Part 2

_Dasher._ You are the star of my destiny; you are the prize for which I strive, you are the divinity of my adoration. Here on my knees—(_Falls on his knees_ L. _of_ EVA.) I swear nothing shall part us.

_Enter_ IDA, R., _hurriedly_.

_Ida._ O, quick, quick, Eva! I’ve got you such a partner! He’s all impatience. Quick! the music is just about to commence. I wouldn’t have you lose him for the world.

_Eva._ But Ida—

_Ida._ Don’t stop to talk. Come quick! quick! (_Drags her off_, R.)

_Mulligrub_ (_aside_). Ha, ha! Dip’s left on the brink again.

_Dasher_ (_jumping up_). Confound that girl! I’ve lost the chance. This comes of making a long story about a very short question. The precipice was a failure. I’ll go and pump the friend of the family. (_Exit_, C. MULLIGRUB _comes from screen_.)

_Mulligrub._ That can’t be Dip, after all. He’s after Eva. But he can’t have her. Thanks to his confidential assurance, I can send him over the precipice into the valley of disappointed hopes in short order.

_Enter_ KIDS, C.

_Kids._ Now weally, I saw Miss Ida enter this woom, positively saw her, and now she’s gone. Hallo! an intrudaw. Sir, I have not the honow of your acquaintance. This woom is the wesort, the westing-place of a bevy of divine goddesses. No masculine mortals are allowed to entaw here.

_Mulligrub._ Show! then you are not a masculine mortal, I take it.

_Kids._ Sir, you are impertinent. I am—I am a particular fwiend of the lady who is the lawful possessor of this wesort.

_Mulligrub_ (_aside_). Can this be Dip? (_Aloud._) Sir, I am a particular friend of the lady in question, being the brother of her husband’s brother.

_Kids._ Weally, the bwover of her husband’s bwover. Pon honow, that’s a sort of cwoss-eyed welation.

_Mulligrub._ What do you mean by that? Do you doubt my right to be here?

_Kids._ Hey? wight?—no, no. (_Aside._) He must be a witch welation. (_Aloud._) Do you know Mr. Mulligwub?

_Mulligrub._ Intimately.

_Kids._ I say, would it be a good inwestment to wun away with a membaw of his family?

_Mulligrub_ (_aside_). It must be Dip. Shall I mash him? No, no, the proof first. (_Aloud._) Splendid! Can I help you?

_Kids._ Well, I don’t know. He’s a wough specimen, and he so vulgaw. Sold fish in a handcart, too. I detest fish, it’s on such a low scale. Now isn’t that good? It’s owiginal, too. I don’t like the odaw. Dreadful low people, but then, there’s lots of money. Yaas, I think I will sacwafice myself.

_Mulligrub_ (_aside_). I’ll sacrifice you, you monkey. (_Aloud._) But tell me, who is the favored member of the family?

_Kids._ Hush! somebody’s coming. You must wetire.

_Mulligrub._ What, and lose the fun? No, I thank you.

_Kids._ You must, weally. The lady is coming. It would shock her delicate nerves were you to be pwesent at the interview. So go, that’s a dear fellah. (_Pushes him back_, C.)

_Mulligrub_ (_aside_). He calls me a good fellah. Shall I fell him on the spot? No, I’ll wait; vengeance can afford to wait.

_Kids._ Do wetire, and, when it’s all ovaw, I will call you. (_Pushes him back_, C.) Good fellah.

_Mulligrub._ You’ll call me when it’s all over. (_Aside._) I’ll be on hand while it’s going on.

[_Exit_, C.

_Kids._ There, the bwover of the husband’s bwover is excluded from the apartment of the wife of the bwover’s husband—no, that ain’t it, it’s the bwover’s wife’s husband—no, or—(_Mulligrub enters_, C., _and gets behind screen_.) Here she comes, lovely as a poppy, because she’s got a rich poppy. That’s good—owiginal, too.

_Enter_ IDA, R.

_Ida._ Here I am, Mr. Kids, to fulfill my promise.

_Kids._ Yaas, Miss Ida, like the bounding fawn that—that—weally, I forget what the bounding fawn was doing—O, weally, bounding, of course. That’s very good—isn’t it?—owiginal, too. But where was the bounding fawn bound? that’s the question.

_Ida._ I wish I could answer your question, but, not being versed in natural history, I am unable to say.

_Kids._ Weally. Well, never mind the fawn. Listen, O, listen! I’m a miserable wetch, I am.

_Ida._ Miserable? you?

_Kids_. Yaas, weally. I’m standing—I’m standing,—where am I standing?—O, on the bwink of a howid pwecipice.

_Mulligrub_ (_sticking his head above screen_). Hallo! another brink, another precipice, and—Ida, as I live.

