815 
 
 m 
 
Price 35 Cents 
 
 'ubHshed by EDGAR S. WERNER & CO., New York 
 
Werner's Selections 
 
 wuh Elocution Lessons No* 1 
 
 . • BRINGS TO YOUR HOME . . 
 
 EMMA DUNNING BANKS, Actress, Public Reader, Teacher, Author of 14 Banks's 
 
 Recitations with Lesson-Talks." 
 BERTHA L. COLRURN, Teacher, Author of 44 Graded Physical Exercises." 
 ANNA D. COOPER, Teacher, Public Reader, Director of Poses in the Pantomimes, 
 
 44 Star-Spangled Banner," a^d 44 The Listening Ear of Night." 
 ANNA RANDALL-DIEHL, Teacher, Public Reader, Author of 44 Elocutionary 
 
 Studies," etc. 
 
 GRACE B. FAXON, Teacher, Public Reader, Formerly an Editor of "Werner's 
 Magazine." 
 
 HENRY GAINES HAWN, Teacher, Author, President of the National Association of 
 Elocutionists. 
 
 ERNEST LEGOUVE, of the French Academy, Eminent Playwright and Dramatic 
 Teacher. 
 
 J. M. D. MEIKLEJOHN, Eminent English Elocutionist. 
 SAIDEE V. MILNE, Teacher, Public Reader, Author. 
 
 AMELIA RING MORGENROTH, Teacher, Director of Entertainments at Educational 
 Alliance. 
 
 E. V. SHERIDAN, Actress, Teacher of Dramatic Art, Author, Playwright. 
 HERMANN VEZIN, the Eminent London Teacher of Elocution. 
 
 ELISE WEST, Teacher, Public Reader, Formerly an Editor of 44 Werner's Magazine." 
 CORA W. WHEELER, Teacher, Author, Formerly First Vice-President of the 
 National Association of Elocutionists. 
 
 THESE CONTRIBUTORS REPRESENT ALL THE LEADING 
 CONTEMPORANEOUS SCHOOLS OR. SYSTEMS OF 
 ELOCUTION AND PHYSICAL CULTURE 
 
 Following is a list of selections, which are exhaustively analyzed, and on 
 which elaborate lesson-talks are given, by the above-named eminent teachers: 
 
 American Flag. — J. R. Drake. 
 Bishop and the Caterpillar.— M. E. Manners. 
 Brier-Rose.— H. H. Boyesen. 
 Captor Captive (from '* Ingomar "). 
 Como, — J. Miller. 
 Cupe's Courtship. — J. U- Lloyd. 
 Dog's Funeral.— S V. Milne. 
 Higher Culture in Dixie.— D. Dix. 
 How He Saved St. Michael's.— M. A. P. 
 Stansbury. 
 
 How to Prepare a Selection for Public 
 
 Rendering. — C. M. Wheeler. 
 Jaffar.— L. Hunt. 
 
 Julius Caesar, Act I., Scene I.— W. Shake- 
 speare. 
 
 King Richard's Dream.— W. Shakespeare. 
 Kitty Clive.— F. F. Moore. 
 Legend of the Organ-Buiider. 7. C. R. Dorr. 
 Light on Deadman's Bar.— E. E. Rexford. 
 Little Christel. — M. F. Bradley. 
 
 Little Hugo. 
 
 Order for a Picture.— A. Cary. 
 
 Organist.— A. Lampman. 
 
 Parthenia, a Hostage (from "Ingomar"). 
 
 Peggy's Serpulae.— L. C. Austin. 
 
 Pied Piper M Hamelin. — R. Browning. 
 
 Rejected Suitor (from "Ingomar"). 
 
 Rivals.— B. Chandler. 
 
 Savage Conquered (from "Ingomar"), 
 
 Shaker Romance. — C. S. Haight. 
 
 Sheltered.— S. O. Jewett. 
 
 Sioux Chief's Daughter. — J. Miller. 
 
 Soul of the Violin.— M. M. Merrill. 
 
 Study of Fables. — E. Legouve. 
 
 Tom's Little Star.— F. Foster. 
 
 Two Souls with but a Single Thought (from 
 
 " Ingomar "). 
 White Lily.— M. L. Wright. 
 Wooing Scene from "King Henry V."— W. 
 
 Shakespeare. 
 
 35 SPLENDID LESSONS IN ELOCUTION FOR. $1.25 
 
 Book sent postpaid on receipt of price 
 
 Address the Publishers 
 
 EDGAR S. WERNER 6. CO.. NEW YORK 
 
PRICE, 35 CENTS. 
 
 SWEEPERS' GROWL 
 
 Drill for Bight Girls, or Bight Boys; or for Sixteen 
 Boys and Girls. 
 
 BY STANLEY SCHEL.L. 
 
 Copyright, 1909, by Edgar S. Werner. 
 
 Costumes: White dresses, white aprons, white sweeping-caps, 
 white dust-cloths, and small feather-dusters tucked in apron 
 belts. Carry small sweeping-brooms decorated with stream- 
 ers of white ribbons. If boys take part, they dress as 
 porters, sing, "Oh, What Fun, Boys/' and speak lines as 
 given on page 7. 
 
 Music: "Sweep, Sweep/' "We Have So Much Work to Do," 
 and "Oh, What Fun, Girls/' 
 
 DRILL 
 
 1. Music: "Sweep, Sweep." Girls enter in fours at stage 
 back and move up stage toward front, as follows : Sweep R. 
 oblique during three beats, at same time step forward R. oblique, 
 then bring L. foot up to R. foot. Continue these movements 
 during 48 beats or 16 measures of music. 
 
 2. Stage front. * Girls swing brooms up and forward oblique 
 into position for sweeping ceiling. Movements : Sweep back 
 during three beats, then forward during three beats, and so on, 
 
 / 
 
2 
 
 SWEEPERS' GROWL. 
 
 alternating 24 beats or 8 measures, meantime stepping backward 
 to stage C. 
 
 3. Stage center. Girls lower brooms to floor and move up 
 stage toward front as in I, but this time they sweep L. oblique 
 and step forward with L. foot, then bring R. foot up to L. foot. 
 Continue these movements during 24 beats or 8 measures of music. 
 
 4. Stage front. Look at audience and smile wearily. Place 
 brooms in front of body and vertical; rest both hands on top of 
 broom-handle. 
 
 5. Sing, "We Have So Much Work To Do." 
 
 WE HAVE SO MUCH WORK TO DO. 
 
 Ob dear me ! "We have so much work to do, Oh dear me! 
 
 DIRECTIONS FOR SINGING "WE HAVE SO MUCH WORK/' ETC. 
 
 "We have so much work to do/ 9 
 [Whiningly.] 
 "Oh— dear me!" 
 
 [Long drawn out and snappish.'] 
 "We have so much work to do/ 9 
 
 [Shake head sideways and look weary.] 
 
 "Oh— dear me 99 
 
 [As if very tired.] 
 "We have so much work to do/ 9 
 
 [So tired and disgusted.] 
 
 "Oh— dear me 99 
 
 [Uplifted brows and little nods of head.] 
 [Stop singing suddenly as if catching breath, then speak abruptly.] 
 "But— now !— we'll rest \" 
 
 [Lean well over broom-handles.'] 
 
