ACT II

Fife and drum heard playing YANKEE DOODLE, behind scenes. Auntie Temp discovered dusting the furniture.

Auntie Temp: Never seen nuthin' lak dem chilluns. Dat dere Clementina Diana she's jes' nuthin' but a no-'count shif'less niggah eber sence dem Linkum sojas come 'round heah. She found dat ole fife somewha's 'round an' she jes' blow on it all day long (_puffing in her excitement_); cain't get nuthin' else out'n her, an' Gawge Washington Augustus! (_laughing_) golly, he's jes' 's bad, he des poun' de old drum. O, deah, mighty queah times when niggahs jes' tinks dey's got nuthin' to do but stan' 'round and make jig music.

Mrs. Mortimer (_enters at right_): Aunt Temp, those children of yours can make pretty good music. I think we'll have to send them to that new Fisk University, just founded. (_Sits in rocking-chair at right-front._)

Auntie Temp: Lan' sakes alive, Miss' Em'line! what de wo'ld you-all do dat foh? Suah dem chilluns ain't done nuthin' foh to shet dem up in de what ye call it, tentiarity.

Mrs. Mortimer: O, Aunt Temp, I didn't say the _Penitentiary_. I said the _University_; that's where they educate the darkies, you know, and when they are natural musicians like your children, they teach them all the branches of music.

Auntie Temp: What! eddicate de niggahs! I hain't nevah seen no good come o' dat. I'll eddicate that Gawge Washington Augustus to saw wood, and Clementina Diana has jes' nachually _got_ to lea'n to make a hoe-cake 's good 's her mammy kin. I cain't see no use o' nuthin' else. Lan' sakes, I reckon what's good enough for dere ole niggah mammy 's good enough for dem two black niggahs. (_Placing arms akimbo and holding head up proudly._)

Mrs. Mortimer: But everything's changed now, you know, Aunt Temp: there aren't any slaves any more, and so we must teach you colored people to take care of yourselves.

Auntie Temp: Yes, I know, I yerd lots o' dat kin' o' talk jes' dese yere days, but I reckon I jes' stays right heah wif you-alls twell I dies.

Clementina (_running in from right_): O, mammy, did you-all heah de music?

Auntie Temp: Go 'long ye good-foh-nuthin' shif'less niggah; doan ye see de mist'ess?

Clementina (_turns and ducks her head and shoulders: a rude imitation of a curtsy_): O, 'scuse me Miss' Em'line. I was jes' plum' crazy ovah dat fife. Golly, but dat's fine!

Mrs. Mortimer: You can play as well as a man, Clementina: come here. (Mrs. Mortimer _takes_ Clementina's _hand and leads her to Lincoln's picture._) Do you know who this is?

Clementina (_looking very serious_): Suah I duz, Miss' Em'line; dis heah (_lays her hand on picture_) is de good Massa Linkum what said to all de people eve'ywha's, up in the Norf 'n' down in de Souf, dat dere shouldn't nevah no moah be any slaves anywha's. (_Joyfully and enthusiastically_): Golly, but I's glad he done libed.

Mrs. Mortimer (_bowing head sorrowfully and speaking slowly and softly_): Yes, indeed, we are all glad of that: and now you may go, Clementine.

Clementina (_comes down while_ Mrs. Mortimer _remains looking at picture._ Clementina, _when near right exit, turns and runs back to_ Mrs. Mortimer): O, I say, Miss' Em'line, de good Marsa Linkum done gone dead now, an' won't dey take us all back foh slaves ag'in?

Mrs. Mortimer (_coming down_): No, you poor child, don't be afraid, slavery is done with forever and forever. No one can ever undo the work of Abraham Lincoln.

Clementina: Golly! I's glad o' dat. Bress de Lawd foh Abraham Linkum. (_Dances a few steps and then exits at right, running._)

Auntie Temp: She hain't got no sense Miss' Em'line, so you-all mus' jes' nachually fohgive her foh jes' fohgettin' 'bout what all dis yere wah cost you-all. (_Bowing head and speaking softly and sadly._) But I knows, I knows, Miss' Em'line, an' I's powe'ful sorry foh you-all. (_Exit at right, head still bowed._)

Mrs. Mortimer (_sits in rocking-chair at right-front_): Yes, the cost _has_ been great (_speaking slowly and weighing each word carefully_), O, how great! and our noble leader who said he now longed only to bind up the Nation's wounds has been taken from us. How will it be now, I wonder? They tell me the war is over. Lee has surrendered--but where, O where (_rises and walks up and down_) are my poor husband and our boy? It has been long since I have had a letter from either. Perhaps they have both died fighting for the cause in which each believed. Poor, misguided Albert! how could he ever have gone against the flag of his forefathers? (_Exit at left._)

George (_enters at right_): Dat air Clementina Diana's jes' too much for my institution. She dinks 'case Miss' Em'line told her she done play de fife's good as a man dat she's de bigges' pickanninny on dis yere plantation. But I'll show her she cain't come none o' her friskom-fa'i'cation ovah Gawge Washington Augustus. Dis yere niggah ain't no slave no moah, an' he's gwine show dat li'l' niggah gal what's what. (_Fife behind scenes._) Dah she's at it ag'in. (_Enter_ Clementina _at right, running and waving fife in air and shouting_, Hurrah!) What's de matta, you crazy niggah gal? Ye des done gone out o' yore senses (_runs to her and shakes her_).

Clementina: Git yore dwum, Gawge Washington 'Gustus, and come on wif me: de marsa's a-comin'!

George: O, go 'long wif yore crazy talk, de massa's done gone de'd befoh dis yere. Ye s'pose he lib an' not sen' a perscripshun to de mist'ess befoh dis yere? No, dem mis'able reb bullets get him foh dis yere. I knows. (_Pointing finger at her_): Go 'long wid ye now! (_Goes up stage._)

Clementina: Now, doan ye be so sma't, Gawge Washington 'Gustus; he's comin' foh suah--I seed 'im.

George (_comes down quickly_): Seed 'im? Ya mis'able good-foh-nuthin' lyin' niggah gal, how could ye seed 'im?

Clementina (_slowly and solemnly_): I seed a tramp comin' 'way obah de fields. I kin'a sca'd an' 'spishus. I tak Miss' Em'line's spy-glass and I looked and I seed 'twas marsa. (_Dances a few steps, singing_, "Marsa's come." _They both run out at right. Fife and drum is heard, playing_ YANKEE DOODLE _behind scenes._)

Mrs. Mortimer (_with_ Sally, _run in at left_): I was sure I heard Clem's voice singing, "Marsa come," but there's no one here. O, why did she do it? (_Drops into rocking-chair at left-front._ Sally _runs to her._) It was wicked of her to do a thing like that. And that dreadful tune! Sally Caroline, I think you'll have to go out and make them keep still. (_Music grows fainter._)

Sally: Never mind, mother dear, they are going away now. They'll soon be out of hearing. I'll see what they are about. (_Exits at right._)

Mrs. Mortimer: I never, never, want to hear that tune again. I shall always associate it with this bitter disappointment. O, I was so sure my poor husband had come. I wonder what made the child think of singing that? But, then, she is only a child; she cannot understand (_buries her face in handkerchief and sobs_).

Auntie Temp (_enters at left and goes to side of_ Mrs. Mortimer): O, now, Miss' Em'line! Doan, honey, doan do dat, pore soul. Yore ole mammy knows jes' how't feels--come, now, obah heah on de sofi, an' hab a good rest. (_Puts arms about her and leads her to sofa, putting pillow under her head, etc., while talking to her._) Dere, dere, honey, doan ye feel bad any moah. We-all tak de bes' caah of ye an' make ye des's happy as we kin. Des tink, Miss' Em'line, dere's Miss Sally Car'line, de lubliest angel anybuddy eber seed; she done tak des de bes' caah of ye, so des chirk up, chirk up, Miss' Em'line. Come, now, honey, tu'n obah an' go a-sleep, yore ole mammy covah ye up.

Mrs. Mortimer: And, Auntie Temp, don't ever let those children play Yankee Doodle around the house again.

Auntie Temp: Dat I won't, honey, I'll go this minnit an' see 'bout it. (_Comes down stage._ Sally _enters at right. They meet at right-front._)

Sally (_in excited undertone_): Auntie Temp, what do you think? (_Catches her by the arm and dances and jumps around in glee._) Father is coming across the field from the west! Your children have gone to meet him. And as I was looking around, I saw another figure coming slowly from the south. I took the glass, which was lying on the porch, and it is Albert!

Auntie Temp (_excitedly_): Laws honey, ye doan mean it?

Sally: Hush! I am afraid the excitement will be too much for mother. O, what shall we do? They may come rushing in any minute. (_Fife and drum heard._ Mrs. Mortimer _groans._)

Auntie Temp: See to yore pore ma, Miss Sally Car'line, I got ter make dem niggahs shet up. (_Exit at right. Music ceases in a moment._)

Mrs. Mortimer (_sitting up_): O, good Auntie Temp! What a comfort she is to me; she promised to make those children stop that tune and she has done it. (_Sighs._)

Sally (_kneeling beside her_): But, mother dear, wouldn't you like to hear the fife and drum playing Yankee Doodle if it was played for joy?

Mrs. Mortimer (_jumping up_): For joy? What can you mean, Sally Caroline?

Sally (_rising and throwing arms about_ Mrs. Mortimer): Don't get excited. It means, dearest mother, that you are to be happy again.

Mrs. Mortimer: O, Sally Caroline, don't deceive me! Do you mean----

Sally (_interrupting_): Yes, yes, it means that they (_leads her slowly toward right exit_) are both coming across the fields: one from the west and one from the south, and, even now, they may be in the door-yard. (Mrs. Mortimer _hurries._) There, there, dear, do not overtax your strength. Remember, too, they are much changed, and you mustn't give 'way when you meet them. (_Exeunt at right._)

Clementina (_enters at right, waving fife, followed by_ George, _carrying drum_): Golly, wa'n't that fine? Seems lak I cu'd jes' dance mah feet off.

