented 
 as an attached servant of Elinor Mowbray, rather partial to 
 Hawbuck, and very fond of Ralph and her mistress. The 
 part is an excellent soubrette or chambermaid's character, 
 and is sometimes made up older, and played by the old 
 woman. The incidents at the close of each act are such, 
 that the characters may be grouped in natural and striking 
 tableau ; and, with sufficient rehearsal, the piece will be 
 found to take unusually well. Time of representation, one 
 hour aud a quarter.
 
 328 AMATEUR THEATKICALS. 
 
 DREAMS OF DELUSION. 
 
 FIVE GENTLEMEN AND TWO LADIES. 
 
 THIS is a highly interesting drama, somewhat of the sen- 
 sational order, being a translation from the French ; and 
 affords an excellent opportunity for a gentleman in the 
 heavier style of acting. Sir Bernard Harleigh, the leadiug- 
 juvenile-man's character, is represented as a young English 
 gentleman, who, jealous of a certain young man whom he 
 imagines is paying his addresses to his wife, suddenly meets 
 him on the banks of a river, and plunges him into the water, 
 and, as he supposes, kills him. This act turns his brain ; 
 and, to escape the imaginary phantom of his murdered 
 friend, he travels from place to place over Europe, finally 
 changing his name, and settling down in a retired part of 
 Sussex in England. The part is full of very telling points, 
 and, in the hands of an actor of talent, will be very taking. 
 Dr. Pungent, played by the first old man, is a very 
 important part in the piece, in whose hands is the unravel- 
 ling of the entire plot : it is replete with numerous good
 
 TIME TRIES ALL. 329 
 
 points of humor and pathos. Maunder is a fashionable 
 coxcomb's part, short, but very good. 
 
 Lord Arthur Brandon is the first walking-gentleman's 
 part, and is also a very fair part. Bobby is a country 
 bumpkin's part, short, but can be made quite humorous. 
 Lady Viola Harleigh, wife to Sir Bernard, is the leading- 
 juvenile-lady's part ; and is a very natural and pleasing 
 character, involuntarily securing the sympathy and approval 
 of the audience. 
 
 Amabel, the niece of Lady Viola, is a sprightly young- 
 lady's part, played by the walking lady or soubrette. Time 
 of representation, one hour. There is but one scene in the 
 piece, a lady's sitting-room or summer-house, which can be 
 arranged readily without scenery. 
 
 TIME TRIES ALL. 
 
 TWO ACTS. 
 FIVE GENTLEMEN AND TWO LADIES. 
 
 THIS pleasing domestic drama, though of late years sel- 
 dom performed upon the regular stage, is admirably adapted 
 for private representation. Matthew Bates, the leading ju-
 
 AMATEUU THEATRICALS. 
 
 venilo gentleman, is represented in the first act as a young 
 man of rather unfinished manners, and deeply in love with his 
 cousin, Laura Leeson, who, on account of his unprepossess- 
 ing appearance, rejects his proposals ; and he leaves the house 
 to go abroad. After the lapse of a few years, he returns, 
 very much improved in manners and personal appearance. 
 Feigning indifference, he discovers that Laura really loves 
 him ; and the pleasing denoument terminates the piece hap- 
 pily. Mr. Leeson is an admirable old-man's part, full of 
 life and humor, and capable of being worked up with tell- 
 ing effect. Hon. Augustus Collander Yawn is a fashiona- 
 ble coxcomb's part, representing the very extreme of that 
 line of business : it should be carefully dressed, and, if well 
 'played, adds considerably to the attractiveness of the piece. 
 Mr. Charles Clinton, the walking-gentleman's part, is a fash- 
 ionable young man, and the rival of Matthew Bates. Tom 
 Tact, the servant of Mr. Bates, is a very good low-comedy 
 part, affording, like the part of Matthew, a good opportunity 
 for a display of versatility in acting, in the contrast of style 
 of the scenes in the first and second acts. Laura Leeson, 
 the leading-lady's character, is a very effective and exceed- 
 ingly well-written part ; her struggles with worldly pride, and 
 the natural promptings of her heart, insuring the greatest
 
 THE HARD STRUGGLE. 331 
 
 interest and sympathy of the audience. Fanny Fact is a 
 sprightly soubrette's or chambermaid's part ; the scene with 
 Tom Tact and Mr. Leeson being full of humor and laugh- 
 able points. 
 