SWEEPERS' GROWL. 
 
 3 
 
 6. Music, "Sweep, Sweep/' [Girls straighten up and look 
 animated, then sing, "Sweep, Sweep/'] 
 
 SWEEP, SWEEP. 
 
 
 is- >. . > 
 
 
 
 For its s 1 
 
 '—-.m-a, 
 
 « 
 
 t^eep, sweep, sweep, si 
 1 — S-g-i — *- fl n — g-g- 
 
 ^eep, 
 
 ^ «@ 
 
 '*» ^ 
 
 A.11 the live - long 
 
 
 . i a» s J «i *s | , . | fm m 
 
 c w-\- r- 1 » r i > ii 
 
 -j ^ m 
 r * 1 1 . 
 
 * L — _ ] 
 
 
 
 
 
 
 p^ 1 — =F— — 
 
 
 
 
 -s^m-J — 0 — 
 
 
 ^weep, s 
 
 \ .. m 
 
 weep, 
 
 sweep 
 
 1 * " i 
 Monday morn 
 
 
 
 
 
 
 i 
 
 to 
 
 Sat - ur - day night, Sweep, 
 
 -4- #L-#L 
 
 r Z7 = 
 
 =5=*-|=±: 
 
 — z^r-. — — 
 sweep, sweep, 
 0> m _ 
 
 sweep, 
 
 :g=F 
 
 y OF JLL LIB. 
 
4 
 
 SWEEPERS' GROWL. 
 
 While singing "Sweep, Sweep/*' girls are at same time sweeping 
 and taking following steps : 
 
 Sweeping R. and sliding R. with R. foot, then bringing L. foot 
 up to R. foot. 
 
 Sweeping L. and sliding L. with L. foot, then bringing R. foot 
 up to L. foot, and so on during song. 
 
 7. When song is finished, brooms are brought in front of body 
 again, and girls, resting on brooms, look coyly at audience. Sud- 
 denly they turn and look at one another and say, "Let's play; Fm 
 tired of work/' 
 
 Girls face R., swing brooms to shoulders, with broom end up, 
 and look across shoulders at audience. 
 
 Music: "Oh, What Fun, Girls." 
 
 OH! WHAT FUN, GIRLS. 
 
 To the clear sky, Light as heart's gay, On this 
 
SWEEPERS' GROWL. 
 
 5 
 
6 
 
 SWEEPERS' GROWL. 
 
 While singing, "Oh, What Fun, Girls/' girls dance in waltz 
 time (first 1, 2, 3, R., then 1, 2, 3, L., and so on) around stage in a 
 circle, then around to stage back C, then in a serpentine to stage 
 front, where they form one long line across stage and face audi- 
 ence. Girls bring brooms to position in front of body and vertical. 
 Again they rest on handles. Music, "Sweep, Sweep/' Girls 
 sweep, step, and sing as before. 
 
 8. With end of song, brooms are brought in front positions 
 again and girls rest on them as before. 
 
 GIRLS' DIALOGUE. 
 
 First Girl. But what care I if it is sweep, sweep, sweep, 
 sweep, sweep the livelong day, we do have fun sometimes. 
 Second Girl. Oh, indeed, do we ! Pd like to know when. 
 Third Girl. So should I, for I find it a burden to keep house. 
 
SWEEPERS' GROWL. 
 
 Fourth Girl. For if s nothing but sweep, sweep, sweep, sweep, 
 the livelong day. [Swings broom as she speaks.] 
 
 Fifth Girl. Yes, 'tis sweep, sweep, dust, dust, floor, ceilings 
 and walls. 
 
 Sixth Girl. And it's ladders to climb, and cobwebs to brush. 
 Seventh Girl. And windows to clean and curtains to dust. 
 Eighth Girl. It's busy, busy, busy, till long after set of sun. 
 All. But the boys — dearie me [heave big sighs] — well, they're 
 busy, too, making muss, dirt, and dust. 
 
 9. Music, "Sweep, Sweep." Girls sweep and step and sing as 
 before, but this time as they step they keep moving backward until 
 stage back C. is reached, when they dart out. 
 
 BOYS' DIALOGUE. 
 
 First Boy. Well, I'd rather have fun all the time than work. 
 Second Boy. But the workers often get to be great men. 
 Third Boy. Yd like to know how? 
 
 Fourth Boy. By holding their tongues, doing their work well, 
 and saving their spare cash. 
 
 Fifth Boy. Listen to his beautiful dream — spare cash! It 
 takes all I earn and all my tips to pay for cigars. 
 
 Sixth Boy. You have had more money this year than I, and 
 yet I have saved fifty dollars. 
 
 Seventh Boy. Oh! let's look at him— a real mother's boy, 
 is it? 
 
 Eighth Boy. Work won't hurt any one, and working well is 
 the best thing one can do, for it makes one strong and honest. 
 Now, let's do our best. 
 
 Music, "Sweep, Sweep." Boys sweep and step and sing as 
 before until they exit. 
 
Thanksgiving Celebrations 
 
 (Known also as "Werner's Readings and Recitations No. 40.") 
 
 FINE COLLECTION OF RECITATIONS, SONGS, ENTERTAIN- 
 MENTS, ACTION POEMS, ACTION SONGS, ETC. 
 
 By STANLEY SCHELL. 
 
 Around Thanksgiving Time. 
 Birth of Our Thanksgiving Day. 
 Blue Beard, Story of. 
 Child's Thanksgiving. 
 Country Thanksgiving. 
 Elder Sniffles's Thanksgiving Dinner. 
 Farmer John's Thanksgiving. 
 Feast Time of the Year. 
 First Thanksgiving (2 pieces). 
 First Thanksgiving Day. 
 Five Kernels of Cora. 
 Freedom's Thanksgiving Day. 
 Give Thanks. 
 Gossip of the Nuts. 
 His Riches. 
 
 His Thanksgiving Dream. 
 Home for Thanksgiving. 
 Ichabod Crane at Heer van Tassel's Dinner 
 Party. 
 
 I'll be at Home Thanksgiving. 
 In Football Times. 
 Ingin Summer. 
 John White's Thanksgiving. 
 Joseph's Story. 
 Kitty's Thanksgiving. 
 Little Pilgrim. 
 Little Turkey Gobbler. 
 "Makin' Things A-Purpose to be Et." 
 Making Jack-o'-Lanterns. 
 Miner's Thanksgiving. 
 My Thanksgiving. 
 "My Tumick's Got a Pain." 
 Neddie's Thanksgiving Visit. 
 Night Before Thanksgiving. 
 Pessimistic Gratitude. 
 
 IRecttattons in tbe 3Booft 
 
 Pumpkin Pie. 
 Reasons for Thanks. 
 Scripture Readings. 
 Signs of the Times. 
 Story of the Pilgrims (2 pieces). 
 Tanksgibbin Turkey. 
 Thank the Creator, not the Created. 
 Thankful for What? 
 Thankful Frog and Unthankful Cat. 
 Thanksgi vin' . 
 Thanksgiving (4 pieces). 
 Thanksgiving Chicken. 
 Thanksgiving Day. 
 Thanksgiving Dinner. 
 Thanksgiving Gourmand. 
 Thanksgiving in Old Virginia. 
 Thanksgiving in the Gold Diggings. 
 Thanksgiving Legend. 
 Thanksgiving Lesson. 
 Thanksgiving Magician. 
 Thanksgiving on Herring Hill. 
 Thanksgiving Philosophy. 
 Thanksgiving Ride of the Pumpkins. 
 Thanksgiving Sermon. 
 Thanksgiving Song for Little Folks. 
 Thanksgiving Story. 
 Thanksgiving Wooing. 
 Tit for Tat. 
 
