€ H I CAGO* WE DRAMATIC PUBLISHING GGMPANtf* PRACTICAL INSTRUCTIONS FOR PRIVATE THEATRICALS By W. D. EMERSON. Author of “A\Country Romance, ” “The Unknown Rival.” “Hum- ble Pie,” etc. Price, 25 cents. Here is a practical hand-book, describing in detail all the ac- cessories, properties, scenes and apparatus necessary for an ama- teur production. In addition to the descriptions in words, every- thing is clearly shown in the numerous pictures, more than one- hundred being inserted in the book. No such useful book has ever been offered to the amateur players of any country. CONTENTS. Chapter I. Introductory Remarks. Chapter II. Stage, How to Make, etc. m drawing-rooms or parlors, with sliding or hinged doors. In a single large room. The Curtain; how to attach it, and raise it, etc. Chapter III. Arrangement of Scenery. How to hang it. Drapery, tormentors, wings, borders, drops. Chapter IV. Box Scenes. Center door pieces, plain wings, door wings, return pieces, etc. Chapter V. How to Light the Stage. Oil, gas and electric lights. Footlights, Sidelights, Reflectors. How to darken the stage, etc. Chapter YI. Stage Effects. Wind, Rain, Thunder, Break- ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, Passing Trains, Lightning, Chimes, Sound of Horses’ Hoofs, Shots. Chapter VII. Scene Painting. Chapter VIII. A Word to the Property Man. Chapter IX. To the Stage Manager. Chapter X. The Business Manager. « Address Orders to THE DRAMATIC PUBLISHING COMPANY, CHICAGO. WHICH OF THE TWO? ^ Comebretta. IN ONE ACT. Br JOHN M. MORTON, Esq. Author of “ Lend Me Fcne Shillings'' “ Your Life's in Danger," “ Box and Cox," “ Poor Pillicoddy k- iV/j/ Wife's Second Floor," “ Wedding Breakfast “ Slasher and Crasher," “ Tiv > Bonny castles," “ Midnight Watch," etc., etc. TO WHICH IS ADDED A DESCRIPTION OF THE COSTUMES — CAST OF THE CHARACTERS — EN- TRANCES AND EXITS— RELATIVE POSITIONS OP THE PER FORMERS ON THE STAGE, AND THE WHOLE OF THE STAGE BUSINESS. CHICAGO: THE DRAMATIC PUBLISHING COMPANY. WHICH OF THE TWO ? 9 CAST OF CHARACTERS. Baron Mullendorf (Governor of the Imperial Pages) Major Krackwitz (Governor of the Military Prison) IMPERIAL PAGES. Alexis Bettmann Paul Bettmann . . . Rodolpli Louis Sigismund Charles Frederick Cassimir (Twin Brothers.) Officers, Soldiers, Cossacks. Foedora (Daughter of Baron Mullendorf) Katinka (a Servant) •Mr. J. Bland. .Mr. J. H. Turner. .Miss M. Simpson. .Miss G. Saunders. Miss Turtle. Miss Gilbert. .Miss Henkade. Miss Hulet. Miss Ledger. Miss Hamilton. .Miss F. Hughe3. .Miss M. Wilton. Scene— AN INN IN A SMALL MILITARY TOWN IN RUSSIA. Door. Poor. X r Door. SCENERY. Scene .— Public Room of an Inn. | Door. | Table and Chair. O Table and Benches. Door. Door. Door. Several doors, numbered, on each side, supposed to lead to sleeping apartments— large c. door— table and benches, l., with bottles, drinking-cups, pipes, matches, etc.— cards, dice, table, chair, r.— writing materials. PROPERTIES. Bottles, drinking-cups, pipes, matches, etc. ; cards, dice ; writing materials, letters ; tray with supper things ; very large letter ; bill for dinper ; paper describing prisoner ; brace of pistols ; bunch of ribbons ; ring ; large sheet of paper with writing on. f_For Costumes , etc., seepage 20.] I i £X~l /a- WHICH OF THE TWO ? SCENE. — Public Boom of an Inn. Paul, Louis, Rodolph, Charles, Frederick, Sigismund, Cassimir, efc. y are discovered seated, drinking. Paul. Come, comrades, our last and crowning toast, the health of our gracious, noble, and indulgent master, the Emperor! Paul and Pages {rising). Long live the Emperor ! Hurrah! hurrah! {they imply iJvir glasses , Paul, Louis and Rodolph come forward , the others light their pipes . play at cards, dice, etc.) Louis ( r .). Well, Paul, what tidings of your brother, our worthy com- rade, Alexis ? Paul (c.). Poor fellow! lie’s still under arrest, by the Emperor’s orders. Rodolph (l.). In other words, he still refuses to confess how he has expended his last year's pay, amounting to three thou -and rubles? Paul Ye s; even I, his brother, who have the greatest claim to his confidence, am as much in the dark as yourselves, gentlemen. Alexis will keep his secret, depend upon it. Rod. And his prison too, depend upon it. The Czar will be inexor- able. Paul. The Czar has already proved himself to be so, by refusing my poor brother’s earnest prayer to be allowed two short hours of liberty, to join in our attack on the enemy’s position last night. Rod. By-the-bye is it true that his majesty’s person was in danger during the engagement ? Paul. Most unquestionably. Carried away by his impetuous courage, he suddenly found himself engaged almost single handed with a numer- ous body of the enemy’s cavalry, and would inevitably have been either killed or taken prisoner, but for the heroic devotion of one of his pages. Lou. } Rod. > One of his pages ? ( all hurrying down, and surrounding Paul.) Pages. ) Rod. What an honor for our corps! But which of our companions had this glorious slice of good fortune ? Paul. The darkness of the night did not allow the Emperor to recog- nize his preserver’s features, but his majesty drew a ring from his finger, and placed it on that of his deliverer. Rod. In that case, he cannot fail to receive substantial proofs of the Emperor s gratitude. In the mean time (going to table, l .) we will drink his health, comb ned with another toast— namely, a speedy deliverance to our dear comrade, Alexis (the Pages all join in drinking the toast , with loud hurrahs.) 4 WHICH OF THE TWO ? Paul. Thanks, thanks ! Rod. His presence amongst us is now doubly desirable, since the re* cent appointment of our new governor, that odious Baron Mullendorf, whom we all detest so cordially. Paul \n other words, Rodolph, you would like to avail yourself of the extraordinary resemblance between Alexis and myself, to mystify the aforesaid “odious baron.” Ha, ha, ha! well, the similarity of our features has certainly caused a very considerable amount of confusion already, and it is reported that on that account the Emperor is at length fully determined to separate us. Lou. Indeed ! that may, then, account for your mysterious disappear- ance for the last week. Where the deuce have you been 1 Paul {quietly). In prison. Rod. For what offence ? Paul. None whatever. I was there simply as an amateur. The fact is, knowing poor Alexis was desperately in love, I determined he should have a few days liberty. I therefore went to see him in prison, and thanks to our resemblance, I so far imposed upon his jailer, who, in the absence of the commandant, wa> left in charge, as to take his place; so that while Alexis was