 Time of representation, one hour and a quarter. The piece 
 represents the scene as taking place in an ordinary room, 
 and will require no scenery. 
 
 THE HARD STRUGGLE. 
 
 ONE ACT. 
 THREE GENTLEMEN AND TWO LADIES. 
 
 THIS pretty little drama has every thing to commend it 
 for the purposes of the amateur stage, having but few char- 
 acters ; is so simple in its construction, as to be played by 
 the most inexperienced with success ; and is, at the same 
 time, of a very interesting nature. The characters are 
 "Reuben Holt, represented as a kind-hearted but rather 
 rough-mannered young country-gentleman, in love with Lil- 
 lian Trevor, his guardian's daughter. Lillian had felt a 
 friendly attachment for Reuben from childhood, and had
 
 332 AMATEUR THEATRICALS. 
 
 promised him her hand in marriage : but, having been 
 obliged to leave home for a period of some months on 
 account of ill health, she is taken sick with a fever, and her 
 life is only saved by a young physician named Fergus Gra- 
 ham, who naturally becomes attached to his young patient, 
 while she returns his love, although no declaration is made ; 
 and she comes back to her home prepared to sacrifice her 
 feelings, and redeem her promise to Reuben. She is, un- 
 known to herself, followed by Graham, who seeks an inter- 
 view with her, is seen by Reuben, and an explanation ensues, 
 which results in Reuben giving up his claim to Lillian's haud, 
 and sacrificing his own claims to Graham. Fergus Graham 
 is a character rather above the usual line of walking gen- 
 tlemen, but generally so cast. Mr. Trevor is represented 
 as a rich farmer of rather defective education, and, like Mrs. 
 Malaprop in ". The Poor Gentleman," very apt to use the 
 incorrect words in the right place, making many amusing 
 mistakes : the character is an admirable old man's part. 
 
 Lillian Trevor, the leading-juveuile-lady's part, is very 
 interesting, and possesses many points of real sentiment. 
 Amy, Mr. Trevor's orphan grandchild, aged thirteen, is a 
 very natural child's part, very simple and touching, and 
 very pleasing to the audience. The landlady of the Old
 
 LAVATER; OR, NOT A BAD JUDGE. 333 
 
 Swan is a short and unimportant old-woman's part. The 
 part of Susan is generally omitted ; Amy speaking the few 
 lines alloted to her in the first scene. Scenery can be dis- 
 pensed with in this piece ; but the furniture will require to 
 be changed in the course of the performance. Time of rep- 
 resentation, one hour. 
 
 LAVATER; OR, NOT A BAD JUDGE. 
 
 TWO ACTS. 
 EIGHT GENTLEMEN AND TWO LADIES. 
 
 THIS drama is founded on the accredited power of the 
 celebrated Lavater, the physiognomist, who is said to 
 have possessed the remarkable power of reading a per- 
 son's character, with great correctness, from a glance at 
 the face of any one he might meet. This circumstance is 
 woven into the plot of this entertaining drama, which pos- 
 sesses many other attractive features. The characters are 
 John Caspar Lavater, represented as a man about forty 
 years of age, and played either by the old man or the lead- 
 ing man ; Marquis de Treval, an excellent heavy-man's
 
 334 AMATEUR THEATRICALS. 
 
 part ; Christien, a good walking-gentleman's part ; Betraan, 
 a very good low-comedy part ; Zug, Sergeant Rutley, and 
 Monsieur Lavigney, utility parts ; Louise, the juvenile-la- 
 dy's part, very simple and pleasing ; and Madame Betman, 
 a walking-lady's part. Count de Steinberg, father of Louise, 
 is the old man's part, and a capital character. The piece 
 will require scenery and costume. Time of representation, 
 one hour and a quarter. 
 
 FAINT HEART NEVER WON FAIR LADY. 
 