 Tommybob's Thanksgiving Vision. 
 Tommy's Dinner. 
 Tommy's Thanksgiving. 
 Turkey of Life. 
 
 What Makes Thanksgiving Day. 
 Where the Mince Pie Grows. 
 Why? 
 
 Witch's Daughter. 
 
 President's Thanksgiving Proclamation. 
 Pumpkin. 
 
 Entertainments in tbe JBooft 
 
 T^n Wiw8 °tiA 22 ( hi s tori f a l exercise 6 children)— Brownie Drill and Song (6 children)— Dumb- 
 Bell Drill (6 children)— Feast Time of the Year (exercise, 5 children)— For the Jolly Jack-o'-Lan- 
 terns (action song for 3 boys, 3 girls)— Joseph's Story (entertainment, 2 boys, 2 girls, and 4 small 
 children)— Mayflower (acrostic, 9 children)- -Pantomime of Witch's Daughter (lm If with reader 
 of text and several supes)— Pumpkin-Pie (acrostic, 10 children)— Pumpkin-Pie Makers (entertain- 
 ment, any number)— Spellers (acrostic, 10 children)— Story of a Seed (entertainment, 5 children) 
 —Thanksgiving (acrostic, 12 children)— Thanksgiving Day (acrostic, 12 children or 1 child)— Thanks- 
 giving Lesson (play, 4 girls)— Three Little Cooks (entertainment, 3 girls)— Thanksgiving Enter- 
 tainment (pictures, past and present of Thanksgiving Day)— Thanksgiving Entertainment ^pictures 
 in song, recitations, essay, proclamation, exercises, etc., history of Thanksgiving, from beginning 
 to the present)— Thanksgiving Entertainment for Primary Grades (consists of acrostics songs reci- 
 tations, exercises, motion song, concert recitation, quotations)— Thanksgiving Program (consists 
 of chorus, dialogue, dril , pantomime, recitations)— Thanksgiving, Then and Now (play, 2m 20— 
 Thanksgiving Toasts— What Each is Thankful For (exercise, 2 boys, 5 girls). 
 
 Songs in tbe Boofe 
 
 Songs with Both Words andJMusic: God Bless Our Native Land— Heigh Ho! for Thanksgiving 
 —Landing of the Pilgrims— Pie Song— Thanksgiving— Thanksgiving Day is Here Once More— 
 Thanksgiving ">r Harvest— Thanksgiving Hymn— Thanksgiving Song— Thanksgiving Turkey- 
 Three Maids of a Housekeeping Turn. Songs with Words Only, Tunes Suggested: For the Jolly Jack 
 ©'-Lanterns— Once More We Hail Thee— Spellers— What Makes Thanksgiving Day. 
 
 Price, 35c. in paper, 6oc. in cloth binding, postpaid 
 
 EDGAR S. WERNER & COMPANY, NEW YORK. 
 
Hallowe'en Festivities 
 
 (Book is known also as ''Werner's Readings and Recitations No. 31.'*) 
 
 N.B. — While this book is specially suitable for Hallowe'en, it contains muck 
 material good for any time of the year and fc r any occasion. 
 
 CONTENTS: 
 
 IRecttattons 
 
 At Candle Lightin' Time— P. L. Dunbar. 
 
 Courtin'. — J. R. Lowell. 
 
 Colored Dancing Match. — F. L. Stanton. 
 
 Don Squixet's whost.— Harry Bolingbroke. 
 
 Elf-Child.— J. W. Riley. 
 
 Enchanted Shirt. — John Hay. 
 
 Famous Ghosts. 
 
 Ghost Stories. — Flavia Rosser. 
 
 Ghoses. — J. D. Carrothers. 
 
 Ghost of a Flower. 
 
 Hallowe'en (essay). — Stanley Schell. 
 Hallowe'en. 
 
 Hallowe'en. — Carrie Stern. 
 Hallowe'en. — L. F. W. Gillette. 
 Hallowe'en. — M. Cawein. 
 Hallowe'en Cheer. 
 His Father's Ghost. 
 Jimmy Butler and the Owl. 
 Miss Russel's Ghost. 
 
 Most Remarkable Vision. 
 
 My Ghost Story. 
 
 Omens.— Frank L. Stanton. 
 
 One Thing Needful. 
 
 Popping Corn. 
 
 Queen Mab. — Shakespeare. 
 
 Robin Goodfellow. — Ben Jonson. 
 
 Saved by a Ghost. 
 
 Seein' Things.— Eugene Field. 
 
 Speakin' Ghost.— S. S. Rice. 
 
 Sweet William's Ghost. 
 
 That Awful Ghost. 
 
 That Ghost. — Anna E. Dickinson. 
 
 Uncle Dan'l's Apparition.— Mark Twain 
 
 and CD. Warner. 
 When de Folk is Gone.— J. W. Riley, 
 Witch's Cavern. — Bulwer Lytton. 
 Wood Hants. — Anna V. Culbertson, 
 
 Entertainments 
 
 Clever Matchmakers (play).— Dance Program for Ghost Dance.— Directions for Serving 
 Supper.— Fagot Ghost stories.— Fortune Slips, Samples of.— Fortune Telling.— Fortune 
 Telling with Dominoes.— Ghost Dance.— Ghost Stories.— Ghost Story Party— Ghostly 
 Pantomimes.— Goblin Parade.— Hallowe'en I ntertainment.— Hallowe en Festivities' 
 Decorations.— Hallowe'en German .—Hallowe'en Invitation Forms.— Hallowe'en Pro- 
 gram.— Hallowe'en Supper .—Home Tests for Hallowe'en.— Lucky Charms.— Macbeth' s 
 Fortune (play )— March to Supper .—Menu (suggesiive) .—Order of Serving Refreshments .— 
 Partners for Supper, Method of Securing.— Reception and Introduction of Guests.— 
 Receipes for Hallowe'en.— Refreshments.— Samples of Conundrums for Hallowe'en.— 
 Shadow Pantomimes (suggestive).— Spook March.— Supper.— Witch Costume.— Witches 
 Dance.— Your Lucky Birthday Jewel. 
 
 IRecipes 
 
 Apples for Hallowe'en.— Chestnuts.— Chicken Salad Rolls.— Cider Flip.— Conundrum 
 Nuts.— Fortune Balls,— Fortune Cake.— Fried Cakes.— Grape Pudding.— Hallowe'en 
 Pie.— Melon Cream.— Orange Straws.— Pop Corn Balls.— Salted Nut— Meats.— Syrup 
 for Pop-Corn Balls. 
 