George: Well, ye jes' keep still, ye good-foh-nuthin' niggah gal. Nebah seed sich a crazy gal nowahs, Dere, dey's comin' now, ye better go hide.

(Clementina _runs up and stands behind Lincoln's portrait so that only her face is visible._ Mrs. Mortimer, Mr. Mortimer _and_ Albert _enter at right._ Mrs. Mortimer _is between the two and their arms are linked._ Sally _follows closely behind, and_ Auntie Temp, _who is behind the others, goes to_ George _and stands beside him._)

Mrs. Mortimer: It seems too good to be true that I have _both_ my dear ones at home again.

Albert (_breaks away from his mother and runs to Lincoln's portrait, laying his hand upon it_): And, mother, I am cured of my folly. I have seen him, and I am glad the old flag was victorious.

All (_excitedly_): Have _seen_ him?

Sally: O, tell us about him!

Albert (_coming down_): [J]It was at Richmond. I had been taken prisoner with two other young fellows. We were shut up in an old store. The President came there with some of his friends and just a few of his sailors. He passed the store and saw us staring from the window. O, the look that came over his face I can never describe, as he called out: "Break in that door and let those boys go home to their mothers." In a second we were free.

[J] This incident is purely fictitious and is given only as what might have happened, being quite in keeping with Lincoln's character.

Auntie Temp: De Lawd bress him!

Albert: And, mother, when I stood face to face with him I saw that not half had been told me of his goodness and his greatness. And when I heard of his death a day or two ago, as I was begging my way across the country, to get home, I wept like a child. I knew then, as others will know later, that this was the end of life for the greatest American this country ever had.

Auntie Temp: De Lawd save us! I's mighty scar'd o' what 'comes of us pore niggahs now.

Sally (_going to_ Auntie Temp _and putting hand on her shoulder_): You have nothing to fear from this time forth, Auntie Temp. Although Abraham Lincoln is dead, his _spirit_ will live _forever_ in the land.

Albert (_comes to front-center_): Yes, and he has taught the American Nation, in his own immortal words, "that government of the people, by the people, for the people, shall not perish from the earth."

Curtain

SUGGESTIVE PROGRAM

RECOMMENDED BY THE NEW YORK DEPARTMENT OF PUBLIC INSTRUCTION

1. Salute to the Flag SCHOOL

At a signal from the principal the pupils in ordered ranks, hands to the side, face the flag. At another signal every pupil gives the flag the military salute as follows: The right hand lifted, palm downward, the forefinger touching the forehead above the eye. Standing thus all repeat slowly: "I pledge allegiance to my flag and the republic for which it stands, one nation, indivisible, with liberty and justice for all." At the words "to my flag," the right hand is extended gracefully, palm upward towards the flag, and remains in this gesture till the end of the affirmation, whereupon all hands immediately drop to the side. Where a silent salute is given, the flag is borne between the standing lines or in front of a single line, and the hands remain at salute until the flag-bearer reaches the center of the room, when, at a given signal, every hand is dropped.

2. Song--red, white and blue SCHOOL

3. Lincoln Day: Its observance a privilege for ourselves and a duty to the young people of the country READING

4. Declamation--Selected PUPIL

5. Song--star-spangled banner PUPIL OR SCHOOL

6. Quotations from the sayings of Abraham Lincoln and his eulogists BY PUPILS rising in their places and repeating.

7. Lincoln's Gettysburg Address PUPIL

8. Essay on Lincoln PUPIL

9. Song SCHOOL

10. Tableaux or Grouping representing some historical event in the life of Lincoln GROUP

11. Lincoln as a Model for the Youth of the Nation READING

12. Song--battle hymn of the republic SCHOOL

13. Brief Addresses by VISITING VETERANS and other invited guests.

14. Song--america SCHOOL AND VISITORS

DRILLS, PANTOMIMES, TABLEAUX

OLD GLORY

Marie Irish

A PRIMARY FLAG DRILL FOR FIVE LITTLE GIRLS AND FIVE LITTLE BOYS

Costumes: Each child carries a flag of fairly good size and wears a soldier cap. The caps are made of red, white and blue tissue paper and should be provided with an elastic cord that passes under the chin to hold them in place. Children also wear on each shoulder an epaulet, made of strips of cambric, an inch wide, one white, one red and one blue, sewed up in a cluster.

Music: A patriotic march.

Children enter in two files, the boys coming on at the right corner of front of stage and the girls at the left corner of front. The boys march up the right side, across back and down the left side of stage, while the girls at the same time pass up the left side, across back and down the right side of stage. On reaching the corners of front the two lines pass diagonally to center of back, first boy and first girl form a couple, each two on reaching center of back do the same, and the couples march down the center of stage to the front. During the opening march the flag is held in right hand, resting against right side, but on forming couples each couple raises flags and holds them high, staffs crossed. At the front the boys turn to right, girls to left, pass to corners of front, up sides and on reaching the back they form two lines across back of stage, girls on front line with boys back of them. Mark time, then march--five abreast--down to near-front of stage, where the lines halt, and as they do so they stand far enough apart to allow a person to pass between them. During this march the flags have been held again at right side, but now each one holds flag high. The boy nearest left of stage now leads the boys along the line of girls, going in front of the first one, back of the second, in front of the third, back of the fourth, etc. Boys return to places and halt, then girl nearest the right of stage leads the line of girls along the line of boys, going behind the first boy, in front of second, back of third, etc. The girls return to places and halt, then all hold flags with staff standing upright and resting on left shoulder. All speak:

In times of peace dear Old Glory doth wave O'er homes and schools in this land of the brave;

(_Hold flags out in front of bodies, staffs perpendicular._)

In times of trouble it stands for the Right, And says that Justice is greater than might;

(_Raise flags and wave them above heads._)

In times of battle, its colors so bright Lead on to Victory, though fierce be the fight.

With flags held at right sides the girls now pass up the right side of stage while boys pass up the left side. At center of back form couples, raise flags and cross staffs, march in couples down center of stage to front. At front the first couple halts, second couple goes to right of first and halts in line, third couple to left of first, fourth couple to right of second, fifth to left of third. If stage is large enough let them stand in straight line across front, otherwise they can stand in curved line. The children now speak, one at a time. Each one holds the flag in position at right side until he or she speaks.

First Child (holding flag extended, arm's length at right side):

One little flag says children must be true;

Second Child (holding staff of flag horizontal along left shoulder, flag hanging down lengthwise at left side; first child now holds flag in same way):

Two flags say that we must be honest, too.

Third Child (holding staff of flag diagonally across chest, flag on left shoulder; first and second children hold flags the same):

Three flags say boys and girls must upright live;

Fourth Child (staff of flag perpendicular and resting on left shoulder; first three hold flags the same):

Four flags say, "Be unselfish when you give".

Fifth Child (holding flag in left hand, extended at left side; first four hold flags the same):

Five flags teach us, "Let Justice be your song";

Sixth Child (holding flag same as No. 2, but on right shoulder; first five children holding flags the same):

Six flags say we must grow up brave and strong.

Seventh Child (holding flag as No. 3, but on right shoulder; first six the same):

Seven flags say, "Be loyal to the Right";

Eighth Child (holding flag as No. 4, but on right shoulder, while first seven hold flags the same):

Eight flags say, "Love your home with all your might".

Ninth Child (holding flag out in front of body, staff perpendicular; first eight hold flags the same):

Nine flags say, "Do not idle time away";

Tenth Child (raising flag and holding it a little to the right side of body; first nine hold flags the same):

Ten flags say we must study hard each day,

All (in concert, waving flags above heads):

So we may grow up wise, An honor to our land; Fit subjects of Old Glory, Our starry banner grand.

The center couple now marches down to center of front, couple to its right follows, couple to left of first comes next, the couple to right of second, and fifth couple last. All march, in couples, to corner of right of stage, up right side, across to center of back, down center of stage to front, across to left corner of front and off stage.

THE STAR-SPANGLED BANNER

Marie Irish

A FLAG SALUTE, MARCH AND DRILL FOR ELEVEN INTERMEDIATE GRADE CHILDREN

One boy carries a flag considerably larger than the other ten carry. This boy we will call the Color-bearer. This march may be given by eleven boys or by six boys and five girls.

Music: A patriotic march.

The children enter in single file at left corner of the line, then, if girls take part, a girl next, then a back of stage, Color-bearer with large flag leading boy, etc. File marches across back of stage, back again to left side, diagonally to right corner of front, back to left corner of back, down left side, across front of stage, back to left corner and up left side, thus:

Then from left corner of back pass to center of back, down center of stage to front, where Color-bearer turns to right, first girl to left, next boy to right, next girl to left, etc. Pass to corners of front, up sides of stage, across to center of back, where the Color-bearer remains standing, while the next boy and first girl form a couple, each two do the same, couples march down stage till first couple is near front. Halt, couples face each other, standing about three feet apart. The Color-bearer now passes down between the two lines and halts at front of stage, facing audience. The couple nearest back of stage now marches down between lines, goes to right and halts, next couple comes down and goes to left, etc., thus:

The file stands in curved line back of Color-bearer. Music changes to STAR-SPANGLED BANNER. The children in the line stand with flags held at right side, as during the march, till the music gets to "Oh! say, does the star-spangled banner still wave," when they raise flags and wave them slowly, till close of music. The piece is played through once and then music ceases, the Color-bearer raises his flag, holding it quite high. The others take flags in left hands and hold at left sides. When the large flag is raised they all say:

I pledge my head, (_touch head with right hand_) my heart, (_lay hand over heart_) and my hand, (_raise right hand_)

To loyally serve my native land; (_drop hand at side_)

I pledge my power, my honor, and my might (_step forward with right foot_)

To keep my country's name forever bright. (_Step back in line._)

I pledge the zeal and strength of this right hand (_raise right hand_)

To keep Old Glory floating o'er our land. (_Point to flag._)

The flags are now held in right hands, out in front of bodies:

A flag for the sailor, skimming the sea,

A flag for the soldier, guarding the lea,

A flag for the patriot, proud to be free,

A flag for YOU, (_flags extended to audience_) and a flag for ME! (_At this flags are laid lovingly across chests and held with both hands._)

Flags are now waved above heads and the line exclaims:

"America forever! (_flags held out at right_) one nation (_flags out at left_) one country, (_step forward and hold flags high, pointing toward audience_) one flag!"