 ONE ACT. 
 FOUR GENTLEMEN AND THREE LADIES. 
 
 THE play of " Faint Heart never won Fair Lady " is 
 probably too well known to require any lengthy description 
 here. It is a light and rather pleasing piece, and is quite 
 a favorite with amateurs. 
 
 The characters are Ruy Gomez, a poor lieutenant in the 
 Spanish army, who aspires to the hand of the Duchesse de 
 Torreuueva, a lady far above him in rank, who at first re- 
 pulses his bold advances, but at last reluctantly admits her
 
 TO PARENTS AND GUARDIANS. 335 
 
 love for him ; and his persistency is rewarded. Gomez is 
 the leading-juvenile-man's part, and is a. sparkling comedy 
 character. The Marquis de Santa Cms, is the unwelcome 
 lover of the duchesse, who meets with discomfiture in his 
 fruitless suit, and is played by the first old man : there is 
 also a servant's part. The duchesse is a fine comedy part 
 for the leading lady, and should be richly dressed. King 
 Charles is an engaging part for the soubrette ; and Donna 
 Lucrezia, a good old- woman's part. 
 
 The piece will require costumes ; but scenery is not indis- 
 pensable. Time of representation, three-quarters of an 
 hour. 
 
 TO PARENTS AND GUARDIANS 
 
 TWO ACTS. 
 FOUR GENTLEMEN AND FIVE LADIES. 
 
 THIS comic drama, the authorship of which has often 
 been disputed, is written as a burlesque on the style of 
 English private schools, and is very original, and replete 
 with amusing incidents. The characters are Monsieur
 
 336 AMATEUR THEATRICALS. 
 
 Tourbillon, an old French professor, a very touching old- 
 man's part ; "Waddilove, a ludicrous low-comedy part ; Mr. 
 Swish, a good old-man's part ; Nabbles, a farmer, quite a 
 short part ; Bob Nettles, represented as a harum-scarum 
 young lad of fifteen, a part full of points and lively action, 
 usually played by the leading soubrette ; Virginie, daughter 
 of M. Tourbillon, an interesting second-lady's part ; Lady 
 Nettles, a fashionable lady, mother of Bob Nettles, walk- 
 ing lady ; and Mary Swish, daughter of Mr. Swish, master 
 of the school, a young-girl's part, played by the second 
 soubrette. The piece should have scenery, if possible, 
 and a number of boys, or girls so dressed, for the parts of 
 Skutler, Scraggs, and for the schoolrcom-scene. Time of 
 representation, one hour.
 
 IN describing this popular branch of the minor drama, 
 it will be unnecessary to give definite outlines of each piece, 
 which, in many respects, bears a close resemblance to many 
 others of the class. There will be given under this head 
 a selection from the immense number published of those 
 pieces that are particularly suitable to, and have been actu- 
 ally performed by amateurs. 
 
 TURN HIM OUT. 
 
 THREE GENTLEMEN AND TWO LADIES. 
 
 THIS is one of the broad and noisy style of farces, and 
 the greatest success of any lately published. The charac- 
 ters are Nicodemus Nobbs, first low-comedy man ; Mr. 
 Moke, second low-comedy man ; Eglantine Roseleaf, the 
 22 337
 
 AMATEUR THEATRICALS. 
 
 beau-ideal of a fashionable coxcomb ; Julia, first walking 
 lady ; and Susan, the soubrette's part. Time of represen- 
 tation, thirty minutes. 
 
 TWO GENTLEMEN AND ONE LADY. 
 
 THIS is a standard farce, which has stood the test of 
 many years, and is still a favorite. Mr. Box and Mr. Cox 
 are first low-comedy parts of about equal range ; and Mrs. 
 Bouncer, the only lady character, is a good old-woman's 
 part. Time of representation, thirty minutes. 
 
 ON THE SLY. 
 
 THREE GENTLEMEN AND TWO LADIES. 
 
 THIS is a new farce, very lively, but not broad, and can 
 be readily cast and performed. Mr. John Dibbits, a hen- 
 pecked husband, is the first low-comedy part ; Major Grow- 
 ler, an eccentric comedy part ; Wagstaff, walking gentle- 
 man ; Mrs. Dibbits, a strong-minded lady, first walking 
 lady ; and Martha, the soubrette's part.
 
