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PARLOR TABLEAUX
AND
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Amateur /Theatricals.
/
BY WILLIAM F. GILL.
BOSTON:
J. E. TILTON AND COMPANY.
I 87 I.
.7
Entered, according to Act of Congress, in the j'ear 1866, by
J. E. TILTON & CO.,
In the Clerk's Office of the District Court of the District of Massachusetts.
TO
Hammatt Billings,
AS A TRIBUTE TO
HIS SURPASSING GENIUS AS AN ARTIST,
AND HIS MANY
estimable qualities as a friend,
This Volume
is respectfully dedicated
By the Author.
/zn
t
INTRODUCTION.
The growing popularity of exhibitions of Tableau^i
Vivants, the success which almost invariably attends
them, and the great desire among the rising genera-
tion to participate in this simple and elegant amuse-
ment, have induced the author to make a collection of
subjects best adapted for such performance, which
would include the most novel selections from all
sources, and at the same time be so practical in
every respect as to admit of their successful repre-
sentation by the most inexperienced. Tableaux have,
for several years, been a favorite entertainment
with persons of taste ; and the principal attraction
of many charitable exhibitions for the benefit of
worthy objects have consisted, in numerous instances,
of these beautiful pictures, which, produced with-
out any great expense, yet gave the greatest satis-
faction to appreciative audiences, and were consid-
5
6 INTRODUCTION.
ered amply equivalent to the pecuniary consideration
offered for' the cause. In view of the fact that a vast
number of subjects suitable for tableau representa-
tion have been furnished by many incidents of that
time, the numerous improvements that have been
made in the mechanical production of tableaux, and
that no publication including these features has been
presented to the public during this time, it is hoped
that this manual may be found to comprise all that a
patient research through all kinds of material could
gather, and be the humble means of a thorough grati-
fication of a pure and commendable taste. A pro-
gramme for an evening's entertainment should con-
sist of from five to ten designs, including varied
selections of classical and domestic, serious and comic,
tableaux. Music, both vocal and instrumental if pos-
sible, should be given between the difierent repre-
sentations, to afford time for the necessary prepara-
tions, and prevent any delay, which too frequently
occurs, and detracts from the interest of the perform-
ance by wearying the audience. As it may be de-
sired, by many who are interested in this subject, to
possess a complete apparatus for producing tableaux,
I will give a brief description of machinery and
stage-appurtenances used in their representation.
INTRODUCTION. 7
The Stage. — The most approved form of tableau-
stage, and of the most recent fashion, consists of five
pieces, forming, when placed together, a platform
twelve feet long, eight feet wide, and from two and
a half to four feet high, according to the length of
the hall or room: the longer the room, the higher the
stage. The larger and central portion of the plat-
form is of circular form, and about six feec in diame-
ter: the top of this piece is covered with smooth
boards, cut out, and rounded on the edges. This
part of the section rests upon an iron pivot, which
passes through the centre. A frame of thick planks
diverging from the centre, six in number, like the
spokes of 'a wheel, supports the top ; and small iron
wheels, attached to the planks securely, roll upon the
floor of this piece, which should also be of boards. A
rope wound around the plank frame several times, the
end passing through a hole in the stage outside, en-
ables the manager of the tableau to revolve this cen-
tral platform with any degree of rapidity he may
desire ; and beautiful effects may be produced by
placing the figures upon this platform in a circle, so
that a constantly-changing vietv is presented to the
audience, while the machinery producing it is invisi-
ble. The other four portions of the stage form the
8 INTRODUCTION .
corners ; two of their sides meeting in an angle, while
the third is curved, so as to fit on to the central por-
tion. The top of the stage and sides may be painted
green, which will render the use of a carpet unneces-
sary ; and the stage will always be ready for use.
This form of a stage is, of course, more expensive
than one made of boards and joist : but it is at the
same time very convenient for carrying from place
to place ; while it is greatly superior to a stationary
stage, in the numerous changes it is capable of pro-
ducing in moving-pictures. A few instances where
it would hQ particularly advantageous are mentioned
in the list of tableaux ; but it may be applied to a
much greater number of those included in this vol-
ume. A stage for a parlor may be made of boards
joined in three or four sections, so as to be put to-
gether in a few minutes, forming a platform of the
same surface as the one just described, and placed
upon four boxes two or three feet in height ; or quite
a respectable temporary stage may be made by un-
hinging two closet or any interior doors, removing
the knobs, if they have them, and mounting them in
the same way upon boxes: of course the doors are not
injured, being covered by some carpet, and are strong
enough to bear six or eight pe.-sons. 1 have known
INTRODUCTION. 9
one of the most snccessful exhibitions I ever witnessed
given on such a stage as the one just described.
The front of the stage should be covered by a strip
of green cambric, tacked on to the boards, and hang-
ing to the floor of the room.
The frame for the scenery used in tableaux, either
in a hall or parlor, should be made of four pieces of
small joist, mortised at the corners of the stage, and
reaching just above the top of the curtain. They
should be joined together by four narrow. boards two
inches thick. A frame for the front of tableaux is fre-
quently made. It consists of three pieces of board,
eight inches wide, placed across the top and sides of
the opening, and covered with buff wall-paper, With
a bordering of gilt paper. The back of the stage
should be covered with black or purple cambric cur-
tains, placed close to the wall of the room. There
should also be another set of curtains, of the same
width, for '' vision" scenes.
For the sides of the stage, four frames, of the height
of the curtain and two feet wide, made of narrow
strips of wood, and covered with black or purple cam-
bric, should be made: these are called loings, and are
placed so as to hide the light used in illuminating the
tableaux, and to close in the sides. In the centre of the
1 INTRODUCTION .
top of the frame of each of these wings a groove two
inches wide is made, which fits into the side-pieces
of the frame-work at the top, securely holding them
in place. Wings may also be made by attaching the
cambric to narrow pieces of wood at the top and bot-
tom, and securing them to the frame by a hook. Tlie
top of the stage should be closed in by flies, which
consist of strips of blue or dark cambric, attached to
narrow strips of wood, and placed across the top of
the frame in front of the wings. The curtain may be
made of gi-een cambric, having a roller of wood at the
top and bottom : if small, it can be rolled from one
side, like a window-curtain ; or it may be raised like a
regular stage-curtain, which is provided with a row
of rings or leather loops, placed at intervals of a foot
along the sticks at the top and bottom, and smaller
brass rings placed at the same distance, on the back
of the curtain from top to bottom. Cords are run
through all these rings, and pass outside over a pulley,
drawing the curtain up in folds. Another form is to
have two pieces of scenery, painted in imitation of
clouds, placed in front of the opening, and running
in a groove, so that they can be drawn aside like fold-
ing-doors. Of course, there would have to be consid-
erable space on either side to manage this j but tho
INTRODUCTION. 11
effect is quite pleasing. A very pretty idea for a
small stage is to have the frame made of wide gilt
picture-moulding; the curtains being of crimson cam-
bric, arranged so as to draw apart. Costumes neces-
sary for tableaux can generally be got up by persons
of ingenuity with but little trouble. In large cities,
where costumes can be hired readilv at a small ex-
pense, many will doubless avail themselves of this facil-
ity ; but in places more remote the ambitious manager
must not despair, but must remember that these liv
ing pictures depend for their success upon the generfJ
effects of light and shade more than upon the quality
of the dresses. For instance, in statuary tableaux,
justly considered the most beautiful given, the figures
are invariably dressed in cotton sheets, no other mate-
rial approaching this simple costume in its likeness to
the original ; and there can be no doubt that the most
elegant dresses of velvet and gold can, aided by the
strong light of the tableaux, be equalled in richness
of appearance by costumes manufactured of simple
cambric and gilt paper. In this collection there are,
however, a great number which will require no dresses
or stage properties that cannot be found in any ordi-
nary household : and if it is not desired to erect a
stage, or put up a curtain, why, a parlor with folding-
12 INTRODUCTION.
doors will answer all purposes; or the tableaux can
be prepared in any ordinary room, and the audience
called in when ready for exhibition. Where tableaux
are performed in a hall, there will generally be a large
space on either side of the stage which will require
to be closed in by cambric curtains, sheets, or flags,
attached to the frame of the stage, and extending to
the wall.
Foot-lights are almost indispensable to a stage of
any size ; and, where gas cannut be obtained, they
may consist of candles or kerosene-lamps, with tin
reflectors in front of them. Within the last two years,
there has been an important scientific discovery
made, which has induced a marked improvement in
the mode of illuminating tableaux : this is the mag-
nesium light. A solidified combin-dtion of this mine-
ral is so prepared, as to be readily ignited with a
common match ; and burns with nearly forty times
the intensity of gas, with a most brilliant white flame.
It is put up in the form of short, narrow strips, and in
coils of wire ; the strips being rather better for stage-
purposes, as they do not burn quite as rapidly as the
wire. A substance like this, that is ready for use at
all times, can be carried in a small compass, and, cf
such superior quality of illuminating power, is, of
* INTRODUCTION. 1 3
course, a great acquisition. It is in fact, when in use,
the only really necessary light for tableaux ; for by
means of a small tin or wooden box, with one side
opened, and furnished with slides of glass of different
colors, any shade of light maybe produced by igniting
the magnesium in the box after placing it upon a
small piece of tin, and putting in a glass of the de-
sired color. In any of our large cities, the magnesium-
lamp may be obtained for any length of time desired
by the payment of a small fee. This is quite elaborately
arranged for burnhig the wire, is more convenient
than using a box, and costs no more than the strips
of wire whicli would otherwise be consumed. For a
single evening's entertainment, where it is desired to
have little trouble, the magnesium may be burned on
a piece of tin, with a pasteboard behind to throw
the light upon the stage. Our readers living out
of town can order the magnesium through any promi-
nent chemist or druggist in our large cities. Ordi-
nary kerosene-lamps, placed in large boxes, with, tin
reflectors, will furnish a good but not very strong
light ; and half a dozen of these lamps placed on the
sides of the stage, with pasteboard placed behind,
will do for a small stage.
A hall-stage should have, if possible, in addition to
1 4 INTRODUCTION.
the foot-lights, a row of similar lights over the top,
behind the flies, which are called head-lights, and, for
the general order of tableaux, will, with the foot-
lights, give sufficient illumination. Colored lights,
and lights for vision-scenes, are explained in the lat-
ter pages of the book. In describing the subjects
given in this collection, it has been almost entirely
without reference to scenery, for the reason that it is
presumed the majority of readers will prefer their
representation as 'simple as possible ; while, on the
other hand, when it is desired to produce them with
every such accessory as will add to the brilliant
effect, the subject will suggest what scenery is most
appropriate, and the taste of the manager will need
no other direction. The properties used in the pieces
(that is, the chairs, tables, or any other article aside
from the costumes) will be found mentioned sepa-
rately in connection with the subjects to which they
belong; and no list of necessary articles will be given
here, as they will be found quite as readily in their
appropriate places. No matter whether the parties
are experienced or inexperienced, two or three re-
hearsals of positions, &c., will be found indispensable
for a perfect performance ; and any omission of this
important element will greatly detract from, if not
INTRODUCTION. 15
totally destroy, every good effect attempted in the
represeDtation. The last rehearsal should, if pos-
sible, be a dress-rehearsal, the costumes being worn
as they will be on the night of performance.
Some one person should assume the direction and
responsibility of managing, and should see that every
thing is in readiness, and also have an understanding
with the announcer of the tableaux outside, so that
there will be no flurry or ridiculous mistakes made.
His directions should be obeyed by the company im-
pUcitly ; remembering that any loud talk or disorder
behind the curtain is magfiified to the audience, and
destroys the interest by turning their attention from
the tableaux.
Appropriate poems may be read by the announcer
of the tableaux, or by others, previous to their exhi-
bition, as they pleasantly vary the entertainment, and
enable the audience to understand the subject more
appreciably. A simple means of directing the work-
ing of the tableaux is by three strokes upon a bell :
the first, meaning that the gentleman outside is to
announce the piece, or read the poem ; the second is
the signal for the figures to take their positions; and
tlie third, for the rising of the curtain. Each per-
former should look carefully after his own dresses,
1 6 INTRODUCTION.
laj'ing them carefully together before the entertain-
ment begins; and the manager must forbid any one's
touching another's costume, or, before the evening is
over, there will be inextricable confusion, and morti-
fying delays in the performance. The manager will
find it of great assistance if he carefully notes down
from time to time the articles he finds he will require,
so that, when the time of exhibition arrives, nothing
of importance will be forgotten ; as, without this pre-
caution, it miglit be.
It will also be well to place in the dressing-rooms
a list of the tableaux, in the order in which they are
to be represented, which will prevent unnecessary
questions, and enable every one to understand when
they are to be called upon the stage. In preparing
this collection, it has been the design of the author to
render the descriptions so simple and comprehensive
as to he readily and successfully followed by all de-
siring to do so, whether they may have any particular
taste for the artistic or not. To originate and jjro-
(luce One tableaux undoubtedly requires considerable
taste, ;iri(l some knowledge of art : but there can be
no i easoii why a person with a manual belbre him,
which reduces tlie art to a mere mechanical study,
caiuiot, profiting by the experience of another, be
INTRODUCTION. 17
equally successful. Being well aware that what was
desired in a work of this kind was not words, but sim-
ple directions, the author has, in the main text of the
book, divested the descriptions of any unnecessary or
flowery verbosity ; preferring to lay his claim to pub«
lie favor to the practical utility of the book, rather
than to those more entertaining elements which popu-
larize the modern novels of the day. He has been
in this way enabled to present a greater number and
variety of subjects than the limits of the volume
would have otherwise allowed, feeling that this plan
would meet more general approbation. While the
tableaux are described in such a manner that a pre-
cise following of the directions would produce satis-
factory results, yet it is not presumed that any other
arrangement of them would be objectionable, or that
some changes might not be made with advantage.
Circumstances may be such, that the directions cannot
be followed as described ; some figures may not be
obtainable, or properties may not be at hand : so that,
if nothing more than the titles are accepted in such
cases, it will serve one purpose of the manual. To
the young manager, the author would commend perse-
verance. There will be innumerable little difficulties,
not thought of at the start, which must be overcome
2
18 INTRODUCTION.
before the enterprise succeeds ; but success is event-
ually sure to all who do not fear a little hard work,
and who possess a due portion of the natural energy
of youth. That the public may find in this volume a
pleasant companion to many hours of unalloyed plea-
sure and enjoyable study, and that it may prove the
humble means of developing a love of the beautiful
and of healthful amusement, is the earnest wish of
the author. ♦
Note. — The positions are given in tlie text on the supposition that
the performer is on the stage, facing the audience.
PARLOR TABLEAUX.
PARLOR TABLEAUX.
THE MAY QUEEN.
TWELVE YOUNG LADIES.
You must wake and call me early, call me early, mother dear:
To-morrow'll be the happiest day of all the glad New Year ;
Of all the glad New Year, mother, the maddest, merriest day :
For I'm to be Queen o' the May, mother ; I'm to be Queen o' the May.
There's many a black, black eye, they say, but none so bright as mine ;
There's Margaret and Mary, there's Kate and Caroline : •
But none so fair as little Alice in all the land, they say ;
So I'm to be Queen o' the May, mother; I'm to be Queen o' the May.
Little Effie shall go with me to-morrow to the green ;
And you'll be there too, mother, to see me made the Queen :
For the shepherd lads on every side'll come from far away ;
And I'm to be Queen o* the May, mother ; I'm to be Queen o' the May.
The honeysuckle round the porch has woven its wavy bowers.
And by the meadow trenches blow the faint sweet cuckoo-flowers,
And the wild marsh-marigold shines like fire in swamp and hollow gray :
And I'm to be Queen o' the May, mother ; I'm to be Queen o' the May.
21
22 PARLOR TABLEAUX.
All the valley, mother, '11 be fresh and green and still ;
And the cowslip and the crowfoot are over all the hill;
And the rivulet in the flowery dale'U merrily glance and play :
For I'm to be Queen o' the May, mother ; I'm to be Queen o' the May
So you must wake and call me early, call me early, mother dear :
To-morrow'U be the hapi)iest time of all the glad New Year ;
To-morrow'll be of all the years the maddest, merriest day ;
For I'm to be Queen o' the May, mother ; for I'm to be Queen o' the May.
Tennyson.
This simple and beautiful tableau is the sequel to the
portion of the poem given above, — one of the few which
gave his brightest reputation to the Laureate of England.
The scene represents a group of young girls gathered in a
May-party around the one from among them whom they
have selected as their queen. This young lady should be
about sixteen years of age, of clear complexion, and straight
features. She stands in the centre of the stage, near the
front : her head is turned a little towards the right, so as
to afford the audience a two-thirds view of the face. She
wears a white - muslin dress, with low neck and short
sleeves, blue-silk sash, a small bouquet of flowers upon her
bosom, a wreath of small white flowers and rosebuds upon
her head, and her hair in long curls : her arms are crossed
at her w^aist.
THE MAY QUEEN. 23
At the foot of the May Queen, nearer the audience, a young
lady of about the same age kneels, holding up towards her
a bouquet of flowers in her right hand ; while her left rests
upon the floor, holding another spray : her face is towards
the left, as she kneels, looking upward, presenting a profile-
view to the audience. She wears a white skirt, black belt,
black velvet or silk bodice trimmed with lace, white-muslia
jacket, and hair plainly dressed.
Upon the right side of the May Queen, a girl of about
twelve years of age is standing. Her right arm is around
the waisi of her older companion ; her left holds up a small
bouquet towards her : her head leans against the right
shoulder of the May Queen, and she looks up towards her
with a smiling expression. She wears a pink-muslin dress,
or white trimmed with pink, a strand of wax beads around
her neck, and a wreath of small flowers in her hair. A
young girl, of about the same age as the one just described,
stands upon the left of the May Queen, her right arm
around her shoulders, her left holding a- small basket of
flowers. She should be dressed in blue muslin, or white
trimmed with purple ; and should stand with her head lying
upon the May Queen's shoulder.
Upon the left and right of this group of four just de-
24 PARLOR TABLEAUX.
scribed, on the outside, six other young girls, from ten to
fourteen years of age, take their positions, kneeling upon
the floor, facing each other, with their profiles towards the
audience. They carry garlands of artificial flowers, made
by fastening paper-roses and other flowers upon a piece of
flexible wood or rattan with small wires. They should all
be similarly dressed in white muslin, trimmed differently,
with flowers in the hair. A long, narrow box should be
placed at the centre of the background, and covered with
green. Two or three young girls stand upon this box,
which should be about two or three feet high, supporting a
pole, at the top of which is a large wreath of artificial paper-
flowers, attached by means of different-colored ribbons to
the pole near the top. The young ladies who are in this
position should wear, in addition to the white dress and
belt, a spray of artificial flowers, extending from the left
shoulder to the right hip. The music should be lively, and
the tableau illuminated by a bright-blue light.
new-year's eve. 25
NEW-YEAR'S EVE.
TWO LADIES.
If you're waking, call mc early, call me early, mother dear;
For I would see the sun rise upon the glad New Year :
It is the last New Year that I shall ever see ;
Then you may lay me low i' the mould, and think no more of me.
To-night I saw the sun set. He set, and left behind
The good old year, the dear old time, and all my peace of mind.
And the New Year's coming up, mother ; but I shall never see
The blossom on the black-thoi-n, the leaf upon the tree.
Last May, we made a crown of flowers ; we had a merry day :
Beneath the hawthorn on the green, they made me Queen o' May ;
And we danced about the May-pole, under the hazel-copse,
Till Charles's Wain came out above the tall white chimney-tops.
There's not a flower on all the hills; the frost is on the pane :
I only wish to live till the snowdrops come again.
I wish t!ie snow would melt, and the sun come out on high;
I Ion- to sec a fiov/er so tlic da\ before I die !
«
I liavc been wild and wayward: but j-ou '11 forgive me now;
YouT kiss mc. my own mother, upon my check and bj-ow.
K;iy, n;i\ ! you must not weep, nor let yor.r grief be wild :
You should not frc:t for mc, mutlicr; you have anoihcr child.
26 • PAKLOR TABLEAUX.
Good-night, sweet mother ! Call mc before the day is bom.
All night I lie awake ; but I fall asleep at morn.
But I would see the sun rise upon the glad New Year :
So, if you're waking, call me, call me early, mother dear.
Tennyson.
This companion-piece to the May Queen is in sad con-
trast to the bright, joyous eliaracter of that beautiful tab-
lean. The scene represents the same young girl wlio per-
sonated the May Queen, lying upon a lounge in tlie centre
of the stage, a victim of disease, and supposed to be at the
point of death. She is bolstered up in a sitting position on
the lounge. Her head is towards the right, supported upon
her right arm. which rests upon the pillow ; the Jower limbs
are covered with a white counterpane ; and her left hand
rests upon lier motlier's arm. Her face is very pale ; hnc
hair hangs loosely over her shoulders ; and she looks out
strai'dit forward with an earnest expression. She wears a
loose white dress. The mother sits beside her, holding her
left hand, and looking upon her face with an expresssiou of
o-rief. She is seated on the left of her daughter, in front
of the lounge, and with the side of h^r face towards the
audience. She wears a black-silk dress, white cap, and
handkerchief upon her neck. Music very low. Light dim*
CHAKITY AND POVERTY. 27
CHARITY AND POVERTY.
THREE LADIES AND TWO BOYS.
This tableau owes its principal effect to the contrast
between the two great classes of society which obtain in
the world, — the rich and the poor; and this fact must be
borne in mind in arranging the characters. The persons
7-epresented are a wealthy young lady ; her young brother,
or page ; a poor woman between twenty-five and thirty years
of age ; her son, a young boy ; and an old lady, also very
poor. The young lady first mentioned stands at the left of
the centre of the stage, with a good-sized bundle of clothing
in her right hand, held close to her waist, and her left hand
extended towards the woman. She should wear a black
dress, velvet cape, and hood lined with blue over her head.
She should be of light complexion. Her head is turned
slightly towards the right, about two-thirds of the face
being visible to the audience. The boy, her attendant,
ft
stands at her right side, holding a large basket, which he
appears to be carrying with difficulty : he looks upwards
towards the lady, his face turned away from the audience.
28 PARLOR TABLEAUX.
He should be of light complexion, with hair curled, and
dressed in wine-colored blouse or tunic, knee-breeches, white
stockings, and black-velvet cap. The younger of the ladies,
representing the poor woman, kneels in the centre of the
stage, holding to her lips with her right hand the hand of
the lady, which is extended towards her. She is dressed in
a brow^n-cotton waist without sleeves, and blue-serge skirt.
Her liair should be allowed to fall dishevelled over her
shoulders. Her face is made up very pale, with dark lines
under the eyes and at tlie corners of the mouth. Her little
boy should be but partially dressed : her left arm is held in
front of him, as if to prevent him from touching the lady,
while he looks toward the audience with a cross expression.
The old lady is at the back of the centre of the stage, on the
right, kneeling, so that all but her head and shoulders and
right arm are concealed from the audience by the woman
in front of her. She should be dressed in a long black
clonk, cloth hood, and with a cane in her left hand. Her
right arm leans upon the Avoman's left shoulder, and slie
looks upwards towards tlie lady with a grateful expression.
A bright light should be thrown upon the figures on tlic
left, the otliers being left in the shade. Music slow and
THE SHIPWRECKED MOTHER. 29
THE SHIPWRECKED MOTHER.
ONE LADY AND A YOUNG BOY.
I've listened for the storm to cease,
Through all the night, in vain :
The wind seems only to increase.
And faster falls the rain.
Ah, me !
Just hear the pouring rain !
I shudder at the very thought
That makes my darling dead.
Ye winds, what anguish have ye brought !
What fears for my poor Fred !
Fond heart,
What fears have you for Fred !
But now, amid this storm to-night,
Hope sadly dies away ;
Despair creeps where was fond delight ;
And I can only pray.
Great God,
Have mercy when I pray !"
With tears I bring my cause to thee :
Great things canst thou perform.
30 PARLOR TABLEAUX.
My dearest child is on the sea
In all this dreadful storm.
O God!
Protect him in this storm !
This scene represents a mother and child cast upon the
shore of a desert island, and exposed to the fury of a vio-
lent storm. The mother kneels in the centre of the stage,
near the front. Her face is toward the left ; her left arm is
passed around the slioulders of the boy, holding him close
to her ; her right arm is raised over his head, as if endeav-
oring to ward oif the impending bolt ; and her face is turned
upwards with a terrified but imploring expression. She
wears a loose white robe with neck cut low, and a black
mantle thrown back from her shoulders : lier hair is thrown
loosely over her shoulders. The boy stands directly in front
of the mother : his face is towards the right, his arms clasp-
ing his mother around the neck ; while he looks upwards
with a terrified expression. He should be about six or eight
years of age, and should wear dark trousers, short white
shirt open at the neck, and white stockings. Red light
should be thrown in flashes upon the figures, or streaks of
liilhtninn: mav be made at the back: there should be the
noise of a storm made outside continuously.
WYOMING. 31
WYOMING.
SIX GENTLEMEN.
Scarce had he uttered, when heaven's rage extreme
Reverberates the bomb's descending star ;
And sounds that mingled, laugh and shout and scream,
To freeze the blood in one discordant jar,
Rung to the peeling thunderbolts of war.
Whoop after whoop with rack the ear assailed,
As if unearthly friends had burst their bar;
While rapidly the marksman's shot prevailed;
And aye, as if for death, some lonely trumpet wailed.
Then looked they to the hilJs where fire o'erhung
The bandit groups in one Vesuvian glare ;
Or swept, for seen, the tower, whose clock, unrung.
Told legible that midnight of despair.
She faints, she falters not, — the heroic fair, —
As he the sword and plume in haste arrayed.
One short embrace, he clasped his dearest care.
But hark ! what nearer war-drum shakes the glade?
Joy, joy ! Columbia's friends are trampling through the shade
Calm opposite the Christian father rose.
Pale on his venerable form its rays
Of martyr-light the conflagration throws :
32 PARLOR TABLEAUX.
One hand upon his lovely child he lays,
And one the uncovered crowd to silence sways ;
While, though the battle-flash is faster driven,
Unawed, with e3'e unstartled by the blaze.
He for his bleeding country prays to Heaven, —
Prays that the men of blood may be themselves forgiven.
Campbell.
The story of the massacre at Wyoming, and Campbi'H's
famous poem illustrating the subject, are too well known to
require explanation here. The scene given represents the
plains of the village, and the attack by the Indians, pre-
vious to the arrival of the United-States troops.
Upon the right of the stage, there should be two or three
boxes placed together irregularly, and covered to imitate
rocks or green banks. The central figure of the group is
an old man, who is in the centre of the stage, kneeling upon
his right knee ; his right hand upon his breast, his left hang-
ing at his side ; his head towards the right, inclining down-
ward ; and his face towards the front. A wound shoukl be
painted upon his breast ; and his eyes should be closed, as he
leans heavily against a young man, who stands behind him,
supporting him by either arm.
lie wears a striped shirt open in front, knee-breeches,
brown stockings, and low shoes, with gray wig. His face is
WYOMING. 33
made up with marks of age, and wears an expression of
pain. Behind the old man, and close to him, a young man,
from twenty-one to twenty-five years of age, stands. His left
arm is around the old man, passing under his arms ; his right
is raised above his head, grasping a sickle or reaping-hook ;
his body inclined backwards, as if preparing to strike a
blow ; while he looks upon the figure of the Indian before
him with a fierce expression. He wears a drab coat,
light corduroy vest and knee-breeches, blue stockings and
buckle-shoes, and a felt hat upon his head. The gentleman
representing the Indian chief kneels upon the right of the
centre of the stage, with his face and body partially turned
from the audience ; his right hand grasping a gun, raised to
the height of his waist ; his left hand holding a hatchet,
which lies upon the bank ; while he looks towards the centre
at the young man, with a malicious expression upon his
face. He wears a salmon-colored tunic with crimson
skirt, leggins of buckskin trimmed with fur, shoulder-
belt trimmed with fur, and head-dress of feathers and
beads. His face should be stained copper-color, and he
should be of straight features. Another gentleman, also
representing an Indian, stands at the right of the stage,
near the back. His right hand grasps a gun which rests
3
4 PARLOR TABLEAUX.
upon the staf>:e ; his left a hatchet, which is raised above
his head ; and his body inclined back, as if about to hurl the
weapon forward. His right leg is extended forward ; his
left braced back ; and his face is turned toward the left,
looking at the young man who stands in the centre, with an
expression of triumph upon his face. He wears a brown
tunic and scarlet shirt ; shoulder and waist belt of scarlet,
trimmed with beads, and buckskin leggins, and shoes
trimmed with fur, and a head-dress of feathers ; his face,
also, being stained a copper-color. Upon the left of the
stage a young man stands, with his back partially turned
to the audience. He is near the front ; his face looking
towards the right at the Indian, who stands at the back ;
both hands grasping a gun, the right at the trigger, the
butt resting against his left shoulder, and the barrel pointed
at the Indian. His right foot is advanced towards the
centre, and his body bent forward. He wears a brown coat,
black knee-breeches and stockings, buckle-shoes, striped
shirt, and light felt hat. Between this young man and the
centre, another young man is seen lying with his head
towards the left, his face turned upward with an expression
of pain. His eyes are closed, and his hair thrown back
from the forehead, showing a wound upon the temple. His
BEATRICE CENCI LED TO PRISON. 35
left limb is bent at the knee, his right extended, and his
hands lie naturally at his sides. He wears a black coat,
white vest, and shirt thrown open in front, light knee-
breeches and buckle-shoes, or black top-boots. He should
be of dark complexion, and his face is made up very pale.
The hatchets used may be those with steel blades, or made
of painted wood ; and the Indian chief may carry a long
pointed wooden spear in place of a musket. The light
should be a bright-red fire thrown from the right. The
music should be loud, but solemn, with sounds of guns made
outside.
BEATRICE CENiCI LED TO PRISON.
NINE LADIES.
^ The subject of this picture is the leading to prison of
Beatrice Cenci, the beautiful parricide, by the black nuns,
her custodians.
The characters are represented by eight ladies, of any
complexion, but having, if possible,^ straight features ; and
by one young lady of light complexion, straight features,
and long hair. The ladies representing the nuns stand in
36 PARLOR TABLEAUX.
couples in a line extending diagonally from back to front
of the stage, presenting a two-thirds view of their faces to
the audience. The couples stand at distances of two or
feet three apart, according to the size of the stage ; four
of the ladies standing in front, and four behind, the lady
personating Beatrice, who has her position in tlie centre of
the stage.
The ladies representing the nuns wear narrow black
skirts of alpaca or any plain material, waists of the same,
broad white paper-colhirs round the neck, white handker-
chiefs covering the hair, drapery-sleeves to dress, and long
black veils thrown over the head, and falling over the
shoulders.
They should also have a string of imitation white beads,
attached to a wooden cross, fastened to the waist, and a
white paper-cross pinned over the chest. The four ladies
on the outside carry a candle, lighted, and held up nearly
to the height of the shoulder, in the hand nearest to the
audience. The ladles on the inside carry candles, held in
the same way in the hand nearest the back of the stage :
the other hand hangs naturally at the side, or holds the
cross and beads. The young lady representing Beatrice
stands in the centre of the stage, two-thirds of her face
THE INrERRUPTED DUEL. 37
towards the audience, and her head bent forward, looking
down. Her hands are clasped over a cross similar to that
worn by the nuns, and her hair should be allowed to fall
loosely over her shoulders. She wears a plain white dress,
long skirt, drapery-sleeves, tied round the waist with the
cord to which the beads are attached. Her face, and that
of the nuns, should be quite pale. Music very slow and
solemn. A clear white light should be thrown upon the
nuns nearest the audience, and on the face of Beatrice.
THE INTERRUPTED DUEL.
X' FOUR GENTLEMEN AND ONE LADY.
This very effective tableau is from one of the great nov-
els of the day, and is so entirely original as to render it
acceptable even to the most experienced tableau-manager.
The stage should be covered with pillows, and rolls of
clothing placed in different parts, with sheets over the entire
stage, to represent a field of snow. Two of the gentlemen,
representing the duellists, stand on opposite sides of, and in
a line with, the centre of the stage. They stand facing each
other, the sides of their faces towards the front, their right
9
38 PARLOR TABLEAUX.
hands extended, each pointing a pistol at the other in the
act of firing, and looking at each other with a stern expres-
sion. They wear square-cut English suits, with knee-
breeches, or modern black dress. The lady stands in the
centre of the stage, her face turned a little towards the left,
with a proud expression ; her body erect ; the left hand
holding up her habit, and the right arm raised across her
breast. She wears a long riding-habit, and black hat with
long feather. At the back of the stage stand the other two
gentlemen, representing the seconds. One of them stands
with his arms folded,' looking out upon the group in front :
the other stands with his left arm at his side, and his right
raised, extending a white handkerchief, — the signal of the
firing. They are dressed similarly to the principals, with
the addition of hats in keeping with the character of their
dress. Music alternately loud and soft.
A red light should be thrown upon the group in the fore-
ground, leaving the others in the shade.
CONSOLATION IN MUSIC. 39
CONSOLATION IN MUSIC.
ONE GENTLEMAN AND ONE LADY.
'Tis Music hath the magic power,
From opening spring to winter's close,.
To soothe in sorrow's darkest hour
The heart oppressed by deepest woes.
Sweet Music ! Music hath a magic power !
Sweet Music ! Music hath a magic power !
'Tis Music brings us back again
Joys we prized in youth's bright days,
When, listening to the witching strain.
Time on light wings flew away.
'Tis Music, 'tis Music,
'Tis Music lends a golden hue
To life's tide as it glides along :
Then let us render homage due
To Music and her sister. Song !
Sweet Music ! Music and her sister. Song !
Sweet Music i Music and her sister. Song !
Richard Ryan.
Tnis very fine tableau is from a German subject, repre-
senting a lady in affliction, Avho has come for comfort and
support to an old friend, a professor of music, whose magic
40 PARLOR TABLEAUX.
tones bring solace to her suffering. At the right of the
stage, a parlor-organ, raelodeon, piano-forte, or some simi-
lar instrument, should be placed, with one end towards the
audience. The professor is seated at the instrument, with
his face towards the right, his arms raised, and his fingers
touching the keys, as if playing. His face is turned, so as
to show about two-thirds to the audience. He wears a long
black robe reaching to the ground, with drapery-sleeves,
black skull-cap, and long white beard. He should be of
straight features, with a thoughtful, dignified expression
upon his face, and should be seated in a large arm-chair.
The lady should be young, and of handsome features.
She is seated upon a low chair or stool, to the left of the
professor, with her hands folded upon her lap, and her head
inclined backward, leaning against the professor's chair ;
while her face is turned towards the left, with a quiet but
sad expression. She wears a long white muslin robe hang-
ing close to the form, with drapery-sleeves, and a black
belt. Her hair should be allowed to fall loosely over her
shoulders. There may also be upon the stage a small table
at the left, and a portfolio of music leaning against the arm-
chair on the right. Music of a mournful character, played
very softly.
TAKING THE OATH. 41
TAKING THE OATH.
THREE GENTLEMEN AND ONE LADY.
This group represents a scene of the late war ; similar
incidents of the kind occurring in all of the principal South-
ern cities upon their occupation by the Union forces.
The ladies of New Orleans were particularly bitter in
their feelings, and very overbearing in their treatment of
the Union soldiers ; but, when it came to be a question
of submission or starvation, many were glad to humbly
yield, and take the oath of allegiance with becoming
humility.
The scene is supposed to represent the headquarters of
the provost-marshal at New Orleans. The characters are
a Union officer, a young contraband in attendance, a South-
ern lady, and her little boy.
A barrel, supposed to contain rations, occupies the centre
of the stage ; the officer standing behind, with his left hand
raising his cap from his head, his right hand extending a
Bible towards the lady, and looking at her with a searching
expression.
42 PARLOR TABLEAUX.
He should wear either a lieutenant's or captain's uni-
form, — dark-blue coat, open in front, and blue pants. He
should be tall, and of good features, with mustache and
imperial.
The lady stands on the left of the stage, with her right
hand upon the Bible, her eyes looking down towards the
ground, and her head inclined forwards ; while her left hand
is held in that of hei- little boy beside her. She wears a
gray traVelling-dress, with high neck and long sleeves ; a
mantle of the same, or of black silk, upon her shoulders ;
and a plain white collar, and knot of ribbon, upon her neck.
Her hair is uncovered, and plainly dressed. The liltle boy
should be about eight or ten years of age. He stands beside
and very close to his mother, on her left, with one hand hold-
ing hers ; while with the other he endeavors to cover his face
with her dress, as he peeps shyly out at the officer. He is
dressed in light jacket and trousers ; collar, and knot of rib-
bon, on his neck.
The young contraband stands on the right of the stage,
with his elbows resting on the barrel, and his chin sup-
ported on his hands: he, looks across at the lady with a
wondering expression. He is dressed in striped shirt and
trousers, waistcoat, and heavy shoes. Music, "Vive I'Ame-
rica ! "
TEE believer's VISION. 43
THE BELIEVER'S VISION.
FOUR LADIES.
Angels ever bright and fair,
Take, oh ! take mc to your care ;
Spread to your own courts my flight.
Clad in robes of virgin white.
At the back of the stage, a small platform or long box,
two or three feet high, should be placed ; the edge nearest
the front being about three feet from the background of the
stage. A small box, about two feet high, should be placed
upon this platform, in the centre. A set of dark curtains
should be hung, and looped up at the sides, hanging just in
front of this platform. A lounge is placed at the left of the
stage, just in front of the platform ; and a small table, upon
which is a book opened, a tumbler, and glass vials, jast in
front of the head of the lounge, upon the left. A young
lady, the principal figure in the tableau, lies upon the
lounge, with her head towards the left, her face towards the
audience, and her hands crossed, and lying upon her lap.
44 PARLOR TABLEAUX.
Her eyes are closed as in sleep ; and her face wears a
peaceful, smiling exprossiou. She wears a long white robe
hanging in folds, with loose drapery-sleeves. Her hair is
light, and hangs loosely over her shoulders.
Upon the right side of the small platform, at the back of
the stage, a young lady representing an angel stands. Her
head is bent forward towards the left, and her arms ex-
tended with a welcoming gesture towards the sleeping lady,
as she looks down upon her with a smiling expression upon
her face. She wears a robe of white drapery, with wide
flowing slee\/es ; wings of paper or muslin on wire frames ;
and her hair flowing loosely over her shoulders. Another
young lady stands at the left side of the one just mentioned,
with her right hand resting upon her companion's shoulder,
her left extended towards the sleeping lady, and looking
down upon her with a smiling expression. She is dressed
similarly to her companion. The remaining lady stands
upon the small box behind, with her face turned upwards ;
her right hand raised, pointing upwards ; her left at her side.
She wears white drapery and wings, with a single silver
star upon lier forehead. The ladies on the platform should
be surrounded with blue smoke. Music, some sacred hymn.
THE soldier's MOTHER. 45
THE SOLDIER'S MOTHER.
THREE LADIES, A BOY, AND A YOUNG GIRL.
There comes new light to her dimming eye.
As she opens the fatal scroll
With a dying hope, whose wondrous charm
Holds her back from her nearin": ffoal.
No tear for her darling, who, free from harna.
For his country his life-blood hath shed ;
But her thin lips part as tne broken heart
Takes in the record, — " Dead ! "
Old friends and true bend kindly down.
And are murmuring soft and low ;
But her dying glance is upon the line
That is sealing a mother's woe.
And the whisper seems like the voice of dreams
When night's first gloom is gone:
" Fighting, he fell with his face to the foe,
Cheering his comrades on ! "
The paper fell from a lifeless hand, "^
As she goes to her hero's -side ;
But a smile is stamped on the rigid lip
In the life of a mother's pride.
46 PARLOR TABLEAUX.
For there steals on the air, like a battle-prayer.
To bless her soul's new dawn, —
'"' FigJding, he fell with his face to thefoe^
Cheering his comrades on ! "
The poem which forms the subject of this tableau is
said to have been written in commemoration of a sad inci-
dent which actually occurred during the late Avar. The ter-
rible trials to which anxious parents must have been sub-
jected at that time are beyond description ; and the scene
given here is doubtless one of many which occurred at that
period. The group consists of a mother, her daughters
(one a young lady, the other a child), her young son, and
an old lady, a friend of the family. The young lady kneels
in the centre of the stage, her face towards the audience,
and her arms extended, supporting her mother, who leans
heavily against her right shoulder. She wears a blue dress
trimmed with white, or a white-muslin, with low neck and
short sleeves ; her hair becomingly dressed. Her head is
bent downwards, as she looks at her mother with au expres-
sion of grief upon her face.
The lady representing the mother should appear about
forty or "fifty years of age. She lies upon the floor of the
stage, near the front ; her right hand held by her little girl
THE soldier's MOTHER. 47
ou the right ; her left, by her son. Her eyes are closed ; aud
she leans back upon her daughter's shoulder with a smile
upon her face, which is very pale. She wears a plain black
dress, with white collar and wristbands, and gray hair. The
son is a boy of about fourteen years of age. He kneels at
the left side of his mother, holding her hand in his right,
and looking towards her with a sad expression.
He should wear a blue jacket and trousers, and white
waistcoat, or any similar modern dress. The little girl
should be from six to ten years of age. She kneels at the
right of her mother, holding her right hand, and looking up
at her face with an inquiring expression. She is of light
complexion, and dressed in white muslin, with blue sash.
The old lady friend stands at the right of the stage, with
her hands clasped, and looking down towards the mother
witii an earnest expression. She wears a drab-colored
dress, white neckerchief, and white cap. The light upon
the tableau is thrown from the left. Music of a very solemn
character.
48 PARLOR TABLEAUX.
THE SEA OF ICE.
ONE FEMALE FIGURE.
This is a very impressive tableau, and may be produced
without any expensive accessories whatever. The scene is
from the well-known play of " The Sea of Ice," and repre-
sents the incident from which the drama takes its name.
A vessel, on board of which is a wealthy Spanish gentle-
man, is, at the instigation of one of the mutinous officers,
seized by the crew. The ship afterwards drifts from its
course, and goes to pieces on the icebergs ; all the crew and
passengers being lost, except a young girl, the child of the
Spanish gentleman. The stage should be covered with
large boxes irregularly arranged, and covered with white-
cotton sheets to represent blocks of ice.
In the centre of the sta^e, a box hijjher than the others
is phiced, upon which the young girl, who should be about
eight years of age, kneels, with her hands clasped, her face
turned upward with an appealing expression. She is of
light complexion, with hair in curls, and dressed in whi^e
muslia trimmed with blue, which, though iuappropriate to
THE FIRST APPEAL. 49
the time and place, is represented to have been worn
there.
A strip of paper or canvas may be passed across the
stage, near the front, to represent, water ; though tliis is not
indispensable. A blue light should be thrown so as to fall
upon the face of the young girl. Music should represent
the roarinof of water.
THE FIRST APPEAL.
ONE LADY AND ONE GENTLEMAN.
The figures personating the characters in this tableau
should be dressed in the style of the last century.
Two bouquets or flower-pots, containing shrubs, may be
placed on both sides of the stage, as the place represented
is a garden, and a chair some distance back to the right of
the centre.
The lady should be seated in this chair, looking towards
the left, with a little more than one-half of her face towards
the audience. She is listening to the young man with at-
tention, and looking down towards her work, v/hich she
4
50 PARLOR TABLEAUX.
holds in her left hand, her needle in her right, Aviili Avhicli
she is just taking a stitch.