Step back in line and hold flags at right sides while the chorus of COLUMBIA, THE GEM OF THE OCEAN, is played softly. At the conclusion of that the music changes to a march. The Color-bearer leads and the others fall in line back of him in the same order as on entering the stage at beginning, passing in single file to right corner of front, up right side, across back, half way down left side, then across stage. The last four children halt in line, the others pass up right side, across to center of back and down center of stage. The Color-bearer halts in center, the others take places and stand thus:

Nos. 8 and 9 face back of stage; 5, 6 and 7 face left; 10 and 11 face front; 2, 3 and 4 face right; then lines march once around, No. 1 (Color-bearer) standing as the pivot on which others turn. Keep lines perfectly straight while marching, those on outside going faster to preserve perfect movement. After rotating once, halt. Color-bearer raises flag high, others raise flags and repeat:

I pledge allegiance to my flag--the best in any land, And to the Republic for which this flag doth stand; One nation, indivisible, the pride of great and small, One flag, emblem of Liberty and Justice for us all.

Color-bearer then marches to front of line, in front of No. 2, leads to right of stage, all following in order, up to back, across to center of back, down to center, where lines form thus:

Lines march around, describing circle, those on outside a large one and others smaller, then Color-bearer takes position at back of stage, the others form two lines of five each, across stage. Color-bearer gives following orders, in sharp, quick tones:

Order, flag! Rest flag on floor at right side, holding with right hand.

Carry, flag! Raise flag and hold in right hand, staff nearly vertical, top resting against right shoulder, arm straight at side.

Present, flag! Move flag to center of body, top in front of face, grasp staff with left hand, also.

Left shoulder, flag! Flag placed on left shoulder.

Right shoulder, flag! Flag placed on right shoulder.

Carry, flag! As before.

Port, flag! Grasp staff a little below center, hold diagonally across chest, upper end resting on left shoulder.

Carry, flag! As before.

Parade, rest! Right foot six inches to rear, left knee slightly bent, rest flag staff on floor in front of center of body and grasp it at top with both hands.

Carry, flag! As before.

Surrender, flag! Lay flag on floor in front of body.

Recover, flag! Bend forward, pick up flag, hold it in front of body, staff horizontal.

Carry, flag! As before.

Fix, flag! Kneel on right knee and stand staff of flag upon left knee, staff vertical.

Triumph, flag! Stand, wave flag high above head.

Color-bearer now marches down center of stage to front, members fall in line back of him in same order as on entering at beginning. At right corner of front second boy steps up by first girl, third boy by second girl, etc. Form couples, Color-bearer marching alone at head. Pass up right side, across to center of back, down center of stage, across to left corner front, up left side and off stage.

CIVIL WAR DAUGHTERS

Marie Irish

MARCH, SONG AND DRILL FOR TWELVE GIRLS OF THE INTERMEDIATE OR GRAMMAR GRADES

Costumes: Four girls wear red dresses, four wear white and four blue. Each girl wears two streamers, about nine inches wide and a yard to a yard and a quarter long, depending on the size of the girl, pinned on left of chest, thus:

The girls in white wear one red and one blue streamer, those in red wear a blue and a white streamer, while those in blue wear a red and a white one. A bow in the hair, of the same colors as the streamers, is also pretty.

March and Song

Music: A march.

Girls enter at back of stage, in single file, reds first, then those in white and lastly the blues, one streamer held in each hand, arms hanging at full length at sides. March once around stage in a circle, then on reaching center of back come down center of stage to front, where first girl goes to right, second to left, etc., pass to corners of front, up sides, across to center of back, form couples and march down center of stage in couples.

At front first couple turns to right, second to left, third to right, etc., go to corners of front, up sides, across to back, form fours and march down center to front. As they reach the front in lines of four each, the three girls nearest the right of stage--a red, a white and a blue--pass to the right. As the girl in blue comes to front before turning, the next three--a red, a white and a blue--follow her. At the same time the three nearest the left of stage pass to left corner and the next three follow them. This makes two files of Red, White and Blue, one from either side, which pass to corners of front, up sides, then those passing up left side on reaching corner of back march in a diagonal line to right corner of front, while the others pass from right corner of back to left corner of front. As the lines cross at center of stage first girl from right goes in front of first girl from the left, then second girl from right in front of second girl from left, and so on. Each line crosses front of stage to opposite corner, those from the right corner keeping to the right of the other line as the files pass. March up sides of stage, then across to center of back, where the first three on the line that marched up right side form the first row, the first three on the line from the left side form the second row, second three from the right form the third row and the others the fourth row, and they march down center of stage three abreast, in the following order : B, W, R, leading; R, W, B; B, W, R; R, W, B. On reaching front of stage the three of first row pass toward left corner, second row passes toward right corner, next three follow the first row toward left and last row follows second row to right. They stand in curved line at front, thus:

Music now charges to COLUMBIA, THE GEM OF THE OCEAN and the girls sing the following verses. On opening line of each stanza girls bow low, and during chorus they all join hands, extending them to the front and swinging streamers from side to side.

Oh, we are the Civil War Daughters, With hearts that are loving and true; From Maine to Pacific's blue waters, We honor the soldiers in blue. We sing of their danger and suff'ring, We sing of their courage and might, When to save their flag from destruction, These boys stood so firm for the right.

_Chorus_: Three cheers for the soldier in blue, Three cheers for his loyalty true; Let us honor his name with ovation, And give to the soldier his due.

Oh, we are the Civil War Daughters, We sing of the March to the Sea; And we sing of Vicksburg's close quarters, Of Shiloh where blood flowed so free. Though years have gone by since that conflict, And the soldiers are passing away, We hold them in loving remembrance: True Blue--once partly loyal Gray.

_Chorus_: Three cheers for the soldier, etc.

March music is resumed, those nearest left of stage face left, the other six face the right of stage, lines march to right and left corners of front, up sides of stage, from corners of back in diagonal lines to center of front, where lines cross, first girl from the right going ahead of first girl from the left, second from the right goes ahead of second from left, etc. Pass to corners of front, up sides, stop in lines six abreast along sides of stage, those on left facing right of stage and vice versa. Mark time, then march six abreast to center, halt, couples facing each other.

Raise hands holding streamers high, fingers of each couple touching. Stand thus for several measures of music, then those of the right-hand line march to front, the other line standing until the last one of the right line reaches front of stage, when the first one of the left-hand line leads that line to front and they follow the first six, making a single file which passes to right corner of stage, up to center of right, whence the line marches thus:

Where they cross at center of stage No. 1 goes in front of No. 7, No. 2 in front of No. 8, etc. On returning to center of right side the file passes up to right corner of back, then across back of stage, forming in two lines of six each at center-back, march six abreast down to near-front and halt in lines for the drill.

Drill and Song

Grasp streamers where hands touch them when arms hang full length, raise hands holding streamers and place on center of breast.

A. Right hand out at side, arm's length, and back, four times.

B. Left hand out at side, and back, four times.

C. Both hands at sides, and back, four times.

D. Right hand upward and outward, arm's length, and back, four times.

E. Left hand, same movement, and back, four times.

F. Both hands up, forming V, and back, four times.

G. Right hand down at side, arm's length, and back, four times.

H. Left hand down at side, and back, four times.

I. Both hands down at sides, and back, four times.

J. Right hand straight out in front of body, and back, four times.

K. Left hand in front of body, and back, four times.

L. Both hands in front of body, and back, four times.

M. Both hands on hips, down at sides and back to hips, four times.

N. Raise right hand above right shoulder and hold left hand down and out from side till streamers are stretched tight, then lower the right hand and raise the left, reversing position of streamers, four times.

O. With hands at center of breast raise right hand straight up from shoulder and left down, arm's length at side, and back, four times, then left hand up above shoulder and right hand down, and back, four times.

P. Hands meet above head, arms curved, ends of streamers hanging back of head, and back, four times.

Q. All kneel on left knee, raise both hands up, arm's length, girls on first line touching hands together, back line the same, hold position for several measures, then rise and sing, to tune of YANKEE DOODLE:

We are the Civil War Daughters, We're brave as all creation; And though we've never been to war, We stand up for our nation.

While singing the chorus those of each line join hands, holding them just a little higher than shoulders, then step out with right foot and bring it back to place, once for each measure of music.

_Chorus_: Honor to the soldier's name! Sing the wond'rous story Of the splendid fight he made When led on by Old Glory. Our grandsires fought in that great war, Fathers, and uncles, too, sir, And that's the very reason why We love Red, White and Blue, sir.

_Chorus_: Honor to the soldier's name, etc.

At close of song the march music is resumed, those on front line pass to right corner, others follow, all pass up right side of stage, in single file. From right corner of back the leader takes file around stage in a large circle, then a smaller circle, etc., until smallest circle possible for girls to march around is reached, thus:

When all are in a circle at center of stage, they raise hands on inside of circle and point upward towards center, hands touching, holding streamers. March once around this way, then all turn and march in opposite direction, once around in circle, raising the outside hands, and holding streamers high. Then all turn and march in opposite direction once around circle, this time raising both hands up until fingers meet above head, lowering to side, raising again, etc. Then those in red march to left corner of front of stage, those in blue to right corner of front, while those in white come down center to front. Those in red pass across front to right corner as those in blue pass to left corner. Those in white wait at front of stage and as the reds and blues cross front two girls in white follow the reds, the other two follow the blues, the two lines pass up sides of stage and off at back.