 A SEA OF TKOUBLES; ETC. 339 
 
 A SEA OF TROUBLES. 
 
 EIGHT GENTLEMEN. 
 
 THIS farce is one of the collection called the " Amateur 
 Drama," and is very desirable where only male characters 
 are attainable ; the incidents being ingenious and amusing. 
 The characters are Godolphus Gout, an invalid, a first 
 old-man's part ; Hiram Orcutt, a Yankee ; Stammering 
 Steve, a professor of elocution ; Byron Bobolink, a bud- 
 ding poet ; Midde McShane, a red-hot Irishman ; Rob- 
 ert, Gout's nephew ; and Sam, Gout's servant. All of 
 the parts, with the exception of the first and the last two 
 mentioned, are eccentric-comedy characters, and can be 
 made very ludicrous and entertaining. 
 
 HIT HIM: HE HAS NO FRIENDS. 
 
 FIVE GENTLEMEN AND THREE LADIES. 
 
 THIS farce is of the very broadest style, full of noisy 
 points and laughable positions. 
 
 The characters are Rodney Ricketts, first low comedy ;
 
 340 AMATEUR THEATRICALS. 
 
 Mr. Buttonup, second old man ; Edward Verner, walking 
 gentleman ; Joe Crabs, second low comedy ; telegraph-boy, 
 utility part ; Mrs. Rummer, second old woman ; Miss Ver- 
 ner, walking lady ; Mrs. Ricketts, utility part. Time of 
 representation, thirty minutes. 
 
 I'VE WRITTEN TO BROWNE. 
 
 FOUR GENTLEMEN AND TWO LADIES. 
 
 THIS is an excellent piece, written in a 'sprightly and 
 more elegant style than the usual run of farces. The char- 
 acters are Mr. Otwuy ; Sheridan Browne, a dashing light- 
 comedy part ; Mr. Peregrine Dotts, a capital first low- 
 comedy part ; Mr. Charles Heatherington, first walking 
 gentleman ; Mrs. Walsingham, leading juvenile lady ; and 
 Laura, her sister, first walking lady. Time of representa- 
 tion, forty minutes. 
 
 SLASHER AND CRASHER. 
 
 FOUR GENTLEMEN AND TWO LADIES. 
 
 THIS is probably one of the noisiest farces ever written ; 
 but its lively style and laughable points take greatly with
 
 TO OBLIGE BENSON ; ETC. 341 
 
 the audience. The characters are Sampson Slasher and 
 Christopher Crasher, first low-comedy parts ; Mr. Benjamin 
 Blowhard, first old mau ; Lieut. Brown, walking gentle- 
 man ; Miss Dinah Blowhard and Rosa, first walking ladies. 
 Time of representation, thirty minutes. 
 
 TO OBLIGE BENSON. 
 
 THREE GENTLEMEN AND TWO LADIES. 
 
 THIS is a very elegant little piece, free from any objec- 
 tionable language, and very lively in its action. The char- 
 acters are Mr. Trotter Southdown, first low comedy ; Mr. 
 Benson, first old man ; Mr. Meredith, walking gentleman ; 
 Mrs. Southdown, leading lady ; and Mrs. Benson, walking 
 lady. Time of representation, thirty-five minutes. 
 
 NURSEY CHICKWEED. 
 
 FOUR GENTLEMEN AND ONE LADY. 
 
 THIS farce is in contrast to the piece just mentioned, 
 very broad, and by no means as elegantly written. It is, 
 however, one that invariably meets with great applause
 
 342 AMATEUR THEATRICALS. 
 
 from indulgent audiences. The characters are Jonathan 
 Chickweed, first low-comedy man ; Mr. Horatio Mount- 
 sorrel, old man, or eccentric comedy ; Barnes (a miller), 
 second-low comedy ; Mr. Walton, utility part ; Mrs. Mount- 
 sorrel, walking lady; and Nellie, a very bold soubrette's 
 part. 
 
 THE LOAN OF A LOVER. 
 