She should be dressed in a blue skirt, over which is a
quilted skirt of some scarlet-colored material, looped up ;
and she also wears a long white-flowered jacket, with full
short sleeves, and low neck. Tlie young man is dressed
in blue knee-breeches, striped stockings, and pump^ wiih
buckles, a blue cut-away coat, and white-satin vest. AVith
his right hand he is nervously fingering a waistcoat-button,
while in his left he holds a flower. His right leg is crossed
over his left as he stands against the left wing of the stage,
looking down earnestly at the lady. To complete her cos-
tume, the lady should Avear a small cap, and a rose in
her hair, which should be combed back in pufls. Music
lively.
THE IMAGE OF MAMMA.
A LADY AND A YOUNG GIRL.
This tableau brings into requisition a large mirror, which
should be placed to the left of the centre of the stage, sup-
ported so as to be visible to the audleuce.
THE MOUNTAINEER. 51
The characters are a little girl and her mother. The
mother should be kneeling on her left knee, with the child
supported against her right. Her right arm should be
around the child, holding her right hand up in front of the
glass ; while her left hand is extended, pointing to the glass.
Her head is inclined towards that of the child, and her face
wears a smiling expression. She should be dressed in a
rich silk dress, with low neck and sleeves. The child
stands looking into the glass, with a smile on her face.
She is simply dressed in a white muslin. Music lively.
THE MOUNTAINEER.
ONE YOUNG BOY AND ONE LADY.
This is a very simple picture, and may be readily pro-
duced wherever a young child of four or five years of age
may be made available. On the right of the picture, there
should be a piece of scenery, or two or three boxes covered
with baize, in imitation of a sloping bank. The female fig-
ure stands in the centre of the stao-e, lookini]^ towards the
right, the side of her face to the audience. She holds in
her right hand a straight branch of a tree, resting that and
52 PARLOR TABLEAUX.
her right foot on the bank. Her left hand encircles the
child behind, who clings to her shoulders ; so that his chin
is at the height of her left shoulder, his head visible to tlie
audience. She wears a short dress of drab serge, with low
neck and short sleeves, with a blue jacket extending below
the waist. Her hair is plainly dressed, and on her head
she wears a handkerchief. The child is dressed in a tunic,
reaching to the knees (his legs being bare), with a small
cloth-cap, without visor, on his head. He looks directly for-
ward towards the audience, with a smile on his face. The
stage should not be very light ; and, outside, the sound of
thunder and of falling rain will add to the effect. Music
loud.
THE WELCOME SHELTER.
ONE GENTLEMAN AND ONE LADY.
This tableau represents a couple caught in a shower sit-
ting on a wooden bench. The lady is dressed in a silk
skirt raised from the ground, with a velvet mantilla and
lace bonnet. She holds in her right hand her parasol,
slightly raised ; while in her left hand she holds her skirt.
Her face is turned toward the left, with an amused cxpres-
DANTE AND BEATRICE. 53
sion. The geDtleman holds in his right hand his umbrella,
opened, leaning forward towards her as if offering its use.
His face and upper half of his body should be concealed by
the umbrella ; and he should be seated so close to the lady
as to touch her right arm as he offers the shelter. Sounds
of falling rain may be made outside, and the music should
be very lively.
DANTE AND BEATRICE.
ONE GENTLEMAN AND ONE LADY.
" Speak ! speak unto thy lady, that she quench
Thy thirst with drops of sweetness." Yet black awe
Which loads it o'er nie, even at the sound
Of Beatrice's name, did bow me down,
As one in slumber held. Not long that mood
Beatrice suffered : she, with such a smile
As might have made one blest amid the flames.
Beaming upon me, thus her words began :
" Thou in thy thoughts art pondering, as I deem,
CAnd what I deem is truth,) how just revenge
Could be with justice punished : from which doubt
I soon will free thee, so thou mark my words ;
For they of weighty matter shall possess thee."
Paradise, canto vii.
54 PARLOR TABLEAUX.
This tableau is from the celebrated picture of this sub-
ject, which is doubtless familiar to many as a very beautiful
work of art.
The character of Dante should be personated by a gen-
tleman with long, straight features, without beard or whis-
kers. His face should be made up so as to appear forty-five
or fifty years of age, with heavy black lines under the eyes,
and other marks of age. His dress is a long black domino,
with drapery-sleeves, a tight-fitting sleeve underneath, and
a black hood, closely fitting round the head and face, coming
down on the forehead so as to hide the hair entirely. He
should stand at the right, looking up at Beatrice, witii his
left hand on his breast, his right hand and forefinger raised,
as if asking some question ; while he looks at her with an
earnest expression.
Beatrice should stand somewhat nearer the front of the
stage than Dante, on a long box, hidden from the front by
pasteboard painted in imitation of the clouds. She should
be dressed in a plain, long robe of white drapery, trailing
behind, with long, wide sleeves, and cut so as to show
about half the neck. Her hair is combed back quite low,
covering the ears ; and she wears on her head a wrealii of
laurel or ivy, and a long veil falling behind. Her left a'-m
THE CROAYN OF GLORY. 55
and hand hang naturally at her side, while her right is
raised to her bosom. Her face is turned a little towards
the right, and she looks upwards with a hopeful expression.
The young lady personating Beatrice should be tall, with
straight features, and of light complexion. A bright light
should be thrown upon Beatrice, and blue smoke should be
made around her for clouds. Music very soft.
THE CROWN OF GLORY.
FIVE LADIES.
Vital spark of heavenly flame,
Quit, oh ! quit, this mortal frame 1
Trembling, hoiking, lingering, flying, —
Oh the pain, the bliss, of dying !
Cease, fond Nature, cease thy strife,
Aud let me languish into life.
Hark ! they whisper ; angels say,
*' Sister -spirit, come away ! "
What is this absorbs me quite, —
Steals my senses, shuts' my sight.
Drowns my spirits, draws my breath ?
Tell me, my soul ! can this he death ?
The world recedes, — it disappears !
Heaven opens on ray eyes ; my ears
With .sounds seraphic ring.
56 PARLOR TAIiLEAUX.
Lend, lend your wings ! I mount ! I fly I
O Grave ! where is thy victory ?
O Death ! where is thy sting ?
Alexander Pope.
The original picture from which this tableau is taken is
a very celebrated painting belonging to one of the London
galleries. On the left of the stage, about three feet from
the back, a lounge, or couch, is placed, covered with some
rich crimson material.
The principal lady of the group is discovered extended
upon the lounge, her head towards the left of the stage,
her face turned upwards, with eyes closed, as in sleep, and
with a smile upon her face. She is dressed in a Spanish
costume, — elegant white-satin dress, crimson jacket, and
long white-lace veil passing around her head and face, and
hanging over her shoulders. Her right hand lies upon her
breast ; her left is extended on the couch beside her. Upon
the right of the stage, the attendant of the lady is seated
rather nearer the front. A book, opened, rests upon her
lap, which she holds in her hands ; her head sliglitly in-
clined downwards, as if reading ; her face being towards
the left.
She should be of dark complexion, and costumed in a
THE CROWN OF GLORY. 57
black-silk dress, black coronet, and long black-lace veil
Iiano-iu<i- from her head over her shoulders. At the back of
the stage, in the rear of the lounge, a long box should be
placed as an additional stage for the remaining figures, and
covered w^ith green or some dark-colored material. This
stage is partially separated from the front by curtains drawn
aside sufficiently to exhibit a good view of the figures from
the front. Two of the ladies stand near the front of this
small stage, holding forward, above the lady upon the coucii,
a wreath of laurel, or a crown made of silver-paper : each
has an arm around the other's waist, while the other hand
is extended with the crown. They should stand with their
faces toward the left, bending over and looking down upon
the lady below. They are dressed in simple robes of white,
with drapery-sleeves reaching to the elbow, and the hair
falling behind in curls. They may also have artificial wings
of white muslin or paper over a wire frame. The remain-
ing lady stands behind the two just described, elevated
about a foot higher from the level of the stage. Her left
hand is at her side ; her right raised above her head, and
pointing upwards ; her face is also turned upwards. Slie
wears a full robe of white drapery, hanging in folds, and a
circlet, or crown, upon her head. A bright-blue light should
58 PAKLOR TABLEAUX.
1)6 thrown upon the sleeping lady and the angels, and the
latter surrounded with blue smoke. Music, some sacred
hymn.
SCREEN-SCENE FROM THE SCHOOL FOR
SCANDAL. ^
THREE GENTLEMEN AND ONE LADY.
«
Sir Peter. Harkee, have you a mind to have a good laugh aA
Joseph ?
Charles Surface. I should like it of all things.
Sir P. Then i' faith we will. I'll be quits with him for discovering
me. He had a lady with him when I called. ( Wluspers.)
Charles S. What, Joseph ? You jest.
Sir P. Hush ! A little French milliner; and, the best of the jest is,
she's jn the room now.
Charles S. The devil she is !
S.ir P. Hush ! I tell you. {Points at screen.)
Charles S. Behind the screen ! S'life ! let us unveil?
Sir P. No, no ! he's coming : you sha'n't indeed !
Charlss S. Oh, egad ! we'll have a peep at the little French milliner.
{Endeavoring to get towards the screen, Sir Peter preventing.)
Sir P. Not for the world ! Joseph will never forgive me.
Charles S. I'll stand by you.
Sir P. Odds ! here he is. (Joseph Surface enters as Charles
throws down the screen.)
Charles S. Lady Teazle, by all that's wonderful !
Sir P. Lady Teazle, by all that's damnable I
SCREEN-SCENE FROM THE SCHOOL FOR SCANDAL. 59
The selection from the well-known comedy of "The
School for Scandal," given above, explains very well the
scene of the tableau.
The characters are discovered in the positions which they
assume, when the screen is thrown down. Sir Peter Teazle
is at the right of the stage, near the front ; his hands are at
his sides ; his head bent down, as he looks toward Joseph
with a sad, reproachful expression.
He is dressed in a dark or salmon-colored coat and
breeches, white -satin vest, silk stockings, slioes with
buckles, lace ruffles, and white wig. Lady Teazle stands
at the ri"rht of the centre of the stao^e, some distance back.
Her right hand is raised to her lips, and she looks down
with a mortified expression. A large dressing-screen is
thrown down at her feet.
She is dressed in an elegant gauze dress, embroidered
with flowers ; white-satin petticoat and bodice ; and plume
of feathers in her hair, which is rolled back from the
forehead.
Charles Surface is on the left of Lady Teazle, nearer the
centre of the stage. His right hand is extended to\v"ards
the lady ; and he looks at Sir Peter with an amused, sur-
prised expression. Hq should be rather jauntily dressed in
60 PARLOR TABLEAUX.
a green coat, white waistcoat, light breeches, dress-shoes,
and white-silk stockings.
Joseph Surface is opposite to Sir Peter Teazle, on the
left of the stage, near the front. His head is towards the
right, his hands clasped in front of him ; and he looks
toward Sir Peter with an expression of shame upon his
face. 11 is dress is a dark coat, black- velvet waistcoat,
black-satin breeches, stockings and pumps.
The room should be haudsonielv furnished with modern
furniture, — a small table and chair on the left ; and a small
sofa, or tete-a-tete^ at the back. The character of Charles
Surface should be represented by a young man, whose gen-
eral make-up is careless and bold-looking. Joseph Surface
should be older, and made up in rather more sombre style.
As it would be difficult to find any music particularly ap-
propriate to such a scene, the usual accompaniment may be
omitted in this tableau.
THE DUEL IN THE SNOW, 61
THE DUEL IN THE SNOW.
FOUR GENTLEMEN AND ONE LADY.
"I sometimes call myself Justice."
Angel of the Midnight, act iv.
This scene is from the popular melo-drama, " The Angel
of the Midnight," which is probably familiar to many city
readers, and forms a strikingly original and effective tab-
leau. On the rising of the curtain, a large handful of small
pieces of white paper, to represent snow-flakes, should be
thrown into the air above the stage, and renewed, if neces-
sary, during the continuance of the tableau. The stage
should be covered Avith white cotton sheets or cloth ; with
small evergreens in the background, if convenient. An
irregular piece of wood covered with white occupies the
centre of the stage. The lady should stand in the centre of
the stage, with a staff in her left hand, held close to her
body, and her right hand raised above her head, pointing
upwards ; her face turned upwards with an earnest expres-
sion. She is dressed in a loose slate-colored dress.v.ith
02 PAELOR TABLEAUX.
drapery-sleeves, and a hood of the same thrown back upon
her shoulders. She should be tall, of dark complexion, and
straight features.
The gentleman known as Capt. Satan in the play stands
at the right of the stage, near the front. The characters in
the piece are supposed to have just come from a masque-
rade, where the challenge was given ; and he still wears his
'* Mephistopheles " dress, which consists of red shirt, trunks
slashed with black, black cape fastened to the shoulders, red
stockings, black shoes, long black wig, black mustache and
imperial, with eyebrows made up to correspond. He has
just received a fatal wound ; and his right hand, boldiug
his sword, is lowered to the hip, and his left hand placed
over his breast. His head is inclined backwards upon tlie
shoulder of the gentleman who supports him : his face still
wears an expression of malice and disappointment. His
adversary stands at the left of the stage, near the front :
his left hand is extended behind him, in the position of
*' guard ; " his right extended, holding his sword a little
lowered from the level of his antagonist's breast. His ftice
wears a determined expression as he looks towards his
opponent.
His costume is a black-velvet cut-away coat, witli jet
TBZ DUEL IN THE SNOW. 63
buttons, waistcoat of the same, velvet breeches, black-
silk stockings, and buckle shoes. The second of Capt.
Satan stands directly behind him, his right arm under the
captain's right, his left supporting the captain's left arm.
He stands looking down upon 'him, with an expression of
alarm upon his face. He wears an evening-dress of black
cloth, and tall silk-hat. The other second is on the left,
behind his principal, at some little distance, and nearer the
rear of the stage. His left foot is placed at about two feet
in front of the right, as if advancing ; and his head stretched
forward as he looks toward the duellist with an anxious
expression. He is dressed similarly to the opposite second,
with an evenin2:-dress of black cloth, modern, and tall silk-
hat. The manager outside should take care that the imita-
tion-snow is kept falling, and should provide himself with
a sufficient quantity of small pieces of white paper a quar-
ter of an inch square for the purpose. A bright white light
should be thrown upon the figures.
Music, " Prayer from Der Freitschutz," or other similar
piece, very softly played.
64 PABLOR TABLEAUX.
THE TWO BRIDES.
TWO LADIES.
Worn with fasting and with vigil,
And with centuries of prayers ;
With a thousand tasks of penance^,
And the living death of years ;
With half-hearted Aves weary ;
Weary with the callous psalm ;
Weary with the listless Credo, '
And the strain of outward calm ;
Sleep, by evil spirit troubled,
Fleeing at the matin- bell ;
Tears that start to eyes scarce waking ;
Sighs that will not quit her cell :
So the long-drawn days have opened
Of the lonely, loveless life
Of a bride, — the bride of Heaven, —
A living bride, but never \vife.
So she leaves her round of duticf.
Brings what show of joy she may.
To infold her blushing sister
In her arms this bridal day :
THE TWO BRIDES. OO
And she trembles as she greets her
With what lovinj^ words she can ;
Trying to trust in God and mercy.
Yet she disbelieves in man.
A Sister of Charity, who for years has excluded herself
from the world from some bitter disappointment in youth,
emerges from her retirement on the occasion of her sister's
wedding-day, and is present with the young bride for the
first time since the younger sister's childhood. The young
bride of twenty, with her bright future before her, and the
woman of forty, who knows no further joys in life, and to
whom this scene recalls sad recollections of the past, form a
striking contrast. The young bride stands at the right of the
centre of the stage, her hands elapsed upon her bosom, and
looking out towards the right with a pleased, hopeful ex-
pression. She is dressed in white, with a wreath of orange-
blossoms, and a veil hanging almost to the ground. Her
companion is dressed in a robe of black serge with drapery-
sleeves, a tight-fitting white cap, white band round the chin,
and broad white collar. Her arms are around her sister's
neck, her face careworn ; and she looks toward the right
with a sad and painful expression. A soft white light
should be thrown from right. Music, some sacred hymn.
5
66 PARLOR TABLE A DX.
THE WOUNDED SCOUT.
TWO GENTLEMEN.
As loftier rise the ocean's heaving crests
Ere the}' sink, tempest-driven, on the strand ;
So do these hearts and freedom-beating breasts,
Sublimed by suffering, fall upon our land.
Wounded ! — O sweet-lipped word ! for on the page
Of this strange history, all these scars shall be
The hieroglyphics of a valiant age,
Deep writ in Freedom's blood and mystery.
Then deem them not as lost, those bitter days ;
Nor those which yet in anguish must be spent
Far from loved skies and home's peace-moving ways :
For these are not the lovers you lament.
It is the glory that your country bore
Which you would rescue from a living grave ;
It is the unity that once she wore
Which your true hearts are yearning still to save.
Rebellion Record.
THE WOUNDED SCOUT. 67
This is one of many scenes of the kind that doubtless
occurred during the late war, and represents a Union sol-
dier, badly wounded, supported by a faithful negro refugee,
who has fallen in v/ith him, barely in time to rescue him
from death. The soldier stands a little to the right of the
centre of the stage, his head leaning against his compan-
ion's shoulder, his left arm supported by the negro, and his
right arm hanging at his side. The right sleeve of the sol-
dier's coat should be ripped up ; the seam showing the bare
arm, round which a bandage is tied at the elbow, and a
small branch of a tree twisted through the bandage, with
one end fastened to his belt.
He should be dressed in the Union uniform, — dark-blue
coat, and light-blue trousers. His head is bare ; and his face
wears an expression of anguish, as, with his eyes partly
closed, he leans against the negro. The gentleman personat-
ing the negro should be rather tall, and of stout frame : his
face, neck, and arms should be properly blacked ; and he
should stand with his right arm round the soldier, his left
arm raising the left arm of the soldier. His face is looking
towards the right with a watchful expression.
He is dressed in a torn, striped shirt, and short trousers,
also torn. Flashes of red light should be thrown from the
68 PARLOK TABLEAUX.
right upon the figures, leaving the stage very dark at inter
vals. Music alternately loud and soft.
THE LION IN LOVE.
ONE LADY AND GENTLEMAN.
Ah ! love was never yet without
The pang, the agony, the doubt.
Which rends my heart with ceaseless sigh.
While day and night roll darkling by.
Without one friend to hear my woe,
I faint, I die, beneath the blow :
That love had arrows, well I knew ;
Alns ! I find them poisoned too.
In flattering dreams, I deemed thee mine ;
Now hope, and he who hoped, decline :
Like melting wax or withering flower,
I feel my passion and thy power.
My light of life, ah ! tell me why
That pouting lip and altered eye :
My bird of love, my beauteous mate 1
And art thou changed ? and canst thou hate 1
Byron.
THE LION IN LOVE. 60
This is a little domestic tableau, and represents an old
British-army officer, who, yielding to the tender passion,
has become the devoted admirer of a young French lad}',
who heartily enjoys his awkward but well-meant endeavors
to show her attention. A sofa, or tete-a-tete^ should be
placed in the centre of the stage, upon which the couple are
seated, the lady being at the right. Her right arm is upon
the arm of the sofa, while her left is slightly raised
and extended, holding a small lace handkerchief; her head
is inclined forward, looking at her companion with an
amused expression. She wears a black-velvet basque with
drapery-sleeves, and under-sleeves of lace, lace collar, and
crimson-silk skirt ; or a handsome evening dress. Iler hair
should be dressed in the French style, with puffs at the side,
and back comb.
The old officer should be seated on the left bf the sofa,
his left hand holding a needle up before him, which he is
vainly endeavoring to thread with his right : his features
are wrinkled with a frown, as he looks at the needle with
an anxious expression. He wears a red cut-away coat with
gilt buttons and epaulets, trousers of white or buff mate-
rial, and a gray wig, with side-whiskers and mustache.
His sword and hat are lying upon the floor at his feet. The
70 PARLOR TABLEAUX.
Stage may have a small table with flowers on each side, or
ornameutal chairs. Music, some lively waltz.
ANGELS OF BUENA VISTA.
FOUR GENTLEMEN AND THREE LADIES.
Close beside her, faintly moaning, fiiir and young, a soldier lay,
Torn with shot, and pierced with lances, bleeding slow bis life away ;
But, as tenderly before bim the lorn Xiraena knelt,
She saw the Northern eagle shining on his pistol-belt.
With a stifled cry of horror, straight she turned away her head ;
With a sad and bitter feeling looked she back upon her dead :
But she heard the youth's low moaning and his struggling breath of
pain.
And she raised the cooling water to his parching lips again.
Whispered low the dying soldier, pressed her hand, and faintly smiled.
Was that pitying face his mother's ? did she watch beside her child ?
All his stranger words with meaning her woman's heart supplied.
With her kiss upon his forehead, " Mother ! " murmured he, and died.
But the noble Mexic women still their holy task pursued
Through that long dark night of sorrow, worn and faint, and lacking
food :
Over weak and suffering brother with a tender care they hung,
And the dying foeman blessed them in a strange and Northern tongue.
ANGELS OF BUENA VISTA. 71
Not wholly lost, Father ! is this eril world of ours :
Upwards from its dust and ashes spring afresh the Eden-flowers ;
From its smoking hell of battle, love and pity send their prayer ;
And still thy white-winged angels hover dimly in the air.
Whittier.
This tableau, from the famous poem of the above title,
represents a scene upon the battle-field of Buena Vista, in
many respects the hardest-fought battle of the Mexican
War of 1845 and 1848. It furnishes a subject strikingly
beautiful for the purpose of a tableau, and may be pro-
duced with but little preparation and expense.
The foreground of the picture, in the centre, is occupied
by two figures, — a lady and gentleman, — in the position
described in the second stanza of the poem quoted above.
A soldier of the United-States army is discovered lying
upon the floor, his head towards the right of the stage,
and the upper portion of his body raised from the floor by
the lady beside him. He is dressed in the dark-blue coat
and trousers worn at that time ; his head is bare ; and the
mark of a wound is painted upon his forehead, his face
being very pale.
His right haod rests upon the floor," partially supporting
his body ; while his left is raised towards the lady, as if en-
72 PARLOR TABLEAUX.
deavoring to grasp her hand. He gazes upwards at tlie
lady, with a faint smile upon his face.
The lady kneels at his left side, with her right arm
thrown around his neck, and raising him, while her left
holds a cup of water towards his lips ; and she looks at him
with a sad but tender expression on her face. She should
be of dark complexion, and her hair should be allowed to
fall over her shoulders. Her costume is a dress of white
silk or satin, black-velvet bodice, and a long cloak, or robe,
with drapery-sleeves, of crimson or black colored material,
thrown open in front, with a long black veil upon her head,
hanging over her shoulders. On the left of the stage, one
of the other ladies is kneeling, looking down at a Mexican
soldier, whose head is in her lap : her right hand is laid
upon his head, while her left holds a small cross before
him. She should be dressed in a costume of scarlet or
crimson colored dress, with black bodice, long black robe,
or cloak, with drapery-sleeves, thrown open in front, and a
gilt coronet upon her head, with veil falling behind. The
soldier lies with his head upon her lap, his eyes closed, and
his feet towards the centre of the stage. His fiice should
be very pale ; and he should wear a uniform of dark trouser.s
and green jacket, open in front ; his arms should be allowed
ANGELS OF BUENA VISTA. 73
to fall naturally at bis side. Udoq the riojht of the staf^e,
a soldier in the United-States uniform is lying, with his
head towards the right, his fane towards the audience ; his
right arm extended under his head towards the right, while
his left arm hangs naturally by his side. The mark of a
sabre-wound is made upon his temple, and his eyes are
closed. A lady kneels beside him, a little fjirther towards
the back of the stage, with her hands clasped, as if oifering
a prayer. She wears a dress of blue silk, dark bodice, and
white robe, with drapery-sleeves reaching to the elbow.
Her hair is dressed in the Spanish style, with a large comb
behind, a coronet of silver or pearl beads, and a long veil
hanging over her shoulders.
The remaining figure of the group is a gentleman,
dressed in a uniform of dark-green jacket and trousers,
lying in the centre of the stage, in the rear of the couple in
the foreground. His face is very pale, and his hands are
crossed upon his breast. His eyes are closed, and his felt
hat, with plume, is laid beside him. A white light should
be thrown from the right upon the figures, changing to a
brilliant red flame.
Music alternately loud and soft, ending in some sacred
hymn.
74 PARLOR TABLEAUX.
MIGNON ET SON PERE.
ONE GENTLEMAN AND A YOUNG GIRL.
This tableau is from an old engraving, and represents an
old bard and his grandchild in a picturesque attitude. The
old man is on the left hand of the picture, and near the
front. He is dressed in a loose monk's robe of black or
brown serge, with the hood thrown back on his shoulders.
He kneels upon his riglit knee ; while his right arm is car-
ried across his body, and rests upon his left knee, which is
slightly raised from the floor. His left hand rests upon an
old-fashioned harp beside him ; while, with a fixed, melan-
choly air, he gazes forward. He should have a full, pointed,
white beard and mustache and wig, to match with a bald
front.
Mignon's costume is a plain white-cotton waist, with low
aeck and drapery-sleeves, showing lier arms bare to the
elbow. Her skirt is a plain gray serge, with a small scarf
for girdle, reaching a trifle below the knees, showing her
feet, which arc without shoes. The hair should be combed
THE REPRIMAND. 75
plainly back from her face, and allowed to hang down on
her shoulders. Mignon is standing to the right of the old
man, looking wistfully at him, with her chin supported upon
her left hand, the elbow of which rests upon the back of her
right hand, as it lies upon her left hip. This position will,
of course, present a two-thirds view of her face to the
audience. A bright white light should be thrown upon the
female figure, leaving the old man entirely in the shade.
Music very slow and soft.
THE REPRIMAND.
SIX OR EIGHT LADIES.
The scene of this tableau is laid in a charity-school, and
may bring into service any number of young girls from six
to fourteen years of age.
A lady, personating a Sister of Charity, should be seated
on the right of the stage, facing the audience, looking
towards the left. In her left hand she holds that of one of
the little girls, who stands before her ; while her right arm
is raised, her finger extended, as if admonishing the young
76 PARLOR TABLEAUX.
girl. She should be dressed in plain black, with very broad
white collar, and cap, or hood, also white. The little girl
should be dressed in a brown or blue dress, witii long calico
pinafore. Slie should stand to the left of the lady, with one
finger in her mouth, and looking down towards the ground,
as if ashamed.
One of the cfirls shoidd be seated in the rlirht corner of
the stage, nearest the audience, with her back towards the
audience, looking intently at the lady and young girl. The
remaining girls should be seated on low benches, at the rear
of the stage. Music lively.
THE REWARD OF MERIT.
A LADY AND SIX OR MORE YOUNG GIRLS.
Tnis is a companion-picture to " The Reprimand," and
brings into service the same characters. The lady person-
ating the Sister of Charity stands in the centre of the stage.
She should carry in her hands pictures and cards for rc3-
wards. The children should be rani^ed around her, — some
in groups of two or three, — pointing at and showing each
other their rewards ; while five or six press around her,
THE SUCCESSFUL PICTURE. 77
holding out their hands for the pictures, which she holds
towards them. At the back of the stage, seated in rather
a high chair, one of the cliildren is seated, with a fool's cap
on her head, holding a book to her face, as if ashamed.
The other children should all wear a joyous expression. If
it is not practicable for the children all to be dressed uni-
formly, they may have aprons alike ; but there should be
no mixture of white muslins and brown calicoes, silks and
ginghams, as the subject forbids the introduction of nice
dresses. Music lively.
THE SUCCESSFUL PICTURE.
ONE GENTLEMAN AND TWO LADIES.
This tableau is a natural fireside group of three figures, —
an artist, his sitter, and her mother. At the left-hand cor-
ner of the stage, back, is placed a large arm-chair, in which
is seated the mother, looking admiringly upon the picture
which stands upon the floor, in front of her, resting upon the
back of a Gothic chair, and the back of the picture-frame
being thus turned towards the audience. The mother is
attired in a plain black dress, with a white-lace cap upon
78 PARLOR TABLEAUX.
her head, which is inclined forward as she looks at the
picture with a pleased expression, and her right hand raised
from her lap, as if speaking praises of the portrait. A
pair of spectacles completes her costume. The artist stands
directly behind the arm-chair, his right arm resting upon
the top, his left arm bent, with the hand upon his left hip
holding his hat. His legs are crossed naturally, as he
stands looking over the old lady at his picture with a
satisfied air. His dress should be a plain black, or of some
dark cloth. The young lady, who is supposed to have been
sitting for the picture, is half kneeling upoa the ground,
partially supported by her right hand, whicfi rests upon the
floor. She is close to her mother's left side, her head about
the height of her mother's shoulder from the floor ; her
right hand lies naturally upon the folds of her dress ; her
hair is tastefully dressed ; and she looks upon the picture, as
if tracinir a resemblance. She should be dressed in a bright
pink or blue silk, a white lace waist, with long sleeves, and
a bodice of dark velvet or silk.
There may be some small articles of furniture introduced,
and a picture or two may be hung at the background.
A soft white light may be thrown from the right on the
faces of all the figures. Music lively.
Raphael's cherubs. 7&
RAPHAEL'S CHERUBS.
TWO YOUNG BOYS.
This tableau, one of the most beautiful of the collection^
will call into service two young boys of froni six to ten.
}'ears of age, with round features and curling hair. They
should be dressed in a tight-fitting garment of flesh-colored
material, so as to shov^^^ the natural shape of the upper part
of the body. They should be provided with small imitation
cherub-wings of gauze or paper, fastened to the shoulders.
A narrow board, on supports two or three feet high, should
extend across the stage, at the back, the top of it covered
with blue cambric, or paper of the same color ; the supports
being concealed by cloth or cambric, tacked on the board,
and extending across, or by a piece of scenery in imitation
of clouds.
The boys representing the cherubs should take their
position near the back of the stage, and behind the board
just mentioned, — one on the right of Jhe centre, the other
on the left. The figure on the left should kneel behind the
board, his arms lying horizontally on the board, his right
80 PARLOR TABLEAUX.
fore-arm crossed over the left, and his chin resting on his
right wrist ; while he looks upward with a hopeful expression,
his full face being turned towards the audience. In this
position, no part of the body, with the exception of the
head and arms, will be visible from the front.
The fio:ure on the ridit kneels behind the board, so as to
display the upper part of his body from a few inches below
the shoulders. His right arm is bent at the elbow, so that
the right fore-arm and hand rest horizontally on the board,
parallel with his body. His left elbow also rests upon the
board, his chin being supported on his left hand. He should
look upwards towards the left, with a hopeful expression,
so as to exhibit a two-thirds view of his face to the
audience; his left wing not being. visible to the audience.
He should stand so close to the board, that his body will
rest against it as he kneels. A thick, blue smoke should be
produced back of and around them, while a bright-blue
light is thrown upon their faces. Music, some sacred Jiymn.
HOMELESS.
81
HOMELESS.
TWO LADIES.
This is a domestic tableau from a modern painting rep-
resenting two friendless and homeless orphan-girls. A girl
of twelve or fourteen years of age may represent the elder
of the two figures. She should be dressed in a plain drab
dress, reaching within a few inches of the ground, showing
her unclad feet. An ordinary striped woollen shawl should
be thrown over her head and shoulders and pinned under her
chin. With her right hand she holds to her bosom a small
bunch of flowers, while her left hand is around her younger
sister's neck,. Her position should be a little to the -right
of the centre of the stage, and looking thoughtfully forward.
The younger sister is dressed in a plain blue dress with low
neck and short skirt. She wears on her head a hood, and
on her shoulder a small cape, showing her bare arms and
neck ; or else a shawl arranged as her sister's, and a checked
apron tied around her waist. She should stand on the left
of her sister, her head slightly inclined towards her, wiih
the forefinger of her right hand in her mouth, and holding
6
82 PARLOR TABLEAUX.
carelessly in her left a few flowers. In age, she should be
from three to four years younger than her companion.
If scenery is used, the background should be a landscape.
A soft white light may be thrown upon the figures. Music
soft and plaintive.
GUARDIAN ANGELS.
TWO LADIES, A BOY, AND A YOUNG GIRL.
For this tableau, two rather tall young ladies (one dark,
and the other of light complexion), a girl of twelve, and a
boy of five or six years of age, are required.
The taller of the ladies stands at the left of the centre of
the stage, back. She should be dressed in a plain white
muslin, without crinoline, with long or drapery sleeves, and
with white cotton draped over her shoulders, reaching to
the floor. She should have a pair of Avings made of tissue-
paper over a wire frame, and her hair should be allowed to
fall over her shoulders. Her hands are clasped, and she
looks' down upon the cliildren who are in front of her.
The other young lady stands on the right of the taller,
GUARDIAN ANGELS. 83
similarly attired in every respect, with her left hand touch-
ing the left shoulder of her companion : she points with her
right to the children, thus presenting a two-thirds view of
her face to the audience. A small green bank should be
placed at the feet of the young ladies representing the angels,
between them and the children.
The young girl should be seated on this bank, with her
head leaning upon her right hand, the elbow of which rests
on the bank.
She is dressed in a black, or some plain, dark-colored
dress ; and she looks down, with her eyes partly closed, at
the young boy, whose head is in her lap. Her hair is
combed plainly, and on her left is placed a small basket.
The boy is dressed in a short frock of some plain material,
reaching to the knee. He lies upon the girl's lap, face up-
wards, with eyes closed, as in sleep ; his left arm, upon
which her hand rests, on her knee. His right arm lies
across his body, and his legs are crossed naturally.
A bright-blue fire should be thrown upon the twa figures
in the background, leaving the children in the foreground in
the shade. Music soft and low.
If scenery is used, the background should be a landscape.
84 PARLOR TABLEAUX.
VISION OF PAST, PRESENT, AND FUTURE.
THREE LADIES.
Three good-looking young ladies are required to produoa
this tableau. As there is nothing else in the picture, of
course the interest centres on them. The elder of the young
ladies stands upon the left of the picture, with her profile
towards the audience, and looking towards the left. She
should be dressed in plain dark drapery, falling to the
ground, with low neck.
This figure represents the Past, and should look towards
the left with rather a melancholy expression. On her head
she wears a wreath of myrtle or ivy-leaves ; her hair other-
wise plainly dressed.
The Present should be represented by a rather tall
young lady of light complexion. She stands in the centre,
directly facing the audience, with her right hand slightly
raising her dress ; her left resting on her bosom, holding a
string of wax-beads, that pass round her neck in a double
strand. Her dress should be a simple white muslin, low
VISION OP PAST, PRESENT, AND FUTURE. 85
neck, and short sleeves, drapery. Her hair is combed back
in front, and should fall in ringlets behind. Her full face
is turned toward the audience, and she wears a pleased
expression.
The Future, represented by the youngest lady, should
also be a blonde. She stands very close to and a little be-
hind the second figure mentioned, so that her left arm and
side are concealed from the front. Her head, however,
should be inclined to the right somewhat, so as to show
the whole face. Her right rfrm is elevated over her head,
with a butterfly on her hand, at which she looks playfully
upward. She should wear a white-nauslin dress, with small
sleeves, a blue-silk sash, and a lace scarf or veil fastened at
her waist, and streaming over the right shoulder. Pier hair
should be combed back in wavy tresses. A light-blue light,
with considerable smoke, should light up the picture ; and
the lower portion of the figures may be concealed by a piece
of scenery painted in imitation of clouds. The revolving
platform may be used with advantage in this tableau.
Music soft.
86 PAKLOR TABLEAUX.
THE HUGUENOT LOVERS.
ONE GENTLEMAN AND ONE LADY.
Millar's celebrated painting furnishes the subject for
this tableau. The incident from which the picture takes its
name is supposed to have occurred on the day of the Mas-
sacre of St. Bartholomew, and represents the parting of a
French lady of high rank from her Huguenot lover.
The tableau should not be attempted unless it can be cor-
rectly dressed, and the characters accurately personated.
The lady should stand on the right of the centre of tlio
stage, with an expression of entreaty on her countenance,
and facing towards the left, so that but little more than
half of her face is turned towards the audience. She
should be of light complexion, straight features ; and her
hair should be allowed to fall over her slioulders.
Her costume should be a riding-skirt of black velvet or
silk ; a basque of the same, with long sleeves, puffed at the
shoulders, slashed with white, and witii white-lace cuffs.
She should hold in her hands, behind the geutleraan's)
THE HUGUENOT LOVERS. 87
back, a silk scarf of some light color, passing around her
neck, over his left arm and under his right, tied in a knot.
In this position her left arm will be passed around his
waist, under his fight arm, with one end of the scarf in her
left hand, the other in the right. The gentleman should be
tall, with straight features.
He should stand facing the lady, looking down towards
her face with an earnest, assuring expression ; holding her
head to his breast with his left hand, while his right arm is
passed around her neck.
His dress is a black- velvet riding-coat ; velvet vest, with
white lawn or lace ruffles ; black stockings ; pumps ; knee-
buckles ; and one of the long black-velvet hats of the period.
The left side of his face only should be towards the audi-
ence. The light should be thrown upon the figures, so that
the gentleman will be in the shade. If scenery is used, the
stage should represent a garden-scene. Music soft.
88 PARLOR TABLEAUX.
THE ORPHAN'S DREAM.
ONE LADY AND ONE BOY.
The characters in this tableau are a lady representing
the mother, and a boy of from four to six years of age.
The lady should be of light complexion, young, with long
rino^lets hanf^ins: over her shoulders. She should stand to
the left of the boy, who is in an arm-chair in the centre of
the stage. Her costume is of some white material, with a
drapery of white muslin or lace, and artificial wings of mus-
lin or paper.
She bends over the boy, looking down towards his face
with an earnest expression ; her hands clasped ; and her pro-
file, only, turned towards the audience. She may also wear
a lace veil on her hair.
The boy should be lying in the chair, with his head on
the right arm, his eyes closed as if sleeping, his face turned
towards the audience. He may be dressed in any costume
suitable to his age ; though one of black cloth or velvet
would be the most suitable. He should wear a white shirt
A HARD SHAVE. 89
and nndersleeves, his jacket being open in front, liis .skirt
reaching to his knees, which are bare. His right leg should
lie on the chair, and the left shonld be hanging crossed over
it. His left arm lies on his lap, his right arm against tlie
arm of the chair ; his hand, from which a book has just
fallen, hanging down. He shonld be of light complexion.
On the left of the chair, a small table, on which is a bouquet,
may be placed. A bright white light should be thrown on
the figures from the left. Music, piano.
V
A HARD SHAVE.
ONE GENTLEMAN.
This tableau is represented by one gentlem'an, who is
seated on a stool in the centre of the stage, at a small
table. On the table is a small mirror leaning against a
broken pitcher, and shaving materials. He is seated with
his left side towards the audience, and looking towards the
ri^ht at the glass. He should be in his shirt-sleeves, his
chin covered with lather, his right hand with the razor just
shaving the soap off, while his face wears an expression of
K
90 TARLOU TABLEAUX.
great pain. He slioukl liave his right shirt-sleeve turned
up, his left hand resting on his knee.
The etTect depends upon the comic expression produceO
by the actor, and luay be made very laughable. Music
lively.
COMIN' THROUGH THE RYE.
ONE GENTLEMAN AND ONE LADY.
If a body meet a body com in' through the rye,
If a body kiss a body, need a body cry ?
Every lassie has her laddie ; nanc, they say, havo I :
Yet all the lads they smile on me a-comin' through the rye.
The tableau represents the heroine of the above verst
in the act of receiving a kiss from one of the laddies men-
tioned. She should stand to the right of tlie centre of the
stage, with her face turned sliglitly towards the right, away
from the young man, who stands beside her. Her riglit
hand should be raised before her, as if putting him off. Her
costume should be a Highland dress of plaid, or a blue
skirt and white peasant-waist, with a scarf thrown over her
shoulders.
THE MOTHElt's GKAVE. 91
The young man should stand at her left, with his right
arm around her waist, his left hand holding her left to his
breast ; while his head should be inclined forward, his lips
touching her cheek. He should be dressed in striped pants,
white shirt, and Scotch cap. A landscape may form the
background if scenery is used. Music, " Comin' thro' the
Rye."
THE MOTHER'S GRAVE.
ONE LADY, TWO YOUNG GIRLS, AND A BOY.
A PIECE of board painted white, about three feet in length,
should be placed so as to stand upright in the centre of the
stage, with a wreath of flowers on the top to represent a
marble slab. A girl of from twelve to fourteen years of
age should be seated on a small bank in front of the slab,
toward the right.
Her hands may rest upon her lap, and she should hold
some sprays of flowers. Her costume should be a dres-i of
some plain black material, white cuffs and collar. Her
hair should be allowed to fall in curls over her shoulders,
92 PARLOR TABLEAUX.
and she should look towards the left with a mournful expres-
sion. A girl two or three years younger stands at the left
of the slab, leaning against it. Her eyes should be closed,
and her dress shoidd be the same as the other girl's, with the
addition of a straw hat. A boy of four or five years should
be seated on the ground between the two girls. A basket
of flowers should be placed before him, and his face should
be toward the audience. The curtain at the background
should be parted, revealing a lady dressed in white, with
her head inclined towards the children, her liands extended
over them. A thick blue smoke should surround her.
Music, some sacred hymn.
LIGHT AND SHADOW.
TWO LADIES.
This tableau should be represented by two young ladies
of handsome appearance, one of dark, the other of liglit
complexion. The lady of dark complexion, representing
Shadow, should be rather taller than her companion.
She should stand a little to the right of the centre of the
LIGHT AND SHADOW. 93
stage, with her left arm around the waist of the youug huly
representing Light ; her right arm hanging naturally,
and concealed by drapery. She should be attired in flow-
ing drapery of some crimson or black colored material,
displaying her neck, and trailing to the ground. Her hair
should be plainly dressed, with a simple wreath of myrtle
or ivy-leaves. Her position is looking toward the right,
her profile being turned toward the audience. The young
lady personating Light should stand in front and slightly
to the left of Shadow. She should be dressed in a
white muslin with low neck and short sleeves, over which
should hang a drapery of some bright-blue material in folds,
trailing to the ground. Her hair should be combed back,
and allowed to fall in curls over her shoulders ; and on the
head she may wear a net of pearl beads. Her back should
be toward the audience, and the side of her face, as she
looks towards the right with a pleased expression. Her left
arm passes in front of her companion, and rests on her left
shoulder : her right arm also passes around Shadow
from behind. She should be so close as to hide from the
audience about one-third of the form of Shadow. A
bright-blue or white light should be thrown upon tlie fore-
most figure, Light, making a decided shadow on the
94 PARLOR TABLEAUX.
Other young lady. Clouds of smoke may be produced in
the background, the figures being as far in the foreground
as possible. Music soft.
THE HOME-GUARD.
TWO LADIES.
And in sucli sacred cause
We court no vain applause :
Our swords arc free.
No spot of wrong or shame
Rests on our banner's fame,
Flung forth in Freedom's name
O'er mound and sea.
Then let the invailer come !
Soon will the heat of drum
Rally us all.
Forth from our homes we go :
Death, death, to every foe I
Says each maiden low.
God save us all !
The subject of this tableau is from one of the well-
known statuettes by Rogers, and represents a lady of per-
haps twenty-five years of age, and her younger sister, u
THE HOME-GUARD. 95
girl of thirteen, keeping guard on the outskirts of one of our
Western cities, — a scene quite common during the late war.
If scenery is used, the back of the scene may represent a
vilhige in the distance, or dark woods ; although no particu-
lar effect is gained by the use of scenery in this instance.