_Ida._ La, Mr. Kids, what a dangerous position.

_Mulligrub_ (_aside_). Kids; then it’s not Dip, that’s certain.

_Kids._ O, dweadful, dweadful. But you can save me.

_Ida._ How, Mr. Kids?

_Kids._ That’s the ideah, Miss Ida; for when a fellah is on the bwink of such a pwecipice, as the pwecipice I am on the bwink of, the best way to save him is to push him ovaw.

_Ida._ Well, that’s certainly an original idea.

_Kids._ Yaas, it is an owiginal, idea—mine, too—I found it in my bwain, with the help of the diwectory. When a fellah’s on the bwink of matwimony, of course his safety and his happiness is secured by his being pushed into it. You see my ideah.

_Mulligrub_ (_aside_). Deuced clumsy one.

_Ida._ But how can I help you?

_Kids._ By pushing me ovaw. Miss Ida, you are bewitching, you are lovely, you are divine, and on my knees I ask you (_falls on his knees_ L. _of_ IDA) to give me a push.

_Mulligrub_ (_aside_). Confounded jackass.

_Ida._ But, Mr. Kids, I don’t understand. You’re so—so—(_Aside._) Where can Eva be? (_Aloud._) You say you are on the brink of a precipice.

_Kids._ Howid, howid; and if you consent to be—

_Enter_ EVA, R.

_Eva._ Quick, quick, Ida! mother’s fainted.

_Ida._ You don’t mean it?

_Eva._ Yes, yes, come quick! What are you waiting for?

_Ida._ But Mr. Kids is on the brink of a precipice.

_Eva._ Let him stay there. Come with me. (_Drags_ EVA _off_, R.)

_Mulligrub_ (_aside_). Won’t somebody be kind enough to remove that precipice?

_Kids_ (_rising_). Yaas, weally, that owiginal ideah will kill me, I know it will. I must go and bathe my head in Cologne, I must weally. Miss Ida didn’t push well; in fact, I don’t believe she’s fond of pushing fellah’s ovaw, I don’t, weally.

[_Exit_, C.

_Mulligrub_ (_comes from behind screen_). I don’t think that’s Dip—I don’t, weally. Egad! those girls of mine are determined not to be caught by chaff. I wonder if I can say as much for the old lady. I wish she would make her appearance. This must be the room. Ah, here she comes. Now for something interesting. (_Runs behind screen._)

_Enter_ MRS. MULLIGRUB, R.

_Mrs. M._ The fiddlers are tuning up for a waltz, and if Munseer Adonis is to keep his word now is the time. I wonder what Moses would say if he knew what I was about. But he can’t know. He’s safe at home, and there’s certainly no harm in obtaining a graceful _inquisition_ to my other accomplishments. (_Music, Beautiful Blue Danube, soft and low._) There they go. O, isn’t that splendid. (_Waltzes about stage in a very awkward manner._)

_Mulligrub_ (_with head above screen_). What’s the matter with Hannah? She’s bobbing about the room like a turkey with’s its head off.

_Enter_ MONSIEUR ADONIS, R.

_Mons. A._ _Charmant, charmant!_ (_Music stops._) Madam, you are ze ecstasy of motion. You have ze grace of ze antelope, and ze step of ze fairy.

_Mrs. M._ O, don’t! You have come—

_Mons. A._ Wiz ze “Boston Dip,” as I have promise.

_Mulligrub_ (_aside_). “Boston Dip.” That’s him—the scoundrel!

_Mrs. M._ O, I’m so nervous.

_Mulligrub_ (_aside_). You ought to be, you hypocrite.

_Mons. M._ Zar is not ze least occasion. We are here alone.

_Mulligrub_ (_aside_). Not quite, Dip, not quite.

_Mons. A._ No one will dare to enter here. Zar is none to look at you but I, and am I not discretion itself, madam?

_Mrs. M._ O, you are the soul of honor.

_Mulligrub_ (_aside_). Humbug!

_Mons. M._ Now, zar is no time to lose. Permit me. (_Takes her hand and leads her_ C.)

_Mulligrub_ (_aside_). Dip’s taking her hand. I shall choke!

_Mons. A._ Put your left hand in mine—so.

_Mulligrub_ (_aside_). She obeys him. Ah, faithless Hannah!

_Mons. A._ Zat is good. Do not tremble—zar is no danger.

_Mulligrub_ (_aside_). Don’t be so sure of that.

_Mons. A._ Now, my arm around your waist—so.

_Mulligrub_ (_aside_). O, perfidious Hannah!

_Mons. A._ Now let your head drop upon ze collar of my coat. Ah, zat is good, zat is exquisite.

_Mulligrub._ She presses his collar, and my cholar is rising. I shall choke with rage.

_Mons. M._ All right. Now, one, two, three, and off we go.