endeavoring to discover the “lady of his love,” I was quietly munching his dry bread, and swallowing his cold water in his stead. However, my fraternal devotion was entirely thrown away, as when Alexis returned to his prison, he might just as well have stopped in it, for he had not succeeded in obtaining the slight- est trace of her he loved. Rod. (l.). By the bye, Paul, how do your love affairs progress ? Paul (c.). Well, ( conceitedly ) I’ve nothing to complain of. They are, perhaps to be distinguished by a certain fascination of person and man- ners — Pages. Ha, ha ! well said, Paul ! Lou. (r.). One wou d suppose he fell in love with every woman he saw ! Paul. No — understand me. I do not run after the women — the women run after me ! It’s a melancholy fact, but they will run after me For instance, the female domestic of this rustic inn, the pretty Kat- iuka, she’s very desperately smitten, indeed— but as I say to her, “My good girl, if you can’t resist my personal attractions, don’t fret, it’s your misfortune, not your fault.” Pages. Ha, ha, ha ! Rod. {aside). Was there ever such a conceited puppy ? Lou. {reside). There never was such an intolerable coxcomb ? {the Pages all retire, laughing, up the stage, leaving Paul alone) The door, l. 1 e., opens, and Fcedora enters veiled — sees Paul. Foe. {aside). ’Tis he ! {rapidly advancing, c., and grasps Paul’s arm — l. c., in a loud and earnest whisper) Well 1 Paul (r., astonished) Well? Fce. I’ve found you at last ! Paul {aside). She says she’s found me at last ! Fce. I have been anxiously waiting for an opportunity of speaking to you since yesterday morning. Paul {bothered). Have you? {aside) I haven’t the most distant idea who she is, or what she means 1 {by this time the Pages have seen her — they point at her , and whisper together .) Fce. Of course you have heard all about it ? WHICH OJF THE TWO ? 5 Paul (aside). It! what does she mean by “ it (aloud) Yes, of course I have. Fce. (nettled). It doesn’t seem to distress you much ! Paul {aside). Oh, I ought to be distressed ! very well, (aloud) Yes, it does, it distresses me intensely. Fce. Then of course you’ll take immediate steps to prevent it? Paul (<es — your prisoner that is ! Maj. No ; my prisoner that was ! — he has escaped. What’s this ? u He will doubtless be speedily recaptured,” — that’s lucky ! — “ for on the first discovery of his escape, I immediately dispatched six mounted turkeys in pursuit.” Baron. Six turkeys Maj. Yes — no! turnkeys! I’m so confused — so bewildered ! ah, here’s a postscript “One of the turkeys” — I mean turnkeys — “has just returned with a pocket book, evidently dropped by the prisoner in his flight, and containing a letter addressed to the Emperor, which I have thought it my duty to forward instantly to his majesty.” Mercy on us ! escaped ! here’s a pretty piece of business, if it reaches the Emperor’s ears Baron. You’ll lose yours ! Maj My ears 7 Baron Yes, and think yourself lucky if your head doesn’t go along with them ! Maj. Thank you ! I must return to the prison tlvs very moment. Baron. Not till I have presented you to my daughter — your bride elect. Maj. Then make haste ! make haste, if you love me ! Baron. This way, then ! [Hurries out r l. d. 1 E. 10 WHICH OF THE TWO? Alex peeps on at l. d. 2 e. Alex. They’re gone ! luckily, however, I have overheard every sylla- ble. Foedora here ! under this very roof. I must see her. Ah ! Katinka enters at d. l. u. e., lie runs to her , grasps her hand and harries her rapidly to the front. Tell me ! the young lady in that room — who — who is she 1 Katinka. (l.). Well I’m sure, sir! you seem vastly interested about her ! Alex. I am immensely — intensely interested ! her name I speak, don’t you see 1 am on thorns ? Kat. Are you? well, then, her name is Alex Foedora ! Baron Mullendorf’s lovety, fascinating daughter. Kat. Lovely? that’s a matter of taste. For my part, 1 don’t admire cock- up noses. Alex. Young woman, I beg you’ll speak a little more respectfully of the object of my affections. Kat. She the object of your affections ! after all your vows to me. Alex ( astonished ). To you 1 Kat. Yes. Oh, oh, oh, you good-for-nothing, base, cruel, deceitful, ugl> monster! Didn’t you say you were going to invite the Emperor of all the Russias to our wedding ? Oh, oh, oh ! {sobbing.) Alex. Hush ! ( putting his hand over her mouth.) Kat I won’t hush! I’ll be revenged ! {aside) Yes, I’ll run and tell Major Krackwitz that lie’s got a rival, (runs to door l 1 e,, turns towards Alexis, and making a frightful , ugly grim«ce at him) Ugh ! [Exit into room , l. 1 E. Alex. Poor young woman ! there can’t be the slightest doubt that she’s a little damaged, {touching his forehead) How shall I let Foedora know that l am here ? I’ve not patience to wait till her father and Major Krackwitz have left the hou.?e. 1 have it! Her window looks out into the garden. I may, perhaps, be able to attract her attention. Yes — at any rate it’s worth the trial. [Exit, c. to l. Paul enters, it. d. 3 e. Paul. Ha, ha! I’ve given my comrades the slip in capital style, and here I am with ample time before me to prepare for my appointment with the beautiful Foedora When I say beautiful, perhaps she is not beautiful, because if she is beautiful, why was she so closely veiled ? Zounds! she may be a positive fright! Pshaw! a few minute > will de- cide. Re-enter Katinka, l 1 e. Kat. ("site, as she enters). I’ve told Major Krackwitz, so it won’t l*e my fault if there isn’t a smartish rattle among the crockery presently. (seeing Paul, and mistaking him for Alexis) So, sir, you’re still here! I thought by this time you would have been with the “ object of your affections! ” ( contemptuously . ) Paul. So I am. ( about to put his arm round her waist.) Kat Hands off, if yon please, sir Well, why don’t you go ? you surely won’t keep the lady waiting! (sneemngly.) Paul ( s : de). How the deuce can she have discovered ? (suddenly, and seizng Katrina’s hand) Hush ! I see you know all. Kat. It would be rather odd if I didn’t. "WHICH OF THE TWO ? 