THE BLUE AND THE GRAY ON THE RAPPAHANNOCK

Marie Irish

A DRILL AND MEDLEY FOR FROM TWENTY TO FORTY CHILDREN OF VARIOUS GRADES

Characters and Costumes: The part of Goddess of Liberty should be taken by a young lady with strong voice who recites well. She should dress in white, hair flowing, gilt crown, drapery of red-white-and-blue, and carry a flag. If desired this part may be taken by a boy dressed in patriotic costume to represent Uncle Sam. Or a good effect is obtained by having both take part, Liberty and Uncle Sam taking turns in reciting. If possible to obtain so many, have twelve little girls take part in the Call of the Flag march. These girls should be dressed in white with patriotic sashes or red-white-and-blue streamers on left shoulder, and all carry flags. The Response of the Soldier march is given by twelve boys of various sizes, wearing dark suits, one of whom carries a drum and the others carry guns. If desired some of the same boys may take part in this who take part in the Blue and Gray drill. The latter drill is given by at least sixteen boys, grammar grade, eight of whom dress in blue and eight in gray. One of the boys in blue carries a U. S. flag, and one of those in gray carries a Confederate flag; the rest carry guns.

To the strains of YANKEE DOODLE the Goddess of Liberty comes onto stage, marches down left side, from left corner front in a diagonal line to center of back, down to right corner front, up right side, across to center of back and halts. Music ceases and the little "flag girls" march in, half from each side of stage, half way between Liberty and front of stage. The files pass across stage and off at opposite sides, turn and march on again, meet at center of stage, form couples, first couple turns and passes off at right side, second couple at left side, etc., thus:

The flag is carried in right hand, arm hanging at side, flag resting against right shoulder. While this march is being given as silently as possible, Liberty recites in strong, clear voice and a great deal of feeling the following medley:

THE CALL OF THE FLAG

"Speed our Republic, O Father on high! Lead us in pathways of justice and right; Hail! three times hail to our country and flag! Girdle with virtue the armor of might."

"No refuge could save the hireling and slave, From the terror of flight or the gloom of the grave: And the star-spangled banner in triumph doth wave O'er the land of the free, and the home of the brave."

"'A song for our banner?' The watchword recall Which gave the Republic her station: 'United we stand--divided we fall'; It made and preserves us a nation."

"Up with our banner bright, Sprinkled with starry light, Spread its fair emblems from mountain to shore, While through the sounding sky Loud rings the Nation's cry-- UNION AND LIBERTY! ONE EVERMORE!"

The girls' march should be arranged to close about the time Liberty finishes speaking. One verse and chorus of MARCHING THROUGH GEORGIA is then played and as music ceases the small boys come on and march in the same way as the girls did, the drummer boy beating time softly, occasionally. While the boys march Liberty speaks:

THE RESPONSE OF THE SOLDIER

"War! war! _war!_ Heaven aid the right! God move the hero's arm in the fearful fight! God send the women sleep in the long, long night."

"Never or now! cries the blood of a nation, Poured on the turf where the red rose should bloom. Now is the day and the hour of salvation; Never or now! peals the trumpet of doom!"

"Lay down the axe, fling by the spade, Leave in its track the toiling plough; The rifle and the bayonet-blade For arms like yours are fitter now:

"And let the hands that ply the pen Quit the light task and learn to wield The horseman's crooked brand, and rein The charger on the battlefield."

"And how can a man die better Than facing fearful odds For the ashes of his fathers And the temple of his gods?"

As Liberty concludes the lines and the boys march off, one verse and chorus of COLUMBIA, THE GEM OF THE OCEAN, is played, then music changed to a patriotic march and the boys in Blue and Gray march on in two companies. Grays come on at front corner of right and Blues at front corner of left, march up sides of stage, across to near-center of back, down to front of stage, to corners, up sides and at corners of back second boy in each line steps up by first, fourth by third, etc., and form double files. March to near-center of stage, down center to front, up sides, and at corners of back each company forms fours, march half way down stage and halt in lines of four each, thus:

Liberty

G G G G B B B B G G G G B B B B

Music stops and Liberty recites:

THE CONTEST

1. "And there was mounting in hot haste; the steed, 2. The mustering squadron, and the clattering car, 3. Went pouring forward with impetuous speed, 4. And swiftly forming in the ranks of war." 5. "By torch and trumpet fast arrayed, 6. Each horseman drew his battle-blade, 7. And furious every charger neighed, 8. To join the dreadful revelry. 9. Then shook the hills with thunder riven, 10. Then rushed the steed to battle driven, 11. And louder than the bolts of heaven 12. Far flashed the red artillery." 13. "Hark! Hark ! there go the well-known crashing volleys, the long-continued roar 14. That swells and falls but never ceases wholly, until the fight is o'er. 15. Up toward the crystal gates of heaven ascending, the mortal tempests beat, 16. As if they sought to try their cause together, before God's very feet." 17. "Like the leaves of the forest when summer is green, That host with their banners at sunset were seen; Like the leaves of the forest when autumn hath blown, That host on the morrow lay wither'd and strown."

The above lines are recited rather rapidly until number 17 is reached, the last four being given slowly and sadly. When marching in the boys hold guns in right hand, arm full length at side, gun resting against right shoulder. While Liberty recites the boys go through following movements, corresponding to the numbers of the lines of the medley: 1. Salute, by raising left hand until the forefinger touches forehead above left eye, thumb and fingers extended, palm to right. Drop arm at side. 2. Lines of Grays face left of stage, and Blues face the right. 3 and 4. All mark time as if marching rapidly. 5. Rest butt of gun on floor, arms hanging naturally at sides, right hand holding the barrel between thumb and fingers. 6. Raise gun and move to position in front of body, barrel in front of face, hold with both hands, left above the right. 7. Hold gun diagonally across chest, barrel resting on left shoulder and butt against right thigh. 8. Blues take steady aim at Grays, and vice versa. 9. Arrange for some noise at side of stage to represent firing. 10 and 11. Blues kneel and aim at Grays, and vice versa. 12. More "booming" behind scenes. 13. Rise and each company retreats backward a step, holding guns at right sides. 14. Come forward toward center, quickly, and aim. 15. Rest guns. 16. Bring guns to position and mark time as if marching rapidly. 17. Each company faces front of stage, stack guns in lots of four each and then sit on floor in lines of four, facing front of stage. Music is resumed and JOHN BROWN'S BODY is played through once, then Liberty steps forward to front of stage and recites:

"The sun had sunk into the distant west; The cannon ceased to roar, which tell of rest-- Rest from the shedding of a nation's blood, Rest to lay their comrades 'neath the sod.

"'Twas early spring, and calm and still the night; The moon had risen casting silvery light; On either side of stream the armies lay Waiting for morn to renew the fray.

"The Rappahannock silently flowed on, Between the hills so fair to look upon; Whose dancing waters tingled with silvery light, Vied in their beauty with the starry night.

"But list! from northern hills there steal along The softest strains of music and of song----"

A good effect is obtained by turning off lights during the music of JOHN BROWN'S BODY so stage is dim during the speaking and the singing. As Liberty pauses the Boys in Blue sing a stanza of THE STAR-SPANGLED BANNER. When they finish, the Boys in Gray sing a stanza of DIXIE LAND. It is a good plan to have a chorus of voices behind the scenes help with the singing of both songs, to give more force to them. As last song is finished lights are turned on, Liberty resumes her place at back of stage, boys rise, leave guns, Boy in Gray leaves his Confederate flag, all march to near-front of stage and form across in two lines of eight each, thus:

G B G B G B G B B G B G B G B G

The little girls in white who carried flags now march in and stand in a row back of the boys, Liberty stands just back of the line of girls.

Liberty recites:

"The fiercest agonies have the shortest reign, And after dreams of horror comes again The welcome morning with its rays of peace."

The little girls recite in concert:

"Peace! and no longer from its brazen portals The blast of War's great organ shakes the skies! But beautiful as songs of the immortals The holy melodies of love arise."

All the boys recite together:

"The union of lakes, the union of lands, The union of States none can sever; The union of hearts, the union of hands, And the flag of our Union forever."

Liberty waves her flag, the girls with flags wave them above the heads of the Boys in Blue and Gray, each boy in blue joins right hand with a boy in gray, and everyone sings the first stanza of MY COUNTRY, 'TIS OF THEE. Colored light may be thrown upon the scene for a tableau and then the curtain dropped, or Liberty may come to front of stage, lead the boys (who follow in single file), and then the little girls last, once around the stage and then off.

PATRIOTIC SONG PANTOMIMES

Marie Irish

The Star-Spangled Banner

Hang back of stage with dark cloth, cover a box with dark material and to back or center of it fasten a large flag. Let the box stand four feet from wall so as to leave room to pass behind it.

If possible have ten girls of good size, ten small girls and ten boys take part, though this number may be reduced if necessary. All the girls dress in white with trimmings of red, white and blue and each carries a flag. As the music of STAR-SPANGLED BANNER begins the large girls march on in two lines, half coming from right and half from left. After them come the small girls, half from each side, all march and take places thus:

They stand motionless, with flags at right side until music reaches words, "Oh! say, does the star-spangled banner still wave," then all raise flags and wave them. As music of second stanza begins, the girls hold flags again at sides, and the boys march in, each one carrying an air-gun or rifle. They come on stage, half from right and half from left, marching slowly and carefully. As the boys get nearly to center of stage each girl quickly raises her flag, takes aim with it as though it were a gun, pointing it at line of boys. The boys stop as if in fear, then pass quickly from stage, those from the right going off at left, and those from left going off at right. Then as the music reaches the refrain, sing the words of third stanza instead of second, the boys helping behind scenes and all singing with spirit, "And the star-spangled banner in triumph shall wave, O'er the land of the free and the home of the brave," the girls waving their flags. A fine effect may be obtained by burning colored light[K] during the singing.

[K] The colored light referred to is what is known as Tableaux Light. It is put up in quarter-pound cans, each of one color, in Red, Green, Blue, Gold, and White. It may be had from the publishers of this book for per can, 30 cents; two for 55 cents; or four for $1.00; pre-paid.