The lady should stand at the right, and near the front of
the stage : she grasps in her hands a long pistol, held towards
the right, in readiness to fire. She should be quite tall, broad-
shouldered, and with a bold, determined expression on her
faoe, as she looks out towards the right. She is dressed in a
slvort dress of some drab or brown colored material, with low
neck, and sleeves reaching to the elbow, and a cloak thrown
back over her shoulders. Her hair should be allowed to fall
loosely over her shoulders. The younger lady stands at
the left of her sister, with her right arm around her wai-st,
and looking towards the right with an anxious expression.
She wears a blue dress, short, with low neck, and a shawl
partially covering her head and shoulders. A red light
should be thrown upon the figures from the right, and the
noise of arms is heard outside. Music, some martial air,
as " La Marseillaise."
96 PARLOR TABLEAUX.
THE SCULPTOR'S DREAM.
ONE GENTLEMAN AND THREE LADIES.
Under this title, several tableaux have been presented,
both in public and in private exhibitions. The one hero
described is of the most novel and pleasing form.
The curtains at the back of the stage should be drawn
aside, showing the three female characters, Avho, dressed as
statues, occupy that portion of the stage. The ladies should
bo of straight features, and rather tall.
The taller of the young ladies should stand in the centre
of the stage, at the back. Upon her head is a diadem,
made of paper to represent marble ; and she holds in her
right hand a scroll, to which she points with her left. She
should be dressed in a drapery of white, showing tlic
arms and shoulders ; while her hair should be powdered
as heavily as possible with white chalk or puff-powder.
81ie should stand erect, pointing as described, and looking
towards the front with a proud expression.
The other young ladies should be in a half-kneeling posi-
tion, on cither side of the central figure, each with one hand
THE sculptor's DREAM. 97
extended, grasping together an imitation goblet, or basket
of fruit and flowers, wliich they hold up as a tribute to the
more prominent figure.
They should be attired in a similar costume to the one
just described, except that the hair is simply combed in
the Grecian style, with a coil behind, and then powdered.
About two-thirds of their face should be towards the audi-
ence, and turned upwards towards the central figure, with
a smiliug expression.
In the foreground of the picture, at the front of the
stage, the young gentleman who personates the sculptor is
lying stretched upon the floor, with his head towards the
right, his face turned towards the audience, and his eyes
closed, as in sleep. His right arm is extended upon the
floor, holding a chisel ; while his left lies naturally at his
side. He should be of dark complexion, his face very pale,
and should wear black pantaloons, wide Byron collar, and
a blouse of green or brown material tied with a cord
around the waist. A bright white light should be thrown
upon the figures, at the back, leaving the sculptor in the
shade. Music very soft and slow. ^
7
98 FAKLOK TABLEAUX.
THE SAILOR-BOY'S DREAM.
TWO GENTLEMEN, A BOY, AND ONE LADY.
Tins tableau is very readily produced, requiring but few
stage accessories. lu the foreground of the picture, to tlic
right, the two principal characters, a man of twenty-five
or tliirty years of age and a boy of twelve or fourteen,
liave their place. The man should he dressed in a blue
sailor's shirt, with white pants, and without shoes. His
riiiht hand he holds to his forehead, as if lookinu: out
towards the ocean with an earnest expression. His face
is turned towards the left, so that scarcely half of his face
is visible to the audience. He sliould be seated on the
ffrouud, witli his \ct\ lei: extended, his riiiht bent at the
knee ; while his right hand is extended toward the boy*s
face, as if commanding silence.
The boy should be lying upon the ground, on his right
side, his head resting on a small, green bank, while his
oyes are closed as in sleep. He should wear a white shirt,
black neck-tie, and blue trousers. His shirt is open at the
THE sailou-ijoy's dkkam. 99
neck, and one of his sliirt-slecves unbuttoned at the wrist,
as his right arm lies carelessly by his side. His left hand
rests on his left hip, and his left leg is crossed over the
riglit. He should be of light complexion.
The curtain at the background should be drawn aside,
showing the figures of a boy and his m'other. The boy
should be dressed as is the one just mentioned, with the
addition of a jacket and cap.
The mother is dressed in a plain, drab-colored material,
witli white-lace cap. She clasps the boy round the neck,
and, leaning forward, is about kissing him on the cheek.
The boy's arms are passed around tlie mother's neck, as lie
stands close to her. These figures should stand upon a
table covered, the ends being masked by the curtain at the
back. A piece of gauze may be stretched across the stage,
if practicable ; or a piece of scenery, in imitation of water,
between the two groups. A clear blue or white light
should be thrown upon the figures in the background.
Music low.
100 PARLOR TABLEAUX.
THE REFUGEE.
TWO GENTLEMEN AND ONE LADY.
Hard by the porch of the village church
Halts a while a dusty traveller to rest.
His head droops tired upon his breast ;
But the word of prayer w;>kes new life there.
God bless thee, brave, who go to save
Our country in her dark, dread hour of danger !
The good man's voice was comfort to the stranger:
Duty wipes away a tear as he hurries to the war.
Rebellion Record.
The scene of this tableau is laid in the wilds of Tennes-
see during the late war, and represents a Union soldier,
who, returning on a short furlough from the army, finds his
home desolated by the foe, and is forced, amid great hard-
ships, to remove his wife and child to a place of safety.
The soldier should be represented by a young man of about
thirty years of age.
He stands at the right of the centre of the stage, his gun
over his right shoulder, his left arm around his wife, who
THE REFUGEE. 101
stands beside hira, and looking out, with his face turned
slightly towards the right, with a stern, troubled expres-
sion. Pie is dressed in blue pants thrust into his boots,
short fatigue-jacket thrown open, military cloak thrown
carelessly over his shoulders and tied round his neck, belt.j
cartridge-box, and felt-hat with brim turned up. His feet
are placed as if advancing forward.
The wife stands at the left of the soldier, her right arm
on his left shoulder, with her head bent down, and leaning
upon his arm. Her right hand is held by her boy beside
her.
She should be dressed in a dark-blue skirt, quite short,
drab-colored waist with high neck, and sleeves reaching to
the elbow, and a shawl partially covering her head, and
hanging over her shoulders. She stands very close to the
soldier, and her eyes are closed as she leans against him.
A boy of eight or nine years of age completes the group.
He is dressed in an ordinary jacket, open, and short trou-
sers. He holds fast to his mother's hand, and stands close
to her, looking earnestly at his father. The mother should
be very pale, with a careworn expr^ession of countenance.
The tableau should not be very brightly lighted. Music,
some martial air.
102 PARLOR TABLEAUX.
THE SOLDIER FROM THE HUDSON.
TWO GENTLEMEN AND ONE LADY.
A soldier of our army lay dying at Bull Run :
Oh, the feast of death was dreadful 'neath that hot and burning sun !
No mother's fond devotion, and no sister's earnest oare,
Beiokened that a mother's or a sister's hand was there ;
But a fomraile knelt beside him, with his bended head full low, —
'Tii ever thus the travest will feel compassion flow, —
And he listened to the murmur as the blood gushed from his side :
" My home is by the Hudson, — the Hudson's swelling tide.
" Tell my father, when you see him with sad and tearful eye,
That I died the death he prayed for mc, — the death I longed to die :
With my gaze upon the standard, my weapon to the foe,
And a wild huzza of t cstasy, I met the welcome blow.
Oh, mitigate his sorrow ! It will give his anguish rest
To know my foe's endeavor fell squarely on my breast.
Where else could traitors strike me ? For I was nursed beside
The memories of Hudson, — of Hudson's storied tide.
" And one is there, — a maiden : God bless her trusting heart I
'Tis bitter thus to leave her; 'tis bitter thus to part.
Long, long ago we plighted our troth forevermore
In those early days of sunshine, in those happy days of yore.
With my sword from out its scabbard cut this lock above my brow
As a token to my loved one : 'tis all that's left her now !
God save her darling image ! I can see it still beside
The waters of the Hudson, — the Hudson's glassy tide ! "
G.
THE SOLDIER FROM THE HUDSON. 103
The scene given under the accompanying title is both
patriotic and domestic, and represents a Union soldier, who
has been wounded in one of the earlier battles of the war,
lying in a dying condition upon the battle-field, attended by
a devoted comrade, who tenderly supports him as he listens
to his last messages to his loved ones at home.
The wounded soldier lies near the front of the staije, at the
right, his lower limbs stretched upon the floor, the upper
portion of his body raised and supported by his companion.
The right side of his face is towards the audience ', and he
looks towards the left with a smile upon his face, which is
made up very pale, with a mark of a wound u}X)n the fore-
head. His hands are clasped, and extended towards the
lady at the left corner of the stage, back ; and he wears light-
blue army-trousers, officer's coat, open in front, sho^ying the
breast. His companion kneels behind him on his right
knee, his arms around the wounded man, holding him
closely ; while he looks down towards his face witli a sad,
earnest expression. He wears light-blue army-trousers,
fatigue-jacket, and cap ; while his rifle lies upon the floor of
the stage, at his side. The curtain upon the left of the
stage, at the back, should be drawn aside, showing a small
supplementary stage two or three feet in height, furnished
104 PARLOR TABLEAUX.
with table and chairs, to represent an interior, the boxes
forming the stage being covered with green, or some dark
material. The table and chairs are placed near the ex-
treme left of this stage ; and in the chair at the right of the
table a young lady is seatecl, with her chin leaning upon her
left hand, her right lying in her lap, holding a letter opened,
which she is reading with a smile upon her face, which is
turned towards the front, so as to present about a two-thirds
view to the audience. She should, if possible, be of light
complexion, her hair hanging in long curls behind. She
wears a dress of white muslin trimmed with blue, or a
plain blue dress, with white-linen collar and cuffs. A cur-
tain of black gauze may be intervened between the lady and
the group at the front ; or she may be surrounded with a
white smoke, made by burning a strip of magnesium near
her. Flashes of red light should be thrown on the group in
the foreground, and the music, the "Prayer from Der
Freitschutz," or some similar piece, played very softly.
ON THE SHORES OF TENNESSEE. 105
ON THE SHORES OF TENNESSEE.
THREE GENTLEMEN.
** Move my arm-chair, faithful Pompey,
In the sunshine bright and strong :
For this world is fading, Ponipey ;
* Massa ' won't be with you long.
And I fain would hear the south wind
Bring once more the sound to me
Of the wavelets softly breaking
On the shores of Tennessee.
Mournful though the ripples murmur
As they still the story tell, —
How no vessels float the banner
That I've loved so long and well, —
I shall listen to their music.
Dreaming that again I see
Stars and stripes on sloop and shallop
Sailing up the Tennessee."
• • • • •
Still the south wind fondly lingers
'Mid the veteran's silver hair ;
Still the bondman, close beside him,
Stands behind the old arm-chair:
"With his dark-hued hand uplifted.
Shading eyes, he bends to see
Where the woodland, boldly jutting.
Turns aside the Tennessee.
106 PARLOR TABLEAUX.
Thus he watches cloud-horn shadows .
Glide from tree to mountain-crest,
Softly creeping aye and ever
To the river's yielding breast.
Ha ! above the foliage yonder.
Something flutters wild and free :
" Massa, massa, hallelujah !
The flag's come back to Tennessee ! "
*' Pompey, hold me on your shoulder,
Help me stand on foot once more.
That I may salute the colors
As they pass my cabin-door.
Here's the paper signed that frees you ;
Give a freeman's shout with me :
* God and Union ' be our watchword
Evermore in Tennessee ! "
Ethel L. Beers.
The celebrated poem by Miss Beers furnishes the sub-
ject for this very Hue patriotic tableau under the above
title. The State of Tennessee was, during the late war,
held for some time by the Southerners, although many of
the inhabitants still remained loyal. The tableau represents
an aged citizen of the State, — a Union man, — who has for
many months writhed under the Southern rule, hourly wait-
ing for the Northern troops to arrive, and restore law and
ON THE SHORES OF TENNESSEE. 107
order to the State ; and his servant, a faithful old negro,
who, with watchful care, supports his master in his feeble-
ness. About three feet from the background, a strip of light-
blue cambric, canvas or paper painted blue, should be
stretched across the stage, to represent water. At the left-
hand corner of the stage, behind this strip, a boat, or imita-
tion-boat made of thick, painted pasteboard bent in the form
of a boat, or tacked on a light wooden frame, is placed, with
the bow towards the right. A yoimg .man is discovered
standing in the boat, with his right foot resting upon the
forward end, as if advancing, his right hand grasping a
large American flag ; while he points, with left fore-finger
extended, to the flag. His face is turned towards the front,
with an expression of triumph on his countenance as he
looks forward. He wears a United-States officers uniform
of dark-blue cloth, and fatigue-cap. The old man stands to
the rio-ht of the centre of the sta2;e, with his left arm lean-
ing on the negro's shoulder, his right raised above his head,
as if giving a shout. The side of liis face is towards the
audience ; and he looks at the officer at the back with a
pleased expression, his mouth partly open. He wears a
brown coat, nankeen trousers, and white wig ; his face
made up with marks of age. The negro stands beside
108 PARLOR TABLEAUX.
the old man, ac his left, his right arm around tlic cla man,
supporting him, and his left raised above his head, as if
giving a shout. His face is turned towards the officer ; and
his mouth should be open, as if shouting.
He wears a striped-cotton shirt and trousers ; and hia
face, arms, and hands should be well blacked with burnt
cork. Red, white, and blue lights may be tlirowu alter-
nately upon the figures, or a steady red light may be used.
Music, the " Star-spangled Banner," played quite loud.
PAST AND FUTURK
TWO LADIES.
Sighing as through the shadowy past,
Like a tomb-searcher, memory rare.
Lifting each shroud that time had cast
O'er buried hopes.
Moore.
Hope, the brightest of the passionate choir
That through the wide world range,
And touch with passing fingers that most strange
And curious instrument, the human heart.
Shelley.
PAST AND FUTURE. 109
This tableau should be represented by a young lady and
by an older lady ; a difference of ten years or more being
apparent in their appearance. The older lady should be
seated to the right of the centre of the stage, with her left
hand lying upon her knee, and her right around the neck
of her companion. The side of her face should be turned
towards the audience, as she looks to the right with her eyes
cast down towards the ground. She should wear a dark
skirt, with a loose waist of gray-colored material with
flowing drapery-sleeves, and undersleeves. She should also
wear, depending from the shoulders, a full black drapery,
lying in folds across the knees, as she is seated. Her hair
is combed very plainly around her face, and she wears a
plain white veil of thin muslin upon her head.
Her face has a very sad expression, as she looks down-
ward. The young lady representing Future should be of
light complexion and good features. She is seated a little to
the right of the other lady, on a lower seat, and in front of
her. Her right elbow should be placed on the knee of her
companion, while she supports her cheek upon her right
hand. Her left arm rests upon her lap, and she looks up-
wards, with her face turned slightly towards the right, with
a smiling, hopeful expression.
110 PARLOR TABLEAUX.
She should wear a plain white dress with low neck and
drapery-sleeves, high blue bodice, and a drapery of blue
covering her skirt.
Her hair is tastily dressed, with a braid of natural hair
on the front of her head. A bright white light should be
thrown upon the younger lady, leaving her companion
heavily shaded.
The music should be slow and solemn at first, then
change to a lively waltz.
HOPE AND FAITH.
TWO LADIES.
Her precious pearl, in Sorrow's cup,
Unmelted at the bottom lay,
To shine again, when, all drank up,
The bitterness shall pass away.
Moore.
Oh, happy that I am ! If thou canst be, Faith !
The treasure that thou art in life,
What wilt thou be in death ?
This is a similar tableau in style to the one of Past
and Future, and forms a suitable companion. The young
HOPE AND FAITH. Ill
lady who represents Hope should be seated at the right
of the stage, her face turned towards the left, so that the
side of her face only is towards the audience. Her hands
are holding a book which is lying in her companion's lap ;
and she leans forward, looking upward toward her with a
pleased, hopeful expression. She is dressed in a robe of
white, gathered loosely at the neck, with wide drapery-
sleeves, and a drapery of white or blue lianging from the
shoulders, and falling over her skirt. Her hair should be
combed in a coil behind, with braids at the side ; and she
should be of light complexion.
Faith should be represented by a lady ten or fifteen
years older than the younger lady. She should be seated
beside her companion, with her hands elapsed and lying
upon the younger lady's arm^ which is on her lap ; a Bible,
opened, also lying there.
Her face is turned slightly towards the left, and she looks
upwards with an earnest, prayerful expression. She should
wear a dark skirt, a drab-colored waist with high neck
and drapery-sleeves, and a black drapery hanging from
the shoulders. Her hair should be combed back plainly,
and partially covered by a long white-muslin veil, which
reaches nearly to her waist.
112 PARLOR TABLEACX.
The scat on which the ladies are placed may consist of
a long box covered with dark cloth or cambric. A bright
white light should be thrown upon the younger lady, the
other figure being heavily shaded. The music should
change from quite lively to very grave.
AWAKENED SORROWS.
TWO LADIES.
My soul is dark. Oh ! quickly string
The harp I yet can brook to hear,
And let thy gentle lingers fling
Its melting murmurs o'er my ear.
If in this heart a hope be dear,
That sound shall charm it forth again ;
If in these eyes there lurk a tear,
'Twill flow, and cease to burn my brain.
But bid the strain be wild and deep,
Nor let thy notes of joy be first :
1 tell thee, minstrel, I mnst weep,
Or else this heavy heart will burst.
For it hath been by sorrow nurst,
And adied in sleepless silence long;
And now 'tis doomed to know the worst,
And break at once, or yield to song.
Byron
AWAKENED SORROWS. 113
The characters in this tableau should be represented
by ladies of similar age to those personating Past and
Future. A cushioned seat is placed in the centre of the
stage, upon which the elder lady is seated : her left arm is
upon her knee, her right around the neck of the young
lady ; her head is blightly inclined towards the left, and she
looks down towards the audience with a sad expression.
She should be of dark complexion, with straight features.
Her costume is a robe of white, or light drab-colored
material, with high neck and long sleeves, a drapery of
black falling from her left shoulder over her knees, and a
veil of white muslin or lawn partially covering her hair,
and falling over her shoulders. The younger lady kneels
at the right of her companion, her hands clasped, and
raised to her right shoulder ; her face turned towards the
left, and looking upward to the other's face with an earnest
expression. She should be of light complexion. Her cos-
tume is a dress of light-blue material, with high neck, and
sleeves reaching to the elbow ; and short muslin under-
sleeves. Her hair is combed back in curls behind, and
she wears a braid of natural hair upon her head.
The light should be thrown from the right, shading the
older lady. Music soft and slow.
8
114 PARLOR TABLEAUX.
THE PICKET-GUARD.
THREE GENTLEMEN.
A dreary ni^ht ! Nor moon nor star
Scarce yields one ray to cheer the gloom.
Away from camp and comrade far
The picket, where may be his tomb.
Against his sturdy tree close pressed,
The picket's dripping form is leant ;
And, though no shelter, it is rest.
Thank Heaven, the tempest's wrath is spent !
• • • • . • •
It comes at last. O beam of hope !
Thank God, that doth the day restore :
The sun mounts up the eastern slope ;
And comrades, camp, are gained once more.
Rebelliox Record.
This tableau represents a picket-guard of three Uuioa
soldiers in advance of the forces, to apprise them of any
danger which may be apparent.
One of the number stands in the centre of the stage, his
left hand grasping his sword at the hilt ; while his right
hand is extended towards the soldier who is at his right with
THE PICKET-GUARD. 115
a gesture, as if commanding silence. His head is inclined
forward ; and he looks out with an anxious expression, as if
he heard some sound.
He is dressed in a captain's uniform, with fatigue-cap.
One of the soldiers should stand at the right hand, and a
little farther back than the captain. His head is bent for-
Avard, as if listening, looking in the same direction as the
captain. He grasps his gun, as if about to advance in the
position of charge bayonets.
The other soldier stands in the same relative position, on
the left. His head is bent forward ; and his left hand raised
over his eyes, as if endeavoring to perceive some object : his
right hand grasps his bayonet, which hangs at his side.
The soldier should be dressed, if possible, in the Zouave
uniform, with red skull-cap with tassel, and leggins ; al-
though, if these cannot be procured, the usual uniform of
the Union soldiers, with knapsack, will answer.
A bright light should be thrown upon the figures from
the right. Music alternately soft and loud.
116 PARLOR TABLEAUX.
/
THE PARDON REFUSED.
ONE GENTLEMAN AND ONE LADY.
Oh ! tell me at once that you love me no more ;
Oh ! say you are weary, and liopc will be o'er :
But let me not fruitlessly waste my soul's life
Between doubt and despair in this passionate strife.
It is time, Heaven knows, that I turn from my dream;
'Tis follv, 'tis madness, though sweet it may seem :
And, if once from your lips your estrangement I kno\»,
I've a pride still at heart that would rise at the blow.
By all the true tenderness banished so long
On thy bosom, soul of my thought and my song !
By all the wild worship poured forth at thy feet,
Oh ! soothe me no more with this fatal deceit.
Now are gone, gone forever, the joy and the bloom :
They are fled like the withered flower's blush and perfume.
If your love has gone with them, oh ! list to my prayer :
Let me rest, though it be in the calm of despair.
F. S. Osgood.
These lines and the tableau illustrate a domestic scene,
doubtless very common to the majority of young ladies and
gentlemen who have arrived at years of discretion ; and for
THE PAKDON REFUSED. 117
that reason will probably be appreciated more particularly by
them than by any other class of our readers. The scene
represents a young man of from twenty to twenty-five years
of age, who is supposed in some way to have offended the lady
of his choice, and who is in the act of endeavoring to remove
her coldness towards him, humbly suing for pardon.
He kneels at the left of the centre of the stage, upon his
left knee, his left hand clasping hers, which she is endeav-
oring to withdraw, his right hand resting upon her waist,
while he looks upward towards her with an appealing
expression. The lady stands to the right of the young man,
her left hand resting in his, her right extended with a
gesture of refusal, her head turned from him, and looking
toward the right, with an offended expression upon her
face. She wears an elegant dress of white silk, or some
appropriate evening-dress, with low neck and short sleeves.
Her hair is tastily dressed, with a band of gold or a wreath
of flowers upon her head. Music should be some lively
waltz.
118 PAKLOR TABLEAUX.
X
THE RECONCILIATION.
ONE GENTLEMAN AND ONE LADY.
Come with that true heart, all petty douhts scorning ;
Come with that smile which is day to my night ;
Come with those blushes which mock a May-morning, —
Dear truant tell-tales of love and delight.
Come with that step, like a flower-sylph's in fleetness ;
Come with those tresses that gleam as they flow ;
« Come with that lute-tone's ineffable sweetness ;
Breathe to my bosom its melody low.
Gem of a life that were joyless without thee ;
Rose in Hope's wilderness, bird in Love's bower ;
Balm, light, and melody floating about thee :
"Which art thou, darling ! — bird, jewel, or flower ?
F. S. Osgood.
ft
This is a companion-piece to the tableau of " The Pardon
Refused," and introduces the same characters. The inter-
view is supposed to have taken place some time after the one
previously described ; and, at the time of the incident given
here, the young man is exhibited as but partially recovered
from the wound his feelings have received at the hands of
THE RECONCILIATION. 119
the lady, and is, in his turn, offended when she desires to
recall her past coldness.
The young gentleman stands at the left of the stage, near
the centre : his right arm rests upon the lady's waist ; bis
left hand is at his side, in a position as if withdraAving from
the lady's grasp ; his face looking down towards her with a
reproachful expression. He wears a black dress-frock,
white vest, and black pantaloons. The lady stands in the
centre of the stage, her face close to the young man, and
looking up towards him with an appealing, tender expres-
sion upon her face. Her left hand is upon his shoulder,
her right upon his breast ; the right side of her face being
towards the audience. She wears an evening-dress of white,
blue, or purple, with low neck and short sleeves, and a
coronet of pearl beads or a gold band around her head.
The room is furnished as a handsome parlor, with small
table with flowers upon the left, chair or screen upon the
right, and sofa at the back, of the stage. Music should be
of a lively character.
120 PAELOR TABLEAUX.
MAY AND DECEMBER.
ONE GENTLEMAN AND ONE LADY.
This tableau represents a domestic scene of real life ; one
of those of which we frequently hear, but seldom witness.
The scene is a drawing-room ; and the stage should be fur-
nished with a sofa, or tete-a-tete^ placed in the centre, a
table upon the left, an arm-chair upon the right, pictures,
and so forth. As the curtain rises, an old gentleman rep-
resented as about sixty is discovered seated by a young
lady upon the sofa, holding her left hand to his lips ; while
he bends forward, and looks up towards her face with a
complacent expression. He wears a white wig with bald
front, blue coat with brass buttons, buff vest and trousers,
with ruffled shirt-bosom.
The young lady is seated upon the right of the old gentle-
man, her left hand in his ; while the fore-finger of her right
is raised to her lips, and she looks out towards the audience
with an amused expression. She should wear a liaudsome
silk evening-dress, or a white muslin, with blue sash, and
her hair tastily dressed. The stage should be well lighted,
and I he music lively.
THE VILLAGE POST-OFFICE. y 121
THE VILLAGE POST-OFFICE.
ONE GENTLEMAN AND A LADY.
This scene is probably familiar to any one who has ever
travelled through some country village remote from any
great centre of civilization. The locality is a shoemaker's
shop ; and a low bench should be placed in the centre of the
stage, near the front. Upon it is a hammer, round stone,
shoes, and other small tools. The postmaster and shoe-
maker stands on the left of this bench, holding a large mail-
bag in his right hand ; while in his left is a letter, which he
looks at steadily, as if endeavoring to read the direction.
His head is bald, and he wears a large pair of spectacles :
his dress is a white or striped shirt, with sleeves rolled up ;
brown vest and trousers, and long apron. A lady stands
on the right of the bench, watching the shoemaker expect-
antly, her left hand holding a letter to her lip, and her right
opened, and extended towards him. She wears a gray or
black dress, light shawl, and bonnet. ^Music lively.
122 PARLOR TABLEAUX.
THE BUSHWHACKER.
A GENTLEMAN, A BOY, AND A LADY.
This is a compauion-picture to " The Union Refugee,"
and, in contrast to that, represents one of the other side
about to leave his wife and child, to whom he had returned
for a short time, and again enter into those nefarious ex-
ploits in which this class of men engaged. The bush-
whacker should be represented as about thirty years of age,
with long, full brown beard and mustache. He stands at
the left of the stage, his right arm holding up his little boy
close to him, his left holding his gun, the butt of which rests
upon the ground, while the barrel is inclined towards the
right. His head is bent over towards the right upon his
shoulder, and his eyes closed, as if endeavoring to pay no
attention to the remonstrances of his wife, who stands be-
side him. lie wears a flannel shirt with sleeves hanging,
leaving the arms bare to the elbows ; gray vest, open in
front, showing his breast ; gray pants tucked into his boots ;
high boots, with the hasp of a large knife protruding from
one leg, and the butt of a pistol or revolver from the other.
THE fisherman's RETURN. 123
-9
Ills hair presents a rough and uncombed appearance. The
hidy personating the wife of the bushwhacker stands at liis
right side, with her left arm around his neck, and resting
upon his left shoulder ; her right grasping the gun above the
point where he holds it, as if endeavoring to restrain him
from taking it. Her faced is turned up towards his with a
pained, entreating expression. She wears a short gray dress,
large woollen shawl, and small handkercliief around her
ueck : her hair is allowed to fall loosely upon her shoulders.
The child should be a boy from three to fiv^e years of age.
He is supported upon his father's arm, and rests his head
upon his father's right shoulder, his hands stroking his
beard, while he looks upwards at the outlaw's face with a
smile. He wears an ordinary frock, stockings, and shoes.
The music should be alternately loud and soft ; and the light
should be red, thrown on in occasional flashes.
THE FISHERMAN'S RETURN.
A GENTLEMAN, A LADY, AND TWO OR THREE CHILDREN,
Who, far from children, horrfe, and ^vife,
"With ocean holds a constant strife ?
Toils hard to live an honest life ?
The fisherman.
124 PARLOR TABLEAUX.
Oh ! glad is he to see once more
The humble cottage on the shore
That ever welcomes to its door
The fisherman.
And, as his vessel nears the land,
His children run, a merry band,
To greet with eye and lip and hand
The fisherman.
His wife, with baby on her arm,
Trips down to give him welcome warm ;
And infancy's sweet lispings charm
The fisherman.
Sometimes that wife will trembling hear
The night-storm howling wild and drear.
Dreading no coming morn will cheer
The fisherman ;
And, weeping, on her bended knees
"Will pray to Him who still the seas, —
" Oh ! send back to his babes and me
The fisherman/*
Whose widowed wife should be our care ?
Whose children should our bounty share 1
His who for us did danger dare, —
The fisherman.
This tableau, as is well explained by the poem, represents
an Endish fisherman on his return from a voyage, greeted
THE fisherman's RETURN. 125
by his wife and family. The characters are the fisherman,
his wife, and three children. The gentleman taking the
character of the fisherman stands upon the right of the
stage. His body is bent forward, his right leg extended,
and the left resting upon the toe of the left foot, as if ad-
vancing : his arms are stretched forward towards his little
girl, who stands before him ; while he looks towards his
wife with a pleased expression. He wears a blue shirt and
trousers, tarpaulin or a straw hat, and a beard to match the
color of his hair.
A little girl some four to six years of age stands directly
in front of him, towards the centre. She is dressed in a
white or blue dress, her hair thrown back in curls, and her
arms extended towards her father, with a smiling expression
upon her face.
By the side of the girl, towards the back of the stage,
stands the fisherman's son, a boy of about nine or ten years
of age. His left hand is at his side, his right raised above
his head, as if giving a shout of joy as he looks towards his
father. He wears a cloth cap without visor, and ordinary
jacket and trousers.
The lady personating the wife of the fisherman stands at
the left-hand corner of the back of the stage. She should
126 PARLOR TABLEAUX.
hold in lier arms a youas: child, if available ; though thig
accessory is not indispensable. Her left foot is placed in
advance of her right, as if moving forward ; and she looks
towards her husband with a pleased expression. She wears
a plain striped calico with loose waist, cap, and handker-
chief around her neck. The stage should be bare, with the
exception of some poles and a net, which may be laid upon
the floor at the back. Music, " Home Again."
ON THE FENCE.
TWO MALE FIGURES AND ONE FEMALE.
The stage for this scene should represent a rustic retreat,
with a long wooden seat extending across the stage from the
centre of the background towards the right of the stage.
The seat may be a plain wooden plank, about eight feel
long by one wide, placed upon two boxes, painted or cov-
ered with green, about two feet high. As the curtain rises,
a young lady is discovered seated upon the centre of the
plank, with her face towards the front. She is simply
dressed in a blue dress, white cape, and straw-hat. She
does not look at either of the young men, but straight for-
THE RECOGNITION. 127
ward, with a hesitating expression. Upon the right, in the
rear of the seat, a young man gayly dressed, with long side-
whiskers and light-kid gloves, is standing. He leans for-
ward towards the young lady, offering his right arm with a
complacent expression. On the left, a young man, dressed
as a farmer, stands looking at the lady with a sheepish ex-
pression. The curtain descends ; then quickly rises, show-
ing the young lady and farmer together, arm-and-arm,
looking contentedly at each other ; while the exquisite on
the right raises his hands, and elevates his eyebrows in
surprise. Music lively.
THE RECOGNITION.
TWO GENTLEMEN.
This subject is from the celebrated picture by Constant
Meyer, the artist of Consolation, which first made him
famous. Although the sentiment of this picture is entirely
different from the one first known, and in many respects
not as pleasing, still the subject is entirely original and
very striking, forming a very impressive tableau. Like
Consolation, it is an episode of the late war between the
128 PARLOR TABLEAUX.
jSTortli and the South, and illustrates one of those terrible
incidents naturally growing out of this conflict between
friends, relations, and brothers. Nothing could be in
greater contrast to the quiet, tender, almost heavenly spirit
of the first picture, than the agonizing expression of the
Southern soldier in "The Recognition."
The scene of the picture is a battle-field. Upon the left
of the stage, a bank of boxes and pillows, covered with
green cambric or baize, should be made, sloping from a
height of about three feet from the extreme left of the stage
to the level of the centre.
The characters are a young Union soldier of about nine-
teen years of age, and his brother, some seven years older,
a soldier of the Rebel army. As the curtain rises, the
young Union soldier is discovered lying stretched upon the
bank, with his head towards the left, his feet extended
towards the centre of the stage. His right arm is close to
his side, his left extended on the bank towards the froiit ;
the lower limbs lying carelessly upon the bank. His face
is turned upward, and his coat and shirt open, showing his
breast, upon which is the mark of a wound.
He wears light-blue trousers, — one leg of which is
turned up, and the limb bandaged, — a dark-blue coat, and
striped shirt. His eyes are closed as in sleep.
THE father's oath. 129
The older man kneels behind the young soldier, his right
hand grasping firmly the young man's right below the el-
bow, his left under his shoulder. He kneels upon his right
knee, his head bent forward, and looking upon the face of
his companion with an earnest, agonized expression, as he
recognizes his own brother in the person of the man he has
killed. He wears a brown jacket and pants, black, bushy
beard, and a bandage around his head. The stage should
be quite dark, with flashes of red light thrown on at inter-
vals, succeeded by a bright-blue light. Music alternately
loud and soft.
THE FATHER'S OATH.
ONE GENTLEMAN AND ONE LADY.
Lina. If it is Heaven's will to take me from you, Reuben, our com-
mon faith teaches us submission ; but, whether long life or early death
be my doom, I think you would not wish the one a slow suffering, and
the other a bitter agony. Swear to me, Reuben, that you will be true
to the trust that the dead reposed in you ; that you will use all your
endeavors to find out the lawful owners of the money ; and, when they
are found, that you will restore it, intact, to" their hands ! { Taking hook
from his Iiand.) Swear to me, Reuben, on your father's copy of the
law {placing the book on the head of the cradle), on the head of our
sleeping babe !
9
130 PARLOR TABLEAUX.
Reuben. I will, Lina, I will, when we are safe at Bonn.
Lina. No: here and now! {She draws han toward the crcdle.) I
will not go without your oath. All earthly witness to the tru<^t dies
with me ; but the Judge of life and death, he saw, he sees ! Swear,
Reuben! {Music very piano.)
Reuben. {Kneels beside cradle, placing one hand on the book on head of
the cradle.) I swear!
The scene of this tableau is from Tom Taylor's drama
of •■' Payable on Demand." A proscribed Jew, named Reu-
ben Goldsched, who, contrary to the laws of his sect, has
married a Christian, thereby losing much of his business
and becoming quite poor, receives a deposit of a large sum
of money from an aristocrat, at the period of the French
Revolution. On the same day that the money is left with
Reuben, the marquis to whom it belongs is murdered in the
streets.
The Jew has no clew to the relations of the marquis ;
but his wife Lina will not hear of ke-eping the money, and
persuades him to take an oath on the head of their child to
seek out the owners, and restore it to them. The cradle of
the child is at the right of the centre of the stage, near the
front, the head towards the audience, so as to conceal the
inside. Lina stands behind the cradle, near the head, her
left hand at her side, her right pointing upwards, and arm
ENOCH ARDEN S RETURN. 131
raised, as she looks at Reuben with a pleading expression.
Reuben kneels with his right hand upon a book on the head
of the cradle, his face looking upwards, and his right hand
raised, as if taking an oath. He wears black, pointed
beard, black gaberdine, or domino, and shoes. Lina wears
a blue skirt and black bodice. There should be a chair and
table on the left. A blue light is thrown from the left.
Music very piano.
ENOCH ARDEN'S RETURN.
THREE GENTLEMEN, A BOY, TWO LADIES, AND A YOUNG
GIRL.
And on the right hand of the hearth he saw
Philip, the sHghted suitor of old times,
Stout, rosy, with his babe across his knees :
And o'er her second father stooped a girl, —
A later but a loftier Annie Lee,
Fair-haired and tall ; and from her lifted hand
Dangled a length of ribbon and a ring
To tempt the babe, who reared his creasy arms,
Caught at and ever missed it ; and they laughed.
And on the left hand of the hearth he saw
The mother glancing often toward the babe.
But turning now and then to speak with him,
132 PARLOR TABLEAUX.
Her son, who stood beside her, tall and strong.
And saying that which pleased him ; for he smiled.
" Too hard to bear I Why did they take me thence ?
O God Almighty, blessed Saviour, thou
That didst uphold me on ray lonely isle !
Uphold me. Father, in my loneliness,
A little longer ! Aid me ; give me strength
Not to tell her, — never to let her know !
My children too ! — must I not speak to these ?
They know me not. I should betray myself.
Never ! — no father's kiss for me, — the girl
So like her mother, and the boy, my son ! "
Tennyson.
The portion of Tennyson's poem of " Enoch Arden"
describing this scene is one of the most pleasing, and is a
very fine subject for a tableau.
The story of Enoch Arden is probably well known to
the majority of readers, though it may be well to give a
brief sketch of the circumstance of the picture. Enoch Ar-
den and Philip Ray were, in their youth, rivals for the hand
of Annie Lee. Enoch is the successful suitor, and becomes
the husband of Annie. Being a sailor, he is obliged,
shortly after his marriage, to leave his wife, and go to sea.
His passage is stormy, and his vessel wrecked on a desolate
ENOCH ARDEN's return. 1'^3
island, where he is obliged to remain for many years. He
is believed to be dead by his wife, who, after waiting for
years, consents to marry Philip Ray. Enoch is finally res-
cued from the island, and wanders back to his old home to
find his wife another's.
The tableau represents him looking in at the window of
Philip's house, where he beholds the happy family, and
prays for strength to support him in his bitter disappoint-
ment, and for help to bear it in silence. A wooden frame
about four feet square, of laths, or narrow boards, should
be constructed, with a narrow piece extending longitudi-
nally from top to bottom of the frame, dividing the whole
space in two equal parts, to represent a window. A large,
wide box, two or three feet high, should be placed at
the back of the regular stage, to be used as a supplement-
ary platform for the figures who occupy the space in the
background.
The frame should be supported on this platform at a dis-
tance of about eighteen inches above its level ; and the cur-
tains used for the background should be sewed or pinned
aroimd the outside of the frame, so as to close in the whole
of the back part of the stage, except that occupied by the
frame. The frame should be in the centre of the back-
134 PARLOR TABLEAUX.
ground, at the height of the extra platform, added to the
eiiirhteen inches from that above the reorular stance.
The gentleman representing Enoch should stand at the
right of the centre of the stage, his left hand upon his
breast, his right extended, palm downwards, and his face
turned upwards with an earnest, supplicating expression.
He wears a short green or blue jacket, black waistcoat,
corduroy pantaloons, black-silk cravat with ends hanging,
broad collar, and tarpauling hat : he also wears gray hair
and whiskers ; and his face is pale, and marked with deep
lines. The remaining figures of the group are all behind
the window-frame. The lady, Enoch's wife, is seated in a
chair near the frame, and at the right-hand side : the right
side of her face is towards the audience, her hands lying
folded in her lap ; and she looks towards her child, who is
seated on his father's knee. She wears a slate-colored waist
with drapery-sleeves and dark skirt, a white cap partially
covering her head. A young man about eigliteen years of
age stands behind her chair, looking down towards her with
a fond expression : his right hand is upon the back of the
chair, and he wears a plain, dark suit, with sailor's cravat.
The gentleman personating Philip Ray is seated farther
back, and nearer the left of the stage. His arms are
THE WIDOW OF GLENCOE. 135
around his little son, who is in his lap ; and he looks down
towards him with a pleased expression. He wears a suit
of brown cloth : his hair is gray, his face smooth. The
daughter is a young girl about fourteen years of age. She
stands at the left of Philip, behind the chair, her right hand
upon the back, her left holding a ribbon, with ring attached,
before the child, whom she looks at with a smile upon her
face. She wears a blue dress, and ribbon at the neck.
The child is about two years of age, and stretches out his
hands for the ring and ribbon, looking upwards. A bright
light should be thrown upon the figures behind the frame.
Music, " Home, sweet home."
THE WIDOW OF GLENCOE.
FOUR GENTLEMEN AND ONE LADY.
Do not lift him from the bracken : leave him lying: where he fell.
Better bier ye cannot fashion : none beseems him half so well
As the bare and broken heather, and the hard and broken sod,
"Whence his angry soul ascended to the judgment-seat of God !
Windinir-sheet we cannot give him : seek no mantle for the dead,
Save the cold and spotless covering showered from heaven upon his
head.
136 PARLOR TABLEAUX.
Leave the broad-sword as we found it, rent and broken with the blow,
That, before he died, avenged him on the foremost of the foe :
Leave the blood upon the bosom ; wash not off the sacred stain ;
Let it stiffen on the tartan ; let his wounds unclosed remaJn
Till the day when he shall show them at the tlirone of God on high,
When the murderer and the murdered meet before the Judge's eye !
Nay, ye should not weep, my children ! leave it to the faint and weak :
Sobs are but a woman's weapons ; tears befit a maiden's cheek.
Weep not, children of Macdonald ! weep not, thou his orphan heir !
Not in shame, but stainless honor, lies thy slauglitered father there :
Weep not ; but when years are over, and thine arm is strong and sure,
And thy step is swift and steady on the mountain and the muir.
Let thy heart be hard as iron, and thy wrath as tierce as fire,
Till the hour when vengeance comcth for the race that slew thy sire.
But I will not wrong thee, husband, with my unavailing cries.
Whilst thy cold and mangled body stricken by the traitor lies ;
Whilst he counts the gold and glory that this hideous night has won,
And his heart is big with triumph at the murder he has done.
Other eyes than mine shall glisten, other breasts be rent in twain.
Ere the heath-bcHs on the hillock wither in the autumn rain.
How I'll seek thee where thou sleepest ! and I'll veil my weary head.
Praying for a place beside thee, dearer than my bridal bed ;
And I'll give thee tears, my husband, if the tears remain to me.
When the widows of the foeman cry the coronach, to thee.
W. E. Attoun.
Many of the Scottish chiefs at the time of King William's
accessiou to the throne in 1688 refused to acknowledge his
right, and still adhered to James. In August, 1691, Wil-
THE WIDOW OF GLENCOE. 137
llam issued a proclamation, offering pardon to all who
would take the oath of allegiance before Dec. 31.
These terms were accepted by all the chiefs, except Mac-
donald of Glencoe. The old chief, however, went to Fort
William, on Dec. 31, to take the oath: but the officer,
saying he had not sufficient authority to receive it, referred
him to the officer commanding at Invernay ; where Macdon-
ald repaired, and took the oath, Jan. 6, 1692. The Earl of
Argyle, and some other enemies of the Macdonald clan, tak-
ing advantage of this unavoidable delay, persuaded King
William that the clan were still in rebellion, and obtained
permission to extirpate it. Accordingly, one hundred and
twenty soldiers, under the command of Campbell of Glen-
lyon, were sent to Glencoe on Feb. 1. They were re-
ceived with hospitality, and treated as guests at the chief-
tain's castle for two weeks. On Feb. 12, they supped
and played cards with Macdonald ; and on the same night
he was visited by Lieut. Lindsey, and, as he arose from his
bed to order refreshments, was shot through the head ; and
his wife received such injuries as resulted fatally the next
day. Several families were massacred in the same way,
about forty persons in all being killed : a large number,
however, escaped to the mountains, where many perished
138 PARLOR TABLEAUX.
of starvation. The scene given represents one of the fallen
chiefs, surrounded by his wife and friends. The gentleman
personating the fallen chieftain should lie upon the floor of
the stage, near the front, with his head towards the right,
and lying upon his right arm, which, is bent under it. His
left arm lies at his side, and his lower limbs are extended
towards the left. His eyes are closed, his face very pale,
and turned towards the audience with a fixed expression.
He wears a black tunic trimmed with gold, belt and kilt,
plaid scarf tied over the shoulder, striped stockings, and
shoes. His tunic is thrown open in front, showing a wound
upon his breast ; and his sword is at his side. The chief-
tain's widow kneels behind him. Her right hand is raised
above her head, pointing upwards ; her left clasps the hand
of her little boy, who stands beside her. She wears a dress
of black or crimson, with low neck and short sleeves, a
plaid scarf attached to the belt and tied at the shoulders,
and a black-lace veil and jet coronet upon her head : her
face is very pale, and she looks upwards with an earnest
expression.
Tlie child should be from five to seven years of age. He
stands at the left of the lady, his right hand holding her
left, his left at his side : he stands close to her, looking up,
IN THE WILDERNESS. 139
as she points, with a sad expression upon his face. His
costume is a tunic of black velvet, with plai J scarf and kilt,
striped stockings, shoes, and Scotch cap with feather.
The two other gentlemen are upon the right of the sta^e
They kneel at the head of their chief, their faces toward the
left, presenting a side-view to the audience. The one on
the outside, nearest the front, with clasped hands, looks
down with an expression of grief at the fallen friend ; while
the other bows his head upon his hands, covering his face.
They should be dressed in a costume similar to that of the
chief, but simpler, and of different color. Flashes of light
should be thrown upon the group at intervals. Music slow,
and of a mournful character.
IN THE WILDERNESS.
ONE GENTLEMAN.
Mangled, uncared for, suffering through the night.
With heavenly patience the poor boy had lain
Under the dreary shadows left and right :
Groaned on the wounded, stiffened out the slain.
What faith sustained his lone
Brave heart to make no moan,
To send no cry from that blood-sprinkled sod.
Is a close mystery with him and God.
140 PARLOR TABLEAUX.
But when the light came, and the moming dew-
Glittered around him like a golden lake ;
And every dripping flower, with deepened hue,
Looked through its tears for very pity's sake, —
He moved his aching head
Upon its rugged bed,
And smiled, as a blue violet, virgin-meek.
Laid her pure kiss upon his withered cheek.
The strangest posy ever fashioned yet
Was clasped against the bosom of the lad,
As we, the seekers for the wounded, set
His form upon our shoulders, bound and sad ;
Thought he but seemed to think
How violets nod and wink ;
And as wo cheered iiim, for the path was wild.
He only looked upon the flowers, and smiled.
George H. Boker.
This simple picture represents a scene on the battle-field
of the Wilderness, — one of the hardest-fought battles of
the late war.
Upon the right of the stage, an irregular box about two
feet high is placed, and covered with brown cambric to
represent a stump of a tree ; or a small box, covered with
green, will answer. The young man personating the
wounded soldier should be about twenty years of age, and
of handsome features. lie lies upon the floor of the stage,
SPIRIT OF '76. 143
and he looks at that part carefully, as if examining its condi-
tion. He is dressed in light-brown coat and breeches, dark
vest, silk stockings and pumps, and a gray wig, with bald
front upon his head. The young man's mother stands at
his left, holding the sword In her left hand towards the son ;
while her right is raised above her head, and pointed up-
wards, as she looks at him with an earnest expression.
Her dress is of plain black material, with small white
shawl over the shoulders, pinned at the waist, and cap with
rutHe upon her head. One lady kneels in front of the young
man, holding thf3 ends of a sword-belt, which passes over
his shoulders, in her hands, in the act of fastening it. She
is plainly dressed, with a large handkerchief over her shoul-
ders, and her sleeves rolled up above her elbows. In this
position, her back Is towards the audience. The wife of
the officer is seated upon the left of the stage. She holds
in her left hand a large white paper, at the top of which is
printed or written in large letters the words, " Fourth of
July, 1776." The leftside of her face is turned towards
the audience ; and she looks towards the young man with a
firm expression, pointing with her right hand to the paper
which she Is holding. Her dress Is a gray or crimson silk,
black-lace shawl, and lace cap upon her head. A chair,
144 PARLOR TABLEAUX.
holding a knapsack and hat, may be placed upon the right
of the stage. The remaining characters are a young boy
and a girl, the children of the officer. The boy is seated
in front of his father, a little to the left. He is engaged in
pouring gunpowder from a paper into a horn which he holds
in his lap. He is dressed in a black-velvet frock, knee-
breeches, and gaiters. The little girl is seated at her moth-
er's feet, her right arm upon her lap, and looking anxiously
at her father. She should be of light complexion, with
hair in curls, and dressed in short white-muslin dress, with
low neck and short sleeves, and a blue-silk sash. As the
curtain rises, a bright-red light should be thrown upon the
group, changing to a white, and then to a bright-blue light,
which remains until the fall of the curtain. The music is
" Hail, Columbia," or some other national American air,
played in a spirited manner.
DAVID'S LAMENT OVER ABSALOM.
TWO GENTLEMEN.
His hair was yet unshorn, and silken curls were floating round
the tassels,
As glossy now as when, in hours of gentle dalliance,
Soothing- the buowy fingers of Judaea's daughters.
David's lament ovek absalom. 145
His helm was at his feet.
His banner, soiled with trailing through Jerusalem,
Was laid reversed beside him ; and the jewelled hilt.
Whose diamonds lit the passage of the blade,
Rested like mockery on his marble brow.
The king stood still until the last echo died
Upon the pavement; then throwing back the sackcloth
From his brow, and laying back the pall
From the still cold features of his child,
He bowed his head upon him, and burst forth
In the resistless eloquence of woe :
"Alas, my noble boy, that thou shouldst die ! —
Thou who wert made so beautifully fair!
That death should settle in thy glorious eye.
And leave his stillness in this clustering hair !
How could he nlark thee for the silent tomb.
My proud boy, Absalom ?
And now farewell ! 'Tis hard to give thee up,
With death so like a gentle slumber on thee.
And thy dark sin ! — oh ! I could drink the cup
If from this woe its bitterness had won thee !
May God have called thee like a wanderer home,
Mj lost boy, Absalom ! "
N. P. Willis.
At a little distance back of the centre qf the stage, a
long box covered with black is placed, upon which the
young man is lying, with his head towards the right. His
10
146 PARLOR TABLEAUX.
right arm is upon his breast, his left at his side. He wears
a crirasou-velvet tunic with long sleeves, ornamented with
metal plates ; the lower part of his body being covered with
a black pall. He is of dark complexion, curling hair, and
with face very pale. David kneels behind the bier, his
hands clasped, and looking upwards with a sad expression.
He wears a long velvet robe trimmed with gold or ermine,
with drapery-sleeves, ermine cape, white wig of very long
■hair, mustache, and full white beard. A gilded helmet
may be placed at the foot of the bier on the left, and a
sword on the right.
The young man who personates Absalom should be of
handsome, straight features. A bright-blue light should be
thrown upon the figures. Music, some sacred hymn.
EXCELSIOR.
ONE GENTLEMAN AND ONE LADY.
The shades of night were falling fast
As through an Alpine village passed
A youth, who bore, 'mid snow and ic«,
A banner with the strange device, —
"Excelsior!"
EXCELSIOR. 147
His brow was sad ; his eye beneath
Flashed like a falchion from its sheath;
And like a silver clarion rung
The accents of that unknown tongue,
" Excelsior ! "
** Try not the pass," the old man said ;
" Dark lowers the tempest overhead ;
The roaring torrent is deep and wide."
And loud that clarion voice replied,
" Excelsior 1 "
** Oh, stay ! " the maiden said, " and rest
Thy weary head upon this breast."
A tear stood in his bright-blue eye ;
But still he answered with a sigh,
"Excelsior!"
"Beware the pine-tree's withered branch !
Beware the awful avalanche ! "
This was the peasant's last good-night.
A voice replied far up the height,
" Excelsior ! "
H. W. Longfellow.
This familiar poem furnishes a very striking and original
subject for the tableau.
The scene represents the youth as he is about to ascend
Ihe mountains, with the peasant-girl and the old man at the
foot endeavoring to dissuade him from bis perilous enter-
148 PARLOR TABLEAUX.
prise. The stage should be covered with white-cotton
sheet, with a pile of boxes, arranged to represent a decliv-
ity, sloping from the centre of the stage gradually upwards
towards the right. The young man should stand at the
foot of this pile, with his right foot advanced forward upon
it, as if ascending : he should carry in his right hand a
small banner, either of white cotton or paper, with the word
*' Excelsior " printed upon it, or cut out of black-colored
paper, and sewed on. His left hand is raised, and the fore-
finger pointed toward the inscription upon the banner ; and
he looks toward it with a determined expression, his lips
firmly set. He should be of dark complexion, with straight
features, and hair combed back from his forehead. He
is dressed in a slate-colored tunic trimmed with black, with
white collar, gray stockings, belt, and buckle-shoes. The
peasant-girl stands near the right side of the stage, looking
up towards the young man. Her clasped hands are ex-
tended towards him ; and she leans forward, gazing at him
with an appealing expression upon her face. Siie should be
dressed jn a blue skirt, black bodice with shoulder-straps,
white sleeves, cap, striped stockings, and slippers.
The old man stands on the left of the stage : his face is
turned towards the young man, and his right hand raised,
THE soldier's DREAM. 149
pointing upward, as if warning him of the impending
storm. He is dressed in a brown jacket, red vest, corduroy
breeches, boots, and cloth cap : he also wears a gray wig
and whiskers. A handful of small pieces of paper should
be thrown into the air before the curtain rises, to represent
snow. The noise of a storm should be made without, and
the light on the tableau tlirown on in flashes. Music alter-
nately loud and soft.
THE SOLDIER'S DREAM.
THREE GENTLEMEN, A BOY, TWO LADIES, AND A YOUNG GIRL,
Our bugles sang truce ; for the night-cloud had lowered,
And the sentinel-stars set their watch in the sky ;
And thousands had sunk on tlie ground, overpowered, —
The weary to sleep, and the wounded to die.
When reposing that night on my pallet of straw.
By the wolf-scaring fagot that guarded the slain.
At the dead of the night a sweet vision I saw ;
And thrice, ere the morning, I dreamt it again.
Methought, from the battle-field's dreadful array.
Far, far, I had roamed on a desolate track.
'Twas autumiT; and sunshine arose on the way
To the home of my fathers, that welcomed me back.
150 PARLOR TABLEAUX.
Then pledged we the wine-cup, and fondly I swore
From my home and my weeping friends never to part :
My little ones kissed me a thousand times o'er,
And my wife sobbed aloud in her fulness of heart.
Stay, stay with us ; rest ; thou art weary and worn ;
And fain was their war-broken soldier to stay :
But sorrow returned with the dawning of morn,
And the voice in my dreaming ear melted away.
Campbell.
This scene represents an episode of one of our battle-
fields during the late war. Although the poem accompany-
ing is not of recent date, the sentiment is equally applicable
to all periods. The stage is cleared, with the exception of
a small pile of straw, or a green bank upon the left side. A
set of curtains should be placed at about three feet in front
of the background ; and a platform about two feet high may
be placed between these curtains and the background, though
this is not indispensable. A young man lies upon the straw,
at the left : his face is towards the background, his head
towards the left, and his limbs extended towards the right ;
his eyes are closed, and his arms lie naturally at his
sides. He wears light-blue pants, dark-blue coat open in
front, and dark fatigue-cap. The remaining figures are
grouped behind the curtains at the back, which should be
THE soldier's DREAM. 151
drawn aside, so as to afford a complete view of all the cha-
racters. A young man stands a little to the left of the centre
of the stage, near the front : his face is towards the right,
looking down upon his wife, who stands in front of
him ; and his hands are extended, grasping those of his
children, who stand on either side. He wears light-blue
trousers, dark-blue coat, fatigue-cap, and is represented as
about thirty years of age, and resembling as nearly as pos-
sible, in height and feature, the gentleman lying in the fore-
ground. This may be accomplished by two gentleman of
similar complexion combing the hair in the same way, and
wearing false beards of the same shape. The lady represent-
ing the soldier's wife stands a little in front of the centre
of the stage. Her face is towards the left, her head leaning
upon the right shoulder of her husband, and her hands ex-
tended, and lying upon his shoulders. She Avears a dark-
blue dress, white undersleeves, and small cap upon her
head, or hair in curls behind. A young boy stands at the
left side of the soldier, and nearer the front : his left hand
rests in that of the soldier, his right grasps his arm ; and
he looks up towards him with a pleased expression, his face
being turned towards the right. He should be eight or nine
years of age, and should wear a jacket and trousers of dark
152 PARLOR TABLEAUX.
cloth, with knot of bright ribbon tied at the neck. Upon
the soldier's right, a little girl six or seven years of age
stands. Her position is just behind the mother, close to her,
holding her Cither's right hand in both of hers, and looking
up towards him with a smiling expression, her face towards
the left, showing a profile view to the audience. She wears
a dress of some bright-colored material, with neck cut low,
and hair in curls. A table and two chairs should be placed
near the background, at the right. A gentleman represent-
in"^ the father of the soldier stands at the right side of the
table, as if just rising from the chair placed there. His right
hand is raised to his forehead, shading his eyes ; his head
is inclined forward towards the left, and his left arm ex-
tended with a gesture of surprise. He wears a blue coat,
buff vest, and black trousers, or a morning-gown, and bald
gray wig. The lady personating the mother stands at the
left side of the table, nearer the centre of the platform. Her
face is towards the left, turned upwards, and her hands
clasped upon her breast. She wears a black dress, white
handkerchief around her neck, white cap, and gray hair.
A clear white or blue light should be thrown upon the
group in the background ; the front of the stage being quite
dark, or liglUed by occasional flashes of red fire thrown
from the right. Music, " Home, sweet home."
CONSOLATION. 153
CONSOLATION.
ONE GENTLEMAN AND ONE LADY.
A gleam that dazzled ; light that came and went,
Struggling to rise ; and then a long-drawn breath, -
Thus, on a camp-cot stretched beneath my tent,
I came to life from out a sleep like death.
'Midst dreams of home, and of a mother's care,
I felt the pressure of a stranger's hand ;
Heard her soft voice ascend in fervent prayer ;
And saw bright angels close beside her stand.
With willing hands she bathed my aching head ;
Spoke of the anxious nights and weary days
Through which my life hung on a slender thread, —
" Not unto me, to God, give all the praise ! "
Read golden words from out the Book of life.
Pointing with upraised finger to the skies ;
Told me that victory crowned that day's fierce strife ;
Whispered of Him whose mercy never dies.
What though her cross, and, more, her simple dress.
Bespoke allegiance to the Church of Rome ?
Is there a patent on the power to bless 1
Can but one church supply the place of home 1
154 PARLOR TABLEAUX.
Think you she stopped to quescion what my creed
When first they found me bleeding on the sod 1
Should I have asked her, " Are we both agreed
As to the form in which to worship God 1 "
There is a church broad as the heaven above ;
Its faith as pure as God's resplendent throne ;
Its creed, humanity ; its precept. Love ;
Sister of Mercy, these are all thine own.
W. H. K., "Evening Transcript," May 31, 1865.
This beautiful and simple tableau is from the celebrated
painting by Constant Meyer, which, at the time of its exhi-
bition in Boston in the spring of '65, attracted very general
attention, and excited warm admiration, not only from its
wonderful drawing and coloring, but from its inherent poet-
ry of sentiment, which touched the hearts of all who were so
fortunate as to see it. The picture represents a young Union
soldier lying wounded upon a hospital-bed, with one of the
order of Sisters of Charity kneeling beside him, reading and
speaking to him words of comfort and hope. A low bed, or
a pile of two or three mattresses, should be placed just back
of the centre of the stage, with pillows upon the right end,
and covered with blankets. A small, plain, wooden table
is placed upon the left of the stage, upon which is an ordi-
nary tin dipper and a small glass vial.
CONSOLATION. 155
The young soldier lies upon the blanket, with his head
towards the right, the upper part of his body raised by pil-
lows, his face towards the audience, his hands clasped,
lying upon the pillow under his right cheek. He should be
of dark complexion, with black mustache. His face is very
pale, with lines under the eyes ; and he wears a thoughtful,
attentive, but rather painful expression of countenance. His
dress is a dark-blue fatigue-jacket, with sleeves turned back,
shirt open at the neck, light-blue trousers, and bandage tied
around his head. His lower limbs are partially covered by a
blanket. The lady kneels at the right of the bed or mattress-
es, at a point about in the centre of the stage. A small book
is in her right hand : her left is raised, the forefinger point-
ing upwards ; and she looks down toward the book, with her
face towards the audience, with a benevolent expression.
She wears a long black robe with very wide drapery-sleeves,
broad white collar cut in a circular shape, about six inches
wide, a white band tied close to her face, white cap and
lawn veil upon her head, and beads with cross, attached to
the waist. She should have dark hair, with clear complex-
ion and straight features.
The curtains at the back should be parted at a little to the
left of the centre, showing the wall behind. A blue or a
156 PARLOR TABLEAUX.
white light should be thrown upon the figures from the right.
Music, " Come, ye disconsolate."
THE CHRISTMAS-TREE.
TWO GENTLEMEN, A LADY, AND SEVEN OR MORE CHILDREN.
Christmas is here :
Winds whistle shrill,
Icy and chill.
Little care we ;
Little we fear
Weather without,
Sheltered about
The mahogany-tree.
Here let us sport.
Boys, as we sit ;
Laughter and wit
Flashing so free.
Life is but short:
When we are gone.
Lot them sing on
Round the old tree.
Evenings we knew
Happy as this ;
Faces we miss.
Pleasant to see.
THE CHRISTMAS-TREE. 157
Kind hearts and true,
Gentle and just,
Peace to your dust
We sing round the tree.
W. M. Thackeray.
This Is a familiar scene, probably, to almost all readers :
if there be any to whom the subject is a novelty, I trust the
idea here given will be a source of pleasure to them in the
realization. Upon the right of the centre of the stage, two
chairs are placed, in which are seated the grand father and
mother of the children, taking part. The old man is seated
nearer the centre of the stage, with his right arm around a
little girl, who looks up with a pleased expression, holding
up a doll towards him : he wears a morning-gown, buff
trousers, and waistcoat. The grandmother is seated on the
right, with her left hand upon the head of a little boy be-
side her, who looks up towards her, holding up a new toy
for her admiration : she is dressed in black, with white
handkerchief and cap. On the left of the stage, near the
front, a girl of about ten is seated, with a large doll before
her, holding up her fore-finger as if talking. On the right a
young boy is riding a rocking-horse, with a small whip
raised above his head. The tree is a spruce or fir tree : it
158 , PARLOR TABLEAUX.^
is placed at the left of the centre of the stage, on a small
table ; and the branches hung with horns-of-plenty, toys,
books, bags of candy, candles lighted, and so forth. A gen-
tleman stands beside, holding out books and toys ; and the
remaining eight children crowd around, holding out their
hands, with their faces half turned from the audience. Mu-
sic lively.
CHRISTMAS EVE.
ONE LADY AND A YOUNG GIRL.
*Twas the night before Christmas, when all through the house
Not a creature was stirring;, — not even a mouse.
The srockings were hun^^ by the chimney with care,
In hopes that St, Nicholas soon would be there ;
The children were nestled all snujx in their beds,
"While visions of suj^ar-plums danced in their heads ;
And mamma in her kerchief, and I in my cap.
Had just settled our brains for a long winter's nap ;
When out on the lawn there rose such a clatter,
I sprani^ from my bed to sec what was the matter.
Away to the window I flew like a flash,
Tore open the shutters, and threw up the sash.
Clement C. Moore
CHRISTMAS EVE. 159
The design of this tableau, though not adhering strictly to
the traditional visitation of St. Nicholas, is rather more
poetical and picturesque than that described by the poem
particularly. The scene represents a young girl lying upon
a couch, and her good angel, who stands near, holding out
gifts to her. A lounge, upon which are sheets, counterpane,
and pillow, should be placed at the back of the stage, and
curtains looped above it on either side. The yoimg girl,
who is from eight to ten years of age, lies vpon the lounge,
with her head towards the left, and he: "ace towards the
audience : her eyes are closed, and her arms lie naturally
upon the counterpane, which is turned back ; and she wears
a white nia:ht-dress with low neck.
The angel should be represented by a young lady of from
twelve to sixteen years of age. She stands behind the lounge,
at the foot, with her face turned towards the left, looking
down towards the sleeping girl ; her profile presented to the
audience. She holds in her hands, which are extended, a
small basket, with dolls and other toys hanging out. Her
hair should be combed back in curls ; and she wears a white
robe without sleeves, and wings of muslin or paper. A
blue smoke should surround the angel. Music soft, but
lively.
160 PARLOR TABLEAUX.
CHRISTMAS MORNING.
ONE LADY AND A YOUNG GIRL.
A merry, merry Christmas,
To cro^vn the closing year !
Peace and good-will to mortals,
And words of holy cheer !
What though the dreary landscape
B* robed in drifting snow,
If on the social hearthstone
The Christmas-fire may glow ?
What though the wdnd at evening
Blow harsh o'er land and sea.
If eager hands and joyful
Light up the Christmas-tree ?
Soft falls its pleasing lustre
Upon the group around, —
On merry laughing childhood.
And age with glory crowned.
With eyes of rapture beaming.
Each little guest receives
Affection's token gleaming
From out the uhining leaves.
CHEISTMAS MORNING. 161
This is a companion-picture to the tableau of Christmas
Eve, and should always be given in connection with that,
as it is easily produced, and carries out the idea of the first
named in a very pleasing manner. The lounge in this
scene should be turned round, so that the head is towards
the right. A small square table should be placed in front
of the centre of the lounge, towards the audience, upon
which are placed horns-of-plenty, paper-boxes gayly colored,
fruit, and toys. The young girl is sitting upon the lounge,
her right arm bent, the elbow resting on a pillow, and hold-
ing a doll : her left arm is extended, and she holds in her
left hand a stocking upside down, the contents of which she
watches intently. Her face is towards the left, presenting
about a two-thirds view to the audience ; and she is dressed
as in the previous tableau. The angel is towards the foot
of the lounge, her arms raised and extended, as if about to
fly upwards : her face is partially turned away from the
girl's, and she is surrounded with a thick blue smoke. Mu-
sic a lively waltz, and tinkling of a small bell.
11
162 PAKLOR TABLEAUX.
JONATHAN'S COURTSHIP.
ONE GENTLEMAN AND TWO LADIES.
This is a comic tableau, in two movements, readily repre-
sented, and always sure to please. The characters are a New-
Enrjland mother and dauditer, and her Yankee sweet-heart.
The young lady is seated in the centre of the stage,
in an ordinary wooden or chip-bottomed chair. A basket
of apples is placed at her side, a plate in her lap. As the
curtain rises, she is discovered in the act of peeling an
apple, the detached skin of which is hanging down. She is
seated looking towards the right, head inclined downwards ;
her left side being turned towards the audience. She is
^Ircssed in a plain calico, with apron and shoes, her hair
hanging in two braids behind, tied with ribbon.
The young man sliould stand at some little distance behind
her chair, holding his hat in one hand, the other extended, his
feet placed as if advancing ; while he looks toward the audi-
ence with a knowing expression, as if to show that he is about
to surprise the young lady. His dress is a swallow-tailed,
blue-cloth coat, very long, with brass buttons ; yellow vest,
Jonathan's courtship. 163
cut low ; striped trousers, very short ; and gaiter-boots, or
very large shoes. He should wear on his neck a wide,
staiid-np collar, and gay neckerchief; on his head a wig
of light sandy hair, conabed very straight ; and should carry
a white-beaver hat in his hand. The mother should be at
the back of the stage, with only her head protruding from
the curtains at the background, as she watches the couple
in the front Avith a menacing expression. The figures should
remain in the positions described for about twenty seconds
after the rise of the curtain ; when the young lover should
suddenly step forward, grasp the young lady, and kiss her
on the cheek, stepping back, and looking down sheepishly
after so doing. At the same time, the young lady should
drop the apple and knife, and rise, with her finger in her
mouth, looking down towards the ground. The mother, at
the same time, steps out from behind, and raises a broom
over her head, and looks angrily at the couple. The figures
should remain in this position for the same length of time
as the first part occupied, when the curtain should fall.
Music, " Yankee Doodle."
164 PARLOR TABLEAUX.
THE COMING STORM.
ONE LADY AND TWO BOYS.
This is a comic domestic tableau, readily produced, aud
always sure to excite a great deal of merriment. The
characters are an old lady, aud two boys of from tea to four-
teen years of age. The old lady is seated on the right-hand
corner of the stage, with her right arm leaning on a table
at her right side. Her eyes should be closed, as if sleeping,
and her head inclined on her right shoulder ; while her left
hand lies on her lap, holding her spectacles. Slie should be
plainly dressed, with a checked apron, and a spotted neck-
kerchief over her shoulders : on her head she should wear
a ruffled cap. One of the boys should stand at her left
side, a little behind her. In his left hand he should hold,
close to her left ear, a paper-bag blown up ; while his right
hand is raised as if about to burst it. He should stand
gazing at the old lady with a mischievous expression. The
other boy stands behind, looking over the left shoulder of
the first with an amused expression.
In about thirty seconds after the curtain rises, the boy
THE TORN BREECHES. 165
holding the bag should explode it ; while the old lady starts
up iu amazcmeiit, dropping her spectacles, and the boys
look at each other, laughing, and pointing at her. The
curtain should be dropped quickly. Music lively.
THE TORN BREECHES.
«
ONE LADY AND A YOUNG BOY.
The characters in this picture are an old lady, and her
grandson of from six to eight years of age. An old arm-
chair should be placed at the right of the stage, and facing
towards the right.. A table should also be placed at the
right of the chair, on which is a pincushion, work-basket,
and so forth. The old lady should be dressed in plain
calico dress, checked apron, and a cap. In her hands she
should hold a small pair of boy's trousers, her right hand
protruding through a hole in the knee ; while she looks
towards the boy with a menacing expression. The boy
should stand leaning against the left arm of the chair, with
his back towards the old lady, and looking down towards
the left with a sorrowful expression. He should be partially
dressed in a gray waistcoat, shirt, collar, shoes, and stock-
166 PARLOR TABLEAUX.
ings, his knees bare, and liis arms folded behind him.
Another table may be placed upon the stage at tlie right-
hand side, and other kitchen-utensils in the backgrouiid.
Music lively.
THE VILLAGE BARBER.
ONE GENTLEMAN AND ONE BOY.
This very amusing tableau represents an old village
barber in the act of using the shears on a young rustic
specimen of about ten or twelve years of age. The old
man should stand to the right of the ^entre of the stage,
with his left hand on the top of the boy's head, holding it
back. His position should be looking down towards the
boy, with his head inclined towards the right. He should
hold the shears in his right thumb and fore-finger, with a
lock of the boy's hair between the arms of the shears. His
dress should consist of a black waistcoat, linen or calico
• jacket, high shirt-collar, and long apron tied round his
waist, and reaching to the ground. A wig with bald top,
and a pair of spectacles, will complete his costume. The
boy should stand in front of the old barber, to the left,
HIS ONLY PAIK. 167
facing towards the right, his head inclined backward, and
making a wry face, as if crying. He should wear a calico
blouse, and a long apron over his shoulders. The. back-
ground of the picture may represent a barber-shop. Music
lively.
HIS ONLY PAIR.
A LADY, A YOUNG GIRL, AND A BOY.
The scene represented is a poorly-furnished kitchen. In
the centre of the stage, a woman is seated with a pair of
boy's trousers in her lap. She should be seated so that her
face is turned towards the audience, holding in her right
hand a pair of shears, with which she is about cutting the
trousers in her left hand. She should wear a plain calico
dress, loose waist, and striped apron. The boy should be
seated on a table to the left of the stage, his face turned
towards the right, and looking down with a sorrowful ex-
pression at an apple which he holds in his lap. He should
wear a jacket, collar, and shirt, leaving his legs bare. A
girl of about twelve years of age should stand at the right,
looking over her mother's shoulder, her face towards the
168 PARLOR TABLEAUX.
left. She should wear a plain calico dress, and a broad
scarf or small shawl over her shoulders, her feet being bare.
An old chair and one or two kitchen-utensils may be scat-
tered over the floor. The light should be thrown from the
left. Music soft.
THE ONCONVANIENCE OF SINGLE LIFE.
ONE GENTLEMAN.
This amusing tableau is from the well-known picture
representing an Irish bachelor among the numerous dis-
comforts of his solitary life. He should be seated on a
bench or stool in the centre of the stage, with a tattered
coat lying across his knees. He should hold in his left
hand a needle, which he is vainly endeavoring to thread.
His right eye should be closed, and his mouth puckered up
with the effort he is supposed to be making to accomplish
his object.
His dress should be a long brown or gray coat, patched
at the elbows, corduroy trousers with one leg turned up,
showing his boot, vest thrown open, standing collar with
one side turned down, and felt-hat with rim rolled up. He
A RAAL CONVANIENCE. 169
should have a crop wig of short red hair. At the left cor-
ner of the stage, there should be a basket of potatoes over-
turned, and a table on the right with plates, pots, pans, and
other utensils, in great confusion. Music lively.
A RAAL CONVANIENCE.
ONE GENTLEMAN AND A LADY.
This is a companion to the previous tableau, the gen-
tleman appearing in that also appearing in this picture,
although he is supposed to have changed his state ; and
his wife now appears in the scene. The gentleman, dressed
in trousers, stockings, and shirt, should stand to the right
of the stage, his face turned towards the left, and looking
down towards the woman. His right hand should be
raised to his shirt-collar, which is thrown open ; while in
his left hand he holds a small button extended towards the
wife. He should wear a rather troubled expression on his
face. The lady personating the wife should be seated to
the left of the centre, a little farther back than the man.
Her head should be inclined to the right as she looks up
170 PARLOR TABLEAUX.
towards him, with a smile on her face. In her hand she
should hold the thread ; and she should wear a plain calico,
with a handkerchief on her head. A work-basket should
be placed at her feet, and a table on the left, with every
thing arranged in an orderly manner. Music lively.
THE FLOWER OF THE FAMILY.
ONE YOUNG GIRL.
This is a comic tableau that invariably surprises as well
as interests an audience.
As the curtain rises, an empty flour-barrel is discovered
on the stage, which is quite dark, with the word " Flour "
painted in large black letters on the front. The curtain
should be dropped quickly, and the second part of the tab-
leau be prepared instantly. Half of the barrel must be cut
away, and the remaining hoops and staves secured ; and, in
the second part, the inner side of the half-barrel turned to-
ward the audience, showing a little girl about six years of
age, seated on a cricket inside the barrel, and looking out
demurelv towards the audienCe. She is dressed in wliite
muslin trimmed with blue ribbon, with a strong white light
PATIENCE AND IMPATIENCE. 171
thrown upou her. The inside of the barrel should, if pos-
sible, be lined with some dark material, as it will relieve
the figure. If the revolving platform is used, the change
of the barrel's position may be effected without dropping
the curtain, — merely turning up the lights in the change.
Music lively.
PATIElM^E AND IMPATIENCE.
ONE LADY AND THREE BOYS.
The oi'iginal of this picture is probably familiar to al-
most everybody, though hardly, perhaps, as a tableau. It
has however, whenever presented, always been well re-
ceived and appreciated. A lady personating an old- grand-
mother is seated in an arm-chair, at the right of the
stage. Before her, a little boy of about eight or ten years
is standing, holding the old lady's yarn, which she is wind-
ing from his wrists. The old lady's face is turned tow^ards
the left, and she looks down towards the boy with an impa-
tient expression. In one .hand she holds the ball, and with
the other she endeavors to disentangle a knot in the yarn.
She should be plainly dressed, with a cap upon her head,
172 PARLOR TABLEAUX.
and a large handkerchief around her neck. The boy is in
his shirt-sleeves, and stands looking up with a mournful ex-
pression. Two other boys may be introduced, who stand
at the back, making faces, and pointing to the boy holding
the yarn. The room should have plain kitchen-furniture.
MOVING I^it
TWO GENTLEMEN, A BOY, THREE LADIES, AND A YOUNG
GIRL.
Yon must wake and call me early, call me early, husband dear :
To-morrow'll be the maddest time of all the glad New Year ;
Of all the circle of the year, the maddest, muddiest day :
For to-morrow's the first of May, my love ; to-morrow's the first of May !
I sleep so sound all night, my dear, that I shall never wake
If you do not call me loud when the day begins to break.
Bui there are other things will break, I guess, besides the day:
For to-morrow's the first of May, my love ; to-morrow's the first of May I
And, oh ! tell Bridget, husband, to be careful how she moves
The earthenware and crockery, and other things she loves;
And, if upon the sidewalk you should hear a dreadful crash,
You'll kLow our china diuuer-set has gone to eternal smash.
MOVING IN. 173
Of course, some common thing? will break, some costly ones, perhaps ;
But you can't expect to move, you know, Avithont a few mishaps.
Anil, when w^c'vc got the moving done, you'll have some bills to pay :
For to-morrow's tlie first of May, ray love ; to-raorrow's the first of May !
The unpleasant reminiscences of moving are doubtless
familiar to most housekeepers in one way or another. The
scene here given is one that has or may have occurred to
more than one of our readers.
The stage represents an ordinary room, with chairs,
tables, tubs, and a variety of furniture of all kinds, piled in
the corners and at the back of the stage. There is a small
table a little behind the centre of the stage, and a chair to the
right of this table, with a smashed bandbox, with the cover
off, upon the seat. A lady personating a servant-girl is seen
upon the left of the stage : she kneels upon the floor of the
stage, her body thrown forward towards the right, her hands
grasping a large picture or mirror which lies upon the floor,
and her face turned towards the right, looking up at the
lady on the opposite side with a terrified expression. She
wears a striped calico dress with sleeves rolled up,, cheeked
apron, and handkerchief upon her head. The lady of the
house stands at the right of the stage, near the front. Her
hands are raised above her head with a gesture of surprise ;
174 PARLOR TABLEAUX.
lier face is towards the left ; and she looks at the servant
with a startled and angry expression. A pair of gas-
shades lie at her feet, and some pieces of broken glass may
be strewn around.
She wears a black dress, white apron, and white hand-
kerchief upon her head, and should be represented as about
forty years of age.
The father of the family stands to the left of the lady,
nearer the centre : he carries a lar^re box labelled " Ciijars"
under his right arm ; and in his left holds up a bonnet, — an
old, flattened-out one will do, — which he is supposed to
have sat upon accidentally, and which he looks at wijth an
amazed expression, his face being towards the left.
He wears a blue or drab coat, yellow waistcoat, and
trousers and felt-hat. He should be represented as about
forty or fifty years of age. A young lady, the elder daugh-
ter of the flock, stands at the left of the father, in the cen-
tre of the stage : her right hand is doubled up, and raised
above her head ; and she carries a large pasteboard box un-
der her left arm. Her face is turned towards the riirht,
upon her father, with an angry expression.
She wears a wliite skirt, black mantilla, and white bon-
net. A young girl about ten or twelve years of age stands
MOVING IN. 175
at the left of the elder sister, holding a large doll in her
right arm, and a basket, labelled " Kittens " in large letters, in
her left. Her face is turned towards the left, looking at
the servant with an expression of surprise. She wears a
plain blue dress cut short, and small shawl over her shoul-
ders. At the feet of this young girl, and in front of the
servant, a boy two years younger than the girl is lying
upon his back, with his head towards the right, and his
arms extended on either side upon the floor : his face is
turned upwards, and made up with a crying expression. A
wooden rocking-horse or small wheelbarrow, or any other
similar toy, whicli he is supposed to have been carrying, is
tipped bottom upwards, and lies upon his breast. He should
be close to the servant, as his fall is supposed to have been
caused bv a collision with her ; and he should wear the ordi-
nary dress of boys of that age.
The music should be the song of " Sweet Home," played
very lively, without regard to the time in which it is
written.
176 PARLOR TABLEAUX.
MOVING OUT.
TWO GENTLEMEN, THREE LADIES, AND A YOUNG GIRL.
There's many a finer house, they say ; hut there's none so bright aa
this :
We've many a nice arrangement here, which wc shall sadly miss, —
These pleasant rooms, the balcony, the trees around the door ;
When we moved in there was hut one ; we planted seven more.
The honeysuckle round the porch has woven its wavy bowers.
And in the garden we have reared a bright array of flowers.
But, though we've loved our home so well, we've got to move away :
For to-morrow's the first, of May, my love; to-morrow's the first of
May !
Our carpets they must all come up, our pictures all come down :
If you'll unscrew the looking-glass, I'll wrap it in my gown.
The books I'll leave for you to pack ; be careful they're not jammed :
The chandelier may go by cart ; the globes should iio by hand.
Be sure and take the hammer round, — we shall have need of that ;
Save all the paper you can find, and don't forget the cat.
Don't mix the pickles and preserves, nor throw the old brooms away :
For to-morrow's the first of May, my love ; to-morrow's the first of
May!
It is the well-known custom of the inhabitants of our me-
tropolis to migrate from their old to their new habitations
MOVING OUT. 177
upon the first day of May ; that is, of those who fiud it
necessary to remove : and the number is so great among the
large population of that city, that it is all in an uproar of
confusion annually at that time. The scene given is not an
exaggeration of many that have occurred under the circum-
stances.
The stage represents an ordinary room, with tables,
chairs, and other furniture, placed in a heap in the corners,
or tied round with cords : at the back of the stage, an empty
flour-barrel is placed, with the head taken off. A lady rep-
resenting the mother of the family stands at the left of the
stase, and facinsr towards the left. She holds in her right
hand a pair of gas-shades : her left arm is piled up with arti-
cles of glass-ware, dishes, and so forth. She wears a black
dress, wliite apron, and white handkerchief, and should bo
represented as about forty years of age. A lady personat-
ing the servant stands behind the first lady mentioned,
towards the right : her body is facing towards the left ; her
head turned half way towards the front, with an angry ex-
pression upon her face. She carries in her left hand a valise
stufied full, and in her right a pail : her hands with these
utensils are raised to the height of her w^aist, supporting a
large looking-glass or picture which rests upon her. She
12
178 PARLOR TABLEAUX.
wears a striped calico dress, checked apron, and handker-
chief around her head.
A yoiing girl about ten or twelve years of age stands be-
hind the servant : her body is facing towards the left ; her
head turned halfway towards the right, with a bewildered
expression upon her face. She carries in her left hand a
basket labelled " Kittens," and in her right a large doll and
other articles. She wears a blue dress cut short, with
white apron. A young lady, the elder sister of the one just
described, stands behind the young girl, near the right of
the stage. She is facing towards the audience, with a dis-
mayed expression upon her face. She carries in either hand
a set of three paper bandboxes tied together, and a pile
of three or four more resting on these sets, and piled oil
top perpendicularly, almost obscuring her head from the
audience : her arms are held as close as possible to the pile
endeavoring to support it. She wears a white-muslin dress,
black mantilla, and white bonnet. A boy about eight or
ten years of age brings up the rear of this pile. lie is on the
extreme right, facing towards the left, and carrying in his
rio-ht hand a bandbox, v/hich is raised above his head,
towards the pile of bandboxes carried by his sister ; and in
his left lie drags a wooden rocking-horse or small wheel-
barrow.
KING LEAR. 179
At the back of the stage, the gentleman personatinf]^ the
father is seen, with his right leg in the barrel placed there,
his left hanojiu"; outside, holdiu*^ a hammer in his rijT-ht
hand, and, with both hands raised above his head, support-
ing a picture-frame by the corner, Avhich is supposed to
have fallen with him : his mouth is open, as if uttering an
expression of pain. He wears a blue coat, yellow trousers
and waiscoat, and bald wig. This tableau may be given
in connection with Moving In, and previous to that, or sepa-
rately, as both are described in detail ; though, as they are
so simply produced, it Avould add to the interest to represent
them as a series. Music, " Jeannette and Jeannot."
KING LEAR.
FIVE GENTLEMEN.
♦ Lear. Let the great gods,
That keep this dreadful pother o'er our heads,
Find out their enemies now ! TreniJble, thou wretch,
That hast witliin thee iindivulged crimes
Unwhipt of justice ! Hide thee, thou bloody hand !
Thou perjured, and thou siraular man of virtue,
Thou art incestuous ! Caitiff, to pieces shake.
180 PARLOR TABLEAUX.
That, under covert and convenient seeming,
Has practised on man's life ! Close pent-up guilts.
Rive your concealing continents, and cry
'Lhese dreadful summoners grace ! I am a man,
More sinned against than sinning.
Kent. Alack, bare-headed !
Gracious my lord, hard by here is a hovel :
Some frientlship will it lend you 'gainst the tempest.
Repose you there, while I to this hard house
(More hard than is the stone whereof 'tis raised;
Which even but now, demanding after you,
Denied me to come in) return, aud force
Their scanty courtesy. [Enter Gloster with a torch,
Lear. What's he ?
Kent. Who's there ? What is't you seek ?
Gloster. What ! are you there ? Your names ?
Edrjar. Poor Tom ; that eats the swimming frog, the toad, the tad-
pole, the wall newt and the water ; who is whipped from tithing to
tithing, and stocked, punished, and imprisoned ; who hath had three
suits to his back, six shirts to his body, horse to ride, and weapon to
wear.
Glos. What ! hath your grace no better company ?
Lear. Oh, cry you mercy !
Noble philosopher, your company.
Shakspeaee.
This very effective tableau from Shakspeare's great
tragedy represents King Lear, after he has left Goneril his
daughter, wandering, exposed to the furies of a raging
storm in a desolate heath. He is sought out here by Kent,
KING LEAR. 181
a faithful friend, who, disguised as a servant, offers him
shelter ; and by the Duke of Gloster, who, though friendly
to his daughter, takes pity on the old man, and persuades
him to seek shelter. The other characters are the court
jester who attends Lear, and Edgar, son of the Duke of
Gloster, whom he has offended, and from whom he is en-
deavoring to escape, disguised as a madman, cloched but
scantily in blankets. The scene opens where Lear, meeting
Edgar nearly naked, proceeds to tear off his own robes,
and offer them to Edgar. The gentleman representing
Lear stands in the centre of the stage, near the front. His
ri'i^ht foot is advanced forward, his left extended behind.
His right arm is raised, extended upwards towards the
right, grasping one end of his drapery, which he is endeav-
oring to throw off: his left grasps the drapery upon his
bosom. His face is turned towards the right, looking up
with a fierce expression. He wears a skirt of crimson
trailing behmd ; a white drapery thrown over his shoulders
and upper part of his body, showing the neck. He should
have straight and rather prominent features, with gray wig,
and beard very much disordered. Gloster stands on the
right of the stage. He holds above his head, in his right
hand, a burning torch : his left is extended towards Lear with
182 PARLOR TABLEAUX.
a gesture of entreaty ; and his face is turned towards the
k^ft. looking upon Lear with an anxious expression. He
■^vears a suit of armor, with a crimson mantle thrown over
and almost covering it. He should be made up old, but not
as old as Lear. Kent kneels upon the floor of the stage, a
little to the left of Gloster, with his left hand upon his knee,
and his right extended towards Edgar, who is at the left of
the stage ; and his face is turned towards the left, looking at
Edgar. He wears a livery suit of light-brown, dark-brown
mantle, and helmet. He should also wear gray wig and
short beard. Edgar is at the extreme left of the stage. He
is seated upon the floor, with his knees drawn up, his elbow
resting upon his knees, and his chin upon his right hand.
His face is turned towards the right, looking at Gloster, as
if fearing recognition. He is dressed in blankets, arranged
so as to show the arms bare, and the legs below the knees,
with flesh stockings, and long black wig ; hair tied in
horns in front, or with feathers on the head. The jester
stands at the left side of Lear, with his left hand on Lear's
left arm, his right hand on Lear's right shoulder, his face
towards the right, looking over Lear's left shoulder at
Gloster. He wears a blue cone-shaped cap, salmon-col-
ored waist and trunks, flesh stockings, shoes, and blue man-
TRIAL-SCENE FROM THE MERCHANT OF VENICE. 183
tie over his shoulders. The noise of a storm should be
heard outside, flashes of red and blue light should be thrown
upon the group, and streaks of lightning may be made upon
the curtain behind.
TRIAl^SCENE FROM THE MERCHANT OF
VENICE.
TEN GENTLEMEN AND TWO LADIES.
Shjloch. Most learned judge! A sentence: come, prepare.
Portia. Tari'v a little : there is something else.
This bond doth give thee here no jot of blood :
The words expressly are a pound of flesh.
Take, then, thy bond ; take thou thy pound of flesh :
But, in the cutting it, if thou dost shed
One drop of Christian blood, thy lands and goods
Are, by the laws of Venice, confiscate
Unto the state of Venice.
Gratiano. O upright judge ! — mark, Jew, — O learned judge !
Shy. Is that the law 1
Por. Thyself shall see the act ;
For, as thou urgest justice, be assured
Thou shalt hare justice more than thou desir'st.
Gra. learned judge ! — mark, Jev.-, — a learned judge !
• Shy. J take this offer, then : pay the bond thrice,
And let the Christian go.
184 • PARLOR TABLEAUX.
Bassanio. Here is the money.
Por. Soft!
The Jew shall have all justice : soft ! no haste :
He shall have nothing but the penalty.
Grn. O Jew ! an upright judge, a learned judge.
Por. Therefore prepare to cut off the flesh.
Shed thou no blood ; nor cut thou less, nor more.
But just a pound of flesh : if thou tak'st more
Or less than a just pound, — he it but so much
As makes it light or heavy in the substance,
Or the division of the twencieth part
Of one poor scruple ; nay, if the scale do turn
But in the estimation of a hair, —
Thou diest, and all thy goods are confiscate.
Merchant of Venice.
This scene, from Shakspeare's celebrated play, forms one
of the most striking stage tableaux that has ever been pre-
sented. The characters are Shjlock, the Jew ; Antonio, the
Merchant of Venice; the Doge of Venice; Bassanio and
Gratiano, friends of Antonio ; Portia, betrothed to Bassanio ;
Nerissa, her maid ; and the attendants of the doge. Anto-
nio, being unable to pay a debt to Shylock of three thousand
ducat. >, forfeits to him, by the bond between them, a pound
of ile.>h. Portia, avIio is interested in Antonio's behalf for
B issanio's sake, appears before the doge on the day of trial,
in lawyer's attire, to defend Antonio. She awards the Jew
TRIAL-SCENE FROM THE MERCHANT OF VENICE. 185
the forfeit of the flesh, but denies him one drop of blood :
and the scene represents Shylock, baffled of his sanguinary
object, offering to release the Christian by the payment of
three times the amount originally loaned ; which demand
Portia refuses.
The tableau cannot be represented very well upon a small
stage, as the scene is intended to represent a large council-
chamber. A large throne-shaped chair, with arms, should
be placed upon the right of the stage, resting upon a low
flight of steps, covered with green or crimson. A narrow
table is placed a little to the right of the centre of the stage,
covered with crimson cloth, with the end towards the audi-
ence. A large book, supported on a pile of books placed
under it, is at the end of the table nearest the front. Por-
tia stands at the left side of the table, at the end nearest the
audience ; the forefinger of her right hand pointing towards
the page of the book, her left hand extended, holding a
scroll, unrolled. Her face is turned half way towards the
left, as she looks towards Shylock with a commanding ex-
pression. She wears a long, black, flowing robe, with dra-
pery-sleeves, white neck-tie, black-velvet cap, and hair
combed under in a roll behind, or with a wig over it : she
should be tall, and of straight features. Shylock stands at
186 PARLOR TABLEAUX.
the left of the stage, near the front. He hold$ in his right
hand a long-pointed sheath-knife against his breast, pointing
downward ; and in his left a pair of scales (a straight piece
of wood painted, with two small plates hanging from either
end, will answer). Ilis face is towards the right, looking
out towards the audience with a disappointed but malicious
expression. He Avears a long brown gaberdine trimmed
with black, broad white collar, gray wig with long hair and
bald front, and pointed gray beard. His features should be
straight and prominent, and he is made up with dark lines
of a2:e.
Bassanio stands at the right side of the table, at the end
nearest the audience, his right hand extended towards the
Jew, holding a bag supposed to contain gold ; while his left
hand rests on the table, upon which are several other bags
of ijold. His face is towards the left, as he looks at Portia
with an attentive expression. He wears a salmon-colored
tunic, red tights, crimson cape lined with white, sword-belt,
sword, and buckle-shoes. Pie should be of dark complexion,
with black mustache and imperial. Antonio stands beside
the table, directly behind Bassanio. His hands are tied be-
hind him, his face turned towards the left, looking towards
Shylock with an anxious expression. His face is very pale,
TRIAL-SCENE FROM THE MERCHANT OF VENICE. 187
and he wears an iron-gray wig and cliin-wliiskcrs. His cos«
tume is a black-velvet tunic and cloak, black stockings and
gaiters : his tunic is thrown open at the neck, showing the
breast bare. Gratiano stands directly behind Antonio, with
his right hand extended towards Shylock, his left resting
upon Nerissa's shoulder, who stands at his left ; while his
head is inclined forward, as he looks at the Jew, smiling
with an exulting expression upon his face. He wears a
buff-colored tunic, light-purple cape, flesh-colored tights,
sword-belt, sword, and gaiters. He should be represented
as rather younger than Bassanio, with mustache and small
imperial. Nerissa leans against the lower end of the table,
near the back of the stage ; her elbows resting upon a book
lying there, and her face turned towards Portia with a con-
fident expression. She wears a long brown robe with drape-
ry-sleeves, white neck-tie, cap, and hair in the same style
as Portia's. The doge is seated at the right of the stage,
upon the throne placed upon the steps. His head is inclined
forward, leaning upon his left hand : his right hand is upon
the ri"ht arm of the chair, as he looks towards Portia and
Shylock with an earnest expression. His costume is a long
scarlet or crimson robe, ermine cape, gold coronet, with
crimson hood hanging over the back of the head, white wig
188 PARLOR TABLEAUX.
and beard. Upon the right of the steps, a young man is
seated at a small table covered with crimson cloth, upon
which are ink and papers, with a pen in his right hand,
lookinij towards the Jew. He wears a black-velvet tunic
and cape, or a long black robe. A gentleman dressed as a
soldier, in full armor and helmet, is seated at the left of the
steps, with a long-handled axe in his right hand, resting
upon the floor. The remaining gentlemen should stand at
the back of the stage, on the left. They are dressed as sol-
diers, or similarly to Bassanio : they stand as if conversing,
looking towards the group at the front, and pointing to Shy-
lock and Antonio. The tableau should be brightly lighted,
and the music of a solemn character.
SCENE FROM PERICLES.
ONE GENTLEMAN AND TWO LADIES.
Marina. Sir, I will use
My utmost skill in his recovery,
Provided none but I and my companion
Be suffered to come near him.
Lf/simachus. Come, let us leave her ;
And the gods make her prosperous ! [Marina sings.
SCENE FROM PERICLES. 189
Lysimachus. Marked he your music ?
Marina. No, nor looked on us.
Lys. See ! she will speak to him.
Mar. Hail, sir ! My lord, lend ear.
Pericles. Hum ! ha !
Mar. I am a maid,
My lord, that ne'er before invited eyes,
But have been gazed on comet-like. She speaks.
My lord, that maybe hath endured a grief
Might equal yours, if both were justly weighed.
Though wayward Fortune did malign my state.
My derivation was from ancestors
"Who stood equivalent with mighty kings ;
But time hath rooted out my parentage.
And to the world and awkward casualties
Bound me in servitude.
Pericles. My fortunes, parentage, good parentage,—
To tqual mine ! — was it not thus ? What say you?
3Iar. I said, my lord, if you did know my parentage,
You would not do me violence.
Pericles. I do think so.
I pray you, turn your eyes again upon me.
You are like something that — What countrywoman ?
Here, of these shores ?
Pekxcles, act v. scene 1.
This picture represents the scene from Shakspeare*s play
of " Pericles," where Marina his daughter, escaped from
Cleon, comes to the vessel of Pericles, and rouses him from
his despoudeticy by declaring her relationship. Upon the
190 PARLOR TABLEAUX.
left of the stage, near the back, a lounge covered with crim-
son should be placed, with a small footstool of the same
color in front of it. Pericles should be represented as be-
tween forty and fifty years of age. He lies upon the lounge,
with his face downwards, and head towards the left, in the
act of raising himself upon his arms, which are braced
anjainst the louncre. The ricjht side of his face is towards
the audience, with an expression of grief; and his hair is
combed carelessly. He is almost entirely covered by a large
black cloth or mantle, which extends over his left arm,
head, and the remainder of his body, with the exception of
his right arm, which is left bare to the elbow.
Marina should be personated by a young lady of eighteen
or twenty years of age, of clear complexion and straight
features. She stands at the right of Pericles, beside the
lounge, her left hand raised to the height of the forehead,
and holding a small harp, which may be made of paste-
board, cut out in an appropriate shape, with strings of cord ;
her left arm is extended across the waist, her fingers touch-
ing the strings of the harp ; the right side of her face is
turned towards the audience, her head towards the left,
looking down upon the face of Pericles ; her left knee is bent,
the foot resting on the footstool in front of the lounge. .Slie
ROMEO AND JULIET. 191
wears a long white-muslin robe, tied round with a bUie rib-
bon a few inches below the waist* low neck, and short wing-
sleeves, and gold bands round her hair. A young lady of
about the same age stands behind her, with her left arm
round her waist, her right touching Marina's dress behind,
and her head leaning on her right shoulder. She wears a
plain blue flowing robe with wing-sleeves, and a single
band upon her hair: her face is -towards the left. Music
very soft. Light thrown upon the ladies, and shading the
gentleman.
ROMEO AND JULIET.
ONE GENTLEMAN AND ONE LADY.
Juliet. Wilt thou be gone ? It is not yet near day.
It was the nightingale, and not the lark,
That pierced the fearful hollow of thine ear:
Nightly she sings on yon pomegranate-tree.
Believe me, love, it was the nightingale.
Romeo. It was the lark, the herald of the morii ;
No nightingale. Look, love, what envious streaks
Do lace the severing clouds in yonder east !
Night's candles are burnt out, and jocund day
Stands tip-toe on the misty mountain-tops:
I must be gone and live, or stay and die.
192 • PARLOR TABLEAUX.
Juliet. Yon light is not daylight ; I know it, I :
It is some meteor that the sun exhales,
To be to thee this night a torch-bearer,
And light thee on the way to Mantaa.
Therefore stay yet : thou necd'st not to be gone.
Romeo. Let me be ta'en, let me be put to death :
I am content, so thou wilt have it so.
I'll say you gray is not the morning's eye :
'Tis but the pale reflex of Cynthia's brow !
Nor that is not the lark, whose notes do beat
The vanity heaven so high above our heads.
I have more care to stay than will to go.
Come, death, and welcome ! Juliet wills it so.
How is't, my soul ? Let's talk : it is not day.
Juliet. Oh ! think'st thou we shall ever meet again ?
Romeo. I doubt it not; and all these words shall serve
For sweet discourses in our tiifle to come.
Romeo and Juliet, act iii. scene 5.
This scene represents the parting of Romeo with Juliet
in her chamber, whither he has returned for a few hours
from his banishment at Mantua. He is ready to stay with
Juliet at the risk of his life ; but, as the day dawns, she
urges him to go, and they separate, never to meet again, — he
with cheerful hopes of the future, she with painful misgiv-
ings of their f^ite. The stage represents a nicely-furnished
room, with a small table and chair at the left side, near the
front, a large arm-chair on the right, and small stand, with
ROMEO AND JULIET. 193
vase of flowers upon it. Romeo stands at the right of the
centre of the stage, his face towards the audience, his body
turned about one-fourth of the way towards the left : his
arms are around Juliet's waist ; and he stands, not close to
her, but as if about to turn away. He wears a tunic of
crimson velvet trimmed with gold, and with wide drapery-
sleeves, sword-belt and sword, hat with white feather, lace
collar, white tights, and shoes cut low, or gaiters. He
should be of dark complexion, with dark curly hair and
handsome features ; his. face wearing a smiling, confident ex-
pression, as he looks towards Juliet. Juliet stands at the
left of Romeo, her left hand resting on his right shoulder ;
her right grasping his left arm, as if endeavoring to detain
him : her face is turned upward towards him with an
anxious, entreating expression, the left side of her face
being towards the audience. She wears a white-silk dress,
trailing behind, with low neck, and puffed sleeves reaching
below the elbow, lace under-sleeves and sash, necklace of
large pearl beads, and strands of pearl beads upon her head.
She should be of light complexion, with hair in curls be-
hind. A white light should be thrown from the right of the
stage, rather dim, as the curtain rises, but grov/ing gradu-
13
194 PARLOR TABLEAUX.
ally brighter until its fall. Music, the love-duet from
" Faust," or some similar piece, played very softly.
TOMB-SCENE FROM ROMEO AND JULIET.
TWO GENTLEMEN AND ONE LADY.
Friar Laurence. Komeo ! [Advances.
Alack, alack ! what blood is this which stains
The stony entrance of this sepulchre ?
What mean these masterless and gory swords
To lie discolored by this place of peace ?
[Enters the monument.
Romeo ! Oh, pale ! Who else ? What 1 Paris, too ?
And steeped in blood ? Ah, what an unkind hour
Is guilty of this lamentable chance !
The ladv stirs. [Juliet wakes and stirs.
Juliet. O comfortable friar ! where is my lord 1
I do remember well where I should be,
And there I am. Where is my Romeo ? [Noise within.
Friar. I hear some noise. Lady, come from that nest
Of death, contagion, and unnatural sleep.
A greater Power than we can contradict
Hath thwarted our intents : come, come away.
Thy husband in thy bosom there lies dead.
And Paris too. Come, I'll dispose of thee
Among a sisterhood of holy nuns.
ROMEO AND JULIET. 195
Stay not to question ; for the watch is coming.
Come, go, good Juliet. [Noise again.] I dare stay no longer. [Erit.
Juliet. Go, get thee hence ; for I will not away.
What's here ? A cup, closed in my true love's hand ?
Poison, I see, hath been his timeless end.
O churl ! drink all, and leave no friendly drop
To help me after ? I will kiss thy lips :
IlajDly some poison doth yet hang on them
To make me die with a restorative. [Kisses him.
[Noise without.] Yea, noise ? Then I'll be brief. happy dagger !
[Snatching Romeo's dagger.
This is thy sheath : [stabs herself] there rust, and let me die !
[Falls on Romeo's hodtj, and dies.
Romeo and Juliet, act v. scene 3.
The narrative of the portion of Shakspeare's play intro-
ducing this scene is, that Juliet, a young and beautiful lady
of Verona, having been secretly married to an enemy of
her father's house, named Romeo, who is banished for kill-
ing a friend in a duel, is instructed, by a friendly friar, of a
way to rejoin her husband ; namely, by taking a certain
drug, vi'hich would cause her to appear as dead for two days :
she would be carried to the tomb, and awake at the end of
that time to find her husband ready to bear her away.
Through some inadvertence, Romeo is not informed of this
plot by the friar, and, hearing that Juliet is dead, hastens to
her tomb, there to die. He finds Paris, also a lo\ei' of
196 PARLOR TABLEAUX.
Juliet, by her tomb ; and a duel ensues, in which Paris is
killed, and Romeo commits suicide by taking poison, and
falls upon the ground in front of the tomb. Juliet awakes,
and, being told by Friar Laurence of Romeo's death, refuses
to go with the friar, but kills herself with Romeo's dagger.
The scene given represents Juliet as she awakes in the
tomb. At the back of the stage, a small platform, or box,
about five feet long by two feet high, should be placed ; the
side towards the front painted in imitation of stone, or
covered with drab cambric. A set of curtains should be
hung so as to close in the space on the sides behind the
box, leaving a square opening about four feet wide in tlie
centre.
The top of the platform, or box, should be covered with
black cloth or cambric. Juliet is seated upon the centre of
the platform, her lower limbs extended towards the left,
her face looking in the same direction, at Friar Laurence,
who stands beside the tomb, with a terrified expression
upon her face. Her right arm is raised, extended toward
the right, holding the veil, which she is throwing off her
head ; and her left arm is extended towards the friar, who
stands at the left. She wears a white silk or satin dress,
with low neck and long sleeves, necklace of pearl beads,
ROMEO AND JULIET. 197
and long white-lace veil extending over her shoulders and
arms, and held up in her right hand. E-omco lies upon the
floor of the stage, in front of the centre of the small plat-
form, with his feet towards the right, his face turned up-
wards, very pale, and with eyes closed ; his left hand lying
upon his breast, and right arm at his side. He wears a
crimson or white waist and trunks, and crimson mantle,
lace collar and cuffs.
Friar Laurence stands beside Juliet, about two feet from
the centre of the platform, on the left. He holds a spade,
leaning against the floor, in his left hand ; and his right is
raised above his head, holding a dark lantern, the rays of
which fall full upon Juliet's face. The left side of his face
is towards the audience ; and he wears a long black robe,
with hood thrown back, and tied around the waist with a
string of beads and wooden cross attached, and white wig
with cowl, or bald. The stage should be dark, with the ex-
ception of the light from the lantern ; and the music should
be very solemn.
/
198 PAKLOR TABLEAUX.
SCENE FROM THE TEMPEST.
TWO GENTLEMEN AND ONE LADY.
Miranda. If by your art, my dearest father, you have
Put the wild waters in this roar, allay them.
The sky, it seems, would pour down stinking pitch,
But that the sea, mounting to the welkin's cheek,
Dashes the fire out. Oh ! I have suffered
With those I saw suffer, — a brave vessel,
Who had no doubt some noble creatures in her,
Dashed all to pieces. Oh ! the cry did knock
Against my very heart. Poor souls ! they perished.
Had I been any god of power, I would
Have sunk the sea within the earth, or e'er
It should the good ship so have swallowed, and
The freighting souls within her.
, Prospero. Be collected ;
Ko more amazement : tell your piteous heart
There's no harm done.
Miranda. Heavens thank you for't ! And now I pray you, sir,
(For still 'tis beating in my mind,) your reason
For raising this sea-storm ?
ProKpero. Know thus far forth, —
^y accident most strange, bountiful fortune,
Now, my dear lady, hath mine enemies
Brought to this shore. Here cease more questions.
SCENE FROM THE TEMPEST. 199
Thou art inclined to sleep : 'tis a good dulness,
And give it way. I know thou canst not choose. [Miranda sleeps.
Come away, servant, come : I am ready now.
Approach, ray Ariel, come. [Enter Ariel.
Ariel. All hail, great master ! grave sir, hail ! I come
To answer thy best pleasure ; be it to fly.
To swim, to dive into the fire, to ride
On the curled clouds : to thy strong bidding task
Ai'iel and all his quality.
Shakspeare's Tempest, act i. scene 2.
The story of the play of" The Tempest," from which this
tableau is taken, is, that Prospero, Dul^e of Milan, being dis-
possessed of his throne and crown by his brother Antonio,
is landed upon a desolate island, where, living alone with his
young daughter for many years, he acquires a knowledge
of the magic arts from his books, by which means he is en-
abled to release Ariel, a young boy who had been confined
twelve years in a tree by a witch, and whom Prospero en-
dows with supernatural power, and makes him his servant.
The scene of this picture is during a storm that Prospero
causes Ariel to raise for the purpose of driving the ship of
his brother Antonio, who is near, by some strange chance,
upon the shore of the island. Miranda, his daughter, de-
sires liim to stay the storm, and save the lives of the crew :
but he assures her that they are all safe ; and, under his
200 PARLOR TABLEAUX.
spell, she sleeps, while he summons Ariel to heur his re*
port. Upon the right side of the stage, about half-way
back, a pile of boxes should be placed, irregularly, to rep-
resent rocks, and covered with brown or drab cambric.
Prosper© stands at the right of the stage, near the front. His
back is towards the audience, and his head turned away,
looking back, about one-quarter of the face being visible to
the audience. His left arm is raised, and the hand ex-
tended with a gesture of command towards Ariel, Avho
stands at the back of/he stage. He liolds in his riglit baud
a long wand of wood, reaching from the floor nearly to the
shoulder. He wears a long black robe, trailing behind,
with fur collar, square black cap, and gray whiskers. The
gentleman taking this character should be tall, and with
straiglit features.
Ariel should be represented by a lad of from fourteen to
sixteen years of age, or by a young lady dressed in the
same style.
He stands at the back of the stage, in the centre, upon a
box about two feet high, covered with drab or brown cam-
bric, in imitation of a rock : he stands as if just having
leaped upon the rock, with his lower limbs some distance
apart, and his arms extended towards Prospcro witli a ges-
SCENE FROM THE TEMPEST. 201
ture of obedience. His face is towards the audience, as he
looks straight forward at his master with a pleased expres-
sion. He should wear a white tunic trimmed with orold
fringe or paper, flesh-colored tights, or stockings, and short
wings of muslin or paper upon his shoulders. Miranda is
a young lady of about sixteen or eighteen years of age.
She is seated at the foot of the pile of rocks, upon the right :
her right arm, bent at the elbow, lies upon a rock ; and her
head leans over upon the arm, with the eyes closed, as in
sleep. Her face is towards the audience, her left arm lying
naturally by her side, and her lower limbs crossed.. She
wears a white-muslin dress with low neck, hanging close to
her form ; a long white mantle thrown back over her shoul-
ders, and covering her left arm ; and a wreath of small
white flowers upon the front of her hair, which hangs in
curls. Ariel should be surrounded with a blue smoke, the
light falling on liliranda also. The noise of a storm should
be made outside..'
202 PARLOR TABLEAUX.
VISION OF C^SAR.
THREE GENTLEMEN.
Brutus. It is well done ;• and thou shalt sleep again.
I will not hold thee long. If I do live,
I will be good to thee. {Music and a song
This is a sleepy tune. O murderous slumber !
Lay'st thou thy leaden mace upon my boy,
That plays thee music 1 — Gentle knave, good-night :
I will not do thee so much wrong to wake thee.
If thou dost nod, thou break'st thy instrument;
I'll take it from thee : and, good boy, good-night.
Let me see ; let me see. Is not the leaf turned down
Where I left reading ? Here it is, I think. \He sits down.
Enter the Ghost of C^SAR.
How ill this taper burns ! — Ha ! who comes here ?
I think it is the weakness of mine eyes
•'That shapes this monstrous apparition.
It comes upon me ! — Art thou any thing ?
Art thou some god, some angel, or some devil.
That mak'st my blood cold, and my hair to stare ?
Speak to me what thou art.
Ghost. Thy evil spirit, Brutus.
Bru. Why com'st thou 1
Ghost. To tell thee thou shalt see me at PhiUppi.
Bru. Well:
Then I shall see thee again 1
VISION OF C^SAR. ; 203
Ghost Ay, at Philippi. [Ghost vanishes.
Bru. Why, I will see thee at Philippi, then.
Now I have taken heart, thou vanishest,
111 sprite ! I would hold more talk with thee.
Boy ! Lucius ! Varro ! Claudius ! sirs, awake !
Claudius !
Julius C^sar, act iv. scene 3.
This scene from the historical play of "Julius Caesar"
represents an incident supposed to have taken place at the
camp of Brutus, previous to his battle with Mark Antony
and Octavius Caesar, at Philippi. The ghost of the mur-
dered Caesar is represented as appearing to Brutus as a
foreboding of his fate at that battle. The stage represents
the exterior of the tent of Brutus. At the back the cur-
tains are draped, meeting at the top in a point to represent
a tent. Brutus is seated to the left of the centre of the
stage upon a small stool, at a table upon which is a tall
lamp burning. The heel, of his left foot presses against the
chair, while his right foot is advanced towards the centre.
His face is turned a little towards the right, so as to exhibit
about a three-quarters view to the audience. His right arm
is extended towards the centre, palm downward, with an
expression of alarm ; his left lies upon the table, holding a
paper. He should be represented as about thirty or forty
204 PARLOR TABLEAUX.
years of age, of manly features, with a startled expression
upon his face, and his lips open, as if uttering an exclama-
tion. He wears a long dressing-robe of some plain mate-
rial, with drapery-sleeves, open from the neck to the waist ;
white shirt, with gold border round the neck, cut low, show-
ing the upper part of the breast ; flesh stockings, and sandals.
The gentleman representing the ghost of Csesar stands at
the right, near the back of the stage. His right arm holds
his drapery together at the breast : his left is extended, Avith
palm downward, directly towards Brutus at the left. His
face is turned about one-third towards the left, with a steady
look upon the foce of Brutus. His face is very pale, his
features prominent ; and he wears a long white drapery-
robe, with a drapery in the form of a large white cloak
thrown over his shoulders, and held together upon his
breast in his right hand, and a wreath of laurel upon his
head. He is made up rather older than the gentleman per-
sonating Brutus. At the left of Brutus, in front of the
table, the young attendant, who has been beguiling the hours
with music, is seen sleeping. His right arm rests upon the
table, his head upon his arm ; and his left arm is raised
in front of his face, which is towards the right. He
wears a crimson-colored tunic, scarlet mantle, flesh stock-
belshazzar's feast. 205
ino-s, and sandals. He should be about sixteen or seventeen
years of age, with dark curly hair. A small harp made
of pasteboard, gilt, lies at his feet ; and a broad short-sword
is on the floor, at the foot of Brutus.
The figure of Csesar should be at some distance behind
that of Brutus, and should be surrounded with a blue smoke.
A clear white light should be thrown upon the face of Bru-
tus from the left. Music very piano.
BELSHAZZAR'S FEAST.
EIGHT GENTLEMEN AND SIX LADIES.
Joy holds her courts in great Belshazzar's hall,
Where his proud lords attend their monarch's call :
The rarest dainties of the teeming East ■
Provoke the revel, and adorn the feast.
But why, O king ! -
"Why dost thou start, with livid cheek ? why fling
The untasted goblet from thy trembling hand 1
Why shake thy joints 1 — thy feet forget to stand 1
Why roams thine eye, which seems in wild amaze
To shun some object, yet returns to gaze.
Then shrinks again, appalled, as if the tomb
Had sent a spirit from its inmost gloom 1
206 PAIILOR TA.BLEAUX.
Awful the horror when Belshazzar raised
His arm, and pointed where the vision blazed ;
For see, enrobed in Same, a mystic shade,
As of a hand — a red, right hand — displayed !
And, slowly moving o'er the wall, appear
Letters of fate, and characters of fear !
In death-like silence grouped, the revellers all
Fixed their glazed eye-balls on the illumined wall.
T. S. Hughes.
This splendid stage-tableau was suggested by the large,
unfinished painting by Allston, now in the possession of the
Boston Athenseum, which, had it been completed, would
probably have been most in accordance with the original
description of the event, in existence. The number of
characters incidental to a complete representation of the
tableau renders its performance upon a v;ery small stage
impossible ; and it should not be attempted, except upon a
good-sized platform. The stage should be set with a long
table at the back, extending from left to right, upon which is
a crimson cloth, with plates, bouquets of flowers, and fruit
covering the top. At the right corner of the stage, a throne-
shaped chair is placed, with a footstool, and covered with
crimson cloth. The soothsayer stands in the centre of the
stage, near the front. His left hand is raised, and extended
towards the left, pointing upwards at a point one-half the
belshazzar's feast. 207
distance from the floor to the top of the curtain : his right is
clinched at his side ; and he stands erect, looking towards the
right, at the king, with a stern expression upon his face. He
wears a long brown robe, reaching to the feet ; a heavy
drapery of purple or black, hanging from the right shoulder,
below the waist, and thrown back over the left shoulder ;
gray wig, and pointed beard. The gentleman representing
this character should be tall, with straight, prominent fea-
tures. The king is seated upon the right of the stage, near
the front, with his face turned upward towards the left, look-
ing with a fixed expression at the place to which the sooth-
sayer points, where the illuminated writing is supposed to be
inscribed. His right hand rests upon the right arm of the
chair ; his left lies upon his left knee, which is extended ; and
his body is inclined forward. He v/ears a flowing robe of
yellow or salmon-colored drapery, with neck cut low, and
trimmed with a border of crimson ; heavy gilt crown, and or-
namental girdle. He should be of straight features and
dark complexion. The queen stands beside the throne, at
the left of the king. Her face is turned towards the left,
looking upwards at the writing with an amazed expression.
Her right hand is raised to her bosom : her left is at her
side. She wears a long crimson or black velvet robe,
208 PARLOR TABLEAUX.
trimmed with gilt bullion-fringe and pearl beads ; gold baud
upon her head, from which hangs a long black veil, ex-
tending over her shoulders ; and a sash, trimmed with pearl
beads, extending from her waist over her left shoulder. This
character should be represented by a lady twenty-five or
thirty years of age, who should be of dark complexion.
The three wise men are on the left side of the stage, near
the front : two of them stand with their faces turned towards
the right, looking upon the soothsayer with a startled ex-
pression ; while the other stands nearer the back of the
stage, his face towards the audience, pointing upward
towards the point where the writing is supposed to be.
They wear long, flowing robes of black, purple, and brown,
belted at the waist; turbans with cloth flap upon their
heads ; and sandals. The two nearest the front have dark
beards ; the other, a white beard and wig. At the left of the
centre of the stage, two ladies kneel, their faces towards
the soothsayer, heads inclined forward, and hands clasped
as they look toward him w^ith an expression of entreaty.
The lady nearest the front wears a handsome pink silk with
low neck, sash over the shoulder, and coronet of pearls
upon her head. Her companion is costumed in blue-silk
dress, with white shoulder-scarf, and silver coronet upon her
head.
BELSHAZZAR*S FEAST. 209
A figure dressed as a soldier stands upon tlie riglit of tlie
stage, in front of the table. He holds in his right hand a
battle-axe, Avhich is lowered below the level of his waist.
His left hand is extended back ; his body inclined forward,
as he looks towards the left, at the writing, with an expres-
sion of terror.
The table is occupied by six or eight guests, — ladies and
gentlemen, — who are seated generally at the side nearest the
back of the stage ; some looking forward, with an earnest
expression, at the soothsayer ; others gazing at the writ-
ing with a terrified expression, or exchanging significant
glances. The gentlemen wear long robes of pink, scarlet,
and purple, richly trimmed, and light turbans. The ladies
wear long dresses of white, blue, and yellow, with shoulder-
scarfs and head-dresses. The stage, back from the centre,
should be lighted by a clear white light ; while a bright-red
light is placed at the point where the writing is supposed to
be, and is thrown upon the figures at the front. Music of
a stormy character.
14 -
210 PARLOR TABLEAUX.
THE CORSAIR'S BRIDE.
ONE GENTLEMAN AND ONE LADY.
She rose, she sprang, she clung to his embrace,
Till his heart heaved beneath her hidden face.
He dared not raise to his that deep-blue eye
"Which downcast drooped in tearless agony.
Her long fair hair lay floating o'er his arms
In all the wildness of dishevelled charms ;
Scarce beat that bosom where his image dwelt.
So full, that feeling seemed almost unfelt !
Hark ! Peals the thunder of the signal-gun !
It told 'twas sunset ; and he cursed that sun.
Again, again, that form he madly pressed.
Which, mutually clasped, imploringly caressed ;
And, tottering, to the couch his bride he bore ;
One moment gazed, as if to gaze no more ;
Felt that for him earth held but her alone ;
Kissed her cold forehead ; turned. Is Conrad gone ?
Byron.
Byron's poem of " The Corsair," the hero of which is
represented as a villain in every respect, except his true
love for the fair Medora, is probably well known to many
readers. The tableau represents the parting of the corsair
with his lady-love after one of their stolen interviews, and
the last one in which they are destined to meet.
THE CORSAin'S BRIDE. 211
The gentleman personating the corsair stands at the left
of the centre of the stage, with his right arm around the
lady's waist, his left extended towards her. His face is
towards the right, looking down upon the lady with a sad
but tender expression ; and his body is slightly drawn back,
as if endeavoring to withdraw from her embrace. He
should be of dark complexion, straight features, with heavy
black mustache and imperial ; and should wear loose white
trousers, reaching a few inches below the knees ; white
shirt, trimmed with gold ; blue cut-away jacket, trimmed
with gold, and lined with red ; Fez cap, with tassel ; sabre
and belt, and slippers. The lady stands in the centre of
the stage. Her face is towards the left, looking up at her
lover with an entreating expression. Her left arm is
passed around his neck ; her right hand grasps his left
arm at the wrist. She wears a loose white robe with short
sleeves and low neck. Her hair should be of light color,
and allowed to fall loosely over her shoulders. The light
should be thrown so as to fall upon the lady's face. Music
very piano. A lounge, with counterpane, and sheets
turned back upon it, may be placed at the back of the
ptage.
212 PARLOr TABLEArX.
THE VEILED PROPHET.
ONE LADY AND TWO GENTLEMEN.
Scarce had she said
These breathless words, when a voice deep and dread
As that of Monker, waking up the dead
From their first sleep, — so startling 'twas to both, —
Eang through the. casement near, " Thy oath ! thy oath ! "
Heaven ! the ghastliness of that mc'.id's look !
" 'Tis he ! " faintly she cried, while terror shook
Her inmost core ; nor durst she lift her eyes,
Though through the casement now nought but the skies
And moonlit'ficlds were seen, calm as before.
" 'Tis he, and I am his ! — all, all, is o'ei- !
Go, fly this instant, or thou'rt ruined too !
My oath, my oath ! O God ! 'tis all too true, —
True as the worm in this cold heart it is !
1 am Mokaima's l)rido ! — his, Azim, his !
The dead stood round us while 1 spoke that vow :
Their blue lips echoed it ; 1 hear them now !
Their eyes glared on me while I pledged that bowl .
'Twas burning blood ! — I feel it in my soul !
And the Veiled Bridegroom — hist! I've seen to-night
What angels know not of, — so foul a sight,
So horrible, oh ! never mayst thou see
What there lies hid from all but hell and me !
But I must hence. Off, off ! I am not thine,
Nor Heaven's, nor Love's, nor aught that is divine ! "
MOOBE.
THE VEILED PROPHET. 213
This scene is from the well-known legend of " The
Veiled Prophet" in Moore's poem of " Lalla Rookh," and
is one of a number of tableaux presented at the time of
its original publication, at the Prussian court, by several
of the nobility of that kingdom. The legend is located in
Oriental regions. The young hero of the poem, Azim,
who is in love with the fair Zelica, is removed from her
society by Mokanna, a false prophet, who, hideous in as-
pect, and malicious in character, wears a gorgeous but
impenetrable veil of silver, which covers his deformity,
and shrouds him in mystery. He persuades Zelica that
Azim is dead ; and she, in her sorrow, yields herself to
Mokanna, and takes a solemn oath to remain his bride.
She then finds, that, in place of becoming the votary of
a devout prophet, she has placed herself in the power of a
hideous monster, and is almost heart-broken at her
wretched fate ; when Azim suddenly returns, renews his
vows of constancy, consents to retain her as she is, and at
last overcomes her scruples, and is about to bear her away,
when the Veiled Prophet appears at the window, exclaiming
to Zelica, " Thy oath ! thy oath ! " and, despite Azim's
importunities, she turns from him, and flies back to the
prophet's palace.
214 PARLOR TABLEAUX.
The scene given represents Azim and Zelica at the
moment when the prophet appears uttering the solemn
warning. The curtain upon the left side of the background
is drawn aside, showing the Veiled Prophet : he stands
with his right hand raised above his head, the forefinger
pointing upward. His left arm is raised, the palm turned
downwards, and held just above his head, in a horizontal
position. His face and front are towards the audience, and
he stands erect and immovable. He wears a long robe of
flowing white drapery, with tight-fitting sleeves, trimmed
with silver paper or tinsel ; veil of white cotton, striped
with silver paper or tinsel, covering the face completely ;
and a turban of white, fitting close to the head, and orna-
mented with a crown of silver round the front. ZcHca
should be personated by a young lady of dark complexion
and handsome features. She kneels at the right of the
centre of the stage, on her left knee, upon a cusliion placed
there. Her right hand is raised to her head ; her left hand
extended towards the centre, lying in that of Azim. Her
face is turned half way towards the left, looking forward
with a startled, despairing expression. Her right limb is
bent at the knee, and extending over the edge of the
cushion ; then touches the floor. She wears a long white
THE VEILED PROPHET. 215
skirt ; over-skirt of crimson, open in front ; large flowing
robe of crimson drapery, lined with white, and trimmed
with gold stars, hanging behind ; white-gauze veil, trimmed
with stars, and hanging from the right side of her head to
her waist, and extending from there over her right shoul-
ders : a pair of white slippers and tight-fitting sleeves com-
plete her costume. Her hair is combed loosely, — one end
hanging over her left shoulder, in front ; the other hanging
over her right, behind. Azim should be represented by a
young gentleman of dark complexion, with long curling hair,
and mustache with very long ends : he stands directly be-
hind Zelica, his right hand extended forward on a level with
his waist ; his left extended, grasping that of the lady. He
leans upon his right leg, his body inclined forward, his left
extended backward : his face is turned towards the front,
looking out with a surprised expression. He wears a white
tunic, reaching to the knee, trimmed around the neck and
bottom of the skirt with two rows of gilt paper, or tinsel,
and cut low in the neck, showing a ruffled shirt ; blue scarf,
trimmed with yellow fringe, one end hanging over the left
shoulder ; sword-belt and sword ; armor-leggins, or stock-
ings, covered with small gilt plates of paper ; sandals ; and
turban of white, with a band of gold round the front, to
216 PARLOR TABLEAUX.
which is attached a plume of white feathers floating be-
hiud.
A white smoke and light should surround the figure of
the prophet, while the figures in the foreground are lighted
by a bright-blue flame thrown upon their faces. The
music should be slow and solemn.
EVENING-HYMN OF THE HUGUENOTS.
Hark ! 'tis the breeze of twihght calling
Earth's weary children to repose ;
While, round the couch of Nature falling,
Gently the night's soft curtains close.
Soon o'er a world of sin in sleep reclining,
Numberless stars, through yonder dark,
Shall look like eyes of cherubs shining
From out the veils that hid the ark.
Guard us, O Thou who never sleepest ;
Thou who, in silence throned above,
Throughout all time, unwearied, keepest
Thy watch of glory, power, and love !
Grant that beneath thine eye, securely,
Our souls, awhile from life withdrawn,
May in their bosoms stilly, purely.
Like " sealed fountains," rest till dawn.
Moore.
EVENING-HYMN OF THE HUGUENOTS. 217
This beautiful stage-tableau is one of the most novel and
pleasing presented in this volume. It represents a small
party of exiled Huguenots departing from their native land
by one of the rivers of France. The oarsmen have ceased
from their work, and all join in listening to the evening
hymn as it floats out over the still waters. At the back of
the stage a boat should be placed, made of pasteboard, with
the side nearest the front painted, and bearing near the
stern the name " Coligny." A mast may be placed at the
left end of the boat, and a sheet, mounted like a square-sail,
placed upon the mast, if desired, to carry oat the eifect.
A strip of paper or canvas about two feet high, painted blue,
should be placed in front of the dummy boat, separating it
from the audience, to imitate water. A young man about
twenty years of age stands in the centre of the boat. His
face is towards the right, and turned up, with lips open, as
if singing. He holds in his hands an open book, at the height
of his waist ; and his face wears a devout expression. He
wears a long brown waistcoat reaching below the waist, with
long sleeves, broad white collar, knee4)reeches of a brown
color, cut loose, slate-colored stockings, cape, and pumps. He
should be of light complexion, if possible, with long hair and
straight features. A young lady, of about the same age as
218 PARLOR TABLEAUX.
the young man, stands at liis left side. Her face is towards*
the right, and she looks in that direction with a calm expres-
sion. Her hands are clasped over a small book, which she
holds in front of her. She wears a skirt of lavender silk ;
basque of the same material, with drapery-sleeves, showing
lace undersleeves ; neck of the dress cut low and pointed, with
a wide lace collar around the neck, and white lace veil hang-
ino- from her head over her shoulders. She should be of light
complexion, with straight features. At the extreme left of
the boat, two of the sailors are seated : the one at the side
towards the back leans backward with his eyes closed, and his
hands crossed over a book which lies upon his lap. He wears
a red shirt, blue trousers, and slippers, and brown beard upon
his face. The sailor nearer the front leans forward, with his
left arm upon an oar, which extends over the side of the boat,
his right arm upon his knee, and his head inclined forward,
with an attentive expression upon his face. At the right of
the centre of the boat, a woman is seen kneeling over a
young boy, who lies upon a pile of clothes in the bottom of
the boat: she kneels with her arms around the boy, her
head partly turned towards the right, and lookiug down
towards the boy with a thoughtful expression. She wears
a plain browm dress, white neck-kerchief, and white hand-
EVENING-HYMN OF THE HUGUENOTS. 219
kerchief around her head. The boy should be about four
years of age : he lies upon the blankets which extend over
the edge of the boat, with his eyes closed, and head towards
the right. He wears a white-cotton night-dress, the lower
part of his body being covered with blankets. At the right
of the centre, at the rear side of the boat, a young lady of
about sixteen kneels : her face is towards the front, turned
upwards with lips open as if singing ; and her hands are
clasped in front of her. She wears a bright-blue dress, with
white collar, and hair in ringlets. At the right end of the
boat, a gentleman representing an old sailor is seated : a
large book rests upon his knees, which he holds in his hands ;
and he looks down as if reading, wdth a thoughtful expres-
sion. He wears a red vest with yellow sleeves, brown
trousers, large collar, red cap, gray wig and beard. The
tableau is not a difficult one to produce ; the boat being
easily made with some barrel-hoops for a frame, and thick
pasteboard for covering. A white light should be thrown
upon the figures, and the music is some sacred hymn.
220 PABLOR TABLEAUX.
HAIDEE AND JUAN.
ONE GENTLEMAN AND TWO LADIES.
Her brow was overhung with coins of gold,
That sparkled o'er the auburn of her hair, —
Her clustering hair, whose longer locks were rolled
In braids behind; and, though her stature were
Even of the highest for a female mould.
They nearly reached her heel ; and in her air
There was a something that bespoke command.
As one who was a lady in the land.
But with our damsel this was not the case :
Her dress was many-colored, finely spun ;
Her locks curled negligently round her face,
But through them gold and gems profusely shone ;
Her girdle sparkled, and the richest lace
Flowed in her veil ; and many a precious stone
Flashed on her little hand : but, what was shocking,
Her small snow feet had slippers, but no stocking.
Young Juan slept all dreamless ; but the maid
Who smoothed his pillow, as she left the den,
Looked back upon him, and a moment staid,
And turned, believing that he called again.
HAIDEE AND JUAN. 221
He slumbered : yet she thought, at least she said,
(The heart will slip even as the tongue and pen,)
He had pronouneed her name ; hut she forgot
That at this moment Juan knew it not.
Bteoit.
The scene of this tableau is from Byron's poem ; the
finding of Juan, and carrying him to the cave, where Hai-
dee had him laid upon a couch made from choice furs and
clothing, being previous to the portion of the poem here il-
lustrated. Juan should be represented by a young man about
eighteen years of age, of dark complexion, and handsome
features. A pile of mats and clothing should be placed in
the centre of the stage, and covered with a fur robe, or
something similar. AYhen the curtain rises, the young
man is discovered lying upon the fur cushion,- upon his
right side, with his face towards the audience : his arms
are extended above his head on the cushion ; and his eyes
closed, as in sleep. The lower part of his body should be
covered by a cloak of some crimson or blue material ; while
he wears on his waist a white shirt with turn-down collar,
and black neck-tie. The young lady personating Haidee
should stand in the centre of the stage, bending over the
young man, with hands extended, as if trying to catch
some sound. There is a smile on her face ; and her left
222 PARLOR TABLEAUX.
hand is extended towards her attendant, as if commanding
silence. She should wear a robe of white silk or muslin,
under a Grecian jacket of wine-colored velvet, trimmed
with gilt braid ; a bodice of blue, spangled ; a broad scarf
of blue or white satin, fringed with gold ; slippers ; and on
her head a coronet of gold-paper disks in imitation of
coins, attached to a turban, with a long lace veil falling
from the left side. Her hair should be allowed to fall in
long curls behind. The attendant should be similarly
dressed, though more plainly, and with different colors ;
her hair being ornamented Avith a silver coronet. She
should stand at the left, looking towards Ilaidee, with her
ri"-lit hand beckoning her to come, and with her left point-
ing to the door. She wears an anxious expression on her
face. A bright light may be thrown upon the two promi-
nent figures of the picture. Music slow and soft.
TRUST.
ONE LADY.
This is a companion to the statuary tableau of Palmer's
'•Faith;" and, although the original is not a statue, the
tableau is intended to represent the figure as such. On the
V
STATUE-SCENE FROM THE MARBLE HEART. 223
rijrlit-liand corner of the front of the sta2:G a loni; wooden
box should be placed, standing on end, and covered with
white cotton to represent marble. The lady should stand
with her risfht arm leaninoj on the box, which should be of
proper height ; her left hand crossed over her right wrist.
Her face is turned towards the left, and looking upward
with a contident expression. She should be dressed in a
white drapery-robe with low neck, and an additional drape-
ry passing over her right arm, and wound over her left
side. Her hair should be combed back from lier face,
heavily powdered with white, and with a braid of the same
extending round the front of her head, in the style of a
coronet. Her light foot should be raised, and pUiced upon
a stone in front, at the side of the pedestal. A white light
should be thrown from the left. Music, some sacred hymn.
STATUE-SCENE FROM THE MARBLE HEART.
TWO GENTLEMEN AND THREE LADIES.
Phidias. [Addressing the statues.) La'is, Aspasia, and Phryre, to
me you owe your existence. I love you. You knoAv I am poor.
Diogenes. A bad argument, Phidias ; a very bad argument. Poverty
is a spectre they all fly from : it extinguishes even gratitude ; and
224 PARLOR T:VBLEAUX.
gratitude [lawjliing in derision) — O vara avis! if thou art a wonder in
hearts of flesh and blood, who can expect to find thee in marble?
Phidias. I am poor, — verij poor ; but I love you. Remain with him
to whom you owe your glory and immortality. ( The statues continue
viotionless. )
Gor<jias. Now for me. I am Gorgias, the Croesus of Athens. I
am richer than all the kings of Asia. I offer you palaces paved with
gold ; you shall be enshrined in diamonds ; Poesic shall exhaust herself
in praises of your beauty; and all the gi'eat ones of the world shall
worship you. Aspasia, La'is, and Phryne. which do you choose
(The statues turn their heads, open their eijes, and smile upon Gorgias.)
Phidias. (Sfartinr/ with a cry of ayomj.) Ah! monsters of ingrati-
tude, they forsake m^; ! ( Covers his face icith his hands.)
Gorgias. {TriumphanUjj.) Poor Phidias, Gorgias is again a con-
queror !
Diogenes. O marble hearts, marble Iiearts ! false ones of the past,
false ones of the future ! woe to the man who loves you ! Your gold-
bought smiles have ever been, and ever will be, ministers of ruin,
misery, and death.
The Marble Heart, act i. scene 1.
Selby's popular play of "The Marble Heart" is doubt-
less familiar to many readers, patrons of the drama in any
of our large cities. The accompanying tableau, though
devoid of any very elaborate stagc-efFect, is justly regarded
as one of the most striking pictures ever presented on the
stage.
The scene represented is described in the lines quoted
above, and represents the statues in the act of turning away
STATUE-SCENE FROM THE MARDLE HEART. 225
from Phidias, and smiling upon Gorgias. At the back of
the stage, a long narrow box or platform is placed in the
rear of the curtain, forming the general background. The
phitform should be two or three feet high, and covered with
green baize or any dark-colored material.
The statues should be represented by three young ladies,
tall, with straight features. The taller of the ladies stands
in the centre of the platform : her left hand hangs at her
side, holding a scroll of white paper ; her right hand is
raised to her bosom. She stands erect, with about two-
thirds of her face towards the audience, and looking towards
the left at Gorgias, wirh a smile upon her face. She wears
upon her head a crown of white paper, to represent marble ;
and her hair is very heavily powdered with white chalk, to
represent the same substance. Her costume is a plain robe
of white, covered, with the exception of a small portion,
by heavy folds of vvhite drapery hanging from her shoulders,
and covering her arms to the elbow. The lady representing
the statue Lais stands on the right of the central figure :
her left hand rests upon the shoulder of the statue beside
her; while in her right she holds a goblet, painted white,
in imitation of marble, before her companion. She stands
so that about half of her face is turned toward the audience ;
15
226 PARLOR TABLEAUX.
and, looking towards the left, also smiles upon Gorgiaa
She wears upon her head a wreath of white-paper leaves,
in imitation of a laurel wreath in marble ; and her hair is
also heavily powdered. Her dress is a plain robe of white,
with low neck and short sleeves, and white drapery, leaving
the arms and neck exposed. The remaining lady, repre-
senting the statue Phryne, stands at the left of the central
figure, her right hand upon the shoulder of the lady at her
left, holding a wreath of white-paper leaves toward her.
She stands close to her companion, looking with a smiling
expression upon Gorgias.
Pliidlas is at the right of the centre of the stage, some
distance from the froat, kneeling upon his left knee, his face
turned from the audience and covered by his hands, as his
head is bowed in grief. His dress is a slate-colored tunic
with white Grecian border, stockings, and sandals. Gorgias
stands on the left of the centre of the stage, looking towards
Phidias with a triumphant expression ; the left side of his
face being turned towards the audience, and his right hand
extended, pointing towards the statues. He wears a tunic
of crimson color, a white toga profusely ornamented with
gold, flesh-colored stockings, and crimson buskins, with a
golden circlet and white ribbon upon his head. A very
STATUE-SCENE FROM THE MARBLE HEART. 227
powerful wliite light should be thrown upon the statues from
the right, behind the inner curtain ; the intensity of the light
assisting very much in throwing the figures into bold relief
from the background, and enhancing their statuesque ap-
pearance. The curtains ordinarily used as a background
should be placed in front of the small platform at the back,
and looped up at the sides sufficiently to show the figures
distinctly. An additional covering for the background will
necessarily be required, which should be of some black-
polored material.
If desired, the characters of Phidias and Gorgias may
be omitted in the representation of the tableau, the statues
alone being exhibited. This may be desirable where cos-
tumes appropriate for the two gentlemen cannot be obtained.
In this case, the central figure should stand with her face
towards the audience, presenting a front view, her eyes
being closed. The other ladies stand looking up towards
the face of the central lady, their eyes being closed, and
their hands in the position already described. Music very
soft and low.
The costume of the lady representing Phryne is the same
as that of Lais, with the exception of the laurel wreath.
"Wigs of white worsted placed over the hair will give a very
correct imitation of marble to all statue figures.
228 PAKLOK TABLEAUX.
THE LIGHT OF THE HAREM.
TWO LADIES.
*' For me, for me ! "
Cried Nourmahal impatiently, —
" Oh ! twine that wreath for me to night 1 "
Then rapidly, with foot as light'
As the young musk-roe's, out she flew
To cull each shining leaf that grew
Beneath the moonlight's hallowing beams
For this enchanted wreath of dreams, —
Anemones, and seas of gold,
And new-blown lilies of the river,
And those sweet flowerets that unfold
Their buds on Camadeva's quiver.
No sooner was the flowery crown
Placed on her head than sleep came down,
Grently as nights of summer fall,
Upon the lids of Nourmahal ;
And suddenly a tuneful breeze,
As full of small, rich harmonies
As ever wind that o'er the tents
Of Azab blew was full of scents,
Steals on her ear, and floats and swells.
THE LIGHT OF THE HAREM. 229
Like the first air of morning' creeping
Into those wreathj, Red-Sea shells,
Where Love h'imself, of old, laj sleeping.
Moore.
This beautiful tableau, from Moore's poem of " Lalla
llookh," represents Nourmahal, the heroine of the portion of
the poem entitled " The Light of the Harem," after she has
been banished by the sultan, Selim, for some slight differ-
ence between them. She is attended by a faithful slave
named Namouna, who is an enchantress versed in the most
potent magic arts, and who, at her mistress's request,
pledges herself to cast a spell over Selim, and restore him
to her lady's heart. The scene represented discloses the
enchantress crowning the lady with flowers, and throwing
her into a deep slumber, while she goes to practise her
magic upon Selim. A couch of pillows should be made
just back of the centre of the stage, and covered with
crimson or blue cambric, with the end towards the right
raised nearly perpendicular by pillows piled together. The
lady lies upon the couch, her back resting upon the pile of
pillows upon the left ; her face turned towards the right, the
left side towards the audience ; her arms crossed carelessly
over her bosom ; her lower limbs extended towards the
230 PARLOR TABLEAUX.
right, the right crossed over the left limb. Her head is in-
clined slightly forward towards the right, and her eyes closed,
as in sleep. She wears a long, loose white robe, cut low in the
neck, and covering the feet ; or open in front, showing full
white trousers, fastened at the ankle ; long blue scarf, fringed
with gold ; wide drapery of blue, lined with yellow, attached
at the shoulders, and lying over the pillow ; and a wreath
of beautiful flowers upon her hair, which hangs in curls
behind. A small guitar lies at her left side.
The lady's companion kneels behind the couch, facing the
audience. Her left hand is raised, touching the wreath upon
the front of the lady's head ; her right is extended, as if
making passes over the lady's face ; while her face is turned
towards her with an earnest expression. She wears a long
robe of pink cambric with wide drapery-sleeves, long strand
of large black beads around her neck, garland of flowers in
her lap, and plain gold band upon the front of her head ; the
hair combed back, and hano-ins; behind. A bri;?ht-blue or
white light should be thrown, so as to fall upon the lady's
face ; and the music should be soft, and pleasing in style.
THE BOUQUET OF BEAUTY. 231
THE BOUQUET OF BEAUTY.
THREE LADIES.
This tableau comprises a group of three young ladies, of
good form and features, who should be carefully and ele-
gantly dressed.
The central figure of the group should be represented by
a lady somewhat taller than her companions. She should
stand with her left side towards the audience, her face
towards the right, looking upwards, so as to afford a three-
quarters view to the audience. She should be dressed in
lavender, corn, or scarlet-colored silk, with low neck and
sash, and a black-lace mantilla or scarf thrown over the
arms, and hanging below the waist behind. Her hair
should be combed back in puffs, and she should wear on her
head a wreath of flowers. Before her, in her right hand,
she may hold a bouquet of flowers ; while her left hand is
extended, the fingers pointing to the flowers. One of the
ladies should stand on the left of the central figure, leaning
on her right shoulder, with her hands crossed upon it. She
should I e of light complexion ; and, as she looks towards
232 PARLOR TABLEAUX.
the audience, her head should be inclined towards the left,
her hair falling over her shoulders. Her dress should be
of white or light-blue silk, with low neck and lace under-
sleeves. She should wear a pleased expression.
The lady on the right should be dressed in more sombre
colors than her companions. She should stand with her
head towards the right, looking towards the audience, with
rather a sad expression, her right hand being extended
towards the flowers held by the lady in the centre. Her
hair should be combed plainly, and she should wear on her
head a black-lace veil. In this position, her waist, below the
shoulders, will be concealed by tlie taller lady from the audi-
ence. Clouds of blue smoke may be produced in the back-
ground ; and a bright-blue light should be thrown from the
left upon the figures at that side of the stage, leaving the
lady on the right heavily shaded. Music soft.
VISION OF MARGUERITE.
TWO GENTLEMEN AND ONE LADY.
Faust. "What wilt thou do for me ?
Me])hi-toj->/itles. Any thing in the world ; all tilings. But say, first
what would you have. Abundance of gold 1
VISION OF MARGUERITE. 233
Faust. No : I would have a treasure which contains them all. I
wish for youth.
Mepliis. Very well ! very well ! very well ! I can indulge the caprice.
Faust. Well ; and what must I give in return 1
Mephis. A trifle, — almost nothing. Here shall I be at thy service ;
but down yonder thou shalt be at mine.
Faust. Down where 1
Mephis. Down yonder. Come on. Sign! But what ! Thy hand
trembles. What can be done to encourage thee 1 See ! youth calls
thee ! Lift thine eyes. ( Vision of Marguerite at the icheel. Rises.)
Faust. Wonderful !
Mephis. Ah, ha ! How do you like it ?
Faust. Give me the pen.
Mephis. Come on, then ! And now, master, I invite thee to a ciip
in which there is neither poison nor death, but young and vigorous life.
Faust. Lead on, lead on ! O beautiful, adorable vision !
Mephis. Come on !
Faust. I shall see her again.
Mephis. To-day, doubtless.
Faust, act i.
This beautiful tableau is from the celebrated opera of
•" Faust," and represents Mephistopheles showing to Faust,
previous to his transformation, the vision of Marguerite, a
beautiful girl whom he is destined afterwards to meet. A
table with an hour-glass, large book, -and papers, is placed
upon the right of the stage, with an old-fashioned arm-
chair beside it. Faust stands at the riij^ht of the centre of
the stage, his face turned from the audience, looking to-
284 PARLOR TABLEAUX.
wards Marguerite, who appears at the back of the stage.
His bead is inclined forward, and his hands clasped to his
breast, as he guzes at the vision with an expression of won-
der and delight. He wears a long black robe with drapery-
sleeves, small black-velvet cap, and full white beard.
The gentleman representing Mephistopheles should he
tall, and with rather sharp features. He stands at the left
of the centre of the stage, with his left hand upon his hip,
his right hand raised, with finger pointing to the figure
of Marguerite at the back of the stage. He wears a black
mustache and pointed imperial ; wig of long black hair,
with his eyes made up with gold-leaf round the lashes ; his
face having a malicious but triumphant expression as he
looks towards Faust. His dress is a red waist with long
sleeves ; red trunks slashed with black ; red stockings and
slippers ; black-velvet cloak, trimmed with red, thrown
back over the shoulders ; and black cap with long red
feather.
Marguerite is upon a small stage at the back, about two
feet above the level of the main stage. She is seated in
the centre, with an old-fashioned spinning-wheel before her,
with her right hand in her lap ; her left extended, holding
a thread which passes over the wheels. Her costume is a
THE ENCHANTED BRIDE. 235
dress of liglit blue, with low neck and short sleeves,
trimmed with white. She should be of light complexion ;
and, as she is seated, her face is turned towards the audi-
ence v.'ith a smiling expression. Where a wheel cannot be
obtained, she may be represented as weaving a garland of
flowers. A bright-blue light should be thrown upon the
lady, and occasional flashes of red light upon the gentle-
men. Music very soft. An opening three feet wide
should be made in the curtains in front of the extra stage,
which should be masked by a strip of the same color as the
curtains tacked on the front ; or, if scenery is used, the
opening should be surrounded by imitation-clouds, painted
on pasteboard ; a portion of which, large enough to show
the figure of the lady, is cut out.
THE ENCHANTED BRIDE.
ONE GENTLEMAN AND FOUR LADIES.
Gcntlv ! Lo, the warrior kneels !
Soft the lovely hand he steals ;
Soft the kiss, and soft to clasp ;
But the warder leaves her grasp ;
Lightning flashes, rolls the thunder.
236 PARLOR TABLEAUX.
Gnyeth startles from her sleep.
Totters tower, and trembles keep,
Bm-st the castle-walls asunder.
Fierce and frequent were the shocks.
Melt the magic halls away ;
But beneath their mystic rocks,
In the arms of bold De Vaux,
Safe the princess lay, —
Safe and free from magic power.
Blushing like the rose's flower
Opening to the day.
And round the champion's brows were bound
The crown the Druidess had wound
Of the green laurel-bay ;
And this was what remained of all
The wealth of each enchanted hall, —
The garland and the dame ;
But where should warriors seek the meed
Due to high worth for daring deed,
Except from Love and Fame?
Bridal of Triermain, canto 3.
Triis very pleasing picture is from Scott's legend of the
" Bridal of Triermain." The legend is that Gnyeth, the
dau"-hter of Kinsr Arthur, and a beautiful lady descended
from the Genii, whom Arthur had deserted, having been in-
structed by her mother to take vengeance upon the king in
some way, obeys by allowing twenty knights of the Round
THE ENCHANTED BRIDE. 237
Table to be slaughtered in a tournament for her hand, and
for this cruelty is condemned by Merlin to long-continued
sleep in an enchanted castle. The fortress in which she is
confined is only visible at certain times, and the entrance
then almost unattainable. But the Baron of Triermain,
who has seen the lady in a dream, determines upon her
rescue from the castle ; and, after a search of twelve
months, at length discovers the entrance, vanquishes all
the guardians of the captive, and restores her to the world ;
the spell of enchantment having lasted five hundred years.
The scene of the tableau represents the knight in the
chamber of the enchanted castle, and the lady, who is just
restored to consciousness, rising from her couch. There
are also four other ladies, guardians of Gnyeth, who vainly
endeavor to tempt him from accomplishing his object. A
lounge covered with scarlet or light-blue colored material
should be placed at the back of the stage, upon a low, nar-
row box covered with green, to raise it above the level of
the floor. Curtains should be placed in front of the lounge,
and looped up on the sides.
The lady is in the position of rising from the couch,
the upper portion of the body raised to a sitting position ;
her right hand upon her knee, and her left resting upon
238 PARLOR TABLEAUX.
that of the gentleman, looking at him with a smile upon
her face and a half- surprised expression. Her costume is
an elegant crimson dress trimmed with gold, with low neck,
and drapery-sleeves reaching to the elbow ; and a coro-
net of pearl beads upon her hair, which is allowed to fall
loosely over her shoulders. The lady should be of good
features and dark complexion.
The knight stands at the right of the lady, beside the
couch : he leans forward, with his arms around her waist,
raising her towards himself, and looking at her with a
pleased yet earnest expression. He is dressed in a tunic
of purple or scarlet material, velvet leggings ornamented
with small metal plates, sword-belt and sword, and san-
dals. He should be tall, and of good features.
Two of the young ladies are upon the right of the stage,
kneeling, at a distance of two or three feet apart ; one near
the front, the other in a line with the first, farther back to-
wards the centre : their hands are extended towards the
kni'^ht, holding: wreaths of flowers towards him, and look-
ing at him with a smiling expression. They should be of
attractive appearance, and dressed in short white-muslin
dresses, white stockings, and slippers ; with flowers iu the
hair; and a sash of red or blue extending over tlse shoiil-
EMANCIPATION. * 239
ders, and hanging at the side. On the opposite side of the
stage, near the front, still another lady, similarly dressed,
and in a similar position, kneels ; while a few feet back, on
the left, a lady dressed in white drapery hanging in folds,
with a laurel-wreath upon her head, kneels, extending a
crown of green leaves toward the knight. A bright-blue
light should be thrown upon the knight and the lady, and a
white light upon the ladies in the foreground ; the curtains
at the back partially separating the two groups. Music,
*' I dreamt I dwelt in marble halls," from Balfe's '• Bolie-
mian Girl."
EMANCIPATION.
ONE GENTLEMAN AND TWO LADIES.
This is a very showy tableau, and will answer well for a
finale. The prominent figure of the group, the Genius of
Liberty, should be represented by a young lady of dark com-
plexion, tall, and with straight features. Her hair should
be combed back, hanging down her shoulders ; while on her
head she wears a coronet with stars. Her form is draped
in white, with low neck and bare arms ; and the drapery
240 PAKLOR TABLEAUX.
looped up, showing tlie right limb. In her left hand she
holds a scroll extended ; and in her right, close to her bosom,
a green branch, for the olive-branch of peace. She stands
with her face slightly turned towards the right, looking for-
ward. On her left, keeling on her knees, her arms crossed
over her bosom, and looking upward towards the first-
named figure, is the other lady, who represents a mulatto.
On her head she wears a handkerchief for a turban ; while
around her form the Union flag is draped, showing her bare
neck. The male figure of the gi'oup represents a negi'O,
dressed in shirt and striped trousers. He kneels upon his
left knee, with the right foot extended, and holding over the
head of the first figure, at whom he looks beseechingly, the
Union flag. A strong red light with thick smoke should be
thrown upon the picture. Music, " Hail, Columbia ! "
THE GENIUS OF LIBERTY.
ONE LADY.
The lady personating this picture should be tall, of dark
complexion, and with straight features. She should stand
lookin-- towards the left, her face towards the audience,
MAKING UP THE QUARREL. 241
with her left arm bent, her hand to her forehead, as she
gazes out with an earnest expression. She is dressed in a
*
drapery of bhie, looped up above the left knee, revealing
that limb, which is advanced in front of the right. She
should wear over the waist a drapery of some bright-red or
white material, covering the right arm nearly to the wrist,
but allowed to flow loosely under the left arm, leaving the
neck and left arm uncovered. In her right hand she should
carry an American flag, slanting towards the right. On her
head she should wear a crown of stars, and her hair should
be allowed to fall over her shoulders. If convenient, another
larger flag may be arranged for a background.
Alternate lights of red, white, and blue, may be thrown
on the picture, if practicable ; if not, a single light of either
color will answer. Music, " The Red, White, and Blue."
MAKING UP THE QUARREL.
ONE YOUNG BOY AND A GIRL.
The characters in this tableau should be represented by
a boy and a girl of from four to six years of age. The girl
should be of light, the boy of dark complexion. The boy
16
242 PARLOR TABLEAUX.
should stand at the left of the centre of the stage, very
straight, with his hands at his sides, and with a frown on his
face, looking towards the audience. His dress should be
a simple frock of some dark material, with short sleeves.
The girl should be dressed in a white-muslin dress, with
short sleeves and low neck, with a small cape just covering
her right shoulder, and thrown back so as to show nearly
the whole of her neck and waist. Her arms are clasped
around her brother's neck, her left over his right. She
should be looking towards the left with a hopeful expres-
sion, the right side of her face towards the audience, and
standing so close to the boy, that the right side of his face is
partially concealed from the audience. Her hair should be
dressed in ringlets. A bright white light should be thrown
from the right upon the girl's face, shading the boy's face.
Music lively.
FAITH. 243
FAITH.
ONE LADY.
My faith can see with weary eye
The dawn of heaven on earth's blue sky ; '
And from afar
Shines on my soul the morning-star.
Palivier's celebrated statue furnishes the subject for this
tableau, which is readily produced, and, like others of this
kind, very effective. On the right of the stage, an irregular
pile of boxes, and clothing of various kinds, covered with
white cloth, to imitate the pile of white marble of the
sculptor, should be placed. A wooden cross should be pre-
pared, painted white or covered with white paper, and placed
behind the pile of marble, half facing to the right. This
structure, with the cross, should be quite high : perhaps
about eight feet high will answer very well.
The lady personating Faith should stand in the centre
of the stage, her face turned towards the right, so that the
side only is towards the audience. Her right foot is placed
in advance of her left as if moving forward, her hands clasped
at her right side. She gazes upward at the cross with an
244 PARLOR TABLEAUX.
earnest, trusting expression. She is dressed in a long flow-
ing robe of white drapery, with low neck and wide sleeves.
The robe is gathered up a little on the right from the foot
which she is advancing. She should be of straight features,
with hair combed back and tied behind, very heavily pow-
dered with chalk or pufF-powder to represent marble. The
lady should be without slippers, or any covering for the feet
except white-cotton stockings.
Music, some sacred hymn. A bright white light should be
thrown from the left upon the figure, leaving her right side
heavily shaded.
DEATH OF HINDA.
(From " The Fire-Worshippers.")
FOUR GENTLEMEN AND ONE LADY.
But see ! — what moves upon the height 1
Some signal ! 'Tis a torch's hght.
What bodes its solitary glare 1
In gasping silence toward the shrine
All eyes are turned : thine, Hinda, thine,
Fix their last fading life-beams there.
DEATH OF HINDA. 245
'Twas but a moment : fierce and hiirh
The death-pile blazed into the sky,
And Tar away, o'er rock and flood,
Its melancholy radiance sent;
While Hafed, like a vision, stood
Revealed before the burning pyre,
Tall, shadowy, like a Spirit of Fire
Shrined in its own grand element !
*' 'Tis he ! " the shuddering maid exclaims •
But, while she speaks, he's seen no more :
High burst in air the fimeral flames,
And Iran's hopes and hers are o'er !
One wild, heart-broken shriek she gave.
Then sprang as if to reach that blaze.
Where still she fixed her dvinff uaze.
And, gazing, sank into the wave, —
Deep, deep, where never care or pain
Shall reach her innocent heart again I
Moore.
This scene, from Moore's poem of "LalJa Rookh," forms
one of the most effective stage-tableaux presented in this
volume, and requires no more preparation than many others
which are far less striking and original. The incidents of
this subject are substantially as follows. Hinda, the
daughter of a Moslem prince, is in love with a Gheber, or
fire-worshipper, who, unknown to her, is Hafed, her father's
deadliest enemj. In a war with the Moslems, she is
246 PARLOR TABLEAUX.
carried off by her Glieber lover, whom she then learns is
Hafed. He learns from her that one of his troop has be-
trayed him to the Moslems, and that he is to be taken on
the night of the day in which she informs him ; and having
determined with his few followers to sacrifice himself to llie
fire-god, when all hope was gone, he prepares for the sacri-
fice, and sends Hinda back to her father. Tlie boat carrying
Hinda is about crossing the lake, at night, when a brilliant
light is seen from a cliff on the shore ; and the startled girl
rises to see her lover cast himself upon the burning pile ; and
stretching her arms towards the flame, with a wild shriek,
she leaps into the waves. There should be a strip of can-
vas or paper, painted blue, placed across the stage, about
four feet from the back, extending from right to left, to
represent water. Behind this strip, a frame of wood or
pasteboard, about ten feet long, and covered with canvas
or paper, painted brown in imitation of a boat, is placed :
the precise shape is, of course, immaterial ; and the article
can be put together, so as to show well from the front, with
but little trouble. A pole maybe placed near the right end
of the boat, upon which is fastened a sheet, with narrow
sticks run through the hem, for a square-sail. The young
lady representing Hinda stands upon a small box placed
DEATH OF HIND A. 247
near the edge of the boat, near the centre. Her left foot
rests upon the box ; her right is extended forward over the
edge of the boat, as if leaping off; her arms are raised
above her head, and extended towards the left ; her body is
inclined forward, her head towards the left, and her face
looking upwards with a tender but resolute expression.
She wears a long white robe, trimmed at the Avrists aiid
shoulders with gold and blue, and cut high in the neck ;
broad girdle and sash of yellow and blue (or a short white
skirt, with white pantaloons and slippers) ; head-dress of
pearl beads ; and hair combed back, and hanging loosely
behind. She should be of dark complexion and handsome
features. Upon the right of Hinda, just in front of the
sail, the gentleman representing the captain of the Gheber
guard stands. His right leg is bent at the knee, and ad-
vanced, his left extended backward : his left hand grasps
the handle of an oar, the blade of which extends over the
forward edge of the boat. His right arm is extended, as if
endeavoring to grasp Hinda ; his face turned towards her ;
and his body inclined towards the left. He wears a long
crimson tunic, open in front, and cut low in the neck ; white
shirt cut low in the neck, loose yellow trousers, and sandals ;
orange-colored belt ; small cap, with tassel, on the back of
248 PAELOR TABLEAUX.
his bead ; and black beard and mustache. He should be
of dark complexion ; and he wears an alarmed expression
as he looks towards Hinda. One of the Ghebers stands di-
rectly behind Hinda, farther back from the front. His left
hand grasps the sheath of a sword, which he liolds up above
his waist ; his right grasps the hilt. His body is inclined
backward, towards the right ; and his face turned upward
towards the fire upon the left, with a determined expression.
He wears a blue tunic, open in front, and cut Ioav in the
neck ; white shirt, trousers and slippers, and small red cap.
At the left of this young man stands one of the Ghebers.
His head is inclined backward, towards the right ; his face
turned towards the fire at the left with an amazed expres-
sion ; his right hand raised to his forehead, his left at his
side. He is dressed similarly to the young man just de-
scribed ; and wears, in addition, a black beard. The remain-
ins: crentleman kneels at the extreme left of the boat, his
hands clasped, his head inclined backwards, and face turned
upward towards the fire with an expression of fear. He is
dressed similarly to the last gentleman mentioned. A
bright-red light, and smoke, should be made at the left, hung
high, or raised some distance from the floor of the stage, so
as to fall upon the group as if from a lofty cliff. The
music should be alternately loud and soft.
PAST, PRESENT, AND FUTURE. 249
PAST, PRESENT, AND FUTURE.
TWO LADIES AND TWO GENTLEMEN.
This is a very pleasing domestic tableau, representing a
family group of an old man, his daughter, and grand-chil-
dren, a boy and a young girl. The old man should be
seated a little in the rear of the centre of the stage in an
old-fashioned arm-chair, facing a little towards the left :
his right arm is around the boy's neck, who stands close to
his right side ; and the boy's left hand is clasped in his.
The character personated is supposed to be a retired French
navy-officer, and may be represented as such, or in the plain
dress of a gentleman. The most appropriate costume is a
dark-blue coat, white waistcoat, black pants, and top-boots.
His face is turned towards the left, looking down toward
the little girl, who is at his feet : his hair should be white,
the forehead bald ; and he wears a white mustache and im-
perial. The young lady stands to tjie left of the old man,-'
with her right hand resting on the back of the chair ; her
head slightly inclined towards the left, and looking toward
the audience. She is dressed in a handsome white evening-
250 PARLOR TABLEAUX.
dress, with lace bertha, and drapery-sleeves. The boy
stands upon the right of the old man, close to him, with his
legs crossed naturally, looking down at the little girl, who
is at the left : he is dressed in a dark-blue navy-jacket,
white waiscoat and trousers, slippers, and white stockings.
The young girl is at the feet of the old man, half reclining
upon the floor : she holds a doll in her right arm ; while her
left hand is raised, and the forefinger pointed, as if speak-
ing to the doll. She wears a dress of white muslin, with
low neck and short sleeves ; and a blue sash. She should
be of light complexion, with her hair curled in ringlets ;
her face, in the position described, being turned towards the
right. On the right of the stage, a decanter, with glasses,
and a plate of fruit, may be placed ; and on the left a simi-
lar table, upon which is a bouquet of flowers. A white
light may be thrown from the left upon the ladies, leaving
the rest of the picture in the shade. Music, piano.
THE crusader's TRIUMPH. 251
THE CRUSADER'S TRIUMPH.
ONE GENTLEMAN AND FOUR LADIES.
A rude Silenus oft the days of old
Have seen unclose, and yield some goddess fair;
But never yet did sylvan image hold
Charms such as issued from the myrtle rare :
For forth a lady stepped with golden hair.
With angel mien and grace,
In whom, albeit of visionary air,
Rinaldo starts Armida's form to trace,
The same expressive eye, fond smile, and radiant face.
Sorrow and joy into her looks she cast;
A thousand passions, which one glance betrays.
" And art thou then, indeed, returned at last
To thy forsaken love ? " she pensive says.
" Why com'st thou hither, my beloved ? — to raise
My drooping soul, and with remembered charms
Solace my widowed nights and lonely days ?
Or to wage war, and scare me with alarms 1
Why hide thy lovely face ? why show those threatening arms ? »
%
Thus, as she wooes, her beautiful bright eyes
Rueful she rolls, and pale as death appears ;
Feigning with every tear the sweetest sighs,
And melancholy moans, and bashful fears.
252 PARLOR TABLEAUX.
It might have moved a heart of stone to tears
Tb hear how fondly she herself deplored ;
But he, unmoved by all he sees and hears,
Cautious, not cruel, to the plaints she poured
No longer pays regard, but draws his fatal sword.
Tasso.
This scene represents an imaginary incident, supposed to
have taken place at the time of the Crusades, and is related
by Tasso in his famous poem upon the subject. Rinaldo, a
knight of the army of Crusaders, is informed, that, if he
would triumph, he must resist the blandishments that the
sylvan goddesses of the woods would throw around him as
he passed through ; and should strike down a tall myrtle-
tree that stood above all other trees on the plain, and was
the fabled abode of the queen of the wood-nymphs. As he
arrives at the grove, the various nymphs emerge from the
trees, carrying viols, lutes, and harps, and singing sweet
music to him : and, as he reaches the myrtle-tree, the queen,
who has assumed the shape of his lady-love, emerges, and
endeavors to tempt him from his course ; but, in spite of her
protestations, he draws his sword, and cuts do^wn the tree,
thus destroying the spell, and insuring his triumph.
The knight stands a little to the left of the centre of the
stage, with his left hand holding the scabbard of his sword,
THE crusader's TRIUMPH. 253
while his right is upon the hilt, and it is drawn about one-
fourth of the distance out ; his right foot is advanced ; his
face is towards the right, showing a profile view to the au-
dience ; and he looks towards the ladj with a stern and
earnest expression. He wears a full armor-dress, with leg-
gings of the same ; white Crusader's sur-coat belted at the
waist, with a large red cross upon the front, reaching to
the knees ; and gilt helmet, with plume and visor : he should
be of dark complexion, with straight features. The lady
personating the goddess of the wood should be young, and
of llglit complexion : she stands at. the right of the stage,
with her left foot extended towards the left^; her face turned
one-third towards the left ; her head inclined forward, with
eyes cast down ; and her arms extended forward with a ges-
ture of welcome. She wears a white robe, with low neck,
hanging close to the form, and looped up to the height of
the knee, above the left foot ; strands of pearl beads upon
her neck, reaching to the waist ; streamers of white lace or
muslin, banded at the shoulder, and floating over her arms ;
hair in long curls, or hanging loosely over her shoulders ;
and flesh-colored stockings. Two of the attendant ladies
stand a little back of the centre of the stage, between the
knight and the lady just described : the one on the right car-
254 PARLOR TABLEAUX.
ries a harp in her right hand, raised to the height of her head ,
while her left is raised, touching the strings. The lady on the
left carries a tambourine in the same position. Their faces
are turned towards the knight with a smiling expression.
They wear white robes hanging close to the form, with low
neck ; mantle of blue floating behind ; and flowers in their
hair. The remaining lady stands just behind the knight,
upon the left : her arms are raised above her head, extend-
ing towards the front ; and the right foot is extended towards
the right : her face is inclined towards the right, as she
looks towards the knight with a smiling expression, holding
a garland in her hands. She wears a white robe, scarlet
mantle, and flowers in her hair. A white light should be
thrown upon the group as the curtain rises, changing to a
bright blue. Music, a lively waltz.
AURORA.
ONE GENTLEMAN AND EIGHT LADIES.
The purposes of an elaborate stage-tableau are admirably
displayed in this mythological subject. The scene repre-
sents the goddess Aurora, accompanied by the Hours and
AURORA. 255
Pleiads, heralding the chariot of day, which puryues its
fiery course, driven by Apollo. An imitation chariot should
be made, about three feet in height ; the frame made of thin
strips of wood, and the outside covered with pasteboard or
paper, painted blue, and heavily gilt. The front of the chariot
should be curved outwards, and the sides sloping at an
angle of forty-five degrees towards the right : there will be
no wheels required, as the sides of the chariot will not be
visible to the audience, being obscured from sight by the
young ladies who stand in front. A covered box, two feet
in height, should be placed inside the chariot for a seat. A
box nearly three feet in height, and covered with bright-blue
paper, is placed directly in front of the chariot, on the left.
The lady personating Aurora stands upon this box, in front
of the chariot : her body is inclined forward towards the left,
resting upon the right foot, which is advanced in front of the
left ; her left arm is raised, and extended forward towards the
left, holding a wreath of flowers ; her right is extended on a
level with her breast, towards the left, holding a bouquet and
garland of flowers ; her face is turned towards the audience,
looking back towards the centre at Apollo. She wears a
dress of light-blue tarlatan, cut low in the neck, and reach-
ing just below the knees, with full sleeves gathered just
256 PARLOR TABLEAUX.
above her elbows, flesh stockings, a long white mantle or
scarf thrown over the left shoulder, and a silver-paper stai
upon the front of her head. She should be of light com
plexion, with hair thrown back in rolls, and hanging
behind.
The young man personating Apollo is seated upon the
box within the chariot, in the centre of the stage : his face
is towards the left, looking straight forward in that direc-
tion with an earnest expression, the right side being towards
the audience ; his right hand grasps the side of the chariot
nearest the audience ; his left holds the reins, which extend
over the front edge of the chariot, on the left of Aurora, and
are fastened to some point outside the stage, on the left. He
wears a tight flesh-colored jacket ; bright-blue cape, thrown
back over his shoulders, and attached to his waist at a point
between his shoulders behind : his lower limbs rest upon a
small footstool, and are covered by a crimson drapery hang-
ing in front like a carriage Af^rhan. He should be from
seventeen to twenty years of age, of light complexion, curl-
ing hair, and straight features. /
The Hours are represented by seven young ladies, who
stand in a semicircle around the chariot. The young lady
at the extremity of the semicircle, nearest the front, stands
AURORA. 257
in front of the chariot, near the left of the stage : her face
is turned from the audience, looking towards Apollo ; her
ri'^ht hand is extended towards Aurora; her left touches
o
the hand of her nearest companion on the right. She wears
a white robe cut low in the neck, with long white streamers
hanging from the shoulders, and her hair arranged in braids
coiled behind. She should be of light complexion.
Nearer the right of the stage, at the side of the young
lady just mentioned, stands another, with her face towards
the audience, looking toward the front with a pleasant ex-
pression : her left hand is held by the lady on the left ; her
right, by a lady on her other side. She wears a dark-blue
dress cut low in the neck, with drapery-sleeves reaching to
the elbow, and a silver band around her hair.
Still nearer the right stands a third young lady. Her
face is towards the left, the side being towards the audience.
Her hands are clasped in those of the ladies on either side ; -
and her left foot is placed forward, as if advancing. She
wears a scarlet dress cut low in the neck, and reaching just
below the knees, flesh stockings, and gilt baud upon her
hair. The fourth lady stauds at the right, in a line just
behind the chariot. Her face is towards the left, her hands
held by ladies on either side. She wears a white dress with
17
258 PARLOK TABLEAUX.
full drapery-sleeves ; a heavy white drapery thrown back
from the shoulders, and hanging behind ; and a white-lace
veil, wound, turban-like, around her head. The fifth lady
stands on the side of the chariot nearest the back of the
stage, her face towards the audience, her right hand ex-
tended towards the right, her left held in that of the lady at
her left side. She wears a crimson dress cut low in the
neck, with Avhite scarf extending from her waist over her
left shoulder, and her hair hanging loosely behind. The
sixth lady stands on the same side of the chariot, nearer the
left of the stage, her face turned towards the left, looking
towards Aurora, her hands clasped in those of her compan-
ions on either side. She wears a pink-tarlatan dress cut
low in the neck and hanging just below the knee, gilt band
upon her head, and hair in curls behind. The seventh
young lady stands just opposite, with her face turned
towards Apollo with a pleased expression, her left hand
extended towards Aurora, her right held by the lady beside ^
her. She wears a white dress cut low in the neck, white
streamers from the shoulders, and hair hanging loosely be-
hind. She should be of dark complexion.
A clear white light should be thrown from the left,
mingled with a not very intense crimson light, so as to
THE BOUQUET OF LIBERTY. 259
give a rose-color to the united light. Music, some lively
march.
This picture is a very appropriate y??ia?e for an evening's
display, if sufficient resources are at hand to produce it as
described.
THE BOUQUET OF LIBERTY.
TWELVE OR MORE YOUNG LADIES.
This is a very brilliant tableau, and very appropriate for
the finale of an evening's entertainment. The characters
should be personated by quite young ladies, of good form
and features ; the number varying according as ihey are
attainable for performance. Their costumes should be uni-
form dresses of white muslin, with a sash of red and blue
silk or bunting passing over the shoulder, and under one
arm ; the dresses being cut with low neck and short sleeves.
They should carry in their hands artificial flowers arranged
around hoops of rattan or wire, and held up so as to form a
semicircle, as they sit looking directly towards the audience
with a smiling expression.
They should be arranged so as to form a pyramid, — four
260 PARLOK TABLEAUX.
or five on the lower tier, three or four on the next, two or
three on the next, and so on ; making four or five rows.
The young lady surmounting the pyramid should wear a
Liberty-cap, and may carry a small Union shield. The
pyramid which supports the young ladies should be formed
of boxes, arranged so as to produce the desired efiect, and
covered with white-cotton cloth.
The revolving platform may be introduced in this tableau
with fine effect, the young ladies being arranged on a cone-
shaped pyramid on the platform ; so that, when it revolves,
a symmetrical figure is exhibited on all sides. A larger
number of performers would, of course, be required in this
arrangement.
As the curtain rises, the performers are exhibited in the-
position described, all singing a verse of " Columbia, the
Gem of the Ocean,'' or " The Star-spangled Banner." After
sino-ing the verse, they should remain motionless while a
brilliant red light is thrown upon their faces, quickly giving
place to a white flame, which, in turn, is followed by a bright
blue. Music the same as that of the song used, and quite
loud.
THE COURT OF THE FAIRIES. 261
THE COURT OF THE FAIRIES.
ONE YOUNG GENTLEMAN, A BOY, AND TEN YOUNG LADIES.
Fairy. Over hill, over dale,
Thorough bush, thorough brier,
Over park, over pale.
Thorough flood, thorough fire,
I do wander everywhere,
Swifter than the moone's sphere ;
And I serve the fairj queen,
To dew her orbs upon the green.
*The cowslips tall her pensioners be ;
In their gold coats, spots you see ;
Those be rubies, fairy favors ;
In those freckles live their savors.
I must go seek some dew-drops here,
And hang a peai'l in every cowslip's ear.
Farewell, thou lob of spirits ! I'll be gone :
Our queen and all her elves come here anon.
Pack. The king doth keep his revels here to-night :
Take heed the queen come not within his sight ;
For Oberon is passing fell and wrath,
Because that she, as her attendant, hath
A lovely boy, stolen from an Indian king :
She never had so sweet a changeling.
And jealous Oberon would have the child
Knight of his train, to track the forest wild ;
262 PARLOR TABLEAUX.
But she, perforce, withholds the lovely boy.
Crowns him with flowers, and makes him all her joy.
And now they never meet in groves or green,
By fountains clear, or spangled starlight sheen.
But they do square that all their elves, for fear.
Creep into acorn-cups, and hide them there.
Shakspeare.
This scene represents the fairy queen, Titania, surround-
ed by her suite of attendant elves, liolding her own private
court within a lonely w^ood, in defiance of Oberon, king of
the fairies, with whom she has quarrelled on account of a
young boy she has stolen for a page, and refuses to give
up. •
At the back of the stage, a series of three or four boxes,
from one to four feet in height, covered with green, should
be placed to represent a terrace of green banks. The
young lady representing Titania is seated upon the second
or third of these boxes : her right arm is passed around the
neck of the young boy who stands beside her ; her left
places a crown of flowers upon his head ; while she looks
down towards him with a fond expression. She should be
young, of light complexion, and with hair in curls ; and
should wear a white muslin or silk dress, with train of the
same, or of lace ; long, floating, wing-shaped sleeves ; lace
THE COURT OF THE FAIRIES. 263
sash ; and a coronet of pearl beads upon the front of her
hair, with lace and flowers hanging behind. She may also
wear a small bouquet upon her bosom, and flowers upon her
skirt. A young boy of about six or eight years of age
stands beside the queen, at her right. He should be of
dark complexion, with black, curly hair : his hands rest
upon the lap of the queen, and his face is turned upward
towards her. He wears a white tunic trimmed with srold,
scarlet sash, and white stockings and slippers. Directly
behind the queen, upon the highest step, a very young girl,
not more than eight years of age, should stand, with her
face towards the audience, and holding in her hands, over
the queen's head, a wreath of flowers. She wears a short
muslin dress, with low neck and short sleeves ; knots of
blue ribbons at the shoulders, and a long blue sash ; Avreath
of small white flowers upon her head ; white stockings, and
slippers. She should be of light complexion, and should
wear her hair in curls.
Upon either side of the steps, two young ladies of from
twelve to fourteen years of age are plac^ed, holding garlands
of flowers, made by twining paper-flowers around hoops of
wire or rattan. The young lady upon the left holds her
garland so as almost to meet that of the opposite lady, and
264 PARLOR TABLEAUX.
her face is turned about one-third towards the right. The
lady upon the right holds her garland towards the left, so
as nearly to meet that of the opposite lady ; and her face in
the same relative position, towards the left. The garlands
are raised higher than their heads, and are in a line between
the queen and the little girl behind her. These two ladies
are similarly dressed in pink-muslin dresses, with white
sash ; or white muslin with blue sash, made full and quite
short ; and white stockings. Four-young ladies, from ten
to sixteen years of age, kneel upon either side of the stage,
in a line from front to back : they carry in their right
hands wands of wood covered with silver paper ; and their
faces are turned half way towards their queen, at the back.
Their dresses should be of pink or white muslin, made short
and full ; white stockings, and hair dressed with flowers.
As the curtain rises, a white light should be thrown upon
the group, changing to a bright blue before it falls. Music,
a lively waltz.
THE SEASONS. 265
THE SEASONS.
ONE GENTLEMAN AND THREE LADIES.
SPRING.
Come, gentle Spring ! ethereal mildness, come I
And from the bosom of yon dropping cloud,
While music wakes around, veiled in a shower
Of shadowing roses, on our plains descend.
Lend me your song, ye nightingales ! — oh ! pour
The mazy-running soul of melody
Into my varied verse ; while I deduce,
From t!ie first note the hollow cuckoo sings.
The symphony of Spring, and touch a theme
Unknown to fame, — the Passion of the Groves.
SUMMER.
From brightening fields of ether fair disclosed,
Child of the Sun. refulgent Summer, comes,
In pride of youth, and felt through Nature's depth :
He comes attended by the sultry Hours,
And ever fanning breezes on his way ;
While from his ardent look the turning Spring
Averts her blushful face, and earth and skies,
All smiling, to his hot dominion leaves.
266 PAKLOR TABLEAUX.
AUTUMN.
When the bright Virgin gives the beauteous days,
And Libra weighs in equal scales the year.
From heaven's high cope the fierce effulgence shook
Of parting Summer, a serener blue,
With golden liglit enlivened, wide invests
The happy world. Attempered suns arise,
Sweet-beamed, and shedding oft through lucid clouds
A pleasing calm ; while broad and browTi, below.
Extensive harvests hang the heavy head.
Rich, silent, deep, they stand ; for not a gale
Rolls its light billows o'er the bending plain, —
A calm of plenty, till the rufiled air
Falls from its poise, and gives the breeze to blow.
WINTEB.
All Nature feels the renovating force
Of Winter, only to the thoughtless eye
In ruin seen. The frost-concocted glebe
Draws in abundant vegetable soul,
And gathers vigor for the coming year.
A stronger glow sits on the lively cheek
Of ruddy fire. Luculent along
The purer rivers flow : their sullen deeps.
Transparent, open to the shepherd's gaze.
And murmur hoarser at the firing frost.
TUOMSOX.
This subject has been so fully illustrated by the various
designs from artists of all ages and nations, as to render
its exhibition as a tableau very simple and appropriate.
THE SEASONS. 267
In the centre of the stage, a small box or step, covered
with bright-green baize, should be placed, about two feet
high, and broad enough to allow of one lady standing
upon it.
This pedestal is occupied by the young lady who person-
ates Summer. She stands upon it, with her face towards
the front, her head inclined a little towards the left, and
grasping in her hands the handle of a wooden garden-rake,
covered with artificial flowers, which she holds at her left
side.
She wears a long skirt of yellow or white tarlatan, low
neck, and sleeves, wreath of scarlet and white flowers, and
a gilt butterfly upon the front of her hair. She should be
of light complexion, Avith hair in curls. The young lady
representing Spring is on the left of Summer, kneeling
upon the floor of the stage, in front of the pedestal. She
carries in her right hand a small nosegay of flowers, which
she holds up towards Summer, and holds upon her left
wrist a wreath of artificial flowers held forward : the left
side is turned from the audience as -she looks up towards
Summer with a smiling expression. She wears a dress of
white drapery, trailing behind, with low neck and short
sleeves ; girdle of light-blue gauze ; mantle of the same color,
268 PARLOR TABLEAUX.
extending from her waist over her right shoulder ; and white
flowers with green intertwined in her hair. Autumn is rep-
resented by a young lady, who kneels upon the floor of the
stage, in front of the pedestal, to the right of Summer.
The left side of her face is toward the audience, looking up-
ward towards Summer with a smiling expression. She
holds a gilt goblet in her left hand ; and in her right a
bunch of grapes hanging over the goblet, which is held
towards Summer. She wears a white-drapery robe, cut
low in the neck, with short sleeves, crimson sash, and
mantle of the same color passing from her waist over her
right shoulder. She should be of dark complexion, with
hair in curls, and a wreath of oak-leaves upon the front.
"Winter is personated by a gentleman, who is made up very
old, with gray, bald wig, and white beard. He is nearer
the front of the stage, facing towards the right, stooping
over a tripod, which should be partly filled with alcohol
lighted. He bends so low as not to obscure the three la-
dies, his shoulders shrugged as with cold, and his hands
extended over the fire. He wears a long black robe with
hood thrown back, with short drapery-sleeves showing the
arms. As the curtain rises, a white liglit should be thrown
upon the figures, changing to a bright blue as it descends.
Music lively at first, gradually becoming more solemn.
NIOBE. 269
NIOBE.
TWO LADIES.
To stone the gods have changed her ; but in vain :
The sculptor's art has made her breathe again.
Greek Epigram.
The original from which this tableau is taken is one of
the most admired of the ancient statues in the imperial
gallery of Florence.
The story is, that Niobe, the Queen of Thebes, hav-
ing seven sons and seven daughters, of whom she was
justly proud, was, unfortunately, so presumptuous as to
compare herself to the gods, and seek the worship which
mortals only accorded to them. On the occasion of the
annual celebration in honor of Latona, and her offspring
Apollo and Diana, when the people were assembled to
make their offerings and vows to these deities, Niobe ap-
peared among the multitude, and haughtily demanded to
know why they should prefer beings whom they had never
seen to those who stood before their eyes. She then com-
270 PARLOR TABLEAUX.
maoded the people to have done with their solemnities.
They obeyed, and the sacred services were left unfinished.
The gods, indignant, immediately proceeded to punish
this sacrilege ; and arrows, descending from on higli, slew,
one by one, the seven sons of Niobe. Slie, though filled
with anguish, was not penitent, and, raising her arms to
heaven, defiantly exclaimed, that, though bereaved, she was
still richer than her conqueror. The words had scarce
sounded, when one of the sisters fell ; and soon all had sunk
dead, except one, whom the mother clasped, and, as it
were, covered with her whole body, crying, " Spare me one,
and that the youngest ! — oh^ spare me one of so many ! "
and, while she spoke, that one fell dead. The tableau
represents Niobe in the act of pleading for the girl. She
stands at the right of the centre of the stage, her face
turned towards the right with an expression of anguish and
supplication. Her left arm is extended, as if shielding her
child ; her right lying upon the daughter's shoulder, draw-
ing her close to herself. She wears a robe of white drape-
ry, with low neck and short sleeves, belted at the waist ;
and a mantle of white drapery over her left arm and shoul-
der. Her hair is dressed in the Grecian stvle, with white
bauds on the front, and powdered white. The girl should
THE MIDSUMMER-NIGHT S DREAM. 271
l)e about twelve years of age. She kneels close to her
mother, Avhose lower limbs shield her body ; her arms
raised, grasping her mother's waist as if in terror ; and her
face turned upvrard towards the right Avith an expression
of fear and entreaty. Her costume is a plain white robe
belted at the waist, with short sleeves and low neck ; and
hair in the Grecian style, heavily powdered. A white light
is thrown from the right. Music, imitating a storm.
THE MIDSUMMER-NIGHT'S DREAM.
»
ONE GENTLEMAN AND TWO LADIES.
Helena. But who is here 1 Ljsander ! on the ground !
Dead ? or asleep ? I see no blood, no wound.
Lysander, if you live, good sir, awake !
Lysander. And run through fire, I will, for thy sweet sake, [ Waking.
Transparent Helena ! Nature here shows art.
That through thy bosom makes me see thy heart.
Where is Demetrius ? Oh, how fit a word
Is that vile name to perish on my sword !
Hd. Do not say so, Lysander ; say not s<5.
What though he love your Hermia ? Lord, what though ?
Yet Hermia still loves you : then be content.
Lys. Ccrutent with Hermia ? No : I do repent
The tedious minutes I with her have spent.
272 PARLOR TABLEAUX.
Not Hermia, but Helena, I love :
Who will not change a raven for a dove ?
The will of man is by his reason swayed ;
And reason says yon are the worthier maid.
Things growing are not ripe until their season ;
So I, being young, till now ripe not to reason :
And, touching now the point of human skill.
Reason becomes the marshal to my will.
And leads me to your eyes, where I o'erlook
Love's stories written in Love's richest book.
Eel. Wherefore was I to this keen mockery bom 1
When, at your hands, did I deserve this scorn ?
But fare you well : perforce I must confess
I thought you lord of more true gentleness.
Oh that a lady, of one man refused,
Should of another, therefore, be abused !
Midsummer-Night's Dream, act ii. scene 3.
This picture, from the play of " The Midsummer-Night's
Dream," represents the scene where Helena, having pursued
vainly her loved one, Demetrius, comes suddenly upon Ly-
sauder, sleeping upon a bank near Hermia his betrothed.
Surprised at thus meeting him, she arouses him to mk his
purpose there ; and he awakes, and addresses her in words
of love, much to her astonishment, having had his eyes
anointed during sleep by the juice of a flower whose magic
influence caused the person so touched to fall in love with
THE midsummer-night's DREAM. 273
the first person he sees upon waking, no matter what the form
or face. This flower had been given to Puck by Oberon,
king of the fairies, who instructed him to squeeze the juice
upon the eyes of a young Greek he would find (meaning
Demetrius), who avoided Helena, whom Oberon wished to
sor\e ; but Puck comes upon Lysander, and, thinking him
the young Greek meant by Oberon, anoints his eyes in-
stead, and, of course, causes him to fall in love with Helena,
whom he first sees upon awaking, although she does not be-
» lieve his protestations.
Upon the left of the stage, about half way back, a wooden
box or a pile of pillows, covered with green, should be
placed to represent the bank used in the piece. Lysander
kneels upon the floor of the stage on the left, at some dis-
tance from the bank, nearer the front, upon his right knee,
his left bent, and advanced towards the front. His left arm
is extended towards Helena, who stands in the centre of the
stage ; and his right raised towards Hermia, with a gesture
as if casting her oflf; while he looks upward towards
Helena with an earnest expression, the left side of his face
being towards the audience. He should wear a tunic of
white, trimmed with gold ; a crimson mantle thrown over
his right shoulder, and hanging behind ; flesh-colored tights,
18
274 PARLOR TABLEAUX.
and sandals. A suitable dress of this kind may be procured
at the costumer's, or extemporized in this way, — the gentle-
man wearing a white shirt, white stockings, and slippers ;
and a drapery of crimson cambric, or any other material,
covering his lower limbs to the knee, and thrown back over
his right shoulder. The gentleman representing Lysander
should be tall and good-looking.
Helena stands in the centre of the stage, to the right of
Lysander, looking down with a vexed expression, as if an-
noyed by the declaration she does not believe. Her head is '
turned slightly to the left, so as to present a three-quarters
view of the face to the audience : her left arm lies across
the waist ; her right upon her bosom, holding one end of
the drapery, which passes over her shoulders. She wears a
white robe, with double skirt, hanging close to her form ; a
white mantle over her shoulders, and a white turban upon
her head. Hermia should be represented by a younger lady
than Helena. She lies upon the bank, with her head towards
the left, upon her left side, with her face towards the audi-
ence. Her eyes are closed, and her right hand lies close to
her face upon the bank. She wears a white-muslin robe,
with blue mantle. A bright white light should be thrown
from behind upon Helena, to represent moonlight, far
FAUST AND MARGUERITE. . 275
enongli towards the left to fall upon Lysander's face, but
leaviug Hermia in the shade. Music soft, but lively.
FAUST AND MARGUERITE.
ONE GENTLEMAN AND ONE LADY.
The opera of " Faust," by Gounod, is well known ; and
the libretto, for the most part adhering to the original story,
furnishes in its description of the garden-scene the subject
of this tableau. There should be a set of curtains at the
back of the stage, about three feet in front of the extreme
background. A wooden frame about three, feet square
should be made, and placed at the centre of the set of cur-
tains, which should be pinned or sewed around the frame,
closing in all of the remainder of the stage. A long box
should be placed upon the floor of the stage, behind this
frame, about two feet high ; and the frame placed at a dis-
tance above equal to the height of the lady's waist, who
stands behind. In front of the frame, towards the audience,
a long narrow box, of the same height as the one behind,
should be placed for a step to reach the opening. A small
table should be placed upon the right corner of the stao-e,
276 PARLOR TABLEAUX.
near tlie front, upon which is a small bright-colored box and
a bouquet of flowers.
The lady representing Marguerite should be of clear,
light complexion. She stands upon the box behind the win-
dow, leaning out, and clasping her arms around Faust,
while she looks down towards him with an expression of
tenderness. She wears a white dress with low neck, blue
sash, and blue trimmings, looped up at one side with a large
knot of ribbon, showing the skirt underneath.
Faust stands upon the step at the outside of the window,
and upon the left, his face towards the left, and his profile
towards the audience. He should be tall, with dark curling
hair, black mustache and imperial. His arms are passed
around her waist, while her arm is around his neck ; and
he looks upwards, with his head inclined towards her, with
an earnest but fond expression. He wears a black or crim-
son velvet cape trimmed with gold, velvet waist and
trunks slashed with white, white stockings, buckle-shoes,
ruflles, sword-belt, and sword. The music may be that
given at the finale of this scene in the opera, or something
very soft and sentimental. A bright-blue light should bo
thrown upon the faces of the characters.
THE GRECIAN FLOWEK-GIRL. 277
THE GRECIAN FLOWER-GIRL.
ONE LADY.
This simple and beautiful tableau should be represented
by a young girl from twelve to fourteen years of age, of
light complexion, and handsome features. She should
stand in the centre of the stage, her face towards the audi-
ence, with a large basket upon her head, filled with a great
profusion of artificial flowers of gay colors. Her arms are
raised, supporting the basket on either side. She wears a
white dress, with low neck and short sleeves ; strands of wax
beads upon her neck ; white stockings, and white or red
slippers ; and a broad scarf or mantle of blue, with ends of
crimson extending from her left shoulder across the waist,
and hanging over the right side : her hair is in curls, and
her skirt trimmed with a spray of artificial flowers ; and
she should look towards the audience with a smiling expres-
sion. The stage should be well lighted, and the music
lively.
278 PARLOR TABLEAUX.
THE GUARDIAN ANGEL.
TWO LADIES.
This picture represents a young peasant-girl in a lonely
wood, praying for protection and safety, and restoration to
the friends whom she has lost : her guardian angel appears
close by, as if in answer to her prayer. The young girl
rests with her lower limbs upon the floor of the stage ; while
her right hand, leaning upon the stage, supports the upper
portion of lier body in an upright position ; her left hand is
upon her breast, her eyes closed, and her face turned up-
wards. She wears a blue skirt, scarlet or white waist with
low neck, and her hair loose upon her shoulders. The lady
representing the angel should be tall, and of dark complex-
ion : she stands farther back, towards the left of the stage,
with her arms extended towards the young girl, and looking
towards her. She should wear a long white robe, and drape-
ry-sleeves, with an over-skirt ; a silver band, with star in
the centre, upon her head ; and wings of paper or musliu on
a wire frame. A blue smoke should surround her, reflect-
ing the light upon her face, leaving the young girl in the
shade. Music, some sacred hymn.
DEPARTURE OF THE PILGRIMS. 279
DEPARTURE OF THE PILGRIMS.
SEVEN GENTLEMEN AND EIGHT LADIES.
A COLLECTION of tableaux emanating from tlils country
would be hardly complete, without one picture, at least, rep-
resenting its early history. The tableau of the above title
gives, in the best-approved grouping known, a representa-
tion of the principal leaders among the Pilgrim Fathers.
The scene represents the departure from Delfthaven of the
small party of John Robinson's followers, including Capt.
Miles Standish, John Winslow, and other names, which have
since passed into history. The tableau will require a pretty
large stage, and is not intended to be produced upon any
other. In the rear of the centre of the stage, a platform of
boxes, the top of which is about eight feet square, is erected,
and covered to represetit a rock or a bank, and should be
about three feet in height. A box about four feet long by
two high is placed upon the right side of the stage, the end
towards the front, and resting between the higher bank and
the front : this should be covered with green to represent a
bank. The gentleman personating the leader of the band,
280 PARLOR TABLEAUX.
John Robinson, kneels near the front edge of the high bank,
upon his left knee ; his right leg bent, and extended for-
ward : his face is towards the audience, turned upwards
witli an earnest expression ; and his arms are raised as if
askinsr a blessino;. He wears a dark-brown waist and short
skirt puffed ; long puffed-sleeves, showing the white under-
neath ; broad white collar and cuffs ; loose knee-breeches,
and pumps ; dark slate-colored cap, thrown back from his
shoulders ; and brownish-gray wig, and chin-whiskers. lie
should be of straight features, with square forehead. An
elderly woman is seated at his left upon the high bank,
with her lower limbs bent at the knee, her hands crossed
upon her knees, and her head resting upon her hands, in-
clined forward, so that the forehead touches lier hands.
She wears a dark-brown dress with long sleeves and white
cuffs, black cap, and gray wig. At the right of the central
figure, a lady about twenty-five years of age is seated, with
her face turned towards the audience, with a thoughtful ex-
pression ; her right elbow resting upon her knee, and her
chin resting upon her right hand ; her left hand lying upon
her lap. She wears a slate-colored handkerchief lianging
down on the left of her face, and a dress of a lighter shade
of brown than the lady on the left, with white collar and
DEPARTURE OF THE PILGRIMS. 281
cuffs. The remaining figure upon the high bank is an elder-
ly gentleman, seated upon the left. His hands are crossed
upon his knees, his face inclined forward towards the left,
with an attentive expression. He wears a slate-colored
waist with long sleeves, trunks of the same color, stockings,
pumps, white collar, cuffs, gray wig, and chin-whiskers : a
short brown cloak completes his costume. Upon the lower
bank, at the right of the stage, at the end nearest the back,
an elderly woman is seated : her face is towards the left,
looking forward with an attentive expression ; and her hands
are clasped upon her lap. She wears a slate-colored skirt ;
red cloak, and hood of the same color ; and gray front of
hair. A younger lady is seated at the left of the elderly lady :
her face is turned away from the front, looking towards tlie
leader ; her left hand rests upon her lap, her right upon the
shoulder of a lady who kneels at her feet. She wears a
dark-brown dress with neck trimmed with fur, white cuffs,
and black-lace veil hanging over her head and shoulders.
Directly in front of this lady, a lady of about twenty-five
years of age kneels, with her head upon the lap of the lady
just described, her arms lying extended upon the knees of
the lady, and her body inclined towards the right. She
wears a pink-silk dress, open in front, showing an underskirt
282 PARLOR TABLEAUX.
of bine, tlie neck cut low, and covered with deep lace ; pufFed-
lace sleeves ; and hair neatly arranged. At the end of this
bank nearest the front, a gentleman is seated, with his face
towards the audience ; his head inclined forward, supported
upon his right hand, the elbow of which rests upon his knee ;
his left hand also lying upon his knee : he wears a thonght-
'ful, attentive expression. His costume is a slate-colored
waist, with sleeves and trunks of the same color ; low shoes,
broad white collar, and brown cape, with brown hair and
chin-whiskers. A young man is extended near the front of
the stage, with his face towards the audience, looking out
with a thoughtful expression ; his head supported upon his
left hand, the elbow resting upon the ground ; his right ly-
ing across his body, holding his hat, which just touches the
ground ; and his right leg crossed over the left, and extended
towards the right. He wears a long brown jacket with
skirt, black-velvet breeches, russet boots, sword-belt, and
sword, long black curly hair, mustache, and imperial. A
lady, represented as about thirty years of age, kneels at the
left of the centre of the stage : her face is turned a little
towards the left, her arms around a lady who leans upon her
from the left side ; while she looks at the lady with an at-
tentive expression upon her face. She wears a plain dark
DEPARTURE OF THE PILGRIMS. 283
bine dress, white neckerchief, and brown hood covering
the back of her head. Seated upon a low stool at the left
of the figure just described is a young lady : her face is
turned towards the right, and her head leaning upon the
left shoulder of the lady just mentioned ; her eyes are
closed, and her face wears an expression of grief; her
hands lie upon her lap ; and her body is inclined forward, as
if leaning heavily against her, companion. She wears a
handsome yellow skirt trailing behind, lace under-sleeves,
and wide lace collar around her neck. About two feet be-
hind this last-mentioned lady, a lady is seen, standing with
her back towards the audience, her head bent forward upon
her hands, which are raised to her eyes, as if weeping. She
wears a crimson dress with wide collar and cuffs. Just
beside this lady, close to her, at her right, a gentleman per-
sonal ins; her husband stands : his face is towards the left,
looking towards her with an assuring expression ; his arras
are around her waist, supporting her ; and the right side of
his face turned towards the audience. He wears a long,
brown, soldier's waist, slate-colored breeches, boots, and
breastplate. He should be young, of straight features, and
light complexion. Just in front of the higli bank, two
young boys, of about eight years of age, are seen standing,
284 PARLOR TABLEAUX.
their hands clasped together, and looking up at the leader.
They wear similar dresses of black or brown, with belt,
and low shoes. A bright-white light may be throw upon
the group ; or a very fine effect may be produced by using
red, white, and blue lights alternately. Music, some sacred
hynm
NOTES AND RECIPES.
A brilliant Bed Fire,
These recipes for producing red fire have been repeat-
edly tried, and are generally used at the best theatres in
England and America. First recipe : —
Dry nitrate of strontian, 1 oz.
Sulphur, 3 drs. and G grs.
Oxymuriate of potash,* 1 dr. and 12 grs.
Sulphuret of antimony, 2 drs.
Charcoal, 1 dr. and 1 scr.
* The oxj-muriate must be powdered by itself, and mixed with the other
ingredients, carefully, on paper; otherwise it will explode, to the imminent
danger of the operator.
NOTES AND RECIPES. 285
Second recipe : —
Nitrate of strontian, 1 oz.
Chlorate of potass. 3 dwts.
Charcoal, 3 dwts.
Meal-powder, 3 dwts.
A delicate Blue Fire,
Nitrate of barytes, 77 parts by weight.
Sulphur, 13 " " "
Chlorate of potass. 5 " " *'
Realgar, 2 " " "
Charcoal, 3 " " "
Mix and inflame as for red fire. This recipe. is for the
flame used in fairy and apparition scenes, and casts a pecu-
liar soft, whitish-blue light, accompanied by much white
smoke.
Green Fire,
A brilliant green fire may be made from the following
recipe : —
Flour of sulphur, 13 parts.
Dry nitrate of baryta (powdered), 77 parts.
Oxymuriate of potassa, 5 parts.
286 PAKLOR TABLEAUX.
Metallic arsenic, 2 parts.
Charcoal, 3 parts.
All the ingredients should be finely pulverized, and
thoroughly mixed. A little calamine should be added, if
it is desired to have the flame burn more slowly.
Flashes of Light,
Flashes of light, of any desired color, are produced by
suddenly withdrawing the light, leaving the stage dark, and
as suddenly throwing it on again. The light is used in this
way in several battle-pieces in the collection.
Colored Lights.
Colored lights may be produced by placing squares of
glass, of various colors, before a strong light burned in a tin
vessel luith reflector.
Sounds like falling Rain.
For this purpose, a box three or four feet long, and
about one foot wide, should be obtained, and small pegs of
NOTES AND RECIPES. 287
wood, one or two inches high, inserted in the bottom, at
distances of tAvo or three inches apart. A quart of dried
beans or peas should be placed at one end of the box, and
that end raised slowly, allowing the peas to roll gradually-
down to the lower end. This may be repeated, as many
times as desired, by alternately raising the ends of the box ;
and the sounds produced are very natural.
Sounds like distant Artillery,
Sounds of the distant firing of cannon are produced by
striking upon a . sheet of iron, suspended by a rope ; or
allowing a heavy ball to fall and roll upon a carpeted floor.
Sounds of rolling thunder may be made by shaking the
sheet of iron slowly, repeating the action at intervals, as
may be desired. .
Flashes of Lightning,
A very good imitation of flashes of lightning may be
made by mixing gunpowder with a small quantity of water
and gum-arabic, and applying the mixture with a brush to
the scene, at the background of the stage, which should be
painted to represent dark clouds. The flashes should be
288 PARLOR TABLEAUX.
put on iu irregular forked lines, the ends being near the
sides of the stage. Touch a lighted fuze to these lines at
intervals of a few seconds, and they will ignite quickly,
resembling flashes of lightning.
To make Wrinkles^ Flesh-wounds^ &c.
Wrinkles may be made by using India ink, moistened
with water. As marks of age, they are applied to the fore-
head, under the eyes, and at the corners of the mouth.
Flesh-wounds may be made with rouge, applied thickly to
the desired part ; or with rose-pink, moistened with water.
The face may be stained a copper color, to represent Indian
characters, by the use of Spanish brown, mixed with oil,
and rubbed iu thoroughly. To make the face black for
negro characters, use lamp-black mixed with oil, or burnt
cork.
Stage-fire and Incantations,
Dissolve nitrate of copper in alcohol. Light the solution,
and it will burn with a beautiful emerald-green flame.
Pieces of sponge suspended, and strips of flannel, dipped in
the solution, wound around various articles, and lighted, are
used for incantation-scenes on the stage.
AMATEUR THEATRICALS.
19
AMATEUR THEATRICALS.
The favor with which the drama is now generally re-
garded has induced of late years a wide-spread and
growing interest, not only in the regular stage, but in the
performances of amateur societies, many of which have
been formed in the cities and country towns ; and the ex-
perience of previous performances has developed a taste
for novelties, and pieces of a style suitable to such represen-
tation, which it is the object of the author to supply in this
department of the book, by suggesting those productions
which have stood the test of actual performance, and^may
be recommended as certain of making a favorable impres-
sion. The details of the stage-appurtenances are similar
to those described in the introduction ; and, where scenery
is not used, pieces should be selected having only indoor
scenes introduced. The theatrical terms here subjoined
will be found of use, as simplifying the descriptiou of the
291
292 AMATEL'Il TIlEATniCAI.S.
pieces. Properties are articles used in any cf the pieces ;
such as furniture, paintings, letters, &c. 3Iahe-up : this
term is used, signifying the preparation of the performer's
personal appearance in his characters, both as regards
dress, and the getting-up of the face with lines or wig, as
the case may be. A gag is a word or sentence introduced
into the part, which is not printed in the piece. The gen-
tleman who plays the principal young-man's parts is called
the leading juvenile man ; the leading old-man's parts,
the first old man ; the secondary old-man's parts, the second
old man. The heavy man is the gentleman who plays the
very serious villain's parts. The gentleman who plays the
leading humorous parts is called the first low-comedy
man ; the gentleman playing the secondary humorous parts,
the second low-comedy man. The gentleman v>^ho plays
the secondary young-man's parts is called the first walking
gentleman. The lady playing the principal parts is called
the leading lady ; the lady playing the next important
parts, the first walking lady. The lady playing the leading
old-woman's parts is called the first old woman : the sec-
ondary old-woman's parts are played by the second old wo-
man. The soubrette is the lady playing the cluimbermaid
parts or the comedy characters corresponding to those
AMATEUR THEATRICALS. 293
played by the first low-comedy man. Eccentric and char-
acter parts are those not particularly belonging to any
regular line, but representing some peculiar characteristics.
Utility parts are those played by persons necessary to the
business of the piece, but who have little to do or say. To
persons unacquainted with the details of preparing ama-
teur theatricals, a few hints may be of some service, and
prevent mortifying errors. The performers should be very
careful never to play with their backs toward the audience,
unless the business of the piece absolutely requires it.
They should bear in mind to keep the stage well dressed ;
that is, not huddle together in one corner of the stage,
leaving the remainder unoccupied, but have the characters
arranged always so as to fill the stage equally. The prime
elements of a good performance are study and rehearsals :
no matter how talented the performer, his attempts will fail
of effect without sufficient rehearsals. Inexperienced per-
formers will require from three to six rehearsals on the most
simple pieces, before attempting a regular performance.
When on the stage, the perform'er should be careful to
attend to all that is said by other performers, as, if he pays
attention only to his own part, it will be apparent, and take
off from the natural effect. The design of the accompany-
294 AMATEUR THEATRICALS.
ing descriptive list is to furnish amateurs with desirable
pieces for performance, and save trouble and expense in
ordering from a printed fist of titles a great number of
pieces, not one out of ten of which is at all adapted to ama-
teurs. The style of the characters is also given for the
same reason, — that the manager shall be able to see at
once if he has ladies and gentlemen ^t hand competent to
play the parts.
If any one of these objects is attained by this portion of
the volume, it will not have been written in vain, and, aided
by experience, Avill smooth the mazy path of the votaries of
private theatricals.
COMEDIES.
MONEY.
NINE GENTLEMEN AND THREE LADIES.
This admirable comedy by Bulwer, though not generally
classed among those best adapted for amateur acting, has,
nevertheless, been given by unprofessional with marked
success, and is to be recommended to any company of mode-
rate experience.
The characters are Alfred Evelyn, leading juvenile ; Sir
John Vesey, first old man ; Graves, first low comedy ; Stout,
eccentric comedy ; Lord Glossmore, light comedy ; Sir
Frederick Blount, fashionable coxcomb ; Capt. Dudley
Smooth, light comedy ; Sharp, a lawyer ; a male servant ;
Clara Douglas, leading lady ; Lady Franklin, light comedy ;
•and Georgina, niece to Sir John Vesey, walking lady. The
piece requires scarcely any properties ; is dressed in modern
Btyle ; but the changes of scene are such as to render
295
296 AMATEUR THEATRICALS.
scenery necessary. The club-scene is generally omitted in
private representations of the piece, as it requires additional
characters, and is not at all necessary to the business or plot
of the piece. Time of representation, one hour and three-
quarters.
THE LITTLE TREASURE.
TWO ACTS.
FOUR GENTLEMEN AND THREE LADIES.
This charming little comedy was first produced in Lon-
don in 1855, and, from its fund of natural humor and sim-
plicity, is peculiarly well adapted to the amateur stage. Its
style is entirely domestic, and its characters and situations
so simple as to be sufficiently intelligible to the most inex-
perienced amateur ; and can scarcely fail of commanding
applause wherever represented.
The principal character is Gertrude, daughter of parents
"who have been separated many years, and who are at last
reconciled through her efforts. She is represented as about
sixteen years of age, and of a somewhat forward and teas-
ing chai-acter, softened by the desire to bring about good
SYLVIAS SOLDIER. 297
results. The remaining characters are Capt. Waher May-
denblush, represented as a very bashful young man, and
affording an excellent opportunity for a display of light-
comedy acting by the leading man of the company ; Sir
Charles Howard, father of Gertrude, a genteel-comedy
part ; Hon. Leicester Fluttermore, a fashionable coxcomb ;
Mr. Allembourne, walking gentleman ; Lady Florence How-
ard, mother of Gertrude, genteel-comedy part ; and Mrs.
Meddleton, mother of Lady Florence, an admirable old-
woman's part ; with two or three servants, which are much
better omitted. The piece can be played without scenery,
consisting of two interior scenes, the dresses being modern.
Two or three supernumerary gentlemen will give effect to
the tableau at the end of the first act. Time of representa-
ation, one hour.
SYLVIA'S SOLDIER.
TWO ACTS.
THREE GENTLEMEN AND TWO LADIES.
This little comedy represents an episode of the late war
between the North and the South, and belongs to a collec-
298 AMATEUR TIIKATKICALS.
tiun of pieces, especially designed for private representation,
called " The Amateur Drama." It is original in its char-
acter ; and when well cast, and performed, as it should be,
in a sprightly manner, will be a success wherever played.
The characters are Horace Lyford, the patriotic young
hero of the piece, a fine-comedy part for a gentleman of
versatility ; Arthur Horton, a young man of rather timid
character, and a part filled with ludicrous points for the
low-comedy man ; Mr. Horton, a good old-man's part ;
Sylvia Horton, his daughter, represente.d as a very patriotic
young lady, who carries through the serious part of the
piece, played by the leading lady ; and Bessie Bray, in love
with Arthur Horton, and with him working up the under-
plot of the piece, played by the soubrette, and sparkling
with good points. No scenery will be required ; and the
costumes are, of course, modern. Time of representation,
one hour»
DOING FOR THE BEST. 299
DOING FOR THE BEST.
TWO ACTS.
FIVE GENTLEMEN AND THREE LADIES.
Among the recent English comedies, ijo one has made a
more favorable impression than this short domestic piece,
which, in many respects, is well adapted to the amateur
stage.
The characters are Dick Stubbs, represented as a poor
English workman, who is of a kind heart, always carrying
for his guiding motto the title of the comedy, but who sud-
denly forgets his honest principle upon acquiring an unex-
pected fortune, and dismisses his daughter's lover, a poor
but formerly respected fellow-workman. Stubbs, however,
at length sees the injustice of his conduct, and the family
happiness is restored. The part is carefully written and
worked up ; and in the hands of a good, but not broad, low-
comedy actor, is a very artistic character. Harry, the son
of Sttibbs, is a short part for the walking gentleman ; Bill
Hawkins is a good second-comedy part ; Mr. Parchment,
a short part for the old man ; Thomas is a servant's part ;
Q
00 AMATEUR THEATRICALS.
Betsey Stubbs, wife to Dick Stubbs, is an admirable old-
woman's part ; Jane is a lively soubrette's part ; and Emily,
a very fair part for the walkinp^ bidy. Scenery is not neces-
sary, but would be very appropriate if attainable ; and
some costumes will be required. Time of representation,
one hour.
DON C^SAR DE BAZAN.
THREE ACTS.
EIGHT GENTLEMEN AND THREE LADIES.
The drama of " Don Cnesar " is a favorite piece with the
leading actors of our theatres ; and it possesses many claims
to favor from the lively style in which it is written, the
beautiful music interspersed, and the careful manner in
which many of the characters are elaborated.
The character of Don Ca?sar is a dashing comedy part
for the leading man, requiring the greatest assurance in
manner, voice, and action, and a corresponding make-up of
the personal appearance of the performer. The part abounds
in witty points and flashes of good-natured sarcasm, and is
DON C^SAR DE BAZAN. 301
very taking with the audience. Don Jose is a very good
villain's or heavy-raao's part, and quite an important one in
the plot of the piece. Charles II., King of Spain, is a
very ^ood second juvenile-gentleman's part. Marquis de
Rotundo is a short but amusing old-man's part. Lazarillo
is a very interesting young page of Don Caesar's, usually
played by the soubrette of the company. Captain of the
Guard, Judge, Pacolo, and Lopez, are utility parts. Mari-
tana, represented in the piece as a beautifid young gypsy-
girl, ambitious of rank and fortune, and beloved by Don
Caesar, is a very fair leading juvenile-lady's part. Countess
de Rotundo is a very amusing old-woman's part, affording a
good opportunity for some excellent burlesque acting. There
should also be three or four soldiers, who sing in thS chor-
uses in the first act. The piece has frequently been per-
formed successfully by amateurs, but requires a great deal
of preparation, and attention to rehearsal, and considerable
outlay in the way of scenery and costumes, which will pro-
bably prevent its very general performance. If is recom-
mended only, when, as in large cities, resources of every
kind are at hand, and it is desirable to produce some-
thing very brilliant. Time of representation, one hour and
a quarter.
302 AMATEUR THEATRICALS.
STILL WATERS RUN DEEP.
THREE ACTS.
SIX OR SEVEN GENTLEMEN AND TWO LADIES.
In tlie list of the standard drama, there are probably but
very few pieces in any way suitable for private peribrm-
ance. The comedy of the above title, which has proba-
bly attained as wide a representation on the regular
stage as any modern play ever written, is a notable excep-
tion ; having but a limited number of important parts, and
those of such a style as to be readily and successfully per-
formed by any intelligent company of amateurs. John
Mildmay, the leading character of the piece, is of decidedly
•
origiual style, opening in the earlier scenes with an appa-
rent simplicity of manner, which, to the surprise of all who
had previously misunderstood his real nature, develops into
one of deep thought and a knowledge of the world, com-
pelling the respect and admiration of those who thought
him devoid of all manly qualities. Although the part is
sometimes played by the low-comedy man, it has no7ie of
STILL WATERS RUN DEEP. 303
the features of tliat line of business ; nor should it be played
as a very juvenile part, but, as the author intended it, as
one of Nature's "gentlemen of the somewhat mature aire of
thirty or thirty-five.
Capt. Hawksley is also rather a peculiar character, repre-
senting the fashionable villain of society, with all the char-
acteristics of the criminal toned down by the mask of edu-
cation and polished manners.
The part is sometimes played by the leading man. Mr.
Potter is a simple and rather jovial old-man's part, played
by the first old man. Dunbilk, a confederate of Hawksley,
is an Irish character, quite short, and sometimes omitted.
Jessop is a servant's part. Markham and Laugford are
utility parts, appearing only in the last scene. Mrs. Stern-
hold, the leading-lady's or first old-woman's part, is repre-
sented as a widow lady, rather worldly and of excitable
temperament, and in love with Hawksley. It is a part
of a great deal of character, and important in carrying
through the piece. Mrs. Mildmay is the young wife of
John Mildmay, and of not very forcible character, who, fol-
lowmg the lead of Mrs. Sternhold, her aunt, forgets the
respect due to her husband, John Mildmay, but comes to a
happy understanding at last. The part is quite an interest-
304 AMATEUR THEATRICALS.
ing one for the second or walking lady. Time of represen.
tation, one hour and three-quarters. Scenery can be dis-
pensed with, if desired ; and the curtain must then be
(propped twice in the second act.
THE MARRIED RAKE.
ONE ACT.
TWO GENTLEMEN AND THREE LADIES.
This is a lively little comedy, with plot so slight, that it
is sometimes called a farce, although it is really of a rather
higher order. Mr. Fred. Flighty, the hero of the piece, is
a dashing light-comedy part, and full of sharp points. Mrs.
Trictrac, a young widow who makes it her duty to expose
the erratic Flighty to his unsuspecting wife, is the leading-
lady's part. In the course of the piece, she assumes the
character and dress of a cornet of hussars. For the length,
it is one of the best light-comedy parts written.
Mrs. Flighty, the unsuspecting wife, a second-lady's part,
is also a very good comedy character. Susan is a capital
soubrette's part, and should be in the hands of a young
A PRETTY PIECE OF BUSINESS. 305
lady of talent and experience. There is also a servant's
part, not of any length, but which cannot very well be
omitted. The piece is quite simple, and generally desirable
where the numbers of a company are limited. Time of
representation, three-quarters of an hour.
A PRETTY PIECE OF BUSINESS.
ONE ACT.
TWO GENTLEMEN AND THREE LADIES.
This is a sparkling little comedy, very brisk in its style,
and so simple, that almost any one might attempt it with
success. There are scarcely any stage-properties required,
and the piece can be carried through with but very little
trouble. The characters are Capt. Felix Merryweather, a
dashing light-comedy part, usually played by the leading
man ; Dr. Launcelot Shee, also a capital comedy part, usu-
ally played by the first low comexlian ; Miss Charlotte
Shee and Mrs. Fanny Grantley, equally excellent comedy
parts in the leading-lady's line ; and Dobson, one of the
liveliest chambermaid or soubrette's r)arts ever acted. The
20
306 AMATEUR THEATRICALS.
comedy has but one scene, an interior ; is filled with natural
humor and laughable mistakes, without any objectionable
features whatever. Time of representation, three-quarters
of an hour.
THE SERIOUS FAMILY.
THREE ACTS. <s
FOUR GENTLEMEN AND FOUR LADIES.
This is a favorite piece with amateurs,' although the
character of the plot is too frequently distasteful to many,
as it is a satire upon religion, too keen and sweeping to
pass unnoticed ; and, for either public or private perform-
ance, care must be taken that the representation shall not
be offensive to the audience in any case. The leading char-
acter is Aminadab Sleek, pictured as a hypocritical preacher ;
and the part is full of points, affording a wide scope for a
good low-comedy actor, who is almost invariably sure to
make a hit in this serio-comic role. Lady Sowerby
Creamly, of the same school as Sleek, is also a very good
part played by the first old woman. Widow Delmalue is a
SIMPSON & CO. 307
sparkling light-comedy part, played by the leading lady.
Mrs. Charles Torrens and Emma Torrens are good walk-
ing-ladies' parts. Capt. Murphy Maguire is also a fine-
comedy part, played by the leading man. Mr. Charles
Torrens is a first light-comedian's part, and Fred. Vincent
is a tolerable walking-gentleman's part.
The piece should not be played by inexperienced ama-
teurs, as the points are not sufficiently strong to carry the
piece through without careful action. Time of representa-
tion, one hour and a half.
SIMPSON & CO.
TWO ACTS.
?
THREE GENTLEMEN AND FOUR LADIES.
This very fine old English comedy, frequently performed
upon the regular stage, is not so well known to amateurs ;
probably from its somewhat obscure ^title, which would give
to the casual observer but an indifferent idea of the charac-
ter of the piece. The incidents of this comedy are purely
domestic, not in the least overdrawn, and abounding in
308 AMATEUR THEATRICALS.
natural humor ; while there is scarce!)' a part which is not
excellent in its way. The characters are Mr. Peter Simp-
sou, an old-fashioned, Platonic business-man ; first old-
man's part. Mr. Bromley, his partner, a young man of
somewhat liberal moral principle ; leading-juvenile part.
Mr. Foster, a clerk in the house of Simpson & Co. ; utility
man. Mrs. Simpson, wife of Peter Simpson, a lady of
rather jealous disposition, who persists in ascribing Brom-
ley's indiscretions to her innocent husband ; first old-woman's
part. Mrs. Bromley, wife to Bromley, whom she unsus-
pectingly dotes upon ; juvenile-lady's part. Mrs. Fitz-
allan, a young widow related to Mrs. Bromley, to whom
Bromley pays his addresses under an assumed name ; walk-
ing-lady's part. And Madame la Trappe, a French smuggler,
who unsuspectingly arouses Mrs. Simpson's suspicions of her
husband by presenting a note at the house, which had been
given by Bromley to the lady from whom she received it ;
second old-woman's part. The piece is one, that, in the
hands of amateurs of some experience, cannot fail of hearty
appreciation from the numerous close-setting hits that will
tell with good effect on all the married spectators, and will be
scarcely less enjoyed by those not as fortunate. There
being but two scenes, and those interiors, the use of scenery
MARRIED LIFE. 309
is not necessary ; and the properties are such as can be
found at hand in any household. The character of Madame
la Trappe is sometimes omitted ; but the point of the plot
is improved by retaining it, if possible. The dresses are
modern, with the exception of Mr. Simpson, who wears an
old-fashioned English gentleman's costume. Time of rep-
resentation, one hour and a quarter.
MARRIED LIFE.
THREE ACTS.
FIVE GENTLEMEN AND FIVE LADIES.
This admirable comedy, by Buckstone, is of the style best
adapted for private representation ; and, were it not for the
number of important characters included in the cast, it
would undoubtedly be a favorite piece with amateurs.
The characters are Mr. Samuel Coddle, a perfect type of
the whimsical, testy, and exacting old married man, who
makes himself, friends, and wife, thoroughly uncomfortable
by his unreasonable complaints, to the great amusement of
the audience : it is in many respects the leading part of the
310 AMATEUR THEATRICALS.
piece, and should be in the hands of some gentleman ex-
perienced in character-acting. Mr. Lionel Lynx is a fine-
cctmedy part, usually played by the leading man. Mr. Fred.
Yonnghusband is also a first-rate comedy part, of about
equal importance with that of Lynx. Mr. Henry Dove is
an admirable low-comedy part, quiet, but affording a good
opportunity for any gentleman in the humorous line. Mr.
GeoT'ge Dismal is, as the name implies, a rather sombre char-
acter, usually played by the heavy man, and is quite short.
Mrs. Henry Dove is represented as rather old, very strict,
and much exercised to keep her husband in good manners.
Mrs. Samuel Coddle, the leading-lady's part, has many very
good points, and her scenes with Mr. Coddle are very
amusing. Mrs. Lionel Lynx is represented as a young
wife of a very jealous disposition ; Mrs. Coddle in the
piece being the particular object of her displeasure, and
the innocent cause of many stormy scenes between Mrs.
Lynx and her husband, Mrs. Fred. Younghusband is rep-
resented as a not very amiable young married lady, too
frequently at sword's-point with her husband. Mrs. George
Dismal is, like her husband, of a very sombre disposition ;
not as young as the other ladies in the piece, but appar-
ently quite as unhappy: the part is usually played by the
TWO CAN PLAY AT THAT GAME. 311
old woman of the company. The comedy is thoroiiglily
domestic, and filled with the numerous incidents and contre-
temps supposed to grow out of " married life ; " and, if it can
be well cast, is sure to take with any audience, the features
being too natural and carefully worded to offend. Time of
representation, one hour and three-quarters. The changes
of locality in the scenes would probably require the use of
scenery.
TWO CAN PLAY AT THAT GAME.
ONE ACT.
TWO GENTLEMEN AND ONE LADY.
This sprightly little comedy is just the thing for a parlor
entertainment, where the stage is small, and a piece is re-
quired introducing a small number of characters. The
scene represented is an ordinary room well furnished, the
style of the piece and the characters very simple, and the
dresses modern. Howard Leslie, the leading-man's part, is
a nonchalant comedy-character, carrying through the jiiece
with a dry humor and provoking self-possession. Charles
Arundel, the young married friend whom Leslie is visiting,
312 AMATEUR THEATHICALP.
is written somewhat in the same vein as the part of Leslie,
and is of about equal importance. Lucy Arundel is the
young wife of Charles, who^ influenced by her aunt, a French
novel, and her own jealousy, tries to get Leslie out of the
house, and away from her husband, by persuading him
(Leslie) that she loves him, and he must remove himself.
He discovers her games, and humors it by a declaration ;
while Charles, coming in, discovers them, and the lady is at
last vanquished. Time of representation, forty-five min-
utes.
THE RIGHTS OF MAN.
TWO ACTS.
THREE GENTLEMEN AND TWO LADIES.
. For a parlor-performance, this comedy can also be
warmly recommended. The point of the piece turns upon
the oft-disputed point, as to who shall rule ; and is satisfac-
torily settled in this particular case, as it no doubt has been
in many others in the same way. The characters are Sir
William Thornton, a domineering old English ])aronet, played
by the first old man. Hon. Arthur EUesmere, a young po-
THE HONEYMOON. 313
litical intriguer ; a very good comedy part for the leading
man. Walter Grenville, a young lawyer, played by the
walking gentleman. Lady Aurora, a gay young widow, in
love with Arthur EUesmere ; a dashing comedy part for the
leading lady. Helen Aubrey, niece to Sir William, a young
lady rather opposed to matrimony, but finally conceding to
superior arguments ; and Emily, the uncomplaining wife of
Sir William, who discovers at last the secret of vanquish-
ing the rights of man ; both very good second-lady's part.
Scenery is not necessary, there being but one scene, — an
ordinary parlor, nicely furnished. Time of representation,
one hour and thirty minutes.
THE HONEYMOON.
THREE ACTS.
EIGHT GENTLEMEN AND THREE LADIES.
The comedy of " The Honeymoon," which has for over
fifty years maintained a brilliant position upon the regular
stage, has within the past two years been successfully per-
formed upon the amateur stage. Although a reading of the
314 AMATEUR THEATRICALS.
piece would seem to present many difficulties to its private
representation, yet they can be readily overcome ; and the
satisfaction of a creditable performance will amply repay
the preliminary labor.
The characters are numerous, and almost all excellent.
Duke Aranza is the leading part, and is generally made up
as about thirty years of age, and possesses some splendid
points for dramatic and elocutionary effects. Rolando, a
young soldier, is of nearly equal importance with the duke's
part ; and is written in a dashing style, which takes well
with the audience, and possesses many brilliant points.
Balthazar is a very natural old-man's part ; his speeches
being well and forcibly written. Count Montalban is a
very good walking-gentleman's part, requiring to be care-
fully dressed. Jaques (the mock duke) is a capital low-
comedy part, affording an admirable opportunity for bur-
lesque acting, invariably receiving the applause of the audi-
ence. Lopez is a short and quite humorous part, and
Campillio and Pedro are servants' parts.
Juliana, the leading-lady's part, possesses a great deal
of character, and exhibits well the versatility of th9 lady
performing it. Volante is a sprightly comedy part, quite
important, and full of taking points. Zamora is a highly
DELICATE GROUND. 315
interesting part for the soubrette, very naturally written,
and involuntarily enlisting the sympathies of the audience.
The play is printed in five acts, but is seldom so performed
at the regular theatres. It is reduced to three acts by
omitting scene three in the third act as printed, scene one
in the fourth act, scene three in act four, the mask-scene
in the second scene of the fifth act ; and by playing the
second and third acts in one, and also the fourth and fifth
together : by this arrangement, the part of Lampedo is omit-
ted. The piece will Tequire scenery and costumes. Time
of representation, one hour and a half.
DELICATE GROUND.
ONE ACT.
TWO GENTLEMEN AND ONE LADY.
The comedy of " Delicate Ground " has always been a
favorite with amateurs ; probably for the reason that it has
so slight a plot, that they can hardly fail of getting through
the piece tolerably well ; and private audiences are generally
disposed to be generous. The principal merit it possesses
316 AMATEUR THEATRICALS.
is, that it introduces but three characters ; so small a num-
ber, that they can be obtained almost anywhere. The
characters are Citizen Sangfroid, the leading-man's part,
and a nonchalant and rather amusing piece of comedy act-
ing ; Monsieur Alphonse,an old lover of Madam Sangfroid, a
rather foppish comedy part ; and Pauline, wife to Sangfroid,
a lively comedy part for the leading lady. The piece is
Frenchy, and rather colloquial in its style, but too superficial
for any great effects in action. No scenery will be required,
and the piece may be dressed modern, or in the French
costume of the last century. Time of representation, forty-
five minutes.
A MORNING CALL.
ONE ACT.
ONE GENTLEMAN AND ONE LADY.
When the resources of ladies and gentlemen are exceed-
ingly limited in the available talent required for an amateur
performance, the little comedy of the above title is sug-
gested.
Though having scarcely an apology for a plot, it stilj
ALL THAT GLITTERS IS NOT GOLD. 317
possesses some attractiveness in the way of sprightly dia-
logue ; and a few original interpolations in the text, with
some local hits, will make its representation quite pleasing.
Tlie leading-man's part is Sir Edward Ardent, whose ad-
vances to Mrs. Chillingtone being repulsed, he feigns indif-
ference, and at last wins the victory.
Mrs. Chillingtone, played by (lie leading lady, enjoys
the pleasure of trifling with Sir Edward for a brief time,
but finally yields in the usual feminine way, to his ,satis-
faction and that of the audience.
The piece should be carefully rehearsed, and the perform-
ance not hurried through. Time of representation, three-
quarters of an hour.
ALL THAT GLITTERS IS NOT GOLD.
TWO ACTS.
SIX GENTLEMEN AND THREE LADIES.
This comedy, by the well-known Mortons, has, from its
numerous interesting features, always been a great favorite
with amateurs, as well as regular theatre patrons. The
318 AMATEUR THEATRICALS.
scene is laid in one of the numerous factory-villages in
England ; and the plot is simple and natural, but little expe-
rience being required to effectively present the drama.
The characters are Jasper Plum, represented as an old
man having grown rich by cotton-spinning, and proprietor
of a large factory ; a very fine old-man's part, replete with
natural humor and well-conceived fits of anger. Stephen
Plum, the leading-young-man's part, is more difRcult, the
lines being given with the Yorkshire accent, but possessing
numerous strong points of pathos and humor. Frederick
Plum, brother of Stephen, a gentlemanly part, played by
the walking: irentleman. Sir Arthur Lascelles, a fashiona-
ble villain's part, short, but well written, and effective in
good hands. Toby Twinkle, one of the best low-comedy
parts ever written for the English stage ; frequently chosen
as a star part by professionals in this line, and of
almost equal prominence with the leading part. It is,
however, by no means a difficult assumption ; and, if played
as written, can hardly fail of applause. Harris is a servant
of the Plums ; a bumpkin's part, very short, but quite hu-
morous. Martha Gibbs is the leading juvenile-lady's part.
She is represented, as the piece opens, as an operative in
Plum's factory, Avhom Stephen loves, much against the
' THE DUMB BELLE. 319
wishes of his father, who finally consents to receive her as
Stephen's wife, provided that, for the space of three months,
she does nothing to forfeit his good opinion ; and upon her
constancy, while exposed to numerous temptations during
this time, centres the interest of the piece. Lady Leather-
bridge is an intriguing woman of the world, and is an
excellent old-woman's part ; and Lady Valeria, wife to
Frederick Plum, a good walking-lady's part. The servants
mentioned in the book may be used outside the stage for
the shouts incident to the business of the piece. The piece
can be played, if desired, without scenery. Time of repre-
sentation, one hour and a quarter.
THE DUMB BELLE.
ONE ACT.
FOUR GENTLEMEN AND TWO LADIES.
This lively little comedy only needs to be known to be
admired by all hearing it, and is very well adapted to
amateurs. The characters are all very good, and the point
of the piece ingenious and amusing.
320 AMATEUR THEATRICALS.
The characters are Capt. Vivian, a returned officer, in
search of a woman who can hold her tongue, an excellent
light-comedy part ; Mr. Manvers, a very good old-man's
part ; Smirk, a capital Irish servant's part ; James, a gar-
dener, generally omitted ; Eliza, daughter of Mr. Manvers,
who personates the dumb belle with great effect on Vivian,
effecting a radical cure in his sentiments ; and Mary, ser-
vant to Eliza, a good chambermaid's part. The piece re-
quires no costumes of importance, and can be played by
almost any company of amateurs. Time of representation,
forty minutes.
WHO KILLED COCK ROBIN?
TWO ACTS.
TWO GENTLEMEN AND TWO LADIES.
This is one of Charles Matthews's freshest comedies, and
is full of the humor which always gives life to his produc-
tions. The situations are very amusing, and the dialogue
contains scarely a single dull speech.
The characters are Abel Tinkle, a retired muffin-specu-
DAT AFTER THE WEDDING. 321
lator, and a capital part for the first old man : Jack Ra^r-
gett, a philosophical and independent man of the world, a
verj original character for the light comedian ; Satauella,
daughter of Abel Tinkle, and a thorough-bred descendant
of the Incas, of fierce temper and questionable disposition,
who marries Raggett for the purpose of being revenged
upon him (a great part for the leading lady) ; and Hannah,
servant of the Tinkle family, a pert young lady, fond of
her leisure, an excellent soubrette's part. The piece will
require some preparation as regards properties, but can be
played without scenery. Time of representation, one hour
and fifteen minutes.
DAY AFTER THE WEDDING.
ONE ACT.
THREE GENTLEMEN AND TWO LADIES.
The petit comedy of the above title has always been a
favorite with actors of the regular stage, although it pos-
sesses no attraction of plot or amusing scenes to recommend
it. It is desirable for private representation, for the reason
21
322 AMATEUR THEATRICALS.
that there are but few characters, and those such as would
be very generally attainable.
Col. Freelove is the leading-gentleman's part, and is
written in the rather dry-comedy style. Lord Rivers is of
about the same range of character, but rather more serious.
James is a servant's part. Lady Elizabeth is the very im-
pulsive, capricious, and decidedly unmanageable bride of a
day, whose eccentricities are, however, happily terminated
by the ingenious ruse of Col. Freelove, played by the lead-
ing lady and Mrs. Davies, an old-woman's or chambermaid's
part. The positions and text should be very carefully re-
hearsed, as every thing depends on the sprightly action of
the business. No scenery will be required. Time of repre-
sentation, thirty minutes.
WHO SPEAKS FIRST?
ONE ACT.
THREE GENTLEMAN AND TWO LADIES.
This is a lively little domestic comedy, or rather episode,
representing a young gentleman and his bride shortly after
WHO SPEAKS FIRST? 323
the honeymoon. Tliej have quarrelled ; and each has deter-
mined to keep silence until the other speaks first, and are
supposed to have adhered to their determination for a whole
week ; when Capt. Charles, a brother of the lady, who has
been absent many years, returns, and comes upon the scene,
provokes the husband's jealousy and the lady's anger by his
familiarity (not being recognized), and, forcing them to a
vigorous dispute, explains his identity, and the scene closes
pleasantly.
The part of Charles is an admirable light-comedy char-
acter. Ernest Militant is the young and irascible husband,
also an excellent part. Potter is an amusing old man's
part; Mrs. Militant, a very forcible x3omedypart for the
leading lady ; and Smart, a dashing soubrette's part. The
piece should be played in a lively manner, and is generally
very taking. No scenery or fancy costumes will be le-
quired. Time of representation, forty-five minutes.
324 AMATEUR THEATRICALS.
ONLY A CLOD.
ONE ACT.
FOUR GENTLEMEN AND TWO LADIES.
This is a short domestic drama, very simple in its plot,
and, from the class of characters represented, can readily
be performed by any company of amateurs. The scene
is laid in England, and is a little picture of one of those
unfortunate mesalliances — of a rather rough country gentle-
man with a lady of superior education ; aUhough, in this case,
the parties come to a happy understanding at last.
ITarry Thorncote, the leading-man's part, is an unpolished
country gentleman, who unsuspectingly entertains at his
house two gentlemen, who treat him as an inferior, with a
patronizing air, and at the same time take advantage of his
hospitality to pay their addresses privately to his wife. They
are discovered by Harry, their plans discomfited ; and Mrs.
Thorncote at last recognizes the true worth of her husband.
Sir Cyril Beaumorris and Mr. Babbleton are men of the
world ; and Owlet is a servant's part. Grace Thorncote,
ONLY A CLOD. 325
the leading-lady's part, is represented as a lady, who, de-
spising her husband's unpolished manners, is attracted by
Sir Cyril's easy flattery, but learns his real intention, and
gladly makes reparation to her husband. The piece re-
quires no scenery. Time of representation, forty minutes.
DRAMAS.
SECOND LOVE.
THREE ACTS.
THREE GENTLEMEN AND THREE LADIES.
This is a pleasing domestic drama, very natural and
original in its plot, and admirably adapted to the amateur
stage.
The character of Elinor Mowbray, the blind heiress, is
extremely touching and forcible, and, in the hands of a lady
who excels in emotional parts, would be very effective.
Ralph Thornhill, the leading-juvenile-gentlemau's part, is
represented as the simple but generous-hearted cousin of
Elinor Mowbray, the companion of her childhood, and to
whom she at last turns when she finds her first lover has
deceived her Col. Dangerfield is also represented as a
cousin of Elinor's, who, under an assumed name, wins her
326
SECOND LOVE. 327
love with the inteDtion of obtaining her supposed fortune :
at the same time he also woos Mildred Vernon, a friend of
Elinor's, but is discovered by Elinor, who, unknown to him,
has regained her sight. The part is an excellent one for
the heavy man of the company. Hawbuck' is a servant in
Elinor Mowbray's house, who, apparently stupid, is really
on the alert at all times, and plays an important part in the
unravelling of the plot, and in the final discovery of Danger-
field. The part is generally given with the Lancashire
dialect, and is a very fine low-comedy character. Mildred
Vernon is a very good second-lady's part, requiring to be
well costumed, and played with spirit. Lucy is represented
as an attached servant of Elinor Mowbray, rather partial to
Hawbuck, and very fond of Ralph and her mistress. The
part is an excellent soubrette or chambermaid's character,
and is sometimes made up older, and played by the old
woman. The incidents at the close of each act are such,
that the characters may be grouped in natural and striking
tableau ; and, with sufficient rehearsal, the piece will be
found to take unusually well. Time of representation, one
hour and a quarter.
328 AMATEUR THEATlilCALS.
DREAMS OF DELUSION.
FIVE GENTLEMEN AND TWO LADIES.
This is a highly interesting drama, somewhat of the sen-
sational order, being a translation from the French ; and
affords an excellent opportunity for a gentleman in the
heavier style of acting. Sir Bernard Harleigh, the leading-
juvenile-man's character, is represented as a young English
gentleman, who, jealous of a certain young man whom he
imagines is paying his addresses to his wife, suddenly meets
him on the banks of a river, and plunges him into the water,
and, as he supposes, kills him. This act turns his brain ;
and, to escape the imaginary phantom of his murdered
friend, he travels from place to place over Europe, finally
changing his name, and settling down in a retired part of
Sussex in England. The part is full of very telling points,
and, in the hands of an actor of talent, will be very taking.
Dr. Pungent, played by the first old man, is a very
important part in the piece, in whose hands is the unravel-
ling of the entire plot : it is replete with numerous good
TIME TRIES ALL. 329
points of humor and pathos. Maunder is a fashionable
coxcomb's part, short, but very good.
Lord Arthur Brandon is the first walking-gentleman's
part, and is also a very fair part. Bobby is a country
bumpkin's part, short, but can be made quite humorous.
Lady Viola Harleigh, wife to Sir Bernard, is the leading-
juvenile-lady's part ; and is a very natural and pleasing
character, involuntarily securing the sympathy and approval
of the audience.
Amabel, the niece of Lady Viola, is a sprightly young-
lady's part, played by the walking lady or soubrette. Time
of representation, one hour. There is but one scene in the
piece, — a lady's sitting-room or summer-house, which can be
arranged readily without scenery.
TIME TRIES ALL.
TWO ACTS.
FIVE GENTLEMEN AND TWO LADIES.
This pleasing domestic drama, though of late years sel-
dom performed upon the regular stage, is admirably adapted
for private representation. Matthew Bates, the leading ju-
330
AMATEUR THEATRICALS.
venilo gentleman, is represented in the first act as a young
man of rather unfinished manners, and deeply in love with his
cousin, Laura Leeson, who, on account of his unprepossess-
ing appearance, rejects his proposals ; and he leaves the house
to go abroad. After the lapse of a few years, he returns,
very much improved in manners and personal appearance.
Feigning indifference, he discovers that Laura really loves
him ; and the pleasing denoument terminates the piece hap-
pily. Mr. Leeson is an admirable old-man's part, full of
life and humor, and capable of being worked up with tell-
ing eifect. Hon. Augustus Collander Yawn is a fashiona-
ble coxcomb's part, representing the very extreme of that
line of business : it should be carefully dressed, and, if well
played, adds considerably to the attractiveness of the piece.
Mr. Charles Clinton, the walking-gentleman's part, is a fash-
ionable young man, and the rival of Matthew Bates. Tom
Tact, the servant of Mr. Bates, is a very good low-comedy
part, affording, like the part of Matthew, a good opportunity
for a display of versatility in acting, in the contrast of style
of the scenes in the first and second acts. Laura Leeson,
the leading-lady's character, is a very effective and exceed-
ingly well-written part ; her struggles with worldly pride, and
the natural promptings of her heart, insuring the greatest
THE HARD STRUGGLE. 331
interest and sympathy of the audience. Fanny Fact is a
sprightly soiibrette's or chambermaid's part ; the scene with
Tom Tact and Mr. Leeson being full of humor and laugh-
able points.
Time of representation, one hour and a quarter. The piece
represents tlie scene as taking place in an ordinary room,
and will require no scenery.
THE HARD STRUGGLE.
ONE ACT.
THREE GENTLEMEN AND TWO LADIES.
This pretty little drama has every thing to commend it
for the purposes of the amateur stage, having but few char-
acters ; is so simple in its construction, as to be played by
the most inexperienced with success ; and is, at the same
time, of a very interesting nature. The characters are
"Reuben Holt, represented as a kind-hearted but rather
rough-mannered young country-gentleman, in love with Lil-
lian Trevor, his guardian's daughter. Lillian had felt a
friendly attachinent for Reuben from childhood, and had
332 AMATF.UR THEATRICALS.
promised him her hand iu marriage : but, having been
obliged to leave home for a period of some months on
account of ill health, she is taken sick with a fever, and her
life is only saved by a young physician named Fergus Gra-
ham, who naturally becomes attached to his young patient,
while she returns his love, although no declaration is made ;
and she comes back to her home prepared to sacrifice her
feelings, and redeem her promise to Reuben. She is, un-
known to herself, followed by Graham, who seeks an inter-
view with her, is seen by Reuben, and an explanation ensues,
which results in Reuben giving up his claim to Lillian's hand,
and sacrificing his own claims to Graham. Fergus Graham
is a character rather above the usual line of walking gen-
tlemen, but generally so cast. Mr. Trevor is represented
as a rich farmer of rather defective education, and, like Mrs.
Malaprop in '' The Poor Gentleman," very apt to use the
incorrect words in the right place, making many amusing
mistakes : the cliaracter is an admirable old man's part.
Lillian Trevor, the leading-juveuile-lady's part, is very
interesting, and possesses many points of real sentiment.
Amy, Mr. Trevor's orphan grandchild, aged thirteen, is a
very natural child's part, very simple and touching, and
very pleasing to the audience. The landlady of the Old
LAVATER ; OR, NOT A BAD JUDGE. 333
Swan is a short and unimportant old-woman's part. The
part of Susan is generally omitted ; Amy speaking the few
lines alloted to her in the first scene. Scenery can be dis-
pensed with in this piece ; but the furniture will require to
be changed in the course of the performance. Time of rep-
resentation, one hour.
LAVATER; OR, NOT A BAD JUDGE.
TWO ACTS.
EIGHT GENTLEMEN AND TWO LADIES.
This drama is founded on the accredited power of the
celebrated Lavater, the physiognomist, who is said to
have possessed the remarkable power of reading a per-
son's character, with great correctness, from a glance at
the face of any one he might meet. This circumstance is
woven into the plot of this entertaining drama, which pos-
sesses many other attractive features.- The characters are
John Caspar Lavater, represented as a man about forty
years of age, and played either by the old man or the lead-
ing man ; Marquis de Treval, an excellent heavy-man's
334 AMATEUR THEATRICALS.
part ; Christien, a good walking-geutlemau's part ; Betman,
a very good low-comedy part ; Zug, Sergeant Riitley, and
Monsieur Lavigney, utility parts ; Louise, the juvenile-la-
dy's part, very simple and pleasing ; and Madame Betman,
a walkiug-lady's part. Count de Steinberg, father of Louise,
is the old man's part, and a capital character. The piece
will require scenery and costume. Time of representation,
one hour and a quarter.
FAINT HEART NEVER WON FAIR LADY.
ONE ACT.
FOUR GENTLEMEN AND THREE LADIES.
The play of " Faint Heart never won Fair Lady " 13
probably too well known to require any lengthy description
here. It is a light and rather pleasing piece, and is quite
a favorite with amateurs.
The characters are Ruy Gomez, a poor lieutenant in the
Spanish army, who aspires to the hand of the Duchesse de
Torreuueva, a lady far above him in rank, who at first re-
pulses his bold advances, but at last reluctantly admits her
TO PARENTS AND GUARDIANS. 335
love for him ; and his persistency is rewarded. Gomez is
the leading-juvenile-man's part, and is a sparkling comedy
character. The Marquis de Santa Cruz, is the unwelcome
lover of the duchesse, who meets with discomfiture in his
fruitless suit, and is played by the first old man ; there is
also a servant's part. The duchesse is a fine comedy part
for the leading lady, and should be richly dressed. King
Charles is an engaging part for the soubrette ; and Donna
Lucrezia, a good old-woman's part.
The piece will require costumes ; but scenery is not indis-
pensable. Time of representation, three-quarters of an
hour.
TO PARENTS AND GUARDIANS
TWO ACTS.
FOUR GENTLEMEN AND FIVE LADIES.
This comic drama, the authorship of which has often
been disputed, is written as a burlesque on the style of
English private schools, and is very original, and replete
with amusing incidents. The characters are Mo'isJonr
336 AMATEUR THEATRICALS.
Tourbillon, au old French professor, a very touching old-
man's part ; Waddilove, a ludicrous low-comedy part ; Mr.
Swish, a good old-man's part ; Nabbles, a farmer, quite a
short part ; Bob Nettles, represented as a harum-scarum
young lad of fifteen, a part full of points and lively action,
usually played by the leading soubrette ; Virginie, daughter
of M. Tourbillon, an interesting second-lady's part; Lady
Nettles, a fashionable lady, mother of Bob Nettles, walk-
ing lady ; and Mary Swish, daughter of Mr. Swish, master
of the school, a young-girl's part, played by the second
soubrette. The piece should have scenery, if possible,
and a number of boys, or girls so dressed, for the parts of
Skutler, Scraggs, and for the schoolrcom-scene. Time of
representiitiQn, one hour.
FARCES.
In describing this popular branch of the minor drama,
it will be unnecessary to give definite outlines of each piece,
which, in many respects, bears a close resemblance to many
others of the class. There will be given under this head
a selection from the immense number published of those
pieces that are particularly suitable to, and have been actu-
ally performed by amateurs.
TURN HIM OUT.
THREE GENTLEMEN AND TWO LADIES.
This is one of the broad and noisy style of farces, and
the greatest success of any lately published. The charac-
ters are Nicodemus Nobbs, first Ipw-comedy man ; Mr.
Moke, second low-comedy man ; Eglantine Roseleaf, the
22 887
338 AMATEUK THEATRICALS. \
beau-ideal of a fashionable coxcomb ; Julia, first walking
lady ; and Susan, the soubrette's part. Time of represen-
tation, thirty minutes.
BOX AND COX.
TWO GENTLEMEN AND ONE LADY.
This is a standard farce, which has stood the test of
many years, and is still a favorite. Mr. Box and Mr. Cox
are first low-comedy parts of about equal range ; and Mrs.
Bouncer, the only lady character, is a good old-woman's
part. Time of representation, thirty minutes.
ON THE SLY.
THREE GENTLEMEN AND TWO LADIES.
This is a new farce, very lively, but not broad, and can
be readily cast and performed. Mr. John Dibbits, a hen-
pecked husband, is the first low-comedy part ; Major Grow-
ler, an eccentric comedy part ; Wagstaff, walking gentle-
man ; Mrs. Dibbits, a strong-minded lady, first walking
lady ; and Martha, the soubrette's part.
A SEA OF TROUBLES ; ETC. 339
A SEA OF TROUBLES.
EIGHT GENTLEMEN.
This farce is one of the collection called the " Amateur
Drama," and is very desirable where only male characters
are attainable ; the incidents being ingenious and amusing.
The characters are Godolphus Gout, an invalid, a first
old-man's part ; Hiram Orcutt, a Yankee ; Stammering
Steve, a professor of elocution ; Byron Bobolink, a bud-
ding poet ; Midde McShane, a red-hot Irishman ; Rob-
ert, Gout's nephew ; and Sam, Gout's servant. All of
the parts, with the exception of the first and the last two
mentioned, are eccentric-comedy characters, and can be
made very ludicrous and entertaining.
HIT HIM: HE HAS NO FRIENDS.
FIVE GENTLEMEN AND THREE LADIES.
This farce is of the very broadest style, full of noisy
points and laughable positions.
The characters are Rodney Ricketts, first low comedy ;
340 AMATEUR THEATRICALS.
Mr. Buttonnp, second old mau ; Edward Verner, walking
gentleman ; Joe Crabs, second low comedy ; telegraph-boy,
utility part ; Mrs. Rummer, second old woman ; Miss Ver-
ner, walking lady ; Mrs. Ricketts, utility part. Time of
representation, thirty minutes.
I'VE WRITTEN TO BROWNE.
FOUR GENTLEMEN AND TWO LADIES.
This is an excellent piece, written in a sprightly and
more elecrant style than the usual run of farces. The char-
acters are Mr. Otway ; Sheridan Browne, a dashing light-
comedy part ; Mr. Peregrine Dotts, a capital first low-
comedy part ; Mr. Charles Heatherington, first walking
gentleman ; Mrs. W'alsingham, leading juvenile lady ; and
Laura, her sister, first Avalking lady. Time of representa-
tion, forty minutes.
SLASHER AND CRASHER.
FOUR GENTLEMEN AND TWO LADIES.
This is probably one of the noisiest farces ever written ;
but its lively style and laughable points take greatly with
TO OBLIGE BENSON ; ETC. 341
the audience. The characters are Sampson Slasher and
Christopher Crasher, first low-comedy parts ; Mr. Benjamin
Blowhard, tirst old man ; Lieut. Brown, walking gentle-
man ; Miss Dinah Blowhard and Rosa, first walking ladies.
Time of representation, thirty minutes.
TO OBLIGE BENSON.
THREE GENTLEMEN AND TWD LADIES.
This is a very elegant little piece, free from any objec-
tionable language, and very lively in its action. The char-
acters are Mr. Trotter Southdown, first low comedy ; Mr. ^
Benson, first old man ; Mr. Meredith, walking gentleman ;
Mrs. Southdown, leading lady ; and Mrs. Benson, walking
lady. Time of representation, thirty-five minutes.
NURSEY CHICKWEED.
FOUR GENTLEMEN AND ONE LADY.
This farce is in contrast to the piece just mentioned,
very broad, and by no means as elegantly written. It is,
however, one that invariably meets with great applause
342 AMATEUK THEATRICALS.
from indulgent audiences. The characters are Jonathan
Chickweed, first low-comedy man ; Mr. Horatio Mount-
sorrel, old man, or eccentric comedy; Barnes (a miller),
second-low comedy ; Mr. Walton, utility part ; Mrs. Mount-
sorrel, walking lady ; and Nellie, a very bold soubrette's
part.
THE LOAN OF A LOVER.
FOUR GENTLEMEN AND TWO LADIES.
This is a very pleasing musical vaudeville, of no great
dramatic merit, but natural in its style, and affording a fine
opportunity for a young lady of good musical ability. The
characters are Peter Spyk, first low comedy ; Capt. Amers-
fort, walking gentleman ; Svvyzel, second old man ; Delve,
utility part ; Gertrude, a singing soubrette's part ; and Er-
nestine, a walking-lady's part. Time of representation, forty
minutes. Costumes will be required in this piece.
POOR PILLICODDY.
TWO GENTLEMEN AND THREE LADIES.
This is one of the standard farces that audiences seem
never to weary of, full of amusing points ; and has been
FITZMYTHE OF FITZMYTHE HALL ; ETC 343
played frequently with great success by amateurs. The
characters are John Peter Pillicoddy, first low comedy ;
Capt. O'Scuttle, an excellent eccentric-comedy part ; Mrs.
Pillicoddy, walking lady ; Mrs. O'Scuttle, old woman ; aud
Sarah Blunt, first chambermaid's part. Time of represen-
tation, thirty-five minutes.
FITZMYTHE OF FITZMYTHE HALL.
THREE GENTLEMEN AND TWO LADIES.
This is a very amusing piece, of somewhat noisy style,
but not at all dilficult to perform, and very taking. The
characters are Mr. Fitzmythe, first low-comedy man ;
Frank Tottenham, walking gentleman ; Gregory, a ser-
vant's part ; First Cricketer, Second Cricketer, utility parts ;
Mrs. Fitzmythe, first old woman ; Penelope, soubrette's
part. Time of representation, thirty minutes.
CALIFORNIA DIAMONDS.
THREE GENTLEMEN AND TWO LADIES.
This piece partakes more of the nature of a comedy
than a farce ; the language being of a higher tone, and the
344: AMATEUlt THEATRICALS.
points not at all broad. The characters are Mr. Kerr
Miidgeon and Mr. Dauby Symes, first low-comedy parts ;
Ml'. Rigsby, walking gentleman ; Mrs. Kerr Mudgeon and
Mrs. Danby S^y^mes, very good second-ladies' parts. Time
of representation, thirty-five minutes. The piece is pub-
lished under the name of " Bristol Diamonds."
BROTHER BILL AND ME.
FOUR GENTLEMEN AND THREE LADIES.
This is one of the most laughable farces of the collection
of minor dramas, abounding in ludicrous positions and
broad points. The characters are Mr. A. Noodle, first old
uiau ; Benjamin Wiggles, a great low-comedy part ; Wil-
liam Wiggles, a capital light-comedy part ; Simon Squib,
eccentric-comedy part ; policeman, utility part ; Seraphina
Noodle, first old womau ; Wilhelmina Noodle, walking
lady ; aud Martha Muggles, first soubrette. The positions
should be very carefully rehearsed to prevent confusion.
Time of representation, thirty-five minutes.
SMASHINGTON-GO-IT : ETC. 345
SMASHINGTON-GO-IT.
THREE LADIES AND THREE GENTLEMEN.
This is a very good farce of the broad style ; the posi-
tions and points being very unique and ludicrous. The
characters are Mr. Smashington-go-it, a rollicking low-
comedy part ; Mr. Twitterly Fluttersorae (a gentleman of
delicate nervous organization), first old-man's part; Mr.
Closefist (an old miser), second old-man's part; Mrs.
Fluttersome, first old woman ; Clara, walking lady ; and
Nellie, a capital chambermaid's part. Time of representa-
tion, thirty minutes.
A NICE QUIET DAY.
FOUR GENTLEMEN AND THREE LADIES.
This is not a broad farce at all, but has many amusing
points. The characters are Col. Brimstone, first old man ;
Mr. St. Bernard, walking gentleman ; Mr. Timothy Poo-
346 AMATEUR THEATRICALS.
die, first low comedy ; Mongrel, second low comedy ; Miss
Laura Brimstone and Emily, first walking ladies ; and
Susan, first chambermaid. Time of representation, thirty-
five minutes.
A PHANTOM BREAKFAST.
TWO GENTLEMEN AND THREE LADIES.
This is one of Charles Selby's latest productions, abounds
in amusing incidents, and contains nothing at all broad.
The characters are Augustus Fitzmortimer, a most respec-
table young man, " out of business," first low-comedy part ;
Mr. Deeperly, an eccentric gentleman on the shady side of
forty, old man ; Mrs. Deeperly, a beautiful and accom-
plished lady, first walking lady ; Rose, a parlor-maid, with
unexceptionable reference, soubrette ; and " Selina Jane
Sims, an improver in a first-class millinery establishment."
* Time of representation, thirty-five minutes.
THE SIAMESE TWINS ; ETC. 347
THE SIAMESE TWINS.
FOUR GENTLEMEN AND TWO LADIES.
This is a very amusing burlesque on the Siamese Twins,
and furnishes an opportunity for introducing any number of
gags. Mr. Forceps (a virtuoso) is the first old-man's
part ; Capt. Vivid, walking gentleman ; Dennis O'Glib, an
Irish character ; Simon Slow, a Yankee ; Miriam (ward to
Forceps), walking lady ; and Sally, a soubrette's part.
Time of representation, thirty minutes.
THE STEEPLE-CHASE.
SIX GENTLEMEN AND TWO LADIES.
This is a new and very good farce ; which, however, de-
pends almost entirely on the low-comedy man. The char-
acters are Mr. Tittrun, first low comedy ; Alderman Slow-
coach, old-man's part ; Dr. Clipper, walking gentleman ;
Buzzard, Cummings, Thomas, utility parts ; Mrs. Clipper,
old-woman's part ; and Mrs. Tittrun, walking lady. Time
of representation, thirty minutes.
348
AMATEUR THEATRICALS.
THE TWO BUZZARDS.
SIX GENTLEMEN AND TWO LADIES.
This is a standard farce of the broad style, containing a
small number of characters, all of which, in their way, are
carefully written. Mr. Benjamin Buzzard, first old man ;
Mr. Glimmer, w^alking gentleman ; John Small, one of the
best low-comedy parts ever written ; Miss Lucretia Buzz9,rd,
first walking lady ; and Sally, the soubrette*s part.
COUSIN TOM.
THREE GENTLEMEN AND TWO LADIES.
This is a new but not very brilliant farce, well adapted
to amateurs of limited experience. Tom Vane is the first
low-comedy part ; Newington Gosway, second low comedy ;
Mr. Lothbury, old man ; Lucy, walking lady ; and Susan,
the soubrette. Time of representation, twenty-five minutes.
INDEX.
PAOB.
A Hard Shave 89
a.ll that glitters is not gold 317
Amateur Theatricals 291
A Morning Call 316
Angels of Buena Vista 70
A Nice Quiet Day 345
A Phantoji Breakfast 346
A Pretty Piece of Business 305
A Raal Convaniexce 109
A Sea of Troubles 339
Aurora ^4
Awakened Sorrows 112
Beatrice Cenci led to Prison 35
Believer's Vision, The 43
Belshazzar's Feast 205
Bouquet of Beauty, The .■ ... 231
Bouquet of Liberty, The . . .259
Box and Cox 3:38
Brother Bill and Me 344
Bushwhacker, The 122
California Diamonds 343
Charity and Poverty 27
Christmas Eve 158
Christmas Morning 160
Christmas-Tree, The 156
Coming Stor:m, The 164
comin' through the rye 90
Consolation "^ 153
Consolation in JIusio 39
Corsair's Bride, The 210
Court of the Fairies, The 261
Cousin Tom 348
Crown of Glory, The 55
Crusader's Triumph, The 251
349
350
INDEX.
Dante axd Beatrice
David's Lament ovek Absalom
Day aftek the Wedding .
Death of Hinda
D I. Lie ATE Ground .
Departure of the Pilgrims
Doing for the Best
Don Cesar de Bazan .
Dreams of Delusion
Duel in the Snow, The
Dumb Belle, The .
Emancipation .
Enchanted Bride, The
Enoch Arden's Return
Evening-Hvmn of the Huguenots
Excelsior
Faint Heart never won Fair Lady
Faith
Father's Oath, The
Faust and Marguerite
First Appeal, The
Fisherman's Return, The .
FiTZMYTHE OF FiTZMYTHE HALL
Flom'er of THE Family, The
Genius of Liberty, The
Grecian Flower -Girl, The
Guardian Angel, The .
Guardian Angels .
Haidee and Juan .
Hard Struggle, The .
His Only Pair .
Hit him: he has no Friends
Home-Guard, The
Homeless ....
Honeymoon, The
Hope and Faith
Huguenot Lovers, The
Image of Mamma, The .
Interrupted Duel, Thf
In the Wilderness .
Introduction .
I'VE written to Browne
Jonathan's Courtship .
Kino Lear
PAOB
. 53
. 144
. 321
. 244
. 315
. 279
. 299
. :ioo
. .328
. 61
. 319
. 239
. 235
. 131
. 2iri
. 146
. 334
. 243
. 129
. 275
. 49
. 123
. 343
. 170
. 240
. 277
. 278
. 82
. 220
. 331
. 167
. 339
. 94
, 81
, 313
110
, 86
, 50
, 37
, 139
5
, 340
, 1C2
, 179
INDEX. 351
PAGE.
Lavater; or, Not a Bad Judge ........ 333
Light and Shadow 02
Light ok the Hauem, The 228
Lion in Love, The ^^
Little Tueasure, The 296
Loan of a Lover, The 342
Making up the Quarrel .241
Married Life 309
Married Rake, The 3r4
May and December 120
May Queen, The 21
Midsummer-Night's Dream, The 271
MIGNON ET son PfeRE "^
Money 295
Mother's Grave, The 91
Mountaineer, The 51
Moving In 1"2
Moving Out ^~^
New-Year's Eve 25
Niobe 269
Notes and Recipes 284
NURSEY CHICKWEED 341
Onconvamence of Single Life, The 168
Only a Clod ..... • 324
On the Fence 126
On the Shores of Tennessee . . .105
On the Sly 3^8
Orphan's Dream, The 88
Tardon refused, The 116
PiST and Future K^S
I'AST, Present, and Future 249
Patience and Impatience 171
Picket-Guard, The H*
Poor Pillicoddy 342
Raphael's Cherubs '9
Recognition, The 127
Reconciliation, The 118
Refugee, The ^ l<^
Reprimand, The 75
Reward of Merit, The 76
Rights of Man, The 312
Romeo and Juliet 191
Sailor-Boy's Dream, The 98
Scene from Pericles 188
Scene from the Tempest , • • . 198
352 INDEX.
PKOt.
Screen-Scene from the School for Scandal 58
Sculptor's Dreaji, The . 96
Sea of Ice, The 48
Seasons, The 265
Second Love 326
Serious Family, The 306
Shipwrecked Mother, The 29
Siamese Twins, The 347
Simpson & C > 307
Slasher and Crasher 340
Smash ington-Go-It 345
Soldier from the Hudson, The . 102
Soldier's Dream, Thk 149
Soldier's ]SIother, The 45
Spirit of 're 141
Statue-Scene from the Marble Heart 223
Steeplk-Chase, The ' . 347
Still Waters run Deep 302
Successful Picture, The 77
Sylvia's Soldier 297
Taking the Oath 41
Time tries All 329
Tomb-Scene from Romeo and Juliet 104
To oblige Benson 341
To Parents and Guardians 335
Torn Breeches, The . 165
Trial-Scene from the Merchant of Venice 183
Trust 222
Turn him Out 337
Two Brides, The 64
Two Buzzards, The 348
Two can play at that Game 311
Veiled Prophet, The 212
Village Barber, The 166
Village Post-Office, The 121
Vision of C.i:sar 202
Vision of Marguerite 232
Vision of Past, Present, and Future 84
Welcome Shklter, The 52
Who kili-ed Cock Robin? 320
Who speaks First? 322
AViDow OF Glencoe, The 135
Wounded Scout, The ........... 66
Wyoming 31
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