11 Paul. Who— who could have told you 7 Kat. Who, why you ! Paul. I 1 Kat. Yes ; here on this very spot, not five minutes ago. Paul. Pshaw ! you're dreaming. Kat. Am I? On the contrary, I’m wide awake. Dreaming, indeed! when you had the cruelty, the barba ity, to tell me to my face that you “loved lier, : ’ and that you “rather flattered yourself” she loved you in return. Paul {looking .at her , then aside). Poor girl! her intellects are evidently a little disordered, {aloud) Come, no more of this. I’m hungry. Kat. Hungry again ? {astonished.) Paul {aside). What does she mean by hungry again ? {aloud) I repeat, I want my supper. Kat. Supper again 7 Pooh, you couldn’t do it. You'd better pay for what you have had already — here’s your bill, {presents hill.) Paul. My bill ! {looking at it) Eight roubles! Wliat’s this 7 “Soup, roast chicken.” Kat. Perhaps you haven’t touched the soup, but you can’t deny the chicken — only look at your bones, {pointing to plate on table, l.) Paul. My bones ? Kat. Yes, so pay at once and have done with it. Uncle would have charged you double for such a supper as you’ve had. Paul. Ha, ha, ha! “such a supper as I have had,” eh? No no, my dear ; I can stand a good deal, but I can’t quite swallow that. Kat. But you have swallowed it, therefore I Major ( without , l. ). Very well, Baron, very well. Kat. Here comes Major Krackwitz. {crossing to r ) I’ll get out of the way of the explosion. ( running to r. I)., then stopping , and pointedly to Paul) I wouldn’t be in your shoes for a trifle. ( runs out at door , r. u. e.) Paul {looking after her). I’d give something to know what this all means. Enter Major Krackwitz, at door l. 1 e. Major {as he enters). Can what this young girl says be true, that a little, lialf-fledged, upstart, beardless page, dares to cast sheep’s glances at my intended 7 {sees Paul r.) Oh, this mud be he. Paul {not seeing Major). The hour of my appointment being close at hand, I may as well take up my position in the garden at once, {turns and finds himself face to face with Major.) Major. Now, young gentlemau ! Paul. If you come to that — now, old gentleman! (aside) I wonder who he is. Major. You have a motive in be ng here ? Paul. Probably, or I shouldn’t be here. Major, in a word, then, sir, the lady — you know who I mean — is my intended wife. Paul. Is she? Then I pity her with all my heart. Major {aside). That’s, about the rudest remark I’ve heard for a long time, (aloud) Hark’ee, sir, do you mean to insult me ? because, if you do {threateningly, l ying hand on sword.) Paul. Well, sir ? {same business ) Major. I repeat, because, if you do — I can’t help it. Paul Pshaw ! out of the way, (crossing to l., pushing the Major out of the way.) Major. A blow! (suddenly, and looking fixedly at Paul) Eh? no — stop as you are. Don’t move, (aside) If this should be my runaway a OF ILL LIB. 12 WHICH OF THE TWO? page. Luckily I’ve got his description, {(akcs paper out of his pocket, looking at P aul after each sentence) “Light brown hair — aquiline eyes — — blue nose.” It’s he ? How shall I capture him ? I have it ! {aloud, and in a lone of importance) I see you wear a sword, sir. Paul. Which is quite at your service, s ; r. Major. Then hand it over at once. In other words, you are once more my prisoner. Paul. I ? Major. Yes, you — Alexis Bettman, of the Imperial Pages, sentenced to one month’s imprisonment in the fortress under my command, and from which you ignominiously contrived to effect your escape last night. Paul {aside). He takes me for my brother. Has Alexis, then, escaped ? I’ll not undeceive him. {aloud) I confess, sir, 1 am Alexis Bettman. Major. And I, sir, am Major Krackw r i1z, whose agreeable, I mean punful, duty it is to escort you back to prison immediately— so follow me. Paul. One moment, {aside) Anything to give Alexis time, [aloud) Ex- cuse me Major, but I can’t forget that I have insulted you, and that you have a right to insist upon immediate satisfaction. Be it so ! in five minutes’ time you will find me at the end of the avenue, {crossing to R.) Major Stop ! a very likely matter I’m going to let you give me the slip aaain. Paul. Nay, I pledge you my word that, having once satisfied your wounded honor by running you through the body. I’ll follow you back to prison like a lamb, {going towards l. b., s/ops) Remember, the end of the avenue, (goes in, re-appearing) Pistols, ol course. [Exit, r. d. Major {shouting after him). I’ll be there, sir, in five minutes, pistols and all, sir! (aside) That’ll just give me time to post half a dozen Cos- sacks there to pounce upon the young gentleman the moment he arrives. Ha, ha, capital! but I may as well just take a peep and see what he is about, (peeps through keyhole of r. d.) 'Enter Alexis, c. d. l , without the epaulet for his left shoulder . Alex. I have seen Fcedora — her father fortunately left her alone for a few minutes, and I leapt through the window into her room. She loves me still. Major (r., turning and seeing Alexis, mistaking him for Paul). Holloa, how the deuce did he get there ? Alex, (l , seeing Major). The Major, I’m caught! Major {aside). He hasn’t got his pistols, and looks pale and agitated, perhaps he’s frightened. I’ll swagger a bit. (aloud) Well, sir, where are the murderous weapons, eh? Can’t find ’em perhaps. Mislaid ’em, eh ? What a pity ! umpli ! Alex, (a^ide). What the deuce is he talking about I Major {observing him , aside). He’s dreadfully frightened, {aloud, and with a swaggering air) No matter, swords will suit me quite as well — in- deed, rather better, (drawing his sword , and flourishing it about) So follow me ! Alex. ( aside ). Back to prison — a very likely matter ! (aloud) No, Major, not I, indeed. Major (aside). He’s horribly frightened, (aloud) To refuse satisfaction for an insult, and that insult a blow, is the act of a coward. Alex. Coward ! ’sdeath and furies ! defend yourself! (draivs his sword , and thrusts it, and driving Major round the stage, and off, c. to B.) WHICH OF THE TWO ? 13 Major. Holloa! holloa! Alex. Come on, come on, I say ! Major. Help ! help ! Enter Paul, r. d. 2 e., with a brace of pistols. Paul Now, Major, I am ready for you. Sorry to have kept you, but I found my pistols were not loaded, (i looking about) Heyday ! not here ! what the deuce has become of him ? Re-enter Major, c. from r., very much out of breath, his hat off, wig awry, dress disordered — leans up against door post exhausted. Major. Wheugh! of all the desperate, sanguinary young rascals — Pm sure if I’ve run round the garden once with that infuriated young savage at my heels, Pve been round five-and-twenty times; but, luckily, at the last go round, he ran plump into the arms of six gigantic Cossacks, so that now he is safely caged at last ( seeing Paul, r . whom he mistakes for Alexis) Eh — no — yes — escaped again ! (staring with astonishment.) Paul (r., turning and seeing Major). Oh, there you are! I couldn’t imagine what had become of you. I was just going to run after you. Major. What, again ? Well, you wouldn’t have had far to run, for 1 couldn’t have gone once more round to save my life. Paul ( astonished ). Once more round what? Major. Why, that infernal garden ! But tell me, how the deuce did you