Chapter 10

This tableau is an allegorical representation of Peace. The number of figures necessary to form it is twenty. They are formed in six separate groups. The centre and principal group is a party of young ladies and gentlemen engaged in the merry dance. They are costumed in their holiday suits, and are formed in a circle around a May-pole. On a green bank in the background is seated a young lady playing the guitar, and a young gentleman playing the violin. This group is at the right. At the left is a young and beautiful girl, who represents the Queen of May; by her side stands a second female, about to place a crown of flowers upon her head. Between these two groups, and elevated a foot above them, stands the Goddess of Peace. She holds in her right hand a sheaf of wheat, and in her left an olive branch. At the corners of the foreground are two groups, the one at the left representing a mother surrounded by three children; she holds a large Bible, which the children are reading. The group at the right represents a blacksmith standing at the side of an anvil,--a large hammer in his right hand,--engaged in conversation with a farmer, who holds a rake. The costume of the village girls should be white dresses, decorated with flowers, and garlands on their heads. The gentlemen should be dressed in light pants, white vests, and dark coats. The Goddess of Peace has on a long white dress, bound around the waist with a green ribbon; a wreath of dried grasses and wheat encircles the head. She must stand perfectly straight, and look directly forward, with a pleasant expression of countenance. The gentleman who plays on the violin is costumed in a dark coat, red breeches, white hose, low shoes, knee and shoe buckles, buff vest, a plaid scarf, draped across the shoulders, and tied at the right side, and a small Scotch cap, with a white plume, placed jantily on the head. The costume of the lady at his side consists of a red skirt, over which is worn a white skirt that is looped up at the side, and ornamented with small bunches of evergreen and spruce; a velvet waist, open in front, and laced across with pink ribbons; short sleeves; hair hung in ringlets, and ornamented with ribbons; the countenances of both expressing pleasure. The May Queen's costume consists of a white robe, trimmed with garlands of flowers. Her attendant is also dressed in white, with a scarf of plaid draped across the breast. The queen is kneeling on a low cushion, holding a small bouquet, the head turned slightly to the right, eyes raised to the ceiling. The lady in the foreground has on a blue silk dress, a white apron, trimmed with green ribbon, and hair arranged to suit the performer's taste. The children's costumes may be of various styles, bright colors predominating. The lady should sit quite low, and hold the Bible with her right hand; the left pointed to the pages. The children and mother sit facing the audience, and all look pleasant and happy. The blacksmith's costume consists of dark pants, blue woollen shirt, sleeves rolled up to the elbow, a low-crowned hat on the head, and leather apron tied around the waist. He stands facing the audience, and is engaged in conversation with the farmer, who is dressed in a long blue frock, buff pants, straw hat, and heavy boots; the right hand holds a rake, the left is placed on the side of the body. The four groups at the corners should be as compact as possible, giving the greater portion of the room to the dancers in the centre. The bank in the background must be three feet in height, and covered with green bocking, and also the floor of the stage. Make the May-pole as high as the space will admit, and cover it with green cambric, decorated with garlands of flowers. The light should be quite brilliant, and come from the right side of the stage. Music inspiring.

WAR.

'Twas man himself Brought Death into the world; and man himself Gave keenness to his darts, quickened his pace, And multiplied destruction on mankind. First Envy, eldest born of Hell, imbrued Her hands in blood, and taught the sons of men To make a death which nature never made, And God abhorred; with violence rude to break The thread of life, ere half its length was run, And rob a wretched brother of his being.

PORTEUS.

Twenty Male and Six Female Figures.

This tableau is a vivid representation of some of the effects of war. The foreground of the picture represents a battle field after the combat has ended.

"'Twas the battle field; and the cold, pale moon Looked down on the dead and dying; And the wind passed o'er, with a dirge and a wail, Where the young and the brave were lying."

The ground is strewn with the dead and wounded soldiers, broken cannon, muskets, flags, swords, and portions of torn and tattered uniforms. In the background, there is a representation of a breastwork of stone; on the extreme right are two females weeping; at the extreme left is a mother and two children. The mother lies across the breastwork, dead. The children stand by her side, looking with wonder into her face. Standing on the centre of the breastwork is the Goddess of War. In one hand she holds a torch, which is raised above her head; the left grasps a standard and sword. The number of figures in the piece is twenty-six. Twenty young gentlemen must be costumed in various styles of military suits, while many should have wounds painted on various parts of the body. The costume of the Goddess of War consists of a crimson dress, black velvet waist, trimmed with gold, hair hanging loosely over the shoulders, and a red French military hat on the head. The two ladies at the right are costumed in mourning. The mother should be attired in a white dress; the children in bright-colored costumes, with hair hanging in ringlets. The stage must be formed like an inclined plane, beginning at the footlights, and rising towards the background, and covered with green bocking. The soldiers should be grouped about the ground in various positions, and the cannon and guns scattered about in a promiscuous manner. The two ladies in mourning sit on the top of the breastwork, side by side, their heads bowed down, and hands covering their faces. The mother is seated at the other end of the breastwork, head thrown back, and eyes closed. The children are standing by her side, clasping their hands and gazing into her face. The Goddess of War should stand with her left side to the audience, body bent forward, the head slightly turned towards the battle field, the countenance expressing animation and determination. A small quantity of smoke should be seen rising behind the breastwork, while the whole scene is illuminated by a red light burned at the side of the stage. The booming of distant cannon and martial music may be imitated behind the stage.

THE RESCUE.

Presence of mind and courage in distress Are more than armies to procure success.

One Female and Eight Male Figures.

This tableau is one that can be produced without much trouble or expense. The scene is taken from a historical incident that occurred during the revolutionary war. At the close of one of the hard-fought battles between the Americans and British, an American officer, having fought long and well, was obliged to seek safety in flight, hotly pursued by a company of British soldiers, led on by their captain. He takes refuge in the mansion of a tory in the vicinity of the battle ground, and prostrates himself at the feet of the lady of the house, who has risen from her chair on hearing the tumult at the door, and with her arm extended and eyes flashing, sternly bade the British officer and his followers to quit the house. The British officer is standing within a few paces of the American, with sword extended, ready to pierce his body. In the rear of the British officer stands a platoon of soldiers, with muskets ready to charge. The furniture of the room consists of chairs, carpet, tables, small sofa, pictures, &c. The lady who personates the tory housekeeper should be tall, with good figure and features; her costume consists of a showy silk dress and velvet waist. Position is, at the right of the stage, near the front. A small table is placed at her side, on which are a work box and piece of embroidery; behind her is a large chair; her right hand is extended towards the British officer; the left is placed on her waist; her countenance expressing anger and command. The American officer should be costumed in Continental uniform, which consists of a blue coat, decorated with large gilt buttons, and faced with buff, buff breeches, white hose, low shoes, knee and shoe buckles, red sash, epaulets, chapeau, and side arms. In his right hand he grasps a broken sword. The position is, kneeling two paces front of the lady, body bent forward, and eyes cast down to the floor. The British officer and soldiers are dressed in similar costumes, with the exception of the coats, which are scarlet. The British officer's position is, standing in the centre of the stage, with sword pointed towards the American officer, and eyes directed to the lady. The lights for the piece should be of medium brightness, and come from the side of the stage opposite the lady. The background must be partially shaded, while the foreground is light. For music, drum and fife are adapted to the piece.

SOLOMON'S JUDGMENT.

"A mother's love." If there be one thing pure, Where all beside is sullied, That can endure When all else pass away-- If there be aught Surpassing human deed, or word, or thought, "It is a mother's love!"

ANON.

Three Male and Two Female Figures.

This Scripture tableau is taken from the third chapter of the Book of Kings. The scene is at the moment when Solomon passes his judgment between the two women. These two women each had a child of the same age, and resided together. The children resembled each other so much that when one of them died, there arose a dispute as to whom the living child belonged; and one woman said, "The living is my son, and the dead is thy son." And the other said, "No; the dead is thy son, and the living is my son." Then said the king, "Bring me a sword." And they brought a sword before the king, and the king said, "Divide the living child in two, and give half to one and half to the other." Then spoke the woman whose the living child was unto the king, "O my lord, give her the living child, and in no wise slay it." But the other woman said, "Let it be neither mine nor thine, but divide it." Then the king answered and said, "Give her the living child, and in no wise slay it, for she is the mother thereof." The number of figures in this tableau is five. The scenery consists of a platform four feet square and two feet high, covered with red cloth, which should be placed in the background, at equal distances from the sides; on this is placed a large, showy chair, with a canopy over the top. Seated in the chair is Solomon. His costume consists of a dark velvet suit, trimmed with gold and silver fringe; a large cloak, trimmed with ermine, is worn on the shoulders; black hose, reaching to the knee, crossed with crimson ribbon; red sandals, ornamented with gold; a showy crown on the head, and his face covered with a heavy white beard, reaching down on his breast; his right hand is pointed towards the soldier who holds the child; the eyes are also directed that way, while the countenance appears stern and commanding. The soldier's costume consists of a suit of armor such as can be procured at theatres and costumers; but, if preferred, a military suit of any kind will answer. His position is, near the platform, the left hand grasping the child, while the right holds a sword, which is raised above it; his body faces the audience, his head turned towards the king, the countenance stern and forbidding. On the other side of the throne stands the king's guard, a man dressed in a blue frock, trimmed around the skirts, sleeves, and front with red; white hose, reaching to the knee; black knee breeches; low shoes; knee and shoe buckles; lace collar and wristbands; low black Kossuth hat, with gold band and plume. The right hand grasps a long spear. Position is, facing the audience, the body erect, and eyes directed straight forward. At the corner of the platform, near the soldier, kneels the mother of the child, in position so that a side view is had of the face; the hands are clasped and raised in front of her breast, head thrown back, and eyes directed to the king, countenance expressing hope. She is dressed in deep mourning, her hair flowing loosely over her shoulders. On the other side of the throne, opposite the guard, stands the other woman, her arms folded on her breast, eyes directed to the soldier, countenance calm. Her costume consists of a white dress, cut low in the neck, and encircled around the waist with a colored belt; hair arranged in heavy braids, and ornamented with showy hair pins. The lights should be of medium brilliancy, and come from either side of the stage. If desirable, a few paintings and statuary can be arranged in the background. Music soft and plaintive.

THE BRIDAL PRAYER.

Sweet be her dreams, the fair, the young; Grace, Beauty, breathe upon her; Music, haunt thou about her tongue; Life, fill her path with honor.

All golden thoughts, all wealth of days, Truth, friendship, love, surround her; So may she smile, till life be closed, And angel bands have crowned her.

BARRY CORNWALL.

One Female Figure.

This simple, yet pretty tableau represents a young maiden dressed in bridal costume, kneeling in prayer in her chamber, preparatory to her descent to the room below, where she is to enter into the holy bonds of matrimony. The stage furniture consists of an ornamental chamber set, a few richly-bound books, pictures, and other articles pertaining to a chamber. The young lady should be of good figure and features. Costume consists of a white dress, low in the neck, and ornamented with white flowers. The hair can be dressed to suit the performer's taste, while a wreath of myrtle and flowers encircles the head, at the back of which trails a long white veil. Position is, kneeling in the centre of the stage, so that a side view can be had of the form, the hands raised and placed together in front of the face, the head slightly thrown back, the eyes closed, and the countenance expressing devotion. Little light is required, which should come from the side of the stage. Music soft and plaintive.

THE GUITAR LESSON.

O, strike the guitar lightly, lightly; Its tones I ne'er forget; O, strike the guitar lightly; 'Tis sweet as when we met.

One Female and One Male Figure.

This simple, but pretty tableau represents a young lady at the music room of her teacher, taking a lesson on the guitar. The scene represented is a room furnished with table, chairs, carpet, vases, pictures, &c. A small sofa, or a pair of ottomans, are placed in the centre of the apartment, on which is seated a young and beautiful lady, and by her side the teacher. The lady holds in her hands a guitar, on which she is playing. Her teacher holds a sheet of music in the left hand, while with the right he points towards the guitar. The maiden's costume consists of a white dress, velvet waist, white flowing sleeves, waist encircled with a crimson sash; hair done up in a neat manner, and decorated with large feldspar beads. Her position is, facing the audience, head slightly turned to her teacher, eyes directed to the music, face beaming with smiles. The teacher's costume consists of black pants, white hose, reaching to the knee, with a band of colored ribbon, and wide lace attached by a large paste pin at the top, low shoes with buckles, single-breasted vest left unbuttoned, showing a white shirt underneath. A lady's pink or red sack will on an emergency answer for a coat. A lady's velvet cape should be thrown carelessly over the shoulder. The wristbands of the shirt bound with wide lace, and a wide lace collar worn around the neck. The head covered with a low-crowned Kossuth hat, ornamented with a gilt band, and white plume, which is fastened to the hat with a large and brilliant paste pin. Both of these costumes can be arranged at short notice, and the tableau would be suitable for home entertainment. A guitar, played behind the scenes, will answer for the music. The light must be of medium brightness, and come from either side of the stage.

ROGER WILLIAMS PREACHING TO THE INDIANS.

"Gitche Manito the Mighty, The Great Spirit, the Creator, Sends them hither on his errand, Sends them to us with his message.

Let us welcome, then, the strangers, Hail them as our friends and brothers, And the heart's right hand of friendship Give them when they come to see us."

LONGFELLOW.

Two Female and Eight Male Figures.

Roger Williams was the first white man that settled in Rhode Island. He was a clergyman, and lived in Boston; but he did not think exactly as the other clergymen of Boston, and was therefore banished from Massachusetts. He emigrated with his family to the woods. After travelling a considerable time, he selected a beautiful spot, and built him a house. Other settlers soon came that way, and founded homes. This was the first settlement of Providence. Williams was kindly treated by the Indians, who seemed pleased at his arrival among them. Every Sabbath he would go into the village and preach to them. The scene in this tableau represents him standing before a wigwam with his Bible in hand, explaining the Holy Scriptures to a group of savages who are gathered about him. A few spruce trees should be placed in the background of the picture, a fire kindled in the centre of the stage, which can be placed in an iron furnace, and surrounded with stones. The floor must be covered with white cloth. Logs and branches of trees should be scattered around the stage. At the left of the stage is the wigwam, formed with rough poles, covered with light-brown cloth, and ornamented with red hieroglyphics. In the background, and at each side of the stage, are seated Indians. The floor of the stage in the background should be raised one foot, on which are placed the trees; in front of the wigwam stands Roger Williams; he partially faces the audience; his left hand holds a Bible, while his right is raised upward, his eyes directed towards the Indians--countenance expressing animation. Costume consists of black coat of ancient style, black breeches, black vest, white hose, ruffled bosom, and white cravat, knee and shoe buckles, and a long white wig, ending in a cue, and tied with a black ribbon. Costume of the Indians is a short frock, made of and trimmed with a bright-colored cambric, pants of dark buff cloth, fitting tightly so as to develop the form of the leg, moccasins of red flannel, decorated with beads; a strip of card-board, covered with red flannel, and ornamented with feathers of any kind, should be worn around the head. A belt about the waist, containing tomahawk and knife, both of which can be made of wood, and painted in bright colors. A few squaws are interspersed in the scene. Their costumes are similar to those of the men, with the addition of a bright-colored blanket thrown over the shoulders, and hair loosely flowing about the neck. The exposed portions of the bodies of the Indians are stained of the same color as the pants. The position of the figures must be varied, while all look with attention to Williams. The scene should be lighted by a red fire, burned at the front side of the stage. Music soft and of a sacred character.

CROSSING THE LINE.

Far, far upon the sea The good ship speeding free, Upon the deck we gather, young and old, And view the flowing sail Swelling out before the gale, Full and round, without a wrinkle or a fold.

Ten Male Figures.

This comic tableau is a representation of a scene which often transpired on board of vessels in passing the line. This time-honored custom of introducing to old Neptune and his suite the persons who, for the first time in their lives, cross the equinoctial line, is now nearly abolished. But until within a quarter of a century, the occasion of crossing the line was one of no little importance. It was a jubilee on board ship which was looked forward to with eagerness by the jolly tars who had already shaken hands with the God of the Ocean, and with fear and trembling by the youths who were about to enter for the first time the favorite dominions of the old god. The ceremonies on these occasions varied according to the character of the crew, of the commander of the vessel, or of the poor fellows about to undergo the unpleasant and dreadful process of an introduction. They were generally of a harmless and amusing character, one of which was to bring them before old Neptune, and put them through the process of shaving. The chin, and the greater part of the face, would be plastered over with a composition made of tar and train oil, laid on thickly with a large tar brush. The razor was often fabricated from a worn-out hoop, notched like a handsaw. This was drawn over the face, not in the most gentle manner. After this operation was completed, a person approached to untie the handkerchief that bandaged the eyes, and at the same moment kicked away the plank on which the victim sat, which precipitated him into the ship's longboat, filled with water for the occasion.--The number of figures in this tableau is ten. Neptune is the principal one, and is costumed in a flesh-colored coat, fitting tightly to the body, and covered with hieroglyphics in bright colors; the face painted to look hideous, and partially covered with a long, shaggy beard; a crown on the head, made of card-board, covered with gilt paper and shells; a spotted fur robe is thrown over the lower portion of the body; his right hand grasps a three-pronged fork, while the left is stretched out to one of the sailors. His throne, on which he is seated, is made of a number of barrels placed in a row at the back of the stage, on which rests a platform, with an anchor on each side. The victim, as well as the rest of the performers, should be costumed in sailors' suits, differing in colors and styles. In the centre of the stage erect a small platform, one foot high and six feet long. On this place the person who is to be shaved. At his left stand two sailors. One holds the speaking trumpet and a ship's bucket; the other is in the act of pouring a bucket of water on the head of the victim; a third sailor holds in his left hand a paint brush, and brandishes the razor in his right; a little sailor boy holds a small tub, which contains the soap. Fronting the victim, kneels a sailor, holding a syringe. The remaining figures are looking on to see the sport. The countenances of all but the victim express mirth. An imitation mast and sail should be arranged at the background of the picture, the sides of the stage painted to represent ports of a vessel, and various articles that are used on board a ship must be scattered about the deck. Light brilliant, and come from the right side of the stage.

THE WEDDING.

Pass thou on! for the vow is said That may ne'er be broken; The trembling hand hath a blessing laid On snowy forehead and auburn braid, And the word is spoken By lips that never their word betray'd.

Pass thou on! for thy human all Is richly given, And the voice that claims its holy thrall Must be sweeter for life than music's fall, And, this side heaven, Thy lip may never that trust recall.

WILLIS.

One Female and Two Male Figures.