 Games 
 
 After-Supper Sports, Games, Mysteries.— Alphabet Game.— Apple Paring.— Apple 
 Pip Test.— Apple Seeds.— Apple Seeds.— Apples and Flour.— Around the Walnut Tree.— 
 Baby Show.— Barrel Hoop.— Blind Nut Seekers.— Bowls (Luggies).— Candle ai d Apple.— 
 Cellar Stairs.— College Colors.— Combing Hair before Mirror.— Cupid's Time.— Cyniver.— 
 Dough Test.— Dreamer.— Dry Bread.— Ducking for Apples.— Fagot Ghost Stories.— 
 leather Tests.— Four Saucers.— Game of Fate.— Games and Mysteries for Early 
 Evening.— Guess Who.— Hallowe'en Souvenir Game.— Hiding Ring, '1 nimble and 
 Penny.— Jumping Lighted Candle.— Launching Boats.— Lover's Test.— Magic Starrs.— 
 Melting Lead.— Mirror .—Mirror and Appl^.— Naming Bedposts.— Necklace.— Needle 
 Game.— New Friends.— Peanut or Bean Hunt.— Perplexing Hunt.— Pulling Kale.— 
 Pumpkin Alphabet.— Raisin Race.— Ring and Goblet.— Secret Test.— Snapdragon. — 
 Supper Games.— Threading a Needle.— To Test Friends.— Touchstone.— Two Roses.— 
 Walnut Boats.— Water Experiment.— Where Dwells My Lover.— Winding Yarn.— 
 Winnowing Corn.— Wood a.. J Water.— Yo r Lucky Sticks. 
 
 Price, 35c. in paper, 60c. in cloth binding. 
 
 Address the Publishers : 
 
 EDGAR S. WERNER & CO., 43 E. 19th St.. New York. 
 
PRICE, 3.25 
 
 KIT' S CAL LER 
 
 ROMANTIC, HUMOROUS MONOLOGUE FOR A WOMAN 
 
 By PAULINE PHELPS, joint author with MARION SHORT 
 of "A Grand Army Man," leading part played by 
 David Warfield, under management 
 of David Belasco 
 
 /'KIT'S CALLER" presents a drawing-room scene. 12 
 minutes. Shop-girl calls on maid of wealthy young lady who has quar- 
 reled with lover and gone away, having discarded dress which lover 
 Ck • 1 • to sn °P-^ r l dress, which shop-girl struts around with, 
 i NL? l mista ' ces ' over ' wno calls* ror tradesman, and blabs out young 
 lady s heart-sorrow over quarrel with lover who, after showering money 
 on the two girls, rushes off for reconciliation. 
 
 MISS PHELPS is also author of the following selections, 
 all of which have been tested on the public platform, are in the 
 repertoires of America's most successful reciters, and win 
 prizes everywhere : 
 
 As the Moon Rose Kit's Caller 
 
 Aunt Elnora's Hero Midnight Courtship 
 
 Aunt Sarah on Bicycles Millinery Melee 
 
 Average Boy Minister's Black Nance 
 
 Betsy Holden's Burglars Old Benedict Arnold 
 
 Biff Perkins's Toboggan Slide Old Fifer 
 
 Billy's Animal Show Reverend Mr. Tuffscrappen 
 
 Cook, The Rosalind's Surrender 
 
 Daisy's Music Practice Hour Scorching vs. Diamonds 
 
 Deacon Slocum's Presence of Seven Ages of Man 
 
 Mind Shakespearean Conference 
 
 Dumb- Waiter Difficulty Spinier Thurber's Carpet 
 Family Plate Story of Hard Times 
 
 Firetown's New Schoolhouse Sweet-Girl Graduate 
 Her Cuban Tea Telephone Romance 
 
 How Mr. Simonson Took Thanksgiving Day at Grand- 
 Care of the Baby ma's 
 Jolly Brick Trial Performance 
 
 Just Commonplace What a Masquerade Did 
 
 PRICE, $.25 EACH, POSTPAID 
 
 t'etid Direct to the Publishers 
 
 Edgar S. Werner & Co. ,43 E.I 9 th St. , N. Y. 
 
SIS 
 
 Sch2m 
 
 Scheli, Stanley, 
 
 Modern Queen Esther, 
 
 Contents 
 Modern Queen Esther 9 
 Ravings of a mad actor. 
 Sweepers 1 growl. 
 
7L 
 
 4 • 
 
 MODERN 
 QUEEN 
 ESTHER 
 
 TANLEY 
 CHELL 
 
 KETCH 
 
 EDGftRS.WERNER 
 ^COMPANY 
 
 NEW YORK CITY 
 
 PRICE ES CENTS 
 
 COPYRIGHT 1914 BY EDGAR S.WERN 
 
MODERN QUEEN ESTHER. 
 
 ["MUWER's DAVID."] 
 
 Pathetic Child-Dialect Monologue for Small Girl. 
 
 Stanley Schell. 
 
 [Copyright, 1914, by Edgar S. Werner.] 
 
 Characters : Alice Dunbar, seven years old, speaker 
 present ; David Martin, President of Battery Sav- 
 ings Bank, supposed to be present. 
 
 Costume : Dainty white gown, low shoes, white stock- 
 ings, long curly yellow hair, white hat trimmed with 
 blue ribbon and long streamers hanging behind. 
 
 Scene : Bank office^ showing president's room. Desk L. 
 Near desk, with side toward desk, large and comfort- 
 able wheel-chair in which Mr. Martin is supposed to 
 be seated. Near end of desk good-sized trash-basket 
 nearly full of paper. Door R. C. opens slowly and 
 Alice Dunbar enters, stands smilingly within door. 
 Soon she looks pleadingly at Mr. Martin. 
 
 PLEASE, may I come in? [Face lightens with a 
 smile.] Aren't I already in? [Laughs as if 
 pleased.] 
 
 Oh, yes — little bit. [Dances lightly across stage to 
 Martin's chair.] But your guard — your mess'gers said 
 you mustn't be 'sturbed ; but I 'splained dat Pm Queen 
 Esther, an' had to see you on most 'portant business, so 
 I got by dem 
 
 (157) 
 
 II. OF ILL LIB. 
 
(to 
 
 STANLEY SC HELL'S SKETCHES. 
 
 Not truly, of course. My really, truly name is Alice — 
 Alice Dunbar — you seem 'sprised? Pm p'tending Pm 
 Queen Esther, an' [bows low and deep] you is Ahas'rus, 
 the king! Pm come to save my people [looks serious and 
 nods slowly], not sure 'nough nation, you know, but just 
 make-believe. [Looks pleadingly at Martin; rests hands 
 on arm of chair as if tired; shifts from one foot to the 
 other; pouts; looks wistful.] 
 
 You haven't asked me to sit down yet ! My muvver 
 says it's perlite to ask vis'tors to be seated, an' specially 
 when she is of royal blood. 
 
 [Appears to be lifted to seat on desk; swings feet; 
 crosses them; looks seriously at Martin.] 
 
 Now, King Ahas'rus [swings feet again; twirls hat by 
 ribbons after removing it from head], we can talk more 
 comfo'bly, but, — is you a Medumpersian ? 
 
 You fink not? Oh, Pm glad. [Heaves sigh of content.] 
 
 Why? 'Cause as you isn't, you can change your mind 
 'bout 'smissing my favver. 
 
 Favver? No, he didn't never. He wouldn't never have 
 let me come; nor muvver, neaver, mos' of all. 
 