contrive to get out of their clutches ? Paul. Whose clutches I Major. Why, the six Cossacks, you know, who arrested you just now ! Paul. Arrested me? Major. Yes, sir, for your cowardly attempt to stab me behind my back. Paul. Pshaw ! no such thing. Major No such thing, eh ? Well, if sticking your sword into a man who is running away from you isn’t stabbing him behind his back, I don't know what is. Paul ( looking at him, and shaking his head). Major, Major, you’ve been drinking. Baron (without, l. 1 e.). Major, Major, I say. Major. The Baron (to Paul) You’ll stop here till I come back. Paul. Yes, I won’t follow your example by running away from you — ha, ha, ha! Baron (without, and in a louder tone). Major, I say ! Major. I’m coming! [runs info room, l. 1 e Paul. So it seems I’ve been running round a garden trying to stick my sword into that elderly gantleman’s back ; then I’ve been arrested by six Cossacks ; then — (suddenly) Ah, yes, it must be so! Alexis is doubtless concealed hereabouts, and he — he is the hereof this adventure for which, owing to our resemblance, I have got the credit — ha, ha, ha ! (looking off, r. c. d.) What do I see ? ’ tis he ! Alexis is brought on by the Cossacks, c. from r , who go out again — at the same time Katinka enters, r. d. 2 e. Alex. (r. ). S Brother! rush into each other's arms.) 14 WHICH OF THE TWO? Kat. (at back , r ). He’s got a brother ! Why, mercy on me, they’re both exactly alike ! I shan’t know oue from the other. Alex. Dear Paul ! Kat. {aside) Oh, that’s Paul ! I won’t take my eyes off him, or I shall get puzzled again. Paul. Dear Alexis, I needn’t say with what'delight I heard of your escape from piison ! Alex. Yes ; I was resolved to join my comrades in their attack on the enemy last night. Paul. My brave brother! Alex But that’s not the only good fortune that’s happened to me. She’s here — under this very roof. Paul. Your beautiful unknown I Alex. Yes. Paul. So is mine ; but she’s no longer unknown, for I have discov- ered who she is. Alex. So have I. In a word, the object of my affection is no other than — {whispers Paul, who starts.) Paul (smiling). Well, as one confidence deserves another, the object of my affection is no other than — ( whispers Alexis, who starts violently .) Alex. Fcedora faithless ! Paul. Not a bit of it — ha, ha, ha! Don’t be jealous, the mystery is easily explained. She mistook me for you, as older and wiser heads have done before. Kat. (r., aside). Mine, for instance. Paul But are you aware that you really have a rival 1 Alex. Major Krackwitz — yes, Foedora told me so. By-the-bye, the Major insisted upon it just now that I had grossly insulted him, and, probably, mistaking my astonishment for fear, dared to call me a cow- ard ! Paul. Ha, ha, ha ! then it is you who’ve been running round the gar- den after him, trying to stab him behind his back, eh ? Capital! don’t be alarmed — I’m the offender ! Alex, {anxiously). But, he spoke of a blow ! Paul. It was something of the sort, 1 believe ; but I was annoyed — irritated! But I suppose a Council of War will settle the matter. Alex, {alarmed). A Council of War! Oh. Paul, think of our poor mother — it would kill her! Write to the Emperor, confess your fault, and implore his pardon. Paul. Nay, nay, I shall get out of the scrape, depend upon it. {sud- denly) Heyday ! Alexis, what has become of your epaulet 1 Alex. ( feeling his left shoulder). Gone ! ah, if 1 have dropped it in Foedora’s apartment, and her father should happen to find it Paul. He’ll probably summon the whole of the Imperial Pages to his presence, and thus the unlucky youth without an epaulet will be at once proclaimed his daughter’s lover. Alex. True ! what — what is to be done ? Paul. Nothing so simple ! you’ve lost your epaulet — take mine. (about to t ike off his epaulet .) Alex And so involve you — no ! Paul. You won’t? (taking off his epaulet) Then I’ll put it into my pocket — there— -and now let the indignant old Baron do his worst. Kat. (who has got round to l). Oh, lud ! as long as oue of them had an epaulet I could tell them apart, but what’s to be done now ? I have it! I’ 11 just pin this on his coat tail ! {taking a bow of ribbon fruit, her dress and pinning it on Paul’s coat tail ) There, thanks to that "pre- caution, I shall know my beau again in a moment. [Exit at r. d. 2 e. WHICH OF THE TWO ? 15 Paul [goes to table , l., drinks a glass of wine, and throws himself into chair r. of table') . Come, Alexis, a glass of wine. No 1 then I will, (drinks a glass of wine) Notone — no? then I’ll take another. ( keeps talking and drinking , yawns) Strange, this sudden drowsiness, {yawns) Perhaps an- other glass of wine — ( drinks , and at l>st falls asleep.) Alex. (r.). If this insult offered by Paul to his superior officer is brought before a military tribunal, his ruin is inevitable. How shall I save him ? Ah, yes, if he would but restore this ring I wear to the Em- peror, it would secure his pardon — but no, Paul would never consent. (turns and sees him asleep) What do I see ? By all that’s fortunate, he sleeps ! ( taking ring off his finger and places it on Paul’s finger — the right hand.) Major ( without , l.). Very well, Baron, very w r ell. Alex. The Major — I was just in time, (goes r.) Enter Major, l. d. 1 e. Major (seeing Alexis). Still heie, eh ? You’ll soon learn, young man, what it is to outrage military discipline by insulting your superior. (walking to and fro.) Alex, (aside). Perhaps an apology may yet save Paul. ( following him) Major, if the expression of my most sincere regret — (c.) Major (still walking about). Too late ! too late! I have made my re- port, therefore, unhappy, ill-starred youth, you must abide the conse- quences. (turns and finds himself close to Paul, Alexis goes round to r.) Heyday ! hang me if the unhappy, ill-starred youth liasn t gone fast asleep ! (shaking him violently .) Paul (starting up, l ). What’s the matter? Major (c., seeing Paul l., Alexis r ). Eh, no ! can it be ? (looking from one to the other several times) Is it an optical delusion ? no, they are both one, and both exactly alike, (coming forward, they exchange looks behind) If I arrest one, it’s just a toss up that 1 shall make a mistake, and if I do make a mistake, it’s anything but a toss up that I shall get into a confounded scrape. Ah, l have it ! (to Paul) Young man, after the very handsome apology you made me just now Paul. I ! (astonished.) Major (to Alexis) I mean you ! Alex. I ! Major. One of you did, which was it? Paul’ \ ( smili , a )- Ah, ah ! Major. I insist on knowing. Paul' \ ("»*''*)■ Oh, oh ! Major. Both dumb! Baron, ( without , l ). Major, Major ! Major. Perhaps the Baron will make you speak. In the mean time, I arrest yo i both— you hear? both! consider that room your dungeon. (pointing to l. d. 3 e — Alexis crosses to Paul, and they throw an arm round each other's neck) Left backwards — wheel ! (they wheel and face Major ad- vance three steps towards Major salute and laugh , wheel backwards, take three steps to l., turn, salute and laugh , wheel backwards, and exit, laughing, L. d. 3 e.) Well, now I’m more puzzled than ever. Enter Baron hurriedly, l. d. 1 e , with an epaulet in his hand — walking up behind Major, and in a voice of thunder . 