America

Hang back of stage with dark cloth, also cover with dark material a box that stands at center of back of stage. On this box, as curtain is drawn, stands a young lady dressed as Columbia, wearing white gown, drapery of red, white and blue bunting, and gilt crown on head. She holds in one hand a large flag and in the other six streamers made of cambric: two white, two red, and two blue, three or four inches wide and nearly two yards long. On either side of Columbia stand three girls, dressed in white and wearing sashes of red, white and blue, tied in a bow at side. Columbia holds streamers by one end and each girl holds the end of one. They stand thus:

As music of second stanza is begun they kneel, taking position as marked by crosses in the diagram. As music of third stanza is begun the girls rise, raise hands holding streamers, point upward, and gaze reverently heavenward. All sing very softly the words of stanza, "Our fathers' God, to Thee, Author of liberty," etc.

Swanee Ribber

Have the words of the song sung by someone behind the scenes, the verse by one person and the chorus by a number of voices. Across the stage hang a curtain, leaving room in front for a person to walk. A young man, or tall boy, comes on stage with face blackened and wig of curled hair (made by sewing curled hair onto a circular piece of black cloth, then running a rubber cord around edge and drawing up to fit head[L]), wearing stiff hat, common dark suit and a large bright necktie. He stands in front of curtain at right of stage as the words are sung:

[L] These wigs may also be purchased, ready for use, from the publishers of this book.

"'Way down upon de Swanee ribber, Far, far away, Dere's wha' my heart is turning ebber, Dere's wha' de old folks stay."

With head bent, hands in pockets and a dejected manner he walks slowly across stage to left and back to center during the words:

"All up and down de whole creation Sadly I roam, Still longing for de old plantation And for de old folks at home."

He stands at center of front during singing of chorus:

"All de world am sad and dreary (_hands extended at sides, arm's length_) Eb'rywhere I roam; (_hands brought together in front of body_) Oh! darkies, how my heart grows weary (_right hand over heart_) Far from de old folks at home!" (_left hand in pocket, head bowed on right hand, sad, dejected attitude_)

At close of chorus the impersonator goes to right corner of front of stage and stands there during the second stanza. The curtain is now drawn, revealing two little darkey boys, scantily clothed, feet bare, and old hats on heads. They chase each other across back of stage during the words:

"All round de little farm I wandered When I was young, Den many happy days I squander'd, Many de songs I sung; When I was playing with my brudder Happy was I;"

A girl with face blackened, bright cap on head, calico dress, large apron, and bright kerchief around neck comes on stage and one little darkey boy stands on either side of her as the words are sung:

"Oh! take me to my kind old mudder, Dere let me live and die."

The mother and little boys stand at back of stage during chorus, the young man comes out to near-center and acts chorus as before, except at the words, "Far from de old folks at home!" he turns and extends both arms toward the group at back of stage.

As third stanza is begun the mother and boys pass off and a young colored lady, gaily and gaudily dressed in bright colors, with a large, "much-trimmed" hat, comes on and stands at back of stage. She gazes off to side of stage and a young man, dressed about like one who does the acting, comes on carrying a banjo. She goes to meet him, they walk back to center of back, she sits on a stump of wood (or something to give an outdoor effect), and he sits at her feet and pretends to play the banjo. During the singing of this stanza the impersonator stands as before, at side of stage, but as chorus begins he comes toward center of front and acts as during second singing of chorus. The mother and two boys come back on and stand, tableau effect, beside the girl and boy with the banjo.

The Blue and the Gray

Hang back of stage with black cloth and fasten on wall, staffs crossed, two good-sized flags. A few feet from the back, with about four feet aisle between them, arrange two graves by using small boxes covered with dark cloth for the mounds and nailing at the head of each a white board for a stone. If it is not desired to have the words sung they may be recited by someone at side of stage. A girl dressed as a woman, all in black, comes on slowly, passes across back of stage from left to right, down right side, up to aisle between two mounds and kneels beside one of them as the stanza is read:

"By the flow of the inland river, Whence the fleets of iron have fled, Where the blades of the grave-grass quiver, Asleep are the ranks of the dead; Under the sod and the dew, Waiting the judgment day; Under the one, the Blue, Under the other, the Gray."

She rises and from a small basket which she carries she places a bouquet on the mound by which she knelt, then turns and places one on the other mound as the words are read:

"From the silence of sorrowful hours, The desolate mourners go, Lovingly laden with flowers, Alike for the friend and the foe; Under the sod and the dew, Waiting the judgment day; Under the roses, the Blue, Under the lilies, the Gray."

As stanza is finished she passes to back and stands by flags. Six girls in white, each carrying a small basket of flowers, march on at left back, pass to center, then down aisle between mounds to front; three turn to each side, pass around and stand in two lines of three each, one line on outside of each mound, both lines facing center, while stanza is read:

"So, with an equal splendor, The morning sun-rays fall, With a touch impartially tender, On the blossoms blooming for all; Under the sod and the dew, Waiting the judgment day; Broidered with gold, the Blue, Mellowed with gold, the Gray."

As the next stanza is begun the girls cover the mounds with flowers, then march back up the aisle between mounds and stand three on each side of girl in black by flags, finally all marching off stage when stanza is finished:

"No more shall the war cry sever, Or the winding rivers be red; They banish our anger for ever When they laurel the graves of our dead. Under the sod and the dew, Waiting the judgment day; Love and tears for the Blue, Tears and love for the Gray."

--_Francis Miles Finch_

Auld Lang Syne

This should be given by two as small children as can act it nicely: a little girl with hair powdered, long dark dress, white kerchief and apron, small black lace cap and spectacles, and a boy with glasses, powdered hair, long trousers, coat fixed by sewing black "swallow tails" onto a short dark coat, a white cravat and a stiff hat. As song begins they sit at a small table on which are cups and saucers and a tea-pot of tea. The girl pours out a cup of tea for each during the words:

"Should auld acquaintance be forgot, And never brought to mind? Should auld acquaintance be forgot, And days of auld lang syne?"

Then as the chorus is sung the boy rises and bows low, then sits and they raise cups, clink them and each takes a drink:

"For auld lang syne, my dear, For auld lang syne; We'll tak' a cup o' kindness yet, For auld lang syne."

They lean forward and appear to be talking during the words of second verse:

"We twa ha'e run aboot the braes, And pu'd the gowans fine; But we've wandered mony a weary foot Sin' auld lang syne."

During singing of chorus second time the girl rises, makes a courtesy to boy, then sits and they drink as before.

They stand and shake hands during the stanza:

"And here's a hand, my trusty frien', And gi'e's a hand o' thine; We'll tak' a cup o' kindness yet, For auld lang syne."

During the chorus each turns to table, takes up cup, both bow, clink cups and drink.

Columbia, the Gem of the Ocean

Words are sung by a chorus of voices off stage. At center of stage have a pedestal--box covered with dark cloth will do--on which a girl dressed as Goddess of Liberty stands, holding a large flag. A number of girls in white, each with a small flag, come in and march in circle around Liberty as the words are sung:

"Oh, Columbia, the gem of the ocean, The home of the brave and the free, The shrine of each patriot's devotion, A world offers homage to thee."

Six boys march in and stand three on each side of Liberty, the line of girls standing back of the boys and waving flags during words:

"Thy mandates make heroes assemble, When Liberty's form stands in view; Thy banners make tyranny tremble, When borne by the red, white and blue."

During the chorus the boys stand in line in front of Liberty and the girls march around them, waving flags. Liberty waves flag also.

Half of the boys and half of the girls stand in lines on either side of Liberty and give salute to flag during the words[M]:

"'Old Glory,' to greet now come hither, With eyes full of love to the brim; May the wreaths of our heroes ne'er wither, Nor a star of their banner grow dim."

[M] The words in these four lines have been somewhat changed to fit the occasion.

Then during the rest of the third stanza and the chorus the boys stand at back of Liberty, three on either side, and the girls kneel in tableau effect in front of her.

Home, Sweet Home

At back of stage arrange a family group around a small table on which are some flowers and a lamp. The mother is sewing, father reading, a little girl playing with a dolly, and a boy working examples. All look happy and cosy. As curtain is drawn revealing the scene, the first stanza of HOME, SWEET HOME is sung, and a young man in soldier uniform, carrying a gun over shoulder, marches back and forth across front of stage as if on duty, looking sad and lonely.

(If desired, instead of a family group the scene may disclose an elderly lady with bible on her knee.)

TABLEAUX

Marie Irish

When I'm a Man

A little boy wearing a soldier cap, a blue coat much too large for him, a sword buckled at his side, a gun in one hand and a flag in the other, stands in center of stage. As colored light[N] is thrown on the stage he speaks:

"When I'm a man, a big, tall man, I'll be a soldier, brave and true, I will fight my country's battles, Led on by the Red, White and Blue."

[N] See footnote, p. 124.

The Soldier's Farewell

Little boy dressed as in preceding scene stands with a little girl who has on a long dress and hair done on top of head. She stands half turned away from the boy, who has a hand on her shoulder as if trying to comfort her. Her face is buried in her hands and she seems to weep as he recites:

"How can I bear to leave thee? It breaks my heart to grieve thee, But now, whate'er befalls me, I go where duty calls me."

The March of Civilization

A curtain is drawn, revealing at the back of a dimly-lighted stage an Indian tepee with several Indians standing near. A march is played and after several measures the others come onto stage. The line is led by boy dressed as Uncle Sam, who takes position at center of stage in front of tepee. On either side of him stands a soldier, and next to the soldiers stand sailors. The others arrange themselves in line, some on one side and some on other, some sitting on floor in front of line. One, with bible, dresses as minister, one as farmer with large straw hat and rake over shoulder. One as doctor, one as baker, one with tools as carpenter, etc. A girl dresses as nurse; another with gown and mortar-bored cap as a student; one has pen and scroll for writing; and another carries a typewriter, sits on floor with it in front of her and pretends to write on it. When all are in places colored light is thrown on scene and Uncle Sam recites:

"Onward, forward, with steady pace, Progress leads the American race; And 'neath her penetrating ray New wonders come to light each day."

