Chapter 7

A yellow fire must be burned in the ante-room, and so shaded that, just as the curtain rises, a small portion of the light will shine on the centre of it; this light should increase in brightness for a few seconds, when the sky in the background must open, and the goddess glide slowly down to the centre of the stage. As the platform moves, the fire should increase in brightness; when she has arrived at the centre of the stage, the yellow light should be thrown into the foreground, and a red light thrown into the background. This can be accomplished by placing the colored fires in large boxes furnished with sliding covers and reflectors; and by drawing out the covers gradually, the light will be thrown on to the picture in the proper manner. The curtain in the background can be opened by attaching at each corner, near the centre, a small cord, which can be passed through pulleys, and attended to in the ante-rooms. The curtain or scenery should be drawn up on the back side, and let down in its place as soon as the platform has passed through. A small rope, painted blue, must be attached to the platform, and pass through a block fastened to the wall of the stage; this can be tended by a person under the stage, who will allow the platform to move with exactness to its stopping place. If the light from the colored fire is not brilliant enough, a few of the lights at the same side from whence the fire is produced can be lighted. Music soft and plaintive at first, and increasing in power at the finale.

THE STATUE VASE.

She spoke to vanish, but the single ray Shot from the unseen moon, still palely breaketh The awe that rests with midnight on the way; Faithful as Hope when Wisdom's self forsaketh-- The buoyant beam the lonely man pursued-- And, feeling God, he felt not Solitude.

And now, he enters, with that lurid tide, Where time-long corals shape a mighty hall; Three curtain'd arches on the dexter side, And on the floors a ruby pedestal, On which with marble lips, that life-like smiled, Stood the fair Statue of a crownéd Child.

BULWER'S KING ARTHUR.

One Female Figure.

This design is a beautiful female, supporting a horn of plenty, from which rises a basket of intermingling vines and flowers. The lady is standing on a pedestal, which is described in the tableau of the Italian Flower Vase, as is also the basket which the lady supports. This basket or bowl of the vase can be suspended from the centre of the ceiling by the means of wire hooks. The pedestal must be placed directly under it. The space between the top of the pedestal and the bottom of the basket should be just the height of the lady who takes the part of the statue in the piece; so that when she is in position on the pedestal, the bottom of the basket will touch the top of her head. The horn of plenty can be made of cloth; it should be five inches in diameter at the top, three foot long, and end in a point at the bottom; it can be stuffed with wool, covered with green cambric, and decorated with artificial flowers. It is to be attached to the bottom of the basket, pass down over the lady's shoulder, and held in its position by the left arm and hand. The lady who takes this part should be of large and good figure, regular features, and quite pretty. The costume consists of a white dress, with sleeves five inches long, cut low at the neck, skirt made rather long, and worn without many underskirts; a scarf of gauze worn over the shoulders, and tied at the right side, allowing the ends to trail on the pedestal. The hair should be arranged in wide braids at the side of the face, confined at the back with a band of silver, and allowed to fall in short curls over the neck. The position of the lady is, standing in the centre of the pedestal, her body facing the audience, and head turned partially to the right. The eyes should be raised a trifle, while the expression of the face denotes tranquillity and repose. The left hand must gracefully press the horn of plenty against the side of the breast, while the right is raised above the head, and touches the basket as if to steady it. The light for this piece should be of medium brilliancy, and placed at the side opposite to the face of the statue. Music soft and of a secular order.

SPIRIT OF CHIVALRY.

Strike the loud harp, ye minstrel train! Pour forth your loftiest lays; Each heart shall echo to the strain Breathed in the warrior's praise.

Bid every string triumphant swell Th' inspiring sounds that heroes love so well. Chieftains, lead on! our hearts beat high-- For combat's glorious hour; Soon shall the red cross banners fly On Salem's loftiest tower! We burn to mingle with the strife, Where but to die insures eternal life.

MRS. HEMANS.

Nine Male and Five Female Figures.