13 WHICH OF THE TWO? Baron (l.). Krackwitz ! Major (r ., storting). Oh, lud ! ( turning round.) Baron. You see before you a man purple — no, crimson with indigna- tion ! Major. Well, you do look rather red in the face — what’s the matter ? Major. This ! (thrusting epaulet close under the Major’s nose.) Major. An epaulet ! Baron. Belonging to one of the Imperial Pages! Where do you think I found it ? Major. Most likely where he dropped it. Baron But where do you think he dropped it? Major Probably where you found it. Baron Yes; ha, ha, ha! (s vagely) In my daughter’s apartment! your intended’s apartment ! Don’t you hear 1 (furiously.) Major (manned). Yes, of course I hear. My intended daughter’s apartment — no, my daughter’s intended apartment — no, stop! I’ve got n couple of pages locked up in that room — the brothers Bettmann — who (with emphasis) by an extraordinary dispensation of nature Baron. Pshaw ! don’t bother me about nature — run and see if either of them is without his epaulet — why don’t you run ] (furiously -Major crosses to l., Baron to r.) Major, (at door , l. 3 e., peeping through keyhole). Yes, there’s one with- out his epaulet. Baron Ah ! Major. And the other Baron. Never mind the other ! Major. The other’s without it too. (Baron sits at table and writes) They’re exactly alike in every particular, for as I was going to observe, by some extraordinary dispensation of nature Baron ( furiously ). Don’t talk nonsense! ( going on writing.) Major. It’s not nonsense, for how am I to know which of the two it was dared to insult my honor ? Baron. Don’t bother me about your honor! how am I to know which it was dared to insult my daughter] Major. Don’t bother me about your daughter! Baron. Ha! Major. No, I don’t mean that! Baron {rising and coming forward with written paper). We must make common cause. Listeu! the Emperor is here — (Major looks about) Pshaw ! when I say here I don’t exactly mean here. Major. Then why do you say here ? Baron. Silence ! he is in the immediate neighborhood, and I have received his Imperial orders to discover the Imperial Page who saved his Imperial life, and to whom he gave his Imperial ring — here is my answer; (showing paper) stating that I have been unable to do so, and at the same time requesting permission to punish the audacious page who has presumed to compromise my daughter’s reputation. This paper you must deliver to the Emperor at once, (gives it) Don’t you hear? at once ? Major. I’m going ! [Runs off y c. to r. Baron. Here comes Foedora — I’ll question her. Enter Fcedora, l. d. 1 E. Come here, my child ! F(e. Yes, father! WHICH OF THE TWO ? 17 Baron. Ahem ! I have just picked up a certain article of dress in your apartment ! Fce. Indeed ! something belonging to me ? Baron. Well, I don’t see exactly how it can form part of your ward- robe, unless you’ve taken lately to wearing epaulets, [holding up epaulet.) Fce. {aside). What shall I say ? Baron {violently). The name of the page who owns this epaulet — quick ! speak ! Fce. (l., alarmed). I think — I mean — I believe his name is Bettmann. Baron. Which — which of the brothers — Alexis or Paul? Fce. He — he never told me his Christian name ! Baron. Should you know him again ? Fce. Oh, yes, that 1 should 1 Baron. That’s lucky! {crosses to l., opens door, l. 3 e.) Step this way, gentlemen. Enter Alexis and Paul, l 3 e , at the same moment Katinka enter s, r. d. 3 e. * Baron. Now, daughter, they are both before you — which is he 1 Fce. {starting). Can such a marvellous resemblance be possible 1 Baron. Are you dumb ? I repeat, which is he ? Fce. They are so exactly alike I cannot tell. Kat. ( aside ). Luckily I can, thanks to my bunch of ribbons, which is still on his coat tail, {getting round , l.) Baron {aside). I must try another plan, {aloud) Ahem ! gentlemen, one of you has seriously compromised the reputation of my daughter ! there is but one reparation he can make — in other words, he must marry her ! {aside) I shall have him now ! Paul ( hastily , aside to Alexis). A snare ! Alex. ( to Paul, aside). A trap ! Baron. Therefore let the happy youth declare himself at once. Baron. One at a time— now, answer. Baron. Confusion ! Fcedora, then you must and shall decide. Fce. {hesitating). Well, then, I think — I mean — I believe this is he, {pointing to Paul.) Kat. {coming forward , l.). I beg your pardon, that young man belongs to me, for I took the precaution of putting my private mark upon him. {stiowing bunch of ribbons) Besides, here is his epaulet. ( taking it out of Paul’s left pocket) There, I have got you out of that scrape, haven’t I, dear Paul ? Baron. That’s enough. So, then {to Alexis) Alexis Bettmann, it is you who first set the Emperor at defiance by breaking out of prison, and then insult me by making love to my daughter. Alex. My intentions, Baron, are honorable. Baron. That the Emperor must decide, {goes up stage — Alexis crosses to r. , to Fcedora) Ah ! Enter Major, hurriedly , c. from r., followed by Officers and Six Cossacks and all the Imperial Pages. Fcedora. R. Katinka. Baron. Alexis. Paul. l. 18 WHICH OF THE TWO? Baron. Well, (anxiously to Major). You’ve seen the Emperor? Major. Yes, and here is his majesty’s reply to your letter ! (Two Cos- sacks during this have placed the table , which is on r., in the c., with a chair) But first let me attend to my little affair, (goes to table } takes out a hrge paper which he unfolds and spreads on table * Major. Attention ! (reads) “ The council of war now assembled at head-quarters, hereby requires the signature of the Imperial Page who stauds charged with insulting his superior officer — Major Karl Scipio Ajax Agamemnon Krackwitz— ” Paul l.). With all my heart ! (hurries to table and hold out his hand for pen.) Baron (r seeing the ring on his finger). Eh? what! that ring ! (seizing Major by the arm , and bringing him forward) It’s he ! (in a loud whisper , and pointing to Paul.) Major. Is it? Which he? what he ? who he ? {bothered.) Baron (crosses to Paul, and grasping his right