Liberty

A colored boy, barefoot and scantily dressed in short trousers and colored shirt, with a white cloth around head for turban, stands fastened to a box with a chain. The box is covered with dark cloth and on it stands girl dressed as Liberty--long white robe, crown, a drapery of red, white and blue, and in her hand a flag. As light is turned on she looks sadly at boy, then waves her flag above him, and the chain which was lightly fastened drops to floor as boy gives it a pull. He looks at fallen chain, then sinks on knees and, raising hands, clasps them and gazes at Liberty as if asking help. Liberty waves flag above him.

Peace

On a dais at back of stage sits boy costumed as Uncle Sam, with a large flag. On one side of him stands Liberty, in white with drapery of red, white and blue, and gilt crown. On other side is Wisdom, wearing white dress with purple mantle fastened on right shoulder, bronze cap with plumes, sandals, and shield and spear by her side. To a side and a little in advance of Liberty stands Truth, all in white and carrying banner with "Truth" printed on it. By Wisdom stands Justice, in blue with scarlet mantle fastened on right shoulder and thrown back over left arm. In her right hand she holds a pair of scales and her left rests on a sword. Kneeling at right corner of dais is Ceres, the goddess of corn and harvests, dressed in yellow trimmed with grain, her left hand on sheaf of wheat, her right holding a horn of grain extended to Uncle Sam. Kneeling at left of dais is Pomona, the goddess of fruits, dressed in red trimmed with vines and clusters of grapes. She holds up to Uncle Sam a basket of fruit. As light is turned on a stanza of AMERICA is played.

Scenes from the Life of Lincoln

I. THE STUDENT

Arrange a fireplace by nailing up boards covered with dark cloth in this shape |----|, piling some wood under it, pouring on some wood alcohol, which is set on fire as curtain is drawn. Lying on the floor studying by light of fire is a tall, dark boy.

II. THE LABORER

A tall, dark boy in common work clothes, trousers rather short, stands with axe upraised ready to strike.

III. THE EMANCIPATOR

A tall, dark boy dressed in long black coat and rather ill-fitting clothes, dark hair rumpled and pushed back from forehead, sits writing as a rough-looking fellow with whip in one hand tries to pull a little boy, face blackened and poorly clothed, from his negro mother, who clings to child and weeps. A boy marches on stage, carrying large flag and recites:

"No slave beneath that starry flag, The emblem of the free! No fettered hand shall wield the brand That smites for liberty: No tramp of servile armies Shall shame Columbia's shore, For he who fights for freedom's rights Is free for evermore!"

--_George L. Taylor._ IV. THE PARDONER

Boy dressed as Lincoln stands in center of stage. By his side kneels a young lady, looking imploringly at him, hands raised and clasped. Lincoln shakes head sadly for "no." Girl bows head on hands and weeps. Lincoln goes hurriedly to desk, writes, gives her the paper. She kisses his hand, waves farewell and hurries from stage.

V. THE MARTYR

On an easel at center of stage have a picture of Lincoln, two large flags draped above it and smaller ones around it. On either side of picture stand girls dressed in white trimmed with red, white and blue bunting, each holding a flag. They repeat:

"He went about his work--such work as few Ever had laid on head and heart and hand-- As one who knows, where there's a task to do, Man's honest will must Heaven's good grace command.

"So he went forth to battle, on the side That he felt clear was Liberty's and Right's, As in his peasant boyhood he had plied His warfare with rude Nature's thwarting mights.

"So he grew up, a destined work to do, And lived to do it: four long-suffering years. Ill-fate, ill-feeling, ill-report lived through, And then he heard the hisses changed to cheers."

--_Tom Taylor._

SONGS, STORIES, FACTS

WHEN LINCOLN WAS A LITTLE BOY

Clara J. Denton

_Tune_: YANKEE DOODLE

When Lincoln was a little boy, So fond was he of reading, His book was with him at the plough Or in the garden weeding.

His home was in the woods and so He couldn't have much schooling. He had to work the live-long day, And had no time for fooling.

He understood the plough and hoe And with the ax was handy. He didn't care for dressing up, And never was a dandy.

For all the while his head was filled With plans for gaining knowledge. A first-class lawyer he became, Yet never went to college.

He borrowed books from far and near, From every kindly neighbor, And studied them most faithfully When resting from his labor.

_Chorus_: Keep on working, working on, Daily knowledge claiming, And you at last will reach the heights At which you are aiming.

THE DAY WE CELEBRATE

Clara J. Denton

_Tune_: WORK, FOR THE NIGHT IS COMING[O]

The day that gave us Lincoln Is one we all love well; The day which now we honor More than we can tell. O little old log cabin, Afar in forest wild, We love your roof that sheltered This most wondrous child.

And while we sing his praises We'll try like him to be: All upright, true and noble, From self-seeking free. And we will yet remember, However poor our state, There still is a chance, like Lincoln, To grow good and great.

This day we will remember In loyal love and joy; For time or change can never Faith in him destroy. Yes, wreathe this day with flowers Forever in our thought; It gave the world a hero And sweet freedom brought.

[O] Music for this may be found in Golden Glees song book, by S. C. Hanson. Price, thirty-five cents, postpaid.

LINCOLN SONG

_Tune_: TENTING ON THE OLD CAMP GROUND

We are thinking today of a loved one lost, Lincoln, the true, the brave; Of the strong one who came, when tempest tossed, Our nation's bark to save.

_Chorus_:

Many are the hearts that are mourning today, Mourning for the brave laid low; Many are the eyes looking up to say, Oh, why must this be so! Help us to say, humbly we pray, Father, may Thy will be done!

We are thinking today how he led us on, Just as the Lord led him, To the glorious victory well-nigh won; And our eyes with tears grow dim.

_Chorus_: Many are the hearts, etc.

We are weeping today, but the hour will come, Come when we all shall see Why the will of the Lord hath called him Home, No more with us to be.

_Chorus_: Many are the hearts, etc.

THE NAME WE SING

Clara J. Denton

_Tune_: AMERICA

Of Lincoln now we sing, Loud let the welkin ring, The sound prolong. He broke the bondsman's thrall And freedom brought to all, His mighty blows let fall The shackles strong.

This man of pure intent, Whose every thought was bent Sweet peace to bring. O eyes so keen of view, O mighty heart so true, O soul with courage new, Of thee we sing.

So long as human speech O'er this broad land shall reach From shore to shore, Here will his noble name Its high place always claim Unequaled in its fame Forever more.

HIS NAME

Clara J. Denton

_Tune_: MARCHING THROUGH GEORGIA

In old Kentucky's wilds in a cabin that we know, Before this day of days just one hundred years ago, A blue-eyed baby came to this world of strife and woe, And plain "Abraham" they called him.

_Chorus_:

O yes, O yes, for truth will make you free, O yes, O yes, sweet truth gives liberty. We'll sing this chorus over, and shout from sea to sea 'Tis now "Honest Abe" we honor.

But later on, because he the truth would always tell, Another name they gave him and it became him well; A name we'll always treasure, which none could buy or sell, And now "Honest Abe" we honor.

_Chorus_: O yes, O yes, etc.

And, now, if we could choose a great blessing for each youth, A something that would last till the end of life forsooth, We know we'd choose at once "Honest Abe's" great love for truth, And now "Honest Abe" we honor.

_Chorus_: O yes, O yes, etc.

To be the President is indeed an honor great, And most nobly did he bear his duty's heavy weight, But the name that first he won was more than royal state, And now "Honest Abe" we honor.

_Chorus_: O yes, O yes, etc.

A SONG OF REJOICING

Clara J. Denton

_Tune_: THE BATTLE CRY OF FREEDOM

We are children of one flag, friends, yes, of the colors three, And proudly we're singing of Lincoln. He it was who kept this country all safe for you and me, And proudly we're singing of Lincoln.

_Chorus_: The old flag forever, hurrah! friends, hurrah! "To Lincoln we owe it" Shout from afar, While we rally 'round the flag, friends, Rally once again, Still proudly we're singing of Lincoln.

And today we'll not forget while our flag is waving high, And gladly we're singing of Lincoln, All the soldier boys that fought and for us did bravely die. Still gladly we're singing of Lincoln.

_Chorus_: The old flag forever, etc.

Yes, the country that he saved we will honor ever more, While loudly we're singing of Lincoln. And the dear old flag shall wave still on high from shore to shore, While loudly we're singing of Lincoln.

_Chorus_: The old flag forever, etc.

Since for Freedom did he live, and for Freedom did he die, Now proudly we're singing of Lincoln. We will strive like him to keep all our standards pure and high, While proudly we're singing of Lincoln.

_Chorus_: The old flag forever, etc.

LINCOLN DEAR

Laura R. Smith Clarence L. Riege

[MUSIC]

_Lively_

1. Wave the bonnie banners high, O Lincoln dear! A host of children passing by, Lincoln dear, Will sing to you their sweetest song, As they now proudly march along, For laurels unto you belong, O Lincoln dear,

2. Bonnie flags shall crown you now, O Lincoln dear, We place them by your noble brow, O Lincoln dear; And fairer far than monument, The love from our young march hearts is sent, You were our honored President, O Lincoln dear.

Chorus:

Wave the banners high, The Red, the White, the Blue, Wave the banners high, To Lincoln dear we're true. O wave the bonnie banners, How proudly they all sway, We wave the Red, the White, the Blue, For Lincoln dear today.

LINCOLN'S BIRTHDAY

Laura R. Smith F. F. Churchill & Mrs. Clara Grindell

[MUSIC]

1. O dear Lincoln, we are singing Of your noble deeds to-day; Ever fond will be your mem'ry; In our hearts you hold full sway. Your last battle now is ended, Your last victo-ry is o'er, But your dear name we will honor, And sing praises evermore.