This fine tableau represents the Spirit or personification of Chivalry, surrounded by men of various pursuits, religious, military, and civil, who represent, as by an upper court or house, the final acquisition of her honors and rewards. Beneath, as not having obtained, though within reach of, the crown, is a young knight who vows chivalric services, and is attended by his page and his young bride. Around him, in various attitudes, other figures are introduced, to connect the abstract representation of Chivalry with its general recognition of intellectual influences; among them, the Painter, the Sculptor, and Man of Science; the Palmer from the Holy Land, and the Poet-Historian, from whom future ages must derive their knowledge of the spirit and deeds of chivalry. The lady who personates the Spirit of Chivalry should be of good figure and features. Her costume consists of a loose white robe, cut high in the neck; a mantle of white tarleton muslin is draped about the shoulders, and fastened in front with a gilt cross; the hair is arranged in bands, falling low in the neck, and encircled with a small wreath of silver leaves or white flowers. In her left hand she holds a small wreath of evergreen, which she extends towards the young knight, who kneels at the foot of the pedestal on which she stands. Her position is, on a pedestal, three feet high by two feet square, which should be placed in the centre of the stage. Her body should be inclined slightly forward, and attention directed to the knight in the foreground; her countenance should express dignity and pleasure. At the back of the pedestal there should be a representation of an altar, consisting of a shaft two and one half feet wide by three feet in height, with a capital on the top one foot wide by three and one half feet long. This can be made of boards, showing a smooth surface, and nailed to the top of the pedestal. It can be papered or painted to represent panels and scrolls. Fourteen other figures are grouped around the pedestal, and as the arrangement of the piece is a trifle complicated, we will designate them in rotation, beginning at the foot of the pedestal. The figures, as they recede in the background, should be placed on small platforms, rising from one to three feet in height. By arranging the figures in this manner, a perfect view of each will be had by the audience. Figure one is a young lady; she kneels at the foot of the pedestal on which the Spirit stands. Costume is, a white dress, cut low at the waist, encircled with a satin sash; hair arranged in curls. Position is, sitting, the body facing the audience, head resting on the hand, and thrown back so as to touch the pedestal, and eyes directed to the face of a harper, who kneels in front of her; the countenance expresses surprise and admiration. Kneeling on the floor, nearly in front of figure one, is a young knight--we have almost a back view of him, the head turned just enough to get a partial profile view of the face; one hand clasps a sword, which he raises in front of the body; the other is lifted above the head, which is thrown back, with the eyes fixed on the Spirit. The armor can be conveniently composed by fastening strips and plates of bright tin to a suit of clothes made of black cambric. The belt, gloves, and boots can be gotten up in the same manner. This suit will cost but a trifle, and in the glare of the footlights will look finely. Figure three is the palmer. He kneels behind figure one. Costume consists of a dark robe, cowl made of black cloth, and face covered with a heavy beard. In his hands he holds a shepherd's crook. His eyes are directed to the harper. Figure four is a small girl, who stands behind figure three, and holds in both hands the helmet of the knight. Her costume consists of a white dress, with a pink sash; hair done up to suit the taste of the performer. Her position is, facing the audience, eyes fixed on the knight, expression of the face denoting pleasure. Two other ladies stand on a small platform, outside of the lady holding the helmet. Their costume consists of a white dress, black velvet waist, hair arranged in wide braids at the side of the face; one clasps her hands in front of her breast, and looks with earnestness at the knight; the other places an arm on the shoulder of her friend, and looks up into her face, her countenance beaming with smiles. Behind these three females, and standing on a platform two feet high, are two peasants. They are dressed in blue frocks, fastened around the waist with black belts, knee breeches of colored cloth, white hose, low shoes, knee and shoe buckles, white Kossuth hats, encircled with a gilt band; the face covered with long, light beards. Each holds a long staff, with a gilt crook at the top. Their position should be behind the altar, arms folded on the breast, head inclined forward, eyes cast down, and the expression of the face melancholy and sober. Opposite to the two figures last described, and standing on a platform at the other side of the altar, is a knight in full armor. He holds a large sword in front of his body, and is looking straight forward. His costume can be made in the same manner as that of the one described at the beginning of the tableau. On a low platform, at the side of the Spirit, stand a Sculptor and a Painter. Their position is, facing the knight, who is kneeling in the foreground. Their costume consists of white jackets, dark pants, and flat, white caps, worn jantily on the side of the head. The Painter holds his pallet and brushes, the Sculptor his mallet and chisel; their attention is directed to the figure of the kneeling knight. Standing on the floor, below the two figures just described, is the Poet-Historian. He faces the audience, and looks at the Harper in the foreground. He is dressed in dark clothes; a heavy white mantle is thrown over his shoulders, the ends trailing to the floor; on his head is placed a garland of green leaves. He holds in both hands a large book, which should be bound richly and opened in the centre. Kneeling on the floor at his feet, and facing the young knight, is the Harper. He holds in his left hand a harp, and touches the strings with his right. His costume consists of a coat made of Turkey cloth, trimmed with black binding four inches wide; black knee breeches, white hose, knee and shoe buckles, and red shoes. Over the left shoulder is carelessly thrown a short velvet cloak, and on the head is a black velvet cap, with a gold band and plume. His head is thrown back, eyes directed to the Spirit, while the countenance should appear to be inspired. Kneeling at the foot of the pedestal, between the first figure and the Harper, is the Troubadour, playing on a guitar; he faces the audience; his head is thrown back, and his eyes cast upward. Costume consists of a purple coat, trimmed with black binding, blue breeches, white hose, low shoes, knee and shoe buckles, belt containing a small dagger, about the waist. The harp can be made of wood, covered with gold paper, and strung with buff cord. The light for this piece should be produced at either side of the stage, and a small quantity at the front. The side light must be very powerful. The accompanying music should be of a brilliant order.