 FOUR GENTLEMEN AND TWO LADIES. 
 
 THIS is a very pleasing musical vaudeville, of no great 
 dramatic merit, but natural in its style, and affording a fine 
 opportunity for a young lady of good musical ability. The 
 characters are Peter Spyk, first low comedy ; Capt. Amers- 
 fort, walking gentleman ; Swyzel, second old man ; Delve, 
 utility part ; Gertrude, a singing soubrette's part ; and Er- 
 nestine, a walking-lady's part. Time of representation, forty 
 minutes. Costumes will be required in this piece. 
 
 
 
 POOR PILLICODDY. 
 
 TWO GENTLEMEN AND THREE LADIES. 
 
 THIS is one of the standard farces that audiences seem 
 never to weary of, full of amusing points ; and has been
 
 FITZMYTHE OF FITZMYTHE HALL ; ETC 343 
 
 played frequently with great success by amateurs. The 
 characters are John Peter Pillicodcly, first low comedy ; 
 Capt. O'Scuttle, an excellent eccentric-comedy part ; Mrs. 
 Pillicoddy, walking lady ; Mrs. O'Scuttle, old woman ; and 
 Sarah Blunt, first chambermaid's part. Time of represen- 
 tation, thirty-five minutes. 
 
 FITZMYTHE OF FITZMYTHE HALL. 
 
 THREE GENTLEMEN AND TWO LADIES. 
 
 THIS is a very amusing piece, of somewhat noisy style, 
 but not at all difficult to perform, and very taking. The 
 characters are Mr. Fitzmythe, first low-comedy man ; 
 Frank Tottenham, walking gentleman ; Gregory, a ser- 
 vant's part ; First Cricketer, Second Cricketer, utility parts ; 
 Mrs. Fitzmythe, first old woman ; Penelope, soubrette's 
 part. Time of representation, thirty minutes. 
 
 CALIFORNIA DIAMONDS. 
 
 THREE GENTLEMEN AND TWO LADIES. 
 
 THIS piece partakes more of the nature of a comedy 
 than a farce ; the language being of a higher tone, and the
 
 344 AMATEUR THEATRICALS. 
 
 points not at all broad. The characters are Mr. Kerr 
 Mudgeon and Mr. Danby Symes, first low-comedy parts ; 
 Mr. Rigsby, walking gentleman ; Mrs. Kerr Mudgeon and 
 Mrs. Danby Symes, very good second-ladies' parts. Time 
 of representation, thirty-five minutes. The piece is pub- 
 lished under the name of " Bristol Diamonds." 
 
 BROTHER BILL AND ME. 
 
 FOUR GENTLEMEN AND THREE LADIES. 
 
 THIS is one of the most laughable farces of the collection 
 of minor dramas, abounding in ludicrous positions and 
 broad points. The characters are Mr. A. Noodle, first old 
 man ; Benjamin Wiggles, a great low-comedy part ; Wil- 
 liam Wiggles, a capital light-comedy part ; Simon Squib, 
 eccentric-comedy part ; policeman, utility part ; Seraphina 
 Noodle, first old woman ; Wilhelmina Noodle, walking 
 lady ; and Martha Muggles, first soubrette. The positions 
 should be very carefully rehearsed to prevent confusion. 
 Time of representation, thirty-five minutes.
 
 SMASHINGTON-GOIT ; ETC. 34/5 
 
 SMASHINGTON-GO-IT. 
 
 THREE LADIES AND THREE GENTLEMEN. 
 
 THIS is a very good farce of the broad style ; the posi- 
 tions and paints being very unique and ludicrous. The 
 characters are Mr. Smashington-go-it, a rollicking low- 
 comedy part ; Mr. Twitterly Fluttersome (a gentleman of 
 delicate nervous organization), first old-man's part; Mr. 
 Closefist (an old miser), second old-man's part ; Mrs. 
 Flnttersome, first old woman ; Clara, walking lady ; and 
 Nellie, a capital chambermaid's part. Time Of representa- 
 tion, thirty minutes. 
 
 A NICE QUIET DAY. 
 
 FOUR GENTLEMEN AND THREE LADIES. 
 
 THIS is not a broad farce at all, but has many amusing 
 points. The characters are Col. Brimstone, first old man ; 
 Mr. St. Bernard, walking gentleman ; Mr. Timothy Poo-
 
 346 AMATEUR THEATRICALS. 
 
 die, first low comedy ; Mongrel, second low comedy ; Miss* 
 Laura Brimstone and Emily, first walking ladies ; and 
 Susan, first chambermaid. Time of representation, thirty- 
 five minutes. 
 
 A PHANTOM BREAKFAST. 
 
 TWO GENTLEMEN AND THREE LADIES. 
 
 THIS is one of Charles Selby's latest productions, abounds 
 in amusing incidents, and contains nothing at all broad. 
 The characters are Augustus Fitzmortimer, a most respec- 
 table young man, " out of business," first low-comedy part ; 
 Mr. Deeperly, an eccentric gentleman on the shady side of 
 forty, old man ; Mrs. Deeperly, a beautiful and accom- 
 plished lady, first walking lady ; Rose, a parlor-maid, with 
 unexceptionable reference, soubrette ; and " Selina Jane 
 Sims, an improver in a first-class millinery establishment." 
 Time of representation, thirty-five minutes.
 
 THE SIAMESE IWINS ; ETC. 347 
 
 'THE SIAMESE TWINS. 
 
 FOUR GENTLEMEN AND TWO LADIES. 
 
 THIS is a very amusing burlesque on the Siamese Twins, 
 and furnishes an opportunity for introducing any number of 
 gags. Mr. Forceps (a virtuoso) is the first old-man's 
 part ; Capt. Vivid, walking gentleman ; Dennis O'Glib, an 
 Irish character ; Simon Slow, a Yankee ; Miriam (ward to 
 Forceps) , walking lady ; and Sally, a soubrette's part. 
 Time of representation, thirty minutes. 
 
 THE STEEPLE-CHASE. 
 
 SIX GENTLEMEN AND TWO LADIES. 
 
 THIS is a new and very good farce ; which, however, de- 
 pends almost entirely on the low-comedy man. The char- 
 acters are Mr. Tittrun, first low comedy ; Alderman Slow- 
 coach, old-man's part ; Dr. Clipper, walking gentleman ; 
 Buzzard, Cummings, Thomas, utility parts ; Mrs. Clipper, 
 old-woman's part ; and Mrs. Tittrun, walking lady. Time 
 of representation, thirty minutes.
 
 AMATEUR THEATRICALS. 
 
 THE TWO BUZZARDS. 
 
 SIX GENTLEMEN AND TWO LADIES. 
 
 THIS is a standard farce of the broad style, containing a 
 small number of characters, all of which, in their way, are 
 carefully written. Mr. Benjamin Buzzard, first old man ; 
 Mr. Glimmer, walking gentleman ; John Small, one of the 
 best low-comedy parts ever written ; Miss Lucretia Buzzard, 
 first walking lady ; and Sally, the soubrette's part. 
 
 COUSIN TOM. 
 
 THREE GENTLEMEN AND TWO LADIES. 
 
 THIS is a new but not very brilliant farce, well adapted 
 to amateurs of limited experience. Tom Vane is the first 
 low-comedy part ; Newington Gosway, second low comedy ; 
 Mr. Lothbury, old man ; Lucy, walking lady ; and Susan, 
 the soubrette. Time of representation, twenty-five minutes.
 
 INDEX. 
 
 PAOB. 
 