 [Leans forward as if telling a secret; zvhispers.] 
 
 I runned away! But [beseechingly], please, promise — 
 you won't never tell nobody? 
 
 [Face full of pleading, whole body expressing 
 eagerness.] 
 
I 
 
 STANLEY SC HELL'S SKETCHES. 
 
 You'll — you'll promise? [In worried tones; suddenly 
 face lightens with joy.] Cross your heart — so — that's the 
 way. Now, you can't never tell, for, if you do, the black 
 bird'll get you — yes, he will, and — he'll eat you all up. 
 [Shakes finger at him impressively.] 
 
 Why I corned to you? 'Cause I heard favver say to 
 muvver he'd rawer starve dan ask a favor of you. 
 Favver's brave — he is ; but, muvver [lips quiver; eyes fill 
 with tears] ; I couldn't never let muvver starve; so I 
 finked an' finked an' finked, if you wasn't really drefful 
 cross, I'd ask you myself [peers closely into his eyes], 
 an' you ain't cross one tiny little bit. [Clasps hands as 
 if overjoyed at discovery.] Oh, I'm so glad I runned 
 away. I fink you're very nice too. Fanks? You needn't 
 fank me, you is nice, vough you don't smile much ; per- 
 haps you've twoubles of yours too. You might tell me 
 'bout 'em, if you have. I symp'thize wiv my own beau'- 
 ful muvver, sometimes, you know. 
 
 Beau'ful? [Looks at him in surprise.] Beau'ful? She's 
 so lovely, you can't never fink naughty fings when she's 
 lookin' at you, but [sorrozv fully] now she has nervous 
 persuasion — vat's it, I guess, ever since my favver lost 
 his money. Doctor says she mus'n't never be bovvered, 
 and [shaking finger at him in threatening fashion] you — 
 you — have gone an' bovvered her ! 
 
 Sorry? Really — an' truly — cross you're heart — you is 
 — yes, you is? I'm glad — I truly is. You see [confi- 
 dentially], favver tells muvver nothin' 'cept 'bout his lost 
 
160 
 
 ST AX LEY SCH ELL'S SKETCHES. 
 
 money air wishes to gwacious goodness he could live his 
 life over 'gain, an* nen [sobs hard a moment], nen he 
 dwinks 3 an' dwinks*. an' nen says to muvver vat's the only 
 way to forget 'bout it. 
 
 Cowardly brute? What's vat? Go on? [Hesitating- 
 ly.] But you didn't say nuffin naughty, did you? [Wor- 
 ried and apprehensive look.] Xo? Well, so, 'course, 
 vere's nobody to fink 'bout muvver but me. an' yest'day — 
 [flushing and hesitating], favver said the rent was only 
 paid 'till to-morrow — an*, an' we hadn't no money at 'tall, 
 an' vere's no use for him to try. 'cause ev'ybody's "gainst 
 him. Xen muvver cried, an' you know she mustn't never 
 do vat. 'cause it makes her worse ; an* if she gets worse 
 all the time, she'll die. air* I reckon if muvver died nobody 
 "ud want to live, would vey? 
 
 [Eyes fill with tears ; sobs hard a while; stops cry- 
 ing suddenly and looks up worried and seared.] 
 
 My 'tition? Yat 'tis [clasps hands pleadingly] : Please, 
 King Ahas'rus, please you just put favver back again! 
 Won't you, please? I jes' vant you to let him stay 'till 
 I'm big 'nough to take care of muvver. It won't be so 
 dreffiil long. 
 
 I won't — when I'm big 'nough — HI marwy rich man? 
 Xo. no, no! Yat's orful fing ! Why. my muvver said, 
 once on a time, a little girl she knowed. an' who had 
 yellow curls just like mine, an' used to be so verwy, verwy 
 happy, an' she knew a nice little boy who is now a big 
 
STANLEY SC HELL'S SKETCHES. 
 
 161 
 
 man like muvver — no favver [trying to think]. Oh. 
 dearie me, I forgot his name. [Puts finger on brow in 
 funny fashion and sits in deep thought.'] 
 
 David? Oh, yes — David. How did you know? An' 
 he used to carry the little girl's books to school. One 
 day, when the bridge was — when — carwied her over the 
 stream? Yes, vat's it [looking at him with approving 
 eyes]. You're orful bright to know vat 
 
 An' vey used to go a-nutting an' sliding together, an' 
 he alwuz brought her all the firstest flowers, an' vey 
 were so happy an' loved each uvver, an' vey said vey 
 would get married when vey growed up. But, one day. 
 vere was a great rich — oh, so verwy, verwy rich man 
 corned to her muvver an' wanted to marwy her, an' her 
 muvver made her marwy him — an' vat was orful, 'cause 
 she didn't love vat rich man but only just loved David 
 an' kep' on lovin' David vough she twied orful hard not 
 to, 'cause she had to marry the uvver man. I reckon 
 she's been in the habit of it so — so long, she just couldn't 
 stop. An' nen the rich man lost all his money, an' now 
 she is punished bad. An* I'll never, never act like vat 
 to a boy I love 'cause it's the wickedest fing in the world, 
 muvver says. 
 
 [Mr. Martin is supposed by this time to be sit- 
 ting with head bowed on desk. Alice looks at him 
 while she talks; after a while smoothes his head 
 gently and lovingly.] 
 
 I'm 'fraid you're drefful tired of me. [Slips from desk 
 
 1} 
 
162 
 
 STANLEY SC HELL'S SKETCHES. 
 
 and moves toward door.] I mus' be goirP. My muvver'll 
 miss me. [Stops and looks back.] Mus'n't go yet? Come 
 back? You'll grant [makes rush for chair and fairly 
 dances up and down] — you'll grant my 'tition for sake of 
 my muvver? — you — love — my muvver? — You — you — is 
 little David she toP 'bout? [Clasps hands ecstatically.] 
 You love my muvver, an' you is her David? Why, nen, 
 muvver was mistaken nen, she said you hated her, an' 
 you don't? You're so kind, I reckon you couldn't hate 
 nobody — could you, now ? 
 
 Not my muvver? Nobody couldn't do vat. 'Member, 
 you mus'n't never tell I corned, 'cause you crossed your 
 heart, an' vat's more van bein' a Medumpersian. I'm 
 glad I corned, now, an' muvver'll love you more van ever, 
 'cause you let my favver stay, an' I'll bring her to see 
 you soon as she is better of nervous 'suasion. Good-bye ! 
 [Stretches up and offers lips to be kissed; sound of kiss- 
 ing.] Good-bye, muvver's David. [Trips across stage; 
 waves hand and exits blowing kisses from finger-tips, say- 
 ing in loving tones.] Muvver's David. 
 
ACTING MONOLOGUES 
 
 BY LIVINGSTON RUSSELL. 
 
 ENGAGED. Price, 25 cents. 
 
 Romantic, humorous monologue for a woman. A young woman, who has 
 just become engaged, calls her departing lover back several times, and then 
 falls into a gu&hing and hysterical reverie. She sorts over her love-letters, 
 plans how their room will be arranged, and runs off stage singing theLohen- 
 grin Wedding March. Full business given. 
 
 CUPID'S VICTIM ; or the TIMID MAN. Price. 25c. 
 