hand,). It was a noble action, young man. (shaking his hand.) Major (coming down to Paul, and taking his left hand). It was a superb action, young man. (shaking his hand.) Baron (with another shake of Paul’s hand). One that will shed a lustre on your name. Major (ditto). One that will shed two lustres on your name. Paul (c , bewildered). Really, gentlemen, I don’t understand Baron (smiling). Nay, modesty and valor always go hand in hand to- gether. Major (shaking Paul’s hand). Yes, it’s a well-known fact, hand in hand they always go ! Paul. Once more, I am at a loss Baron. Nay, nay, that ring on your finger has betrayed your secret. (to Officers and Pages) Gentlemen, in this gallant youth you behold the preserver of the Emperor’s life ! (the Pages all comedown and congratulate Paul, then go up in conversation with the Baron and Major.) PauljJc., looking at ring). This ring ! by what strange, mysterious Alex, (r., grasping his arm and speaking in a low tone). Hush! the council of war is already assembled ! if you would preserve our name from disgrace — if you would save our mother from despair Paul. Oh, speak ! Alex. Declare that that ring was placed on your finger by the Emperor. Paul And so basely rob another of his reward ? Alex. No, for that other will never claim it — no, no, Paul, he will freely sacrifice fortune, fame, life itself to save his brother ! Paul ( staggered ). Alexis ! Alex. Hush t (seeing Baron and Major advancing — Alexis goes r., Paul, l. — Baron and Major c.) Baron (r. c., hastily breaking the seal of letter , and angrily to Major). Why didn’t you tell me I haven't opened the Emperor’s letter? Major (l. c.). Well, I really thought Baron. You’d no business to think. Major. I mean, I didn’t think. Baron. Then why didn’t you think! (opening letter and reading) “The Emperor is aware of the escape of Alexis Bettmann from the military Fcedora. k. *Pages. Cossacks. Pages. Alexis. Officer. Paul. Katinka. Baron. Major. c. L. WHICH OF THE TWO? 19 prison — the Emperor is also aware, from the contents of a pocket book belonging to the fugitive, and transmitted to the Emperor, that it is to Alexis Bettmann that he owes his life ” Pages and / To Alpvi , , Everybody, j Paul (l., aside). The truth is out! so much the better, for it lay pain- fully heavy here. ( laying his hand upon his heart .) Major ( undecided — turns first to one, then to the other , and at length to Alexis, r.). It was a noble — superb action — one that will add three lus- tres to your name, (shakes hands with him.) Baron. Silence! (Major goes up — Baron reading) “The aforesaid Alexis Bettmann is hereby promoted to the rank of captain, as the recom- pense of his filial devotion to his mother — he is also perm tted to name his own reward for the service rendered to his Emperor.” Speak ! ( look- ing slyly at Fcedora) The reward you will doubtless ask is — is Alex, {looking first at Fcedora then at Paul, then suddenly). My brother’s pardon ! (rushing to Paul — they meet in c ) Paul. Dear Alexis ! (embrace.) Baron (r. — aside, and wiping his eyes). He’s a fine, noble fellow, and — (aloud to Alexis) Do you love my daughter ? Alex, (l c.). Devotedly ! Baron. Then she is yours ! (■ putting Fcedora across to him.) Major (coming down r. between Baron and Fcedora). Hollo, holloa ! father-in law — but stop I (pointing to the paper wlvch the Baron has in his hand) There’s an imperial postscript, and that imperial postscript may be important. Baron (reading). “ With respect to Major Krackwitz ” Major. There ! didn’t I say it was important ? Baron, (reading) “ In order to teach him more caution for the future, he is condemned to six weeks’ imprisonment in his own fortress.” Paul Ha, ha, ha! and be sure, Major, you don’t let yourself slip through your own fingers. Major (to Paul). Well, perhaps you will use your influence with his majesty in my behalf, (crosses to l. corner.) Paul. Let me first endeavor to exert it here, (to Audience) May I hope that our efforts to amuse may be taken into the merciful consider- ation of this Court Martial, and that on this occasion our offences against strict dramatic discipline may be forgiven or only gently reprimanded, we don’t care “ Which of the Two.” Pages. Baron. Fcedora. r. Cossacks. Officer. Alexis. Paul. c. Pages. Katinka. Major. l. CURTAIN. STAGE DIRECTIONS. R. means Right of Stage, facing the Audience ; L. Left ; C. Centre ; R. C. Rigfc 5 of Centre ; L. C. Left of Centre. D. F. Door in the Flat, or Scene running across the back of the Stage ; C. D. F. Centre Door in the Flat ; R. D. F. Right Door in the Flat; L. D. F. Left Door in the Flat ; R. D. Right Door ; L. D. Left Door ; 1 E First Entrance; 2 E. Second Entrance - U. E. Upper Entrance ; 1, 2 or 3 G. First Second or Third Grooves. R. R. C. C. L. C. L. K5T* The reader is supposed to be upon the stage facing the audience. 20 WHICH OF 1HE TWO ? COSTUMES . Baroh Mullendoef.— Claret surtout coat, bound with fur (sable), heavily trimmed with gold loops and lace ; fur cap with scarlet fall, trimmed with gold, white pantaloons, trimmed with gold, black boots with deep sable fur tops, sword, gold belt, amber silk sash, large cloak. Major Kuackwitz.— Green surtout, bound with fur (sable), trimmed with gold loops, lace, etc., the same as Baron’s. The Pages.— Green surtout coats, bound with sable fur, trimmed with gold cord, amber silk sashes, swords, belts, yellow pantaloons, Hessian boots, fur caps, with scarlet falls. Peasants. — Russian peasant’s dress, the same as in the Exile. Cossacks.- Hussar jackets, full red trousers, black boots, fur caps, buff belts, swords. Fcedora. — Puce velvet pelisse, trimmed with fur and gold, amber petticoat, lace boots with fur tops, large black veil, cap trimmed with fur. Katinka. — Colored body, trimmed with gold cord, long sleeves, double skirt, apron trimmed to match, Russian head-dress, trimmed with beads, braided hair, and four long tails, fancy stockings, black shoes. TIME IN REPRESENTATION-SIXTY MINUTES. SYNOPSIS. Alexis Bettman, one ot the Imperial Pages, is imprisoned by the Czar for re- fusal to confess as to the manner in which he expended his last year’s pay. He breaks prison to join in an attack on the enemy, during which he saves the emper- or’s life. His preserver is unknown to the sovereign, but the Czar places a ring on his finger, declaring that he should be rewarded on the morrow. Alexis claims the reward in a letter to His Majesty, on behalf of his widowed mother. Fcedora, the governor’s daughter, designed to be married to the military commander, visits an inn with a view of making an appointment with Alexis, her favored lover. Meet- ing Paul, Alexis’ twin brother, and, deceived by their resemblance, she gives him the note designating the place of interview. Paul goes in search of the place indi- cated, while Alexis comes to the inn, where Katinka, beloved by Paul, serves him with a supper, ordered by his brother, under a misapprehension of his being her ad- mirer. The governor and commandant, in search of the escaped prisoner, arrive at the inn, where, subsequently, the commandant encounters Paul, who, acknowledg- ing himself to be Alexis, accepts a challenge, and goes in search of pistols for the purpose of fighting the duel. In his absence Alexis returns, having seen Fiedora in her apartment, where he has dropped one of his epaulettes, and then casually meets the commandant, who has planned the duel merely to entrap his prisoner into the hands of the Cossacks. The page draws his sword on his superior officer, who charges the offence upon Paul, who, to shield his brother, assumes the responsibility of the offence. The letter, dropped by Alexis in his flight, has been forwarded to the Czar, who returns an answer, advancing his preserver to the rank of captain, with the privilege of naming his own reward, which Alexis claims to be the pardon of his brother. The governor, struck with his fraternal devotion, confers upon Alexis the hand of his daughter, whose honor had been compromised through find- ing the epaulette in her chamber. WON BACK A PLAY IN FOUR ACTS. By CLIFTON W. TAYLEUR Six male, four female, characters. A play written in the same vein as “Held by the Enemy,” “Shenandoah,” “ Across the Potomac,” and other great New York successes. Mr. Tavleur has written many suc- cessful plays for Maggie Mitchell, Frank Chanfrau, and others, but this striking picture of the stirring times of the Great Rebellion sur- passes them all. Costumes, civil and military of the period. Scenes, two interiors, and one landscape with Confederate camp, easily man- aged. Time of playing, two hours and thirty minutes. PRICE 25 CENTS. SYNOPSIS OF EVENTS. ACT I. — Drawing-room, Arlington, Washington — 1860. “ Whom first we love, you know, we seldom wed ; Time rules us all: and life indeed is not The thing we planned it out, ere hope was dead, And then, we women cannot choose our lot.” In fetters — The rivals— North and South — The coy widow — A noted duelist— An old affection— The dismissal — The rivals meet — “Yog shall answer for this ” — Farewell. ACT II — Same Scene— 1860. “ Who might have been — Ah, •what, I dare not think t We all are changed. God judges for the best* God help us do our duty, and not shrink, And trust in Heaven humbly for the rest. Broken tios — A Yassar girTs idea of matrimony — A Washington savage — Schooling a lover — Affairs of honor — The Northern fire-eater— The missing challenge — Betrothed. ACT III. — Drawing room in New York Hotel — 1861, “ With bayonets slanted in the glit*eciisg light With solemn roll of drums. With starlit banners rustling wings of night. The knightly concourse comes. * To arms ! To arms ! — Stand by the flag — A woman’s duty — A skirm- ish in the parlor — On to Richmond — Reunited — Tne passing regiment, ACT IV. — Confederate Camp at Winchester— *864. “No more shall the war cry sever, or the winding river be red ; They banish our anger forever, when they laurel the graves of onr A coward’s armor — A hand to hand struggle — Hugh captured— Sen- tenced to be shot — A ministering angel — Harold King’s revenge -The attack on the camp — Death of King — After the battle — Won Bach ^ny address, 00 »ecetpt of prie® Single copies sent, post-r‘ Just Published A SOCIAL OUTCAST. A DOMESTIC DRAMA IN ONE ACT, BY CHAS. TOWNSEND, Author of " Borderland,” “ Broken Fetters,” “ Vacation,” Etc, Three male, two female characters. A capital little play, printed from the author's acting copy as performed under his management. ** Lawrence Emmet,” the outcast and tramp, and “ Kenmore,” the genteel villain, are strong characters ; the two female characters, leading lady and ingenue , also being excellent. Fun and pathos inter- mingled enlist and retain the attention of an audience from beginning to ends Scene, a nicely furnished reception or drawing room. Costumes, simple, of the present day. Time of playing, thirty minutes. Price, 15 Cents. SYNOPSIS OF EVENTS. Genie expresses her ideas to “ Kenmore ” — Julia’s birthday party — The Judge talks politics— and discloses a secret — “ I am not her father! ” — Emmet appears on the scene — “ Yer aff, there, Guvnor ” --Kenmore devises a scheme — “ I’d rather talk dollars ” — The disguise detected— The scheme develops — Julia’s distress—' “ Tell me it’s not bue!”— Emmet gets a square meal, and has a talk with Genie— Ksnmore’s scheme seems to flourish, but his offer is refused — “ A word from me and back he goes to prison ’’—The letter opened — “ My own, own child!” — Kenmore finds his match — Emmet throws off his dis« guise— The Judge makes an acknowledgment — Kenmore discomfited My own father J ” — Tableau. Copies sent, postpaid, to any address on receipt of the pri&b HICK’RY FARM ONE OF THE BEST PLAYS EVER WRITTEN FOR AMATEURS A COMEDY DRAMA OF NEW ENGLAND LIFE, IN TWO ACTS, BY EDWIN M. STERN. PRICE, 25 CENTS. Six male, two female characters. This play deals with the same phases of life as “The Old Homestead'’ and “The County Fair,” and is written 111 the same comedy vein which has rendered these two pieces so popular. The courtship of the Irish alderman is one of the most ludicrous scenes ever written, while the scenes between the old farmer and his daughter are most touching and pathetic. Scenery, a set cottage and a plain room. Costumes of the day. Time of play- ing, an hour and a half. SYNOPSIS OF INCIDENTS. ACT I. HICK'RY FARM HOUSE . Darkwood’s Plot — Skinner tempted— Money ! Gold ! — Zekiel ap- pears — “Be you Ann Maria’s boy?” — Fortune’s reminiscences — The deed must be stolen ! — Hard cider — Aunt Priscilla’s love — The alder- man’s brogue — “ Dear departed Hezekiah” — Jessie’s secret — “ Then you still love me?” — “Larry McKeegan’s courtin’” — The “widdy” suc- cumbs — “ Zekiel’s fav’rit’ song ” — McKeegan’s ghost — J ack Nelson makes a discovery — Jessie has gone ! — “ Heaven help me !” — Zekiel’s prayer. ACT II. IN FORTUNE'S SHANTY. Zekiel’s misfortunes — The rent collector — Darkwood’s insult — “Vil- lain, you lie !” — Skinner’s remorse — The New York detective — The bank robbery — Darkwood threatens — Jessie returns — The alderman married — “Sure it’s a darlint little woife she is” — Zekiel’s happiness — “Gosh ! I ain’t felt so gol-darned happy sinct I wuz a boy !” — A trap for Dark- wood — Jack and Jessie reunited — Priscilla