 A HARD SHAVE 89 
 
 ALL THAT GLITTERS IS NOT GOLD . . . -. . *. . .317 
 
 AMATEUK THEATRICALS 291 
 
 A MORNING CALL 318 
 
 ANGELS OF BUENA VISTA . 70 
 
 A NICE QUIET DAY 345 
 
 A PHANTOM BREAKFAST 346 
 
 A PRETTY PIECE OF BUSINESS 305 
 
 A RAAL CONVANIEXCE 169 
 
 A SEA OF TROUBLES 339 
 
 AURORA 254 
 
 AWAKENED SORROWS 112 
 
 BEATRICE OENCI LED TO PRISON 35 
 
 BELIEVER'S VISION, THE 43 
 
 BELSHAZZAR'S FEAST 205 
 
 BOUQUET OF BEAUTY, THE 231 
 
 BOUQUET OF LIBERTY, THE 259 
 
 Box AND Cox 338 
 
 BROTHER BILL AND ME 344 
 
 BUSHWHACKER, THE 122 
 
 CALIFORNIA DIAMONDS 343 
 
 CHARITY AND POVERTY 27 
 
 CHRISTMAS EVE 158 
 
 CHRISTMAS MORNING 160 
 
 CHHISTMAS-TREE, THE 156 
 
 COMING STORM, THE 164 
 
 COMIN' THROUGH THE RYE 90 
 
 CONSOLATION 153 
 
 CONSOLATION IN Music 39 
 
 COHSAIR'S BRIDE, THE 210 
 
 COURT OF THE FAIRIES, THE 261 
 
 COUSIN TOM 348 
 
 CROWN OF GLORY, THE 65 
 
 CRUSADER'S TRIUMPH, THE 251 
 
 849
 
 350 INDEX. 
 
 FAO> 
 
 DANTE AND BEATRICE ....63 
 
 DAVID'S LAMENT-OVER ABSALOM 144 
 
 DAY AFTEK THE WKDDISO 321 
 
 DEATH OF HINDA 244 
 
 DKLICATK GROUND ... ......... 315 
 
 DEPARTURE OK THE PILGRIMS 279 
 
 DOING FOR THE B>:ST ...........299 
 
 DON C-ESAR DK BAZAN .... IN 
 
 DREAMS OF DELUSION 328 
 
 DUEL IN THE SNOW, THE 61 
 
 DUMB BELLED THE 319 
 
 EMANCIPATION . . 239 
 
 ENCHANTED BRIDE, THE 235 
 
 ENOCH ARDEN'S RETURN 131 
 
 EVENING-HYMN OF THE HUGUENOTS 216 
 
 EXCELSIOR 146 
 
 FAINT HEART NEVER WON FAIR LADY ....... 334 
 
 FAITH 243 
 
 FATHER'S OATH, THE 129 
 
 FAUST AND MARGUERITE .......... 275 
 
 FIRST APPEAL, THE . ....49 
 
 FISHERMAN'S RETURN, THE 123 
 
 FlTZMYTHE OF FlTXMYTHE HALL 343 
 
 FLOWER OF THE FAMILY, THE ......... 170 
 
 GENIUS OF LIBERTY, THE 240 
 
 GRECIAN FLOWER-GIRL, THE 277 
 
 GUARDIAN ANGEL, THE 278 
 
 GUARDIAN ANGELS ....' 82 
 
 HAIDEE AND JUAN 220 
 
 HARD STRUGGLE, THE 331 
 
 His ONLY PAIR 107 
 
 HIT HI3I: HE HAS NO FRIENDS 339 
 
 HOME-GUARD, THE 94 
 
 HOMELESS 81 
 
 HONEYMOON, THE 313 
 
 HOPE AND FAITH 
 
 HUGUENOT LOVERS, THE ......... 
 
 IMAGE OF MAMMA, THK . 
 
 INTERRUPTED DUEL, THJ>. 
 
 IN THE WILDERNESS 
 
 INTRODUCTION 
 
 I'VE WRITTEN TO BROWNE 
 
 JONATHAN'S COURTSHIP 
 
 KING LEAR ...
 
 INDEX. 351 
 
 PAOK. 
 