 Humorous monologue for a man. A bashful man reads up on courting and 
 practices before a dummy girl. Very full business given. Three illustrations, 
 
 AN IMPECUNIOUS ACTOR. Price, 25 cents. 
 
 Humorous monologue for a man, describing the tribulations of a stage- 
 struck youth who goes into raptures over his 44 art," etc. 
 
 THE CLIMAX OF A CRIME. Price, 25 cents. 
 
 Tragic monologue for a man. Old man make-up. A murderer, having gone 
 into a hole to bury his viciim, is shut in and can not escape. He goes mad 
 in his living tomb; his various victims appear before him, and he finally 
 stabs himself. Complete business and stage -directions. 
 
 THE DEATH DREAM. Price. 25 cents. 
 
 Intensely dramatic monologue for a man, from the play " The Bells," played 
 by Sir Henry Irving. An inn-keeper, who is also the burgomaster, murders 
 a guest for gold and burns the body in a lime kiln. On his daughter's wed- 
 ding nigM he in a dr«am goes through all the minutiae of the murder, 
 passes through terrible suffering and dies. Five full-page illustrations. 
 Full business. 
 
 THE "COMING OUT" OF MISS CUMMINGS. 25c. 
 
 A breezy and humorous monologue for a woman. An up to-date 44 bud " of 
 seventeen, from the West, makes her debut in New York. She does not take 
 kindly to society's ways and to the addresses of the stylish men, but i refers 
 Montana ways and k *Jimmie, of Missoula Gulch." Affords opportunity to 
 introduce various specialties. Full directions for stage, and full business. 
 Three full-page illustrations. 
 
 THE GREEN-EYED MONSTER. Price, 25 cents. 
 
 Humorous monol gue for a woman. An actress, in making her debut, 
 misses the presence of her lover, and has a fit of jealousy and of the blues. 
 Ends happily. Affords opportunity for varied expressional work. 
 
 f OR GOD AND COUNTRY. Price, 25 cent** 
 
 Historical, patriotic, and tragic monologue for a woman. fL A ved Cross nurse 
 describes the scenes on the battle-field at Santiago. Ilerers to Gen. Wheeler 
 and to Col. Roosevelt. Unusually elaborate directions for producing various 
 war-effects, and full business. (Every reciter should have this monologue 
 tor the valuable stage-iessons it gives, even the ugh he does not c?re for the 
 monologue itself.) Three full page illustrations. Costume of a Ked Cross 
 nurse. 
 
 VIVA CUBA LIBRE! Price, 25 cents. 
 
 A patriotic monologue for a woman. A dramatic setting of incidents con- 
 nected with the patriotic daring of Paulina de Ruiz Gonzales— the Joan of 
 Arc of Cuba; together with the introduction of historical matter regarding 
 the sufferings of the Cubans during the struggle for liberty. 
 
 JUST LIKE ONE OF THE FAMILY. Price, 25 cents. 
 
 William Handy, living with friends but considered "just like one of the 
 family,'* is asked to look after the house during the absence of his host and 
 hostess on a call. He promises himself a quiet evening of intellectual en- 
 joyment, but is aroused first by the frantic bawling of their .baby, by tne 
 entrance of the coalman and by the cries of their pet cat, dog and parrot. 
 When upon the verge of nervous collapse, his friends return. Intet seiy 
 humorous. 
 
 Any of the above sent post-paid, on receipt of the price, by the publishers, 
 
 EDGAR S. WERNER & CO. < 3 E rSw , ffii? w * 
 
Stanley Schell's Sketches 
 
 Price, 25 cents each 
 
 Apartment Hunting 
 
 At the Notion Counter 
 
 At the Restaurant 
 
 Bargain Day 
 
 Bargain Hunters 
 
 Baseball Game 
 
 Bicycle vs. Wolves 
 
 Black vs. White 
 
 Blue and White Polka-dot Shirt 
 
 Book Canvasser 
 
 Brave Man and a Toothache 
 
 Buying a Hat 
 
 Buying Rugs in a Department 
 
 Store 
 Cheat 
 
 Cozy Corner 
 
 Daisy's Vacation 
 
 De Wolf Hopper on Baseball 
 
 Experience in Arcadia 
 
 Gossiping Bridget 
 
 Hotel Piazza Ladies 
 
 How T Was Courted 
 
 How Nell Gets Even 
 
 How She Helps Save 
 
 I'm Engaged 
 
 Ice Queen 
 
 Invitation to the City 
 It Was a Miracle 
 Just a Bowery Newsboy 
 
 Just Returned 
 
 Leading Lady Seekinc. a Job 
 
 Man She Loved 
 
 Mary Ann Gilhuly 
 
 Modern Queen Esther 
 
 Mop Agent 
 
 Mrs. Thompson Shops 
 
 Pop! Pop! Why Don't You Pop? 
 
 Public 'Phone 
 
 Ravings of an Actor 
 
 Revelations in Housekeeping 
 
 Skippy's 1 Vacation 
 
 Slim .Club 
 
 Small Boy and a Suit of Clothes 
 Society Butterfly and a Pudding 
 Soldier's Golden Wedding 
 Solving the Vacation Problem 
 'Sylums vs. Fresh Air 
 'Tis the Finish of the Play 
 Told Over the Telephone 
 Uncomplaining Married Man 
 Up-to-date Proposal 
 Up-to-date Saleslady 
 Up-to-date Society Child 
 Up-to-date Stenographer 
 Village Seamstress 
 Young Mrs. Bascom's First "At 
 Home" 
 
 Catalogue giving full description of above-listed 
 STANLEY SCHELL'S SKETCHES, sent free on application. 
 
 For list of additional writings by STANLEY S( HKLL, apply to the rubliaher*. 
 
 Address the Publishers 
 
 EDGAR S. WERNER & COMPANY 
 43 East 1 9th Street, New York 
 
SIS 
 
 5cK2m 
 
BV EDGAR S. WERNER 
 
RAVINGS OF A MAD ACTOR. 
 
 ["in a madhouse/'] 
 
 Tragic Dramatic Monologue for Man. 
 
 Stanley Schell. 
 
 [Copyright, 1914, by Edgar S. Werner.] 
 
 Scene: Cell interior. Actor striding majestically up 
 and down. 
 
 A yf AD! — I — mad? Who dares say Pm mad? 
 
 1YX [Suddenly faces audience; glares a moment; face 
 softens. ] 
 
 Does this sound mad? 
 
 [Recites in fine style from "Shamus O'Brien/'] 
 
 "Jist after the war, in the year '98, 
 As soon as the boys wor all scattered and bate, 
 'Twas the custom, whenever a pisant was got. 
 To hang him by thrial — barrin' sich as was shot. 
 There was thrial by jury goin' on by daylight, 
 And the martial-law hangin' the lavins by night. 
 It's thim was hard times for an honest gossoon ; " 
 
 [Stops to recall words, then proceeds.] 
 
 "An' the bravest an' hardiest boy iv thim all 
 Was Shamus O'Brien." 
 
 (149) 
 
 (J OF ILL LIB- 
 
150 STANLEY SCHELVS SKETCHES. 
 
 [Stops suddenly; looks keenly at audience; laughs 
 mockingly.] 
 