_Mulligrub_ (_pushing the screen over on to the floor. Discovered standing in a chair, with doubled fist_). Stop! (_Very loud._)

_Mrs. M._ Ah! (_Screams, and falls into_ MONSIEUR ADONIS’S _arms_.)

_Mons. A._ Sacre! Who calls so loud?

_Mulligrub._ An injured husband.

_Mrs. M._ (_jumping up_). O, it’s Moses!

_Mulligrub._ Yes, it is Moses! Moses the deluded; Moses the deceived; Moses the betrayed; Moses on the brink of a precipice.

_Mom. A._ Moses!—Who be Moses?

_Mrs. M._ My husband.

_Mons. A._ Monsieur Mulligrub! O, ze light break upon my head.

_Mulligrub_ (_jumping down_). Tremble, rascal! You’re discovered. Woman, begone! O, Hannah! can I believe my eyes. You—you make an appointment with such a miserable, contemptible, sneaking cur as that? But I’ll be revenged, rascal! (_Takes_ MONSIEUR ADONIS _by throat_.) Blaster of peaceful families (_shaking him_), I’ll have your life!

_Mons. A._ Help! help! I am choke all over too much! Help! help!

_Mrs. M._ O, Moses, spare him!

_Mulligrub._ Never! I’ll shake the life out of him. Rascal!

_Mons. A._ Help! somebody, quick!

_Mulligrub._ Scoundrel!

_Mons. A._ Help! help! He squeeze my windpipe all too much.

_Enter_, R., IDA _and_ EVA; C., DASHER _and_ KIDS.

_Eva._ Father here?

_Ida._ And fighting?

_Dasher._ What is the meaning of this?

_Kids._ Weally, a wow, a wiot, a wumpus!

_Mulligrub._ Meaning of it! Look at this miserable wretch!—this thing who answers to the name of “Boston Dip.”

_All._ “Boston Dip.”

_Mons. A._ Sar, you insult me. My name is Monsieur Achilles Adonis.

_Eva._ And “Boston Dip” is the name given to the latest movement of the waltz.

_Mulligrub._ What, not the name of an individual? Then, what is the meaning of that? (_Shows note._)

_Mons. A._ Zat is my note, monsieur.

_Mrs. M._ Yes, written by me to Monsieur Adonis, asking him to give me a private lesson here.

_Eva._ And father thought it a love affair? O, father!

_Ida._ A man with the name of “Boston Dip!” O, father!

_Dasher._ Friend of the family, you’ve made a mistake.

_Kids._ Yaas, dipped into the wong man. Now isn’t that good—owiginal, too.

_Mulligrub_ (_looks at each in a foolish manner, then takes_ MRS. MULLIGRUB _by the hand; leads her_ C., _and kneels_). Hannah, I’m on the brink of a frightful precipice. I’ve made a fool of myself. Forgive me, and let’s go home.

_Mrs. M._ I think you have, Moses.

_Dasher._ There’s not the least doubt of it.

_Kids._ Yaas, Moses into the bull-wushes! That’s good—weally owiginal, too.

_Mulligrub_ (_rising_). Monsieur Adonis, I beg your pardon for my rudeness. I will make amends, ample reparation. Greenbacks shall shower upon your classic academy. To you, gentlemen, I need make no apologies. You see the old man has “cut up,” and perhaps may be made to “shell out.” I don’t think my girls will be able to assist you on that precipice. With your permission, I will retire.

_Eva._ Don’t go, father. Stay and enjoy yourself.

_Ida._ And see us waltz. We have splendid partners.

_Mons. A._ Proficient in all ze elegancies of ze art.

_Mrs. M._ Moses, I’m ashamed of you. You’re really _proficient_ in the usages of fashionable _depravity_; but I’ll forgive you, and make you acquainted with my new flame, one which you so grievously mistook, my harmless pet, “The Boston Dip.” (_Music, Beautiful Blue Danube._ MR. MULLIGRUB _bows, and retires up_, C. _Waltz_, MONSIEUR ADONIS _and_ MRS. MULLIGRUB; DASHER _and_ EVA; KIDS _and_ IDA.)

CURTAIN.

SPENCER’S UNIVERSAL STAGE.

_A Collection of COMEDIES, DRAMAS, and FARCES, adapted to either Public or Private Performance. Containing a full description of all the necessary Stage Business._

_PRICE, 15 CENTS EACH._ ☞ _No Plays exchanged._

1. =Lost in London.= A Drama in Three Acts. 6 Male, 4 Female characters.

2. =Nicholas Flam.= A Comedy In Two Acts. By J.B. Buckstone. 5 Male, 3 Female characters.

3. =The Welsh Girl.= A Comedy in One Act. By Mrs. Planche. 3 Male, 2 Female characