Chapter 4

The battle of Waterloo was fought on the 18th of June, 1815. It was on the Sabbath day. The Emperor's wasted bands were now in the extreme of exhaustion. For eight hours, every physical energy had been tasked to its utmost endurance, by such a conflict as the world had seldom seen before. Twenty thousand of his soldiers were either bleeding upon the ground or motionless in death. Every thing depended now upon one desperate charge by the Old Guard. The Emperor placed himself at the head of this devoted and invincible band, and advanced in front of the British lines. Silently, sternly, unflinchingly they pressed on, till they arrived within a few yards of the batteries of the enemy. A peal, as of crushing thunder, burst upon the plain; a tempest of bullets, shot, shells, and all the horrible missiles of war, fell like hailstones upon the living mass. A gust of wind swept away the smoke, and, as the anxious eye of Napoleon pierced the tumult of the battle to find his Guard, it had disappeared. Napoleon threw himself into a small square which he had kept as a reserve, and urged it forward into the densest throngs of the enemy. He was resolved to perish with his Guard. Cambronne, its brave commander, seized the reins of the Emperor's horse, and said to him, in beseeching tones, "Sire, death shuns you; you will but be made a prisoner." Napoleon shook his head, and for a moment resisted; but his better judgment told him that thus to throw away his life would be but an act of suicide. With tearful eyes, he bowed to those heroes who proved faithful even to death; with a melancholy cry, they shouted, "_Vive l'Empereur!_" These were their last words--their dying farewell. Silent and sorrowful, Napoleon put spurs to his horse, and disappeared from the field. This one square, of two battalions, alone covered the flight of the army. Squadrons of cavalry plunged upon them, and still they remained unbroken. The flying artillery was brought up, and pitilessly pierced this heroic band with a storm of cannon ball. The invincible square, the last fragment of the Old Guard, revered by that soul which its imperial creator breathed into it, calmly closed up as death thinned its ranks. The English and Prussians sent a flag of truce, demanding a capitulation. General Cambronne returned the immortal reply, "The Guard dies, but never surrenders!" A few more discharges of grape shot from the artillery mowed them all down. Thus perished, on the field of Waterloo, the Old Guard of Napoleon.

_Directions for forming the Tableau._--This splendid battle-scene contains forty figures. It can be produced with a less number, but to give a good effect, it should contain forty persons. The scene occurs at the time when Napoleon has thrown himself in the square of the Guard, and is about to press forward to the enemy. Napoleon is seated on his white horse, in the centre of the stage; we have a side view of the horse, and almost a front view of Napoleon, who grasps the reins with his left hand, and his sword with the right; his eyes are fixed on the advancing troops in the distance; his countenance expresses firmness and anxiety. Cambronne is on the point of advancing, with hands stretched out, about to grasp the reins of Napoleon's horse; his position is sideways to the audience. Marshal Ney is seen running towards Napoleon, on the other side of the picture, his right hand extended, his chapeau grasped with the left. In the foreground are four wounded soldiers, lying in various positions; muskets and other implements of war are scattered over the ground. Directly behind Napoleon is seen an officer holding the French standard, with a gilt eagle at the top. The Old Guard are formed in platoons, one at the right, one at the left, and one in the background; they should form with the face outward, and hold their muskets as if about to repel a charge of cavalry. The rear platoon should stand on a platform two feet in height, while the space behind is to be filled with soldiers engaged in fencing. They should be placed on raised platforms, varying from two to eight feet in height. The costume of Napoleon consists of a blue dress coat with a buff breast, eagle buttons, buff vest and knee breeches, top boots, spurs, sash, side arms, black chapeau, and gray overcoat. The horse which Napoleon rides can be made of wood, at a trifling expense. Minute explanation in regard to its construction will be found in the tableau of "Washington's entrance into Portsmouth." The costume of the officers consists of as rich military suits as can be procured. The soldiers should wear a showy military suit and bearskin hats. The muskets must be furnished with bayonets, and a thin smoke should be made to float over the scene. The roll of the tenor drum, the shrill music of the fife, the rattle of musketry, and the booming of cannon, should be heard in the distance. A red light must be thrown upon all the figures; if this is not sufficient to light up the piece, the footlights fronting Napoleon can be lighted. The person who takes the part of Napoleon must resemble, in features and form, the original character.

THE DANCING GIRL IN REPOSE.

Bid me discourse; I will enchant thine ear, Or, like a fairy, trip upon the green, Or, like a nymph, with long dishevelled hair, Dance on the sands, and yet no footing seen.

SHAKSPEARE.

Three Female Figures.

This pleasing tableau represents a young and beautiful dancing girl reposing after one of her successful and fascinating dances. The scenery should be arranged in the following manner: A curtain of red Turkey cloth or cambric, fringed with gold, which can be made by cutting strips of buff cloth to imitate fringe, and decorating it with gold paper; this, in the evening, will make quite a rich appearance. The curtain should be but two feet long in the centre, cut in three festoons, each three feet wide. At the ends of the festoons, the curtains must be wide enough to fill out the space at the side of the stage, and so long that they will trail on the floor. This curtain should be attached to a strip of wood, which can be fastened in position on the ceiling. On each side of the stage, near the centre, place small pedestals, one and a half feet square, covered with green cambric, and decorated with bouquets of artificial or painted flowers. In the centre of the stage, directly under the curtain, place a pedestal two feet square, with a shaft at the side three feet high by six inches in diameter; this must be covered with light green cambric, and festooned with wreaths of flowers. The number of figures in this piece are three: one alone takes a prominent part; the remaining two are intended as an addition to the scenery. The two small pedestals are to be occupied by pretty little misses, of about six years of age, dressed to represent fairies. Their costume consists of short white dresses covered with bands of gold and spangles; white hose and slippers; a pink gauze sash, decorated with gold spangles, worn across the shoulders; the hair arranged in ringlets; wings formed of wire, covered with white muslin, and decorated with spangles, and fastened to the shoulders. The costume of the dancing girl consists of a white dress reaching to the knees, covered with white tarleton muslin, and ornamented on the front with a small bouquet, and bands of crimson ribbon running around the skirt. The waist should be low on the bosom, the sleeves quite short, and trimmed with flowers; the hair can be dressed to suit the taste of the performer. Flesh-colored hose and white slippers should be worn. The position of the dancing girl is on the centre of the pedestal, in a careless attitude. One arm hangs negligently at her side, the hand grasping a tambourine; the other rests on the top of the shaft. The weight of the body rests on the right foot; the left foot crosses the right. The eyes should be cast down to the floor, and the expression of the face sad and thoughtful. The fairies stand on the small pedestals at the sides of the stage. We have a side view of them as they stoop forward and clasp the folds of the curtain. The right hand is extended, the forefinger pointing at the dancing girl. The weight of the body should mostly rest on the right foot; the left is extended behind, the toe touching the top of the pedestal. The head slightly turned towards the audience; the expression of the countenance quite brilliant. The lights should be at the left side of the stage, and of medium quantity. A waltz or polka can be played while the tableau is exhibited.

WASHINGTON'S ENTRANCE INTO PORTSMOUTH.

Behold, he comes! Columbia's pride, And nature's boast--her favorite son; Of valor, wisdom, truth, well tried-- Hail, matchless _Washington_.

Let old and young, let rich and poor, Their voices raise, to sing his praise, And bid him welcome, o'er and o'er.

This, this is he, by Heaven designed, The pride and wonder of mankind. United then your voices raise, And all united sing his praise.

Let strains harmonious rend the air; For see, the godlike hero's here! Thrice hail, Columbia's favorite son; Thrice welcome, matchless _Washington_.

J.M. SEWALL.

Ten Female and Thirty-two Male Figures.

"Saturday, 31st Oct.

"Left Newburyport a little after eight o'clock, (first breakfasting with Mr. Dalton,) and to avoid a wider ferry, more inconvenient boats, and a piece of heavy sand, we crossed the river at Salisbury, two miles above, and in three miles came to the line which divides the State of Massachusetts from that of New Hampshire. Here I took leave of Mr. Dalton and many other private gentlemen, also of General Titcomb, who had met me on the line between Middlesex and Essex counties, corps of light horse, and many officers of militia, and was received by the president of the State of New Hampshire, the vice president, some of the council, Messrs. Langdon and Wingate of the Senate, Colonel Parker, marshal of the state, and many other respectable characters, besides several troops of well-clothed horse, in handsome uniforms, and many officers of the militia, also in handsome white and red uniforms of the manufacture of the state. With this cavalcade we proceeded, and arrived before three o'clock at Portsmouth, New Hampshire, where we were received with every token of respect and appearance of cordiality, under a discharge of artillery. The streets, doors, and windows were thronged with the populace. Alighting at the town house, odes were sung and played in honor of the president."--_Washington's Private Diary._

"A visit from a person so distinguished and beloved, had he come without the insignia of office, would have created no little enthusiasm; but a visit from its president, when the young republic had been organized scarcely half a year, occasioned to the community a thrill of ecstasy which vibrated through every heart--an outburst of joy due from a grateful populace to one to whose skill and superior virtues they owed their happiness. There was a mixture of novelty, of joy, of patriotic enthusiasm, felt by every heart. A committee of twelve was appointed in town-meeting to superintend the reception. The president left his carriage at Greenland, at the residence of Colonel Tobias Lear, and mounted his favorite white horse; he was there met by Colonel Wentworth's troop, and on Portsmouth plains the president was saluted by Major General Cilly, and other officers in attendance. From the west end of the State House, on both sides of Congress Street, and into Middle Street, the citizens and military were arranged in lines, and on the east side of the parade ground were the children of the schools, dressed appropriately for the occasion. The president at the entrance received a federal salute from the three companies of artillery under Colonel Hackett. The streets through which he passed were lined with citizens; the bells rang a joyful peal, and repeated shouts from grateful thousands hailed him welcome to the metropolis of New Hampshire."--_Brewster's Rambles._

This national tableau contains forty-two figures: Washington, sixteen soldiers, ten young ladies, six citizens, and nine school children. The number can be made less if there is not sufficient room on the stage. The stage scenery consists of the following articles: A fac-simile of the white horse, which is to be made in the following manner: With a tape measure and rule take the dimensions of a small-sized horse; let your carpenter make a skeleton horse according to your dimensions, of wood, as strong and light as possible; then take curled hair or hay and fill out the frame so that it will look symmetrical, using twine to bind on the material used. It will be a good plan to have an engraving of a horse to look at, so that you will more easily arrive at the proportions of the body. The right foot of the horse must be raised. After you have satisfied yourself in regard to the form of the animal, take cheap cotton cloth and sew over all parts of his body. Cover this with three coats of white paint, and sprinkle slightly with black. The eyes can be imitated by using the bottom of a small black glass bottle; the ears should be made of leather; the mouth and nostrils can be painted; make the mane and tail of flax or hemp. Insert the feet into a heavy plank, and decorate him with a showy military saddle and bridle. A triumphal arch, made in three parts, of wood, covered with green cambric, and decorated with flowers, will also be wanted.

Washington's costume consists of a black velvet continental coat, buff vest, white hose, shoes, knee and shoe buckles, white cravat, ruffled bosom, black chapeau, sash, epaulets, side arms, and white wig. The military are dressed in blue coats trimmed with buff, white pants, chapeau, cross and waist belts, swords and muskets; officers in as showy uniforms as can be procured. The ladies should be of various sizes, and costumed in white dress, red sash, and wreaths of myrtle on the head; each should hold a garland, bouquet, or small basket of flowers. Citizens' costume consists of black coat and breeches, light vest, chapeau, white hose, shoe and knee buckles; children in dark jackets, white pants, dark caps, with a wreath of evergreen worn over the shoulders. Washington is seated on his horse, the left hand grasping the reins and whip, while the right holds his chapeau. He leans forward slightly, and is looking to the ladies, who are strewing his path with flowers. His face is lighted with smiles of pleasure as he beholds the crowds of delighted people who are seen on every side. On each side of the horse, and in the foreground, the young ladies are placed. They are in kneeling positions, and extend their flowers towards Washington; their faces are turned upward, and are suffused with smiles. The military are placed on the extreme right and left of the stage, the head of each platoon commencing at the front of the stage, and extending into the background. As they recede in the distance they must have a higher position, so that every one will be seen. They should turn the head a trifle towards the audience, and present arms. The citizens, placed on raised platforms, take positions behind the horse. They hold their hats in the left hand, and look at Washington. The children stand in a line in the background of the picture. They must be placed on high platforms, so that they may be seen distinctly. They look straight forward, with the right hand placed at the side of the cap. The triumphal arch is to be erected directly over the head of Washington; it should not be very heavy, as it is necessary to have as much of the space occupied by the characters as is possible. The horse and arch must be first brought on the stage, then the military, next Washington, and the ladies, then the children and citizens will take their positions. All the light that can be produced in front, and facing Washington, must be used. The booming of cannon, ringing of bells, and the loud hurrah of the populace should be heard in the distance. "Hail Columbia" would be the appropriate music for the piano-forte or melodeon.

FAME.

Blow the trumpet, spread the wing, fling thy scroll upon the sky; Rouse the slumbering world, O Fame, and fill the sphere with echo.-- Beneath thy blast they wake, and murmurs come hoarsely on the wind, And flashing eyes and bristling hands proclaim they hear thy message: Rolling and surging as a sea, that upturned flood of faces Hasteneth with its million tongues to spread the wondrous tale.

TUPPER.

Three Female and Nine Male Figures.

This tableau is represented by twelve persons, three ladies and nine gentlemen. They are arranged and costumed in the following manner: Standing on a pedestal six feet high, in the centre of the stage, is a female who personates the Goddess of Fame. Her costume consists of a loose white dress, cut low at the top, hair done up neatly and encircled with a wreath of white flowers; at her side, on a small pedestal, is a plaster bust of Shakspeare, which the goddess is about crowning with a wreath of myrtle. At each side of the large pedestal are two others, which are two feet square and three feet high; on each of these stands a female figure, dressed in a loose white robe, cut low at the top, the hair flowing loosely over the shoulder, the head encircled with a wreath of white flowers. Each holds in the right hand a long, slender trumpet, which she is in the act of blowing; the trumpets are pointed horizontally to the right and left; they are three feet long, with a bell, five inches in diameter, at the end. These can be made of card-board, and covered with silver paper. In front of the highest pedestal there should be placed a platform six feet long, four feet wide, and one foot high. On this, a second platform, five feet long, two feet wide, and one foot high. Cover them with white cloth. Kneeling on the front of the large platform are four young men. The first one represents a sculptor. He kneels, facing the audience, and holds a mallet and chisel in his left hand. The second figure represents the mechanic, with his square and level. The third represents the musician, with his harp. The fourth personates the painter, with his pallet and brushes. Kneeling behind them, on the small platform, are three other figures. The first is the poet, with his roll of songs and pen; the second is the soldier, with his sword; and the third is the historian, with a volume of history and a pen. Behind these, and fronting the goddess, stands a figure who represents the orator. His costume consists of a suit of black. He holds a scroll in his left hand; his right raised in front; countenance expressing sternness; eyes slightly raised upwards. The soldier kneels between the poet and the historian; costume consists of a rich military dress; arms are folded across the breast, head turned slightly to the right, eyes cast upward, the face expressing firmness. The poet is costumed in a dark coat, light vest, knee breeches, white hose, low shoes, knee and shoe buckles, lace collar and wristbands. Position is facing the front corner of the stage. Eyes are fixed on the paper before him; face expresses pleasure. On the other side of the soldier kneels the historian. His costume, position, and expression of countenance, the same as the poet. The sculptor kneels on the low platform. He faces the corner of the stage, and casts his eyes upward. Costume consists of a dark coat, white vest, dark breeches, white hose, shoe and knee buckles, a low, flat cap set jantily on one side of the head, and a velvet cape thrown over the left shoulder. The painter kneels on the other end of the platform, and faces the right front corner of the stage. Costume, position, and expression, the same as the sculptor. Between these two, kneel the mechanic and musician. The former looks straight forward. Costume consists of dark coat, light vest, dark breeches and hose, low shoes, knee and shoe buckles. The musician takes a similar position, and holds a harp, on which he is about to play. His head is thrown back, and his eyes are raised upward. Costume consists of a dark coat and breeches, bright-colored vest, black hose, low shoes, knee and shoe buckles. Expression of the face, pleasant. The light must be of medium quantity, and come from the right hand side. Those lights near the front should be stronger than the others. Music soft and plaintive.

FAITH.

[SEE PLATE.]

High on the mountain's towering head, While darkness rules the sky, Faith stands, and through the stormy cloud Directs her anxious eye. Amidst the gloom, the welcome rays With cheering lustre shine, And open to her ardent gaze A world of bliss divine.

J. FIRIEZE.

Seven Female Figures.

This beautiful statuary tableau is represented in the following manner: Six females kneel in a circle, and support a circular shield three feet in diameter, on which stands a young lady who represents Faith. Her right hand grasps a cross; the left is raised, the forefinger pointing upward. The six ladies should be dressed in pure white robes, cut low at the top. The hair is encircled with a wreath of white flowers. No ornaments of any kind are to be worn. The hair can be arranged to suit the taste of the performers. Their positions are as follows: The two figures supporting the front of the shield will partially face each other, resting the right knee on the floor, and facing outward from the circle, both hands touching the shield above. Two other ladies form behind the right hand figures, in the same position, and two more form behind the left hand figures. They will all face outward, and support the shield with both hands. The eyes should be cast down, the expression of the face serene. It will be necessary, before the ladies take their position, to place the shield on a pedestal one foot square, and high enough to allow the figures to kneel beneath. Cover the pedestal and shield with white cloth. After the six figures have taken their positions, the figure of Faith should be assisted to her position on the top of the shield. She must be of good figure, small, regular features, and dark hair, which should be quite long. Her dress consists of a long, white robe, made to trail on the top of the shield, the waist encircled with a large white cord, with two white tassels attached; the hair brushed back from the head, clasped with a silver band, and allowed to flow loosely over the shoulders; the head is adorned with a small band of silver, one fourth of an inch wide, with a small silver cross, in the centre. She is to stand perfectly erect in the centre of the shield, the cross resting on the right shoulder; the eyes lifted, as in devotion; the expression of the face calm, and yet denoting firmness and energy; the light should be soft, and come from the front right hand corner of the stage; the figures who support the shield must be partially thrown in the shade, while Faith receives the most of the light. Music accompanying this piece should be of a sacred character.

SPIRIT OF RELIGION.

Religion should our thoughts engage Amidst our youthful bloom; 'Twill fit us for declining years, And for the approaching tomb.

ANON.

Six Female and Three Male Figures.