 Ha-ha ! Ha-ha-ha ! Dear Shamus O'Brien. 
 
 [Laughs hideously.] 
 
 He— ha ! Ho-ho-ha ! 
 
 [Glares again.] 
 
 So Pm mad — raving mad ! 
 He-he-he — ! [Laughs. ] 
 
 Mad ! My plays made me mad — my plays 
 
 [Chucklingly.~] 
 Ah-ha ! — ah-ha ! 
 
 When I appear on the stage thus — [strides about], — all 
 say: "Look!— see! See !— he's mad." Mad? Mad? 
 Who's mad? 
 
 I ? I, the leading actor, mad ? 
 
 [Laughs hideously ; stops suddenly; glares.] 
 I'm not mad ! — no ! No ! ! ! — 
 
 [Fairly yells out the words; stamps; chuckles; 
 then, with what seems to be return of reason, stops a 
 moment and peers at audience but relapses again into 
 vagueness.] 
 
 Just hear me, Virginius. I am leading my daughter 
 before Appius Claudius, and now T am addressing him : 
 "Appius Claudius, you have sent for me and I have come 
 
STANLEY SCHELL'S SKETCHES. 
 
 — come to defend my daughter, a free-born maid, dragged 
 through the streets of Rome as your slave. Go on ! Go 
 on. Go on with your trial, Appius Claudius ! I am ready 
 to defend my daughter with my heart's blood !" 
 
 [Laughs.] 
 
 Ha-ha ! Ho !— ha-he ! 
 
 \ Takes another tack; places finger over lips and 
 says tragically.] 
 
 Sh, sh ! Blood ! Blood ! Blood ! ! ! Who says blood ? 
 Ah^ ha — ah-ha! 
 
 [Acts as if he had just discovered culprit. Looks 
 ugly; suddenly starts back as though frightened.] 
 
 "Is this a dagger, which I see before me, 
 
 The handle toward my hand? 
 
 Come, let me clutch thee : — 
 
 I have thee not, and yet I see thee still. 
 
 Art thou not, fatal vision, sensible 
 
 To feeling as to sight ? or art thou but 
 
 A dagger of the mind, a false creation, 
 
 Proceeding from the heat-oppressed brain? 
 
 I see thee yet, in form as palpable 
 
 As this which now I draw/' 
 
 [Stands glaring; tries to remember.] 
 
 "I see thee still ; 
 And on thy blade and dudgeon are gouts of blood, 
 Which was not so before." 
 
152 STANLEY SCHELL'S SKETCHES. 
 
 [Stands, full of horror.] 
 
 Oh ! the horror of it all. 
 
 [Shudders; glares.] 
 
 "I have done the deed " 
 
 [Shudders; gazes on hands.] 
 
 "This is a sorry sight." 
 
 [Shakes hands suddenly as if to shake away hide- 
 ous sight; laughs.] 
 
 Ha-ha ! Ha-ha ! 
 
 "Sorry sight " 
 
 [Murmurs; shouts suddenly.] 
 
 "Will all great Neptune's ocean wash this blood 
 Clean from my hand?" 
 
 [Seems to realize where he is.] 
 
 Ah! no wonder Fm called mad when thus I speak- 
 away ! away ! unholy thoughts — away ! I say. Mad ! mad ! 
 
 [Most pathetically and despairingly. Suddenly re- 
 lapses, then seems bright and triumphant.] 
 
 "Is not the lady I have chosen fair 0 
 Of a right age? 
 
 A well-proportioned form, and noble presence? — 
 Has she not wit ? Gentle ? Gentle ?" 
 
STANLEY SCHELL'S SKETCHES. 
 
 153 
 
 [Laughs. ] Ha-ha-ha ! 
 
 'There you touch me ! Yet though she be prouder 
 
 Than the vex'd ocean at its topmost height, 
 
 And every breeze will chafe her to a storm, 
 
 I love her still the better. Some prefer 
 
 Smoothly o'er an unwrinkled sea to glide; 
 
 Others to ride the cloud-aspiring waves, 
 
 And hear, amid the rending tackles' roar, 
 
 The spirit of an equinoctial gale. 
 
 What though a patient and enduring lover- " 
 
 [Stops; after a moment of puzzled thought con- 
 tinues^] 
 
 "Yet when I am her husband, she shall feel 
 I was not born to be a woman's slave ! 
 When with a bold hand, I have weeded out 
 The rank growth of her pride, she'll be a garden 
 Lovely in blossom, rich in fruit ; till then, 
 An unpruned wilderness " 
 
 [Laughs gleefully and suggestively.] 
 
 "Heigh ho ! Heigh ho ! 
 Why, what a burden that for a man's song ! 
 'Twould fit a maiden that was sick of love. 
 Heigh ho ! Come, ride with me to Lincolnshire, 
 And turn thy 'Heigh ho V into 'Hilly ho !' " 
 
 [Laughs heartily and gleefully.] 
 
 Ha-ha-ha-ho-ho ! That's a joke — a joke. 
 
154 STANLEY SCHELL'S SKETCHES. 
 
 [Stands still with heavy frown.] 
 
 "Oh, blood, Iago, blood !" 
 
 [Shudders; face assumes hideous glare.] 
 
 "Yet Fll not shed her blood ; 
 
 Nor sear that whiter skin of hers than snow. 
 
 And smooth as monumental alabaster. 
 
 Yet she must die ! else she'll betray more men/" 
 
 [Acts as if smothering with pillows; halts a mo- 
 tnent as if listening: turns suddenly and acts as 
 though stabbing; stands listening again.] 
 
 "Yes, Emila, she's dead/' 
 
 [Most pathetically and sorrowfully; brightens sud- 
 denly.] 
 
 "And, now, once again, am I the Gladiator in the arena. 
 After I have killed my man I say I will kill no more. As 
 I wipe the blood from off my dagger. I say. 'If thou 
 injure a hair of the innocent's head, Fll make Rome 
 howl ! ' " 
 
 [Laughs.] 
 Ha-ha-ha ! 
 
 [Coughs hard.] 
 Me ?_ Mad !— Xo ! No ! N-o-o-o-O— ! 
 
 [Laughs.] 
 Ha-ha-ha-ha ! 
 
STANLEY SC HELLS SKETCHES. 
 
 155 
 
 "Remember the very nobles approve the master/' 
 [Laughs.] 
 Ha-ha-ha ! 
 
 [Coughs hard again.'] 
 
 "On, Romans, on ! With hands and sword be 
 
 smeared 
 In Caesar's blood, 
 
 Thus walk we forth, even to the market-place. " 
 
 [Walks across stage; turns.] 
 "Let's all cry : Peace ! Freedom and Liberty !" 
 
 [Laughs hideously.] 
 
 Ha-ha-ha-ha ! And then they say I'm mad — mad — 
 mad. 
 
 [Glares wildly.] 
 
 Ah-ha ! It comes — it comes ! 
 
 [Expresses horror and part fear.] 
 
 "Angels and ministers of grace defend us ! 
 Be thou a spirit of health, or goblin damned, 
 Bring with thee airs from heaven^ or blasts from 
 
 Be thy intents wicked or charitable. 
 
 Thou com'st in such a questionable shape 
 
 That I will speak to thee. PU call thee Hamlet/' 
 
 hell, 
 
 A 
 
3 STANLEY SCHELL'S SKETCHES. 
 
 [Stands still, glaring.] 
 
 "What may this mean, 
 That thou, dead corse, again, in complete steel, 
 Revisit'st thus the glimpses of the moon, 
 Making night hideous ?" 
 
 [Stands as if listening.] 
 
 "It beckons me to go away with it, 
 It will not speak; then will I follow it. 
 It waves me forth again ; I'll follow it/' 
 
 [Laughs hideously.] 
 
 Ha-ha-ha! 
 
 'Til follow it— I'll follow— follow it." 
 
 [Drops into chair as if exhausted; mutters a while; 
 puts chin in hand; rests arm on arm of chair; moves 
 eyes restlessly; sinks forward into chair and looks 
 wildly, yet as if deadly weary, down at floor off 
 front.] 
 
 [Exits.] 
 
ACTING MONOLOGUES 
 
 BY LIVINGSTON RUSSELL* 
 
 ENGAGED. Price, 25 cents. 
 
 Romantic, humorous monologue tor a woman. A young woman, who has 
 just become engaged, calls her departing lover back several times, and then 
 falls into a gushing and hysterical reverie. She ports over her love-letters, 
 plans how their room will be arranged, and runs off stage singing theLohen- 
 grin Wedding March. Full business given. 
 
 CUPID'S VICTIM ; or the TIMID MAN. Price, 25c. 
 
 Humorous monologue for a man. A bashful man reads up on courting and 
 practices before a dummy girl. Very full business given. Three illustrations. 
 
 AN IMPECUNIOUS ACTOR. Price, 25 cents. 
 
 Humorous monologue for a man, describing the tribulations of a stage- 
 struck youth who goes into raptures over his " art," etc. 
 
 THE CLIMAX OF A CRIME. Price, 25 cents. 
 
 Tragic monologue for a man. Old man make-up. A murderer, having gone 
 into a hole to bury his victim, is shut in and can not escape. He goes mad 
 in his living tomb; his various victims appear before him, and he finally 
 stabs himself. Complete business and stage-directions. 
 
 THE DEATH DREAM. Price. 25 cents. 
 
 Intensely dramatic monologue for a man, from the play " The Bells," played 
 by Sir Henry Irving. An inn-keeper, who is also the burgomaster, murders 
 a guest for gold and burns the body in a lime kiln. On his daughter's wed- 
 ding night he in a dream goes through all the minutisB of the murder, 
 passes through terrible suffering and dies. Five full-page illustrations 
 Full business. 
 
 THE "COMING OUT" OF MISS CUMMINGS. 25c. 
 
 A breezy and humorous monologue for a woman. An up to-date '* bud " of 
 seventeen, from the West, makes her debut in New York. She does not take 
 kindly to society's ways and to the addresses of the stylish men, but i refers 
 Montana ways and k * Jimmie, of Missoula Gulch." Affords opportunity to 
 introduce various specialties. Full directions for stage, and full business 
 Three full page illustrations. 
 
 THE GREEN-EYED MONSTER. Price, 25 cents. 
 
 Humorous monol gue for a woman. An actress, in making her debut 
 misses the presence of her lover, and has a fit of jealousy and of the blues! 
 Ends happily. Affords opportunity for varied expressional work. 
 
 EOR GOD AND COUNTRY. Price, 25 cents 
 
 Historical, patriotic, and tragic monologue for a woman. ' ^ed Cross nurse 
 describes the scenes on the battle-field at Santiago. Hirers to Gen. Wheeler 
 and to Col. Roosevelt. Unusually elaborate directions for producing various 
 war-effects, and full business. (Every reciter should have this monologue 
 for the valuable stage-iessons it gives, even the ugh he does not c?re for the 
 monologue itself.) Three full page illustrations. Costume of a Ked Cross 
 nurse. 
 
 VIVA CUBA LIBRE! Price, 25 cents. 
 
 A. patriotic monologue for a woman. A dramatic setting of incidents con- 
 nected with the patriotic daring of Paulina de Ruiz Gonzales— the Joan of 
 Arc of Cuba; together with the introduction of historical matter regarding 
 the sufferings of the Cubans during the struggle for liberty. 
 
 JUST LIKE ONE OF THE FAMILY. Price, 25 cents. 
 
 William Handy, living with friends but considered tk just like one of the 
 family, " is asked to look after the house during the absence of his host and 
 hostess on a call. He promises himself a quiet evening of intellectual en- 
 joyment, but is aroused first by the frantic bawling of their baby by tne 
 entrance of the coalman and by the cries of their pet cat, dog and'parrot 
 When upon the verge of nervous collapse, his friends return. Intet selv 
 humorous. J 
 
 Any of the above sent post-paid, on receipt of the price, by the publishers 
 6DQAR S. WERNER & CO. "3 Ea^ipth^Street. 
 
Stanley ScheH's Sketches 
 
 j Price, 25 cents each | 
 
 Apartment Hunting 
 
 At the Notion Counter 
 
 At the Restaurant 
 
 Bargain Day 
 
 Bargain Hunters 
 
 Baseball Game 
 
 Bicycle vs. Wolves 
 
 Black vs. White 
 
 Blue and White Polka-dot Shirt 
 
 Book Canvasser 
 
 Brave Man and a Toothache 
 
 Buying a Hat 
 
 Buying Rugs in a Department 
 
 Store 
 Cheat 
 
 Cozy Corner 
 
 Daisy's Vacation 
 
 De Wolf Hopper on Baseball 
 
 Experience in Arcadia 
 
 Gossiping Bridget 
 
 Hotel Piazza Ladies 
 
 How I Was Courted 
 
 How Nell Gets Even 
 
 How She Helps Save 
 
 I'm Engaged 
 
 Ice Queen 
 
 Invitation to the City 
 It Was a Miracle 
 Just a Bowery Newsboy 
 
 Just Returned 
 
 Leading Lady Seeking a Job 
 
 Man She Loved 
 
 Mary Ann Gilhuly 
 
 Modern Queen Esther 
 
 Mop Agent 
 
 Mrs. Thompson Shops 
 
 Pop! Pop! Why Don't You Pop? 
 
 Public 'Phone 
 
 Ravings of an Actor 
 
 Revelations in Housekeeping 
 
 Skippy's Vacation 
 
 Slim Club 
 
 Small Boy and a Suit of Clothes 
 Society Butterfly and a Pudding 
 Soldier's Golden Wedding 
 Solving the Vacation Problem 
 'Sylums vs. Fresh Air 
 'Tis the Finish of the Play 
 Told Over the Telephone 
 Uncomplaining Married Man 
 Up-to-date Proposal 
 Up-to-date Saleslady 
 Up-to-date Society Child 
 Up-to-date Stenographer 
 Village Seamstress 
 Young Mrs. Bascom's First At 
 Home" 
 
 Catalogue giving full description of above-listed 
 STANLEY SCHELL'S SKETCHES, sent free on application. 
 
 Vw il»t of additional writings by STANLEY SCHEIE, apply to the PnblWh«. 
 
 Address the Publishers 
 
 EDGAR S. WERNER & COMPANY 
 43 East 19th Street, New York