pacified — Darkwood at bay — “ Stand aside, as you value your lives ! ’’—The detective fires — “ You’ve done for me this time !” — Zekiel’s forgiveness — Old Hick’ry farm restored. Copies sent post-paid, to any address, on receipt of price. JOE RUGGLES ^ OR, THE GIRL MINER. A COMEDY-DRAMA IN FOUR ACTS. BY FRANK J. DEAN. PRICE 35 CENTS. Nine male, three female characters. A vigorous, stirring play, de- picting peculiar types of life in a large city and in the mining districts of the West. The parts of Joe Ruggles, the miner, Hans Von Bush (Dutch dialect), and Richard Hamilton, the scheming villain, all afford opportunity for clever work $ while the part of Madge (sou- b'rette), who afterwards assumes the character of Mark Lynch, is an excellent one for a bright young actress. This last, and the character of Bessie (juvenile) could easily be assumed by youths. Scenery — City street, showing R. R. Station $ rocky pass, with set cabins 5 a wood scene, and two plain interiors. Costumes of the day. Time of playing, two and a half hours. SYNOPSIS OF EVENTS. ACT I. — Entrance to Railroad Station, Looking for a victim— Joe Ruggles— “ Them galoots is worse than grizzlies “ Morning papers ’’—Madge and Bess plying their trades— 1 “ Can’t you sing Joe a song?”— Hamilton and his pal confer— Tom Howartti gains important informa- tion—" Don’t, you dare to lay hands on us ! ’’—Hamilton tries to maintain his authority— “ Who ? Old Joel” ACT II.— Doomsday’s Hotel, Dare-devil’s Gulch, California, The landlord secures a guest— Hans disappointed— “ Dot is a misdake”— A ghost story— The “Kid and his sister”— “ Did I hurt your highness?”— Hans and Doomsday have another talk— Kate Laurel meets the young miner— “ Yah, dot vas vot I t’inks ’’—Madge’s disguise penetrated— She recognizes an old enemy— “Now, George Smith, take your choice”— Joe Ruggles as a tramp— “Ef yer think yer can pick on me because I’m han’some ye’ll find me ter hum ’’—Hamil- ton appears— “ Those two youngsters are mine ’’—The tramp takes a hand. ACT III.— Wood Scene. A lively ghost— Hamilton and Smith plan more villainy— Old Joe thinks of turning detective— Kate Laurel again— “ There is a secret connected with my life”— Kate’s confession— “What do you mean, sir! ’’—Torn Howarth once more — “ Yos you looking for a hotel ? ’’—Planning an abduction— Old Joe as r a Irish- man— “ Phat does yez want wid me?”— Undertakes to be a detective' Takes a hand in the abduction— “ Do it at your peril! ” ACT IV, Hans hears, and tells, the latest news— “I nefer pelieved dot spook peesness” —Kate Laurel astonished— Hamilton attempts flight— “ De poys haf got Mr. Ham- ilton, und dey vill gif him a necktie barty ’’—Arrest of Smith— “ Get out mit my vay, I vas de Unided States Mail ’’—Toni meets his old friend under new circum- stances— “ Do you want me, Tom? ’’—Old Joe gives consent— A happy ending. Single copies sent, post-paid, to any address, on receipt of price. HAGEMAN’S MAKE=UP BOOK. By MAURICE HAGEMAN. Authorof “What Became of Parker,” “Prof. Robinson,” “Hector,” “Mrs Mulcahy,” “The First Kiss,” “By Telephone,” “To Rent,” etc. Price, 25 cents. The importance of an effective make-up is becoming more apparent to the professional actor every year, but hitherto there has been no book on the subject describing the modern methods and at the same time covering all branches of the art. This want has now been filled. Mr. Hageman has had an experience of twenty years as actor and stage-manager, and his well-known litei ary ability has enabled him to put the knowledge so gained into shape to be of use to others. The book is an encyclopaedia of the art of making up. Every branch of the subject is exhaustively treated, and few questions can be asked by professional or amateur that cannot be answered by this admira- ble hand-book. It is not only the best make-up book ever published, but it is not likely to be superseded by any other. It is absolutely indispensable to every ambitious actor. CONTENTS. Chapter I. General Remarks. Chapter II. Grease=Paints, their origin, components and use. Chapter III. The Make=up Box. Grease-Paints, Mirrors, Face Powder and Puff, Exora Cream, Rouge, Liquid Color, Grenadine, Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists’ Stomps, Cold Cream, Cocoa Butter, Recipes for Cold Cream. Chapter IV. Preliminaries before Making up; the Straight Make»up and how to remove it. Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. Chapter VI. Juveniles. Straight Juvenile Make-up, Society Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, Hands, Wrists, Cheeks, etc. Chapter VII. Adults, Middle Aged, and Old Men. Ordinary Type of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy Old Age. Ruddy Complexions. Chapter VIII. Comedy and Character Make=ups. Comedy Effects, Wigs, Beards, Eyebrows, Noses, Lips, Pallor of Death. Chapter IX. The Human Features. The Mouth and Lips, the Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. Chapter X. Other Exposed Parts of the Human Anatomy. Chapter XI. Wigs, Beards, Moustaches, and Eyebrows. Choosing a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald Wigs, Ladies’ Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, Beards for Tramps, Moustaches, Eyebrows. Chapter XII. Distinctive and Traditional Characteristics. North American Indians, New England Farmers, Hoosiers, Southerners, Politicians. Cowboys, Miners, Quakers, Tramps, Creoles, Mulatoes, Quadroons, Octo- roons, Xegroes, Soldiers during War, Soldiers during Peace, Scouts, Path- finders, Puritans, Early Dutch Settlers, Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, Portuguese, South Americans, Scandina- vians, Germans, Hollanders, Hungarians, Gipsies, Russians, Turks, Arabs, Moors, Cattirs, Abyssinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. Address Orders to THE DRAMATIC PUBLISHING COMPANY, CHICAGO, ILLINOIS. PLAYS. B EING the largest theatrical booksellers in the United States, we keep in stock the most complete and best assorted lines of plays and entertainment books to be found in this country. We can supply any play or book pub- lished. We have issued a 144-page catalogue of the best 1500 plays and entertainment books published in the U. S. and England. It con- tains a full description of each play, giving number of characters, time of playing, scenery, costumes, etc. This catalogue will be sent free on application. The plays described are suitable for am- ateurs and professionals, and nearly all of them may be performed free of royalty. Persons in- terested in dramatic books should examine out catalogue before ordering elsewhere. The Dramatic Publishing Company, CHICAGO.