2. O dear Lincoin, we are bringing Choicest flow'rs that ever grew; And we wave our royal banner, Flag of red and white and blue. Farewell, Lincoln, we are singing, Sweet indeed may be your rest; And you in our glorious country, Take a place with he-roes blest.

Chorus:

Farewell, Lincoln, we are trying To be, like you, true and brave, For we can but truly honor One who freedom to all gave.

THE SUNNY SOUTHLAND

Laura R. Smith Clarence L. Riege

[MUSIC]

_Allegretto_

1. 'Way down in the sunny Southland Lives the little black boy, you know; His mother sings a lullaby, To the tune of the old banjo....

2. 'Way down in the sun-ny Southland, Where the sky is so bright and blue, The black boy on the banjo strings Likes to play the same tune to you....

3. 'Way down in the sunny Southland You will hear this sweet lullaby, The wee black boy must go to sleep, For the Sandman is passing by....

Chorus:

Plunkety plunk, Plunkety plunk, Down in the cottonfield we go; Plunkety plunk, plunkety plunk, Plunkety plunk, plunk-plunk, banjo.

WHY DUMMY CLOCKS MARK 8:18

There are few who have not seen the ordinary sign of a jeweler, an immense imitation of a watch hanging over the front of the store. But it is safe to say that the number who have ever detected anything curious in these same signs is small. At 8:18 p. m., April 14, 1865, Abraham Lincoln was assassinated in Ford's Theatre at Washington by John Wilkes Booth. Since that fatal night every one of these watch-signs that has gone from the factory of the only man who makes them has shown the hour of 8:18. The man who makes them said: "I was working on a sign for Jeweler Adams, who kept a store on Broadway across the street from Stewart's. He came running in while I was at work and told me the news. 'Paint those hands at the hour Lincoln was shot, that the deed may never be forgotten,' he said. I did so. Since then every watch-sign that has gone out of here has been lettered the same as that one."

--_Journal of Education_

LINCOLN'S TENDERNESS

When Lincoln was on his way to the National Cemetery at Gettysburg, an old gentleman told him that his only son fell on Little Round Top at Gettysburg and he was going to look at the spot.

Mr. Lincoln replied: "You have been called on to make a terrible sacrifice for the Union, and a visit to that spot, I fear, will open your wounds afresh.

"But, oh, my dear sir, if we had reached the end of such sacrifices, and had nothing left for us to do but to place garlands on the graves of those who have already fallen, we could give thanks even amidst our tears; but when I think of the sacrifices of life yet to be offered, and the hearts and homes yet to be made desolate before this dreadful war is over, my heart is like lead within me, and I feel at times like hiding in deep darkness."

At one of the stopping places of the train a beautiful little girl, having a bunch of rosebuds in her hand, was held up to an open window of the President's car, lisping, "Flowerth for the Prethident." The President stepped to the window, took the rosebuds, bent down and kissed the child, saying: "You are a sweet little rosebud yourself! I hope your life will open into perpetual beauty and goodness."

GRANTING A PARDON

This story, probably better than any other, illustrates the noble and sublime qualities of our great Lincoln. It is a forceful illustration of his justice--justice tempered with mercy.

"Well, my child," he said, in his pleasant, cheerful tone, "what do you want so bright and early in the morning?"

"Bennie's life, please," faltered Blossom.

"Bennie? Who is Bennie?"

My brother, sir. They are going to shoot him for sleeping at his post.

"Oh, yes;" and Mr. Lincoln ran his eye over the papers before him. "I remember. It was a fatal sleep. You see, child, it was a time of special danger. Thousands of lives might have been lost for his culpable negligence."

"So my father said," replied Blossom, gravely; "but poor Bennie was so tired and Jemmie so weak. He did the work of two, sir, and it was Jemmie's night, not his; but Jemmie was too tired, and Bennie never thought about himself, that he was tired, too."

"What is this you say, child? Come here; I do not understand," and the kind man caught eagerly, as ever, at what seemed to be a justification of an offense.

Blossom went to him; he put his hand tenderly on her shoulder and turned up the pale, anxious face toward his. How tall he seemed! and he was the President of the United States, too. But Blossom told her simple and straightforward story, and handed Mr. Lincoln Bennie's letter to read.

He read it carefully; then, taking up his pen, wrote a few hasty lines and rang his bell.

Blossom heard this order given: "Send this dispatch at once."

The President then turned to the girl and said: "Go home, my child, and tell that father of yours, who could approve his country's sentence even when it took the life of a child like that, that Abraham Lincoln thinks the life far too precious to be lost. Go back--or wait until tomorrow. Bennie will need a change after he has so bravely faced death; he shall go with you."

"God bless you, sir," said Blossom; and who shall doubt that God heard and registered the request?

Two days after this interview the young soldier came to the White House with his little sister. He was called into the President's private office and a strap fastened upon his shoulder. Mr. Lincoln then said: "The soldier that could carry a sick comrade's baggage and die for the act so uncomplainingly deserves well of his country." Then Bennie and Blossom took their way to their green mountain home. A crowd gathered at the Mill depot to welcome them back; and as Farmer Owen's hand grasped that of his boy, tears flowed down his cheeks, and he was heard to say fervently: "The Lord be praised!"

LINCOLN'S AUTOBIOGRAPHY

This is what Abraham Lincoln himself had to say of his own and his family history, in a letter to his friend, the Hon. Jesse W. Fell, of Bloomington, Ill., under date of December 20, 1859--the year preceding his election to the Presidency, and about the time his friends were beginning to think seriously of his nomination:

"I was born February 12, 1809, in Hardin County, Kentucky. My parents were both born in Virginia, of distinguished families--second families, perhaps I should say. My mother, who died in my tenth year, was of a family of the name of Hanks, some of whom now reside in Adams and others in Macon County, Illinois. My paternal grandfather, Abraham Lincoln, emigrated from Rockingham County, Virginia, to Kentucky, about 1781 or 1782, where, a year or two later, he was killed by Indians, not in battle, but by stealth, when he was laboring to open a farm in the forest. His ancestors, who were Quakers, went to Virginia from Berks County, Pennsylvania. An effort to identify them with the New England family of the same name ended in nothing more than a similarity of Christian names in both families, such as Enoch, Levi, Mordecai, Solomon, Abraham, and the like.

"My father, at the death of his father, was but six years of age, and he grew up literally without education. He removed from Kentucky to what is now Spencer County, Indiana, in my eighth year. We reached our new home about the time the State came into the Union (1816). It was a wild region, with many bears and other wild animals still in the woods. There I grew up. There were some schools, so-called, but no qualification was ever required of a teacher beyond 'reading, 'ritin', and 'cipherin' to the Rule of Three. If a straggler, supposed to understand Latin, happened to sojourn in the neighborhood he was looked upon as a wizard. There was absolutely nothing to excite ambition for education. Of course, when I came of age, I did not know much. Still, somehow, I could read, write, and cipher to the Rule of Three, but that was all. I have not been to school since. The little advance I now have upon this store of education I have picked up from time to time under the pressure of necessity.

"I was raised to farm-work, which I continued until I was twenty-two. At twenty-one I came to Illinois and passed the first year in Macon County. Then I got to New Salem, at that time in Sangamon, now in Menard County, where I remained a year as a sort of clerk in a store. Then came the Black Hawk War and I was elected a captain of volunteers--a success which gave me more pleasure than any I have had since. I went through the campaign, was elected, ran for the Legislature in the same year (1832), and was beaten--the only time I have ever been beaten by the people. The next, and three succeeding biennial elections, I was elected to the Legislature. I was not a candidate afterwards. During this legislative period I had studied law and removed to Springfield to practice it. In 1846 I was once elected to the lower House of Congress, but was not a candidate for reëlection. From 1849 to 1854, both inclusive, practiced law more assiduously than ever before. Always a Whig in politics, and generally on the Whig electoral ticket making active canvasses. I was losing interest in politics when the repeal of the Missouri Compromise aroused me again. What I have done since then is pretty well known.

"If any personal description of me is thought desirable it may be said I am, in height, six feet four inches, nearly; lean in flesh, weighing, on an average, one hundred and eighty pounds; dark complexion, with coarse black hair, and gray eyes. No other marks or brands recollected.

"Yours truly,

"A. Lincoln."

HOW THEY SANG THE "STAR SPANGLED BANNER" WHEN LINCOLN WAS INAUGURATED

Thomas Nast

I was in Washington a few days prior to the inauguration of Lincoln in 1861, having been sent by the Harpers to take sketches when that event should come off. I did nothing but walk around the city and feel the public pulse, so to speak. There was no necessity of saying anything to anybody. You intuitively recognized that trouble was brewing. Many people had sworn that Lincoln should not be inaugurated. Their utterances had fired the Northern heart, and the people loyal to the old flag were just as determined that the lawfully elected President should be inaugurated, though blood should flow in the attempt.

It was an awful time. People looked different then than they do now. Little knots of men could be seen conversing together in whispers on street corners, and even the whispers ceased when a person unknown to them approached. Everybody seemed to suspect everyone else. Women looked askance at each other, and children obliged to be out would scurry home as if frightened, probably having been given warning by the parents.

The streets at night, for several nights prior to the inaugural ceremonies, were practically deserted. There was a hush over everything. It seemed to me that the shadow of death was hovering near. I had constantly floating before my eyes sable plumes and trappings of woe. I could hear dirges constantly and thought for a while that I would have to leave the place or go crazy.

I knew that all these somber thoughts were but imagination, but I also knew that the something which had influenced my imagination was tangible--really existed.

The 4th of March came and Mr. Lincoln was inaugurated quietly and without ostentation. After the services were over and it became known that Mr. Lincoln had really been inducted into office there was a savage snarl went up from the disaffected ones.

The snarl was infectious.

It was answered by just as savage growls all over the city. But nothing was said. A single yell of defiance, a pistol-shot, or even an oath would have precipitated a conflict.