 LAVATER: OR, NOT A BAD JUDGE . 333 
 
 LIGHT AND SHADOW 2 
 
 LIGHT OK THE HAREM, THE 228 
 
 LION IN LOVE, THE .68 
 
 LITTLE TREASURE, THE 296 
 
 LOAN OF A LOVER, THE 342 
 
 MAKING UP THE QUARREL 241 
 
 HARRIED LIFE 309 
 
 MARRIED RAKE, THE 3f4 
 
 MAY AND DECEMBER 120 
 
 MAY QUEEN, THE 21 
 
 MIDSUMMER-NIGHT'S DREAM, THE 271 
 
 MlGNON ET SON PERE 74 
 
 MONEY 295 
 
 MOTHER'S GRAVE, THE 91 
 
 MOUNTAINEER, THE 61 
 
 MOVING IN . . .172 
 
 MOVING OUT . . .176 
 
 NEW-YEAR'S EVE ...25 
 
 NIOBE .269 
 
 NOTES AND RECIPES 284 
 
 NURSEY CHICKWEED 341 
 
 ONCONVAMENCE OF SINGLE LIFE, THE 1C8 
 
 ONLY A CLOD 324 
 
 ON THE FENCE 126 
 
 ON THE SHORES OF TENNESSEE 106 
 
 ON THE SLY 338 
 
 ORPHAN'S DREAM, THE 88 
 
 PARDON REFUSED, THE 116 
 
 P\ST AND FUTURE 108 
 
 PAST, PRESENT, AND FUTURE 249 
 
 PATIENCE AND IMPATIENCE 171 
 
 PICKET-GUARD, THE ........... 114 
 
 POOR PILLICODDY 342 
 
 RAPHAEL'S CHERUBS ...79 
 
 RECOGNITION, THE . 127 
 
 RECONCILIATION, THE 118 
 
 REFUGEE, THE 100 
 
 REPRIMAND, THE 75 
 
 REWARD OF MERIT, THE 7fi 
 
 RIGHTS OF MAN, THE 312 
 
 ROMEO AND JULIET . . 191 
 
 SAILOR-BOY'S DREAM, THE ...88 
 
 SCENE FROM PERICLES ...183 
 
 SCENE FROM THE TEMPEST ... 198
 
 352 INDEX. 
 
 FtOK. 
 
 SCREEN-SCENE FROM THE SCHOOL FOR SCANDAL 58 
 
 SCULPTOR'S DREAM, THE 96 
 
 SEA OF ICE, THE 48 
 
 SEASONS, THE 265 
 
 SECOND LOVE 326 
 
 SERIOUS FAMILY, THE 306 
 
 SHIPWRECKED MOTHER, THE ......... 29 
 
 SIAMESE TWINS, THE 347 
 
 SIMPSON & C > 307 
 
 SLASHER AND CRASHER 340 
 
 SMASHINGTON-GO-lT 345 
 
 SOLDIER FROM THE HUDSON, THE 102 
 
 SOLDIER'S DREAM, THE 149 
 
 SOLDIER'S MOTHER, THE 45 
 
 SPIRIT OF '76 141 
 
 STATUE-SCENE FROM THE MARBLE HEART 223 
 
 STEEPLK-CHASE, THE 347 
 
 STILL WATERS RUN DEEP 302 
 
 SUCCESSFUL PICTURE, THE 77 
 
 SYLVIA'S SOLDIER 297 
 
 TAKING THE OATH 41 
 
 TIME TRIES ALL 329 
 
 TOMB-SCENE FROM ROMEO AND JULIET 194 
 
 To OBLIGE BENSON 341 
 
 To PARENTS AND GUARDIANS 3:i5 
 
 TORN BREECHES, THE 165 
 
 TRIAL-SCENE FROM THE MERCHANT OF VENICE 183 
 
 TRUST 222 
 
 TURN HIM OUT 337 
 
 Two BRIDES, THE 64 
 
 Two BUZZARDS, THE 348 
 
 TWO CAN PLAY AT THAT GAME 311 
 
 VEILED PROPHET, THE ........... 212 
 
 VILLAGE BARBER, THE 166 
 
 VILLAGE POST-OFFICE, THE 121 
 
 VISION OF C/ESAR 202 
 
 VISION OF MARGUERITE 232 
 
 VISION OF PAST, PRESENT, AND FUTURE 84 
 
 WELCOME SHELTER, THE 62 
 
 WHO KILLED COCK ROBIN? 320 
 
 WHO SPEAKS FIKST? ..'.... 322 
 
 WIDOW OF GLENCOE, THE 135 
 
 WOUNDED SCOUT, THE 66 
 
 WYOMING . '. 31
 

 
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