HAIDEE AND DON JUAN IN THE CAVE.

His eyes he opened, shut, again unclosed, For all was doubt and dizziness; he thought He still was in the boat, and had but dozed, And felt again with his despair o'erwrought, And wished it death in which he had reposed; And then once more his feelings back were brought, And slowly by his swimming eyes was seen A lovely female face of seventeen.

'Twas bending close o'er his, and the small mouth Seemed almost prying into his for breath; And, chafing him, the soft, warm hand of youth Recalled his answering spirits back from death; And, bathing his chill temples, tried to soothe Each pulse to animation, till beneath Its gentle touch and trembling care, a sigh To these kind efforts made a low reply.

BYRON.

One Male and Two Female Figures.

This pleasing tableau is taken from the poem of Don Juan, by Byron. The scene is that where Haidee discovers the insensible form of Juan lying at the mouth of the cave, near to the sea shore. Don Juan has been shipwrecked; his almost lifeless body has washed ashore, and found a resting place in a rocky cave, to be discovered by the beautiful Haidee and her attendant. The principal work in this piece is the forming of the cave, which can be made in the following manner: The floor of the cave should rise gradually from the front to the background; this can be accomplished by using boxes of various sizes, over which place brown cambric, with brown paper attached to it in a crumpled manner, so as to imitate ragged rocks, and when painted with light and brown colors, and ornamented with isinglass, will make a very good appearance. The floor of the cave should extend to within three feet of the front of the stage, and run back to the extreme background. The space between the footlights and the floor of the cave should be covered with blue cambric, painted to represent waves and surf. Directly behind the drop curtain there should be a representation of the roof and sides of the cave. Light frames, covered with brown paper, similar to the floor, and made very irregular at the edges, must be placed at each side of the stage, and at the top; these should be two feet wide, and of the height and width of the stage. Two other sets of frames should be made similar to the first, and placed at equal distances from the fore to the background. The first set must be three feet wide; the second set four feet wide. The background of the cave may also be covered with similar scenery. The idea of arranging the scenery in this manner is to give a deep appearance to the cave. Isinglass should be profusely sprinkled over the surface of the rocks, and a few sprigs of grass fastened to them will add to the effect. The fastening of the brown paper to the frames can be dispensed with if there is any person who can paint out the rocks on plain canvas. The one who personates Juan should be of slight figure, fine, regular features, hair black and curly, and small moustache. Costume consists of black pants, with buff or gold stripe at the side, white shirt, with blue collar, and gold star at the corners, black belt around the waist, white hose, low shoes, with buckles of silver. The shirt should be left open in the neck, so as to expose the bosom. A small wound can be imitated on the side of the head, made with red paint. Position is, reclining on the rocks in the foreground of the cave; the left side touches the rocks, the head thrown back, and face exposed to the view of the audience. The right hand grasps a small oar, while the left is stretched out at his side. The eyes are closed, the feet crossed, and resting in the water. Haidee and her friend are seen in the background. Both should be of small figure and good features. Haidee should be quite pretty, and costumed in a blue dress, black velvet waist, open in front, and laced across with blue ribbons; sleeves long and flowing; a small crimson apron, with bands of gold at the bottom; a black velvet belt around the waist, with a showy pin in the centre; bows of pink ribbon fastened with a small, showy pin at each shoulder; hair hanging in curls; hat made of velvet, trimmed with gold bands and white feathers, which should be placed jantily on the side of the head. Her position is, standing on the rocks in the back of the cave, one hand raised so as to shade her eyes, the other pointing to the body of Juan; the eyes are fixed on the body, while the countenance expresses surprise; the right foot must be placed twenty inches in front of the left, while the body is inclined forward. The figure back of Haidee has on a costume similar to that already described, but of less showy and expensive material. She is standing five or six feet from Haidee, and has her hands filled with shells, which she has gathered from the shore. She is intently engaged in looking at her shells, and has not yet seen Juan; her body is bent forward slightly, the expression of the face denoting curiosity and thought. The light for this piece should come from the front of the stage, and must be quite brilliant. If a melodeon is used as an accompaniment to the piece, it should be played to imitate the roaring of the ocean.

POVERTY.

The sun is bright and glad, but not for me; My heart is dead to all but pain and sorrow; No care nor hope have I in all I see, Save from the fear that I may starve to-morrow. Alas, for you, poor famishing, patient wife, And pale-faced little ones! Your feeble cries Torture my soul; worse than a blank is life Beggared of all that makes that life a prize: Yet one thing cheers me,--is not life the door To that rich world where no one can be poor?

TUPPER.

Three Female and Two Male Figures.

This tableau represents the interior of one of the homes of the starving poor, such as are found in all large towns, where vice and intemperance go hand in hand. To make the scene look as natural as possible, a partition should be made to fill up the back of the stage, covered with cheap room paper. Two old window sashes should be inserted in it, with the glass partially broken out, and filled up with old hats and articles of clothing. The furniture of the room consists of an old and broken table, a large chest, three or four old and broken chairs, a few pieces of broken crockery on the table, a black bottle, a candlestick, a bundle of straw, with a few ragged bed clothes, and a few cheap prints hanging from the wall. The table is placed at the back part of the room, and supports the crockery, bottle, and candlestick. The bed is at the left side of the room, and on it reclines a female dressed in dirty and ragged clothing; her hair hangs loosely over her shoulders; right hand supporting her head, and eyes directed to a group of children in the foreground of the picture; the face should be made as white as possible; a small quantity of dark paint about the eyes will give a haggard and sickly look to the features. On the opposite side of the room, seated on the old chest, is the woman's husband. He is dozing in a drunken slumber; his clothes hang about him in tatters; his hat is partially drawn down over his forehead, his matted hair protruding through a hole in the crown; face bloated, from the effects of liquor. By the use of water colors, the face can be made to assume the above description. His position is such that a partial front view is had of the body, the arms hanging carelessly at his side, feet crossed and stretched out on the floor. Seated at the table, and sewing by the light of the candle, is a young girl. She is dressed in dirty and ragged clothes; her hair is tied up in a rough manner; the body bent forward, and eyes cast down upon her work; her face should be made white; the eyes slightly shaded with dark paint, to give a haggard look to the features. In the centre of the room are grouped three small children; they are engaged in eating crusts of bread from a broken plate. Their costume may be varied, and of cheap material. The light for this piece should come from the side on which the man is sitting. The front of the scene must be quite light, while the background is thrown in shadow. Music of a mournful order.

DEATH OF MINNEHAHA.

O the long and dreary Winter! O the cold and cruel Winter! Ever thicker, thicker, thicker Froze the ice on lake and river, Ever deeper, deeper, deeper Fell the snow o'er all the landscape, Fell the covering snow, and drifted Through the forest, round the village. O the famine and the fever! O the wasting of the famine! O the blasting of the fever! O the wailing of the children! O the anguish of the women! "Give us food, or we must perish! Give me food for Minnehaha, For my dying Minnehaha!"

Through the far-resounding forest, Through the forest vast and vacant-- Rung that cry of desolation; But there came no other answer Than the echo of his crying, Than the echo of the woodlands, "Minnehaha! Minnehaha!" All day long roved Hiawatha In that melancholy forest, Through the shadow of whose thickets, In the pleasant days of Summer, Of that ne'er forgotten Summer, He had brought his young wife homeward From the land of the Dacotahs.

In the wigwam with Nokomis, With those gloomy guests, that watched her, With the Famine and the Fever, She was lying, the Belovéd, She the dying Minnehaha. "Hark!" she said; "I hear a rushing, Hear a roaring and a rushing, Hear the Falls of Minnehaha Calling to me from a distance!" "No, my child!" said old Nokomis, "'Tis the night wind in the pine trees!" "Look!" she said; "I see my father Standing lonely at his doorway, Beckoning to me from his wigwam In the land of the Dacotahs!" "No, my child," said old Nokomis; "'Tis the smoke, that waves and beckons!" "Ah!" she said, "the eyes of Pauguk Glare upon me in the darkness, I can feel his icy fingers Clasping mine amid the darkness! Hiawatha! Hiawatha!"

And the desolate Hiawatha, Far away amid the forest, Miles away among the mountains, Heard that sudden cry of anguish, Heard the voice of Minnehaha Calling to him in the darkness, "Hiawatha! Hiawatha!" Over snow-fields waste and pathless, Under snow-encumbered branches, Homeward hurried Hiawatha, Empty-handed, heavy-hearted;

And he rushed into the wigwam, Saw the old Nokomis slowly Rocking to and fro and moaning, Saw his lovely Minnehaha Lying dead and cold before him, And his bursting heart within him Uttered such a cry of anguish, That the forest moaned and shuddered, That the very stars in heaven Shook and trembled with his anguish.

LONGFELLOW.

One Male and Two Female Figures.