Men simply glared at each other and gnashed their teeth, but were careful not to grit them so it could be heard. I went to my room in the Willard and sat down to do some work. I couldn't work. The stillness was oppressive.

At least a dozen times I picked up my pencils, only to throw them down again. I got up and paced the floor nervously. I heard men on either side of me doing the same thing. Walking didn't relieve the severe mental strain. I sat down in my chair and pressed my head in my hands.

Suddenly I heard a window go up and someone step out on the balcony of the Ebbit House, directly opposite. Everybody in the hotel had heard him.

What is he going to do? I asked myself, and I suppose everyone else propounded the same mental interrogation.

We hadn't to wait long.

He began to sing the Star-Spangled Banner in a clear, strong voice.

The effect was magical, electrical. One window went up, and another, and heads popped out all over the neighborhood. People began to stir on the streets. A crowd soon gathered. The grand old song was taken up and sung by thousands.

The spell was broken, and when the song was finished tongues were loosened, and cheer after cheer rent the air.

The man rooming next to me rapped on my door and insisted that I should take a walk with him. As we passed along the corridors we were joined by others, men wild with joy, some of them weeping and throwing their arms around each other's neck.

Others were singing and all were happy.

Washington was itself again. The "Star-Spangled Banner" had saved it.

LINCOLN'S FAVORITE POEM

MORTALITY

(O WHY SHOULD THE SPIRIT OF MORTAL BE PROUD?)

"The evening of March 22, 1864," says F. B. Carpenter, "was a most interesting one to me. I was with the President alone in his office for several hours. Busy with pen and papers when I went in, he presently threw them aside and commenced talking to me of Shakespeare, of whom he was very fond. Little Tad, his son, coming in, he sent to the library for a copy of the plays, and then read to me several of his favorite passages. Relapsing into a sadder strain, he laid the book aside, and leaning back in his chair said:

"'There is a poem which has been a great favorite with me for years, which was first shown to me when a young man by a friend, and which I afterward saw and cut from a newspaper and learned by heart. I would,' he continued, 'give a great deal to know who wrote it,[P] but I have never been able to ascertain.' Then, half-closing his eyes, he repeated the verses to me as follows:"

[P] This poem was written by William Knox, a Scotchman.

O why should the spirit of mortal be proud? Like a fast-flitting meteor, a fast-flying cloud, A flash of the lightning, a break of the wave, He passes from life to his rest in the grave.

The leaves of the oak and the willow shall fade, Be scattered around, and together be laid; And the young and the old, and the low and the high, Shall moulder to dust, and together shall lie.

The child that a mother attended and loved, The mother that infant's affection that proved, The husband that mother and infant that blessed, Each, all, are away to their dwelling of rest.

The maid on whose cheek, on whose brow, in whose eye, Shone beauty and pleasure,--her triumphs are by; And the memory of those that beloved her and praised Are alike from the minds of the living erased.

The hand of the king that the scepter hath borne, The brow of the priest that the miter hath worn, The eye of the sage, and the heart of the brave, Are hidden and lost in the depths of the grave.

The peasant whose lot was to sow and to reap, The herdsman who climbed with his goats to the steep, The beggar that wandered in search of his bread, Have faded away like the grass that we tread.

The saint that enjoyed the communion of heaven, The sinner that dared to remain unforgiven, The wise and the foolish, the guilty and just, Have quietly mingled their bones in the dust.

So the multitude goes, like the flower and the weed That wither away to let others succeed; So the multitude comes, even those we behold, To repeat every tale that has often been told.

For we are the same that our fathers have been; We see the same sights that our fathers have seen,-- We drink the same stream, and we feel the same sun, And we run the same course that our fathers have run.

The thoughts we are thinking, our fathers would think; From the death we are shrinking from, they too would shrink; To the life we are clinging to, they too would cling; But it speeds from the earth like a bird on the wing.

They loved, but their story we cannot unfold; They scorned, but the heart of the haughty is cold; They grieved, but no wail from their slumbers will come; They enjoyed, but the voice of their gladness is dumb.

They died, ay! they died! and we things that are now, That walk on the turf that lies over their brow, Who make in their dwellings a transient abode, Meet the changes they met on their pilgrimage road.

Yea! hope and despondence, and pleasure and pain, Are mingled together in sunshine and rain; And the smile and the tear, and the song and the dirge, Still follow each other, like surge upon surge.

'Tis the wink of an eye, 'tis the draught of a breath, From the blossom of health to the paleness of death, From the gilded saloon to the bier and the shroud,-- O why should the spirit of mortal be proud?

THE GETTYSBURG ADDRESS

This address of Abraham Lincoln's was delivered at the dedication of the National Cemetery, Gettysburg, Pennsylvania, November 19, 1863. The great battles fought at Gettysburg, in July, 1863, made that spot historic ground. It was early perceived that the battles were critical, and they are now looked upon as the turning-point of the war of the Union. The ground where the fiercest conflict raged was taken for a national cemetery, and the dedication of the place was made an occasion of great solemnity. The orator of the day was Edward Everett, who was regarded as the most finished public speaker in the country. Mr. Everett made a long and eloquent address, and was followed by the President in a short and simple speech which deeply affected its hearers, and later the country, as a great speech. The impression created on the audience has deepened with time. Mr. Stanton's (Secretary of War in Lincoln's Cabinet) prophecy as to the lasting qualities of the President's address has materialized. He said: "Edward Everett has made a speech that will make many columns in the newspapers, and Mr. Lincoln's perhaps forty or fifty lines. Everett's is the speech of a scholar, polished to the last possibility. It is elegant and it is learned; but Lincoln's speech will be read by a thousand men where one reads Everett's, and will be remembered as long as anybody's speeches are remembered who speaks the English language."

Fourscore and seven years ago, our fathers brought forth on this continent a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure. We are met on a great battlefield of that war. We have come to dedicate a portion of that field as a final resting-place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this. But in a larger sense we cannot dedicate, we cannot consecrate, we cannot hallow this ground. The brave men, living and dead, who struggled here, have consecrated it far above our poor power to add or detract. The world will little note, nor long remember, what we say here, but it can never forget what they did here. It is for us, the living, rather to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us,--that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion,--that we here highly resolve that these dead shall not have died in vain,--that this nation, under God, shall have a new birth of freedom,--and that government of the people, by the people, for the people, shall not perish from the earth.

EVENTS IN THE LIFE OF ABRAHAM LINCOLN

A LIST OF IMPORTANT FACTS CHRONOLOGICALLY ARRANGED

1809 February 12. Born in a log-cabin in Hardin (now Larue) County, Kentucky.

1816 His father moves with his family into the wilderness near Gentryville, Ind.

1818 His mother (Nancy Hanks Lincoln) dies, at the age of 35.

1819 His father's second marriage, to Mrs. Sarah Johnston (Johnson), widow with three children.

1828 Makes a trip to New Orleans and back, at work on a flat-boat.

1830 February and March. Lincoln family remove to Macon (not Ma_s_on) County, Illinois; log-house, near Decatur, on the Sangamon River.

Abraham of age, works independently; makes 3,000 fence rails under contract.

1831 May. Makes another flat-boat trip to New Orleans and back, on which trip he first sees negroes shackled together in chains, and forms his opinions concerning slavery.

Begins work in a store at New Salem, Ill.

1832 Lincoln's first political address.

Enlists in the Black Hawk War; elected a captain of volunteers.

1833 Storekeeper, Postmaster, Surveyor, at New Salem.

1834 Elected to State Legislature.

1835 Death of Lincoln's betrothed, Miss Ann (or Anne) Rutledge, at New Salem. Lincoln deeply grieved.

1836 to 1842. Reëlected to the Legislature.

1837 Studies law in Springfield and forms law partnership with John T. Stuart.

1842 November 4. Marries Mary Todd.

1846 Elected to Congress.

1848 Declines reëlection to Congress.

1849 Returns to Springfield to widen his law practice. Engages in this until 1854.

1851 January 17. Thomas Lincoln (Abraham's father) dies in Coles County, Illinois.

1854 Lincoln's family now consisted of three sons (one had died in his infancy); his law practice remunerative.

1855 Debates with Douglas at Peoria and Springfield.

Elected to State Legislature; resigns to seek U. S. Senatorship, but defeated by Douglas, is reëlected.

1855} Aids in organizing Republican party. 1856}

1858 Joint debates in Illinois with Stephen A. Douglas.

1859 Makes political speeches in Ohio, Kansas, etc.

1860 February. Lincoln tours New England; visits New York, and speaks at Cooper Institute, being introduced by W. C. Bryant.

March 16-18. Chicago Republican Convention. Unanimously nominated for President; Hannibal Hamlin, Vice-President.

November 6. Elected President over J. C. Breckenridge, Stephen A. Douglas, and John Bell.

1861 March 4. Inaugurated President (the sixteenth).

April 15. Issues first order for troops to put down the Rebellion.

1862 February. President Lincoln's son Willie dies in the White House.

March. The President as acting Commander-in-chief overrules General McClellan and Council of War as to immediate forward movement.

July 2. Calls for 300,000 three-years troops.

August 4. Calls for 300,000 men, special, nine months.

1863 January 1. Issues the Emancipation Proclamation.

July 1-4. Victories for the Union armies. Battle of Gettysburg, Pa.; defeat for General Lee's Army. Vicksburg captured by General Grant. Lincoln thanks Grant for the capture.

September 17. Calls for 300,000 three-years troops.

November 19. His address at Gettysburg.

1864 February. Calls for 500,000 volunteers.

Renominated and reëlected President.

1865 March 4. Lincoln inaugurated, the second term.

April 14. The President assassinated by J. Wilkes Booth, at Washington. He dies the next morning.

May 4. Burial at Springfield, Ill.

* * * * *

Transcriber Note

The illustration provided at the end of The Internet Archive was assumed to be the cover for this volume and was moved before the frontispiece. For those songs displayed in scores, the verses were rejoined. All footnotes were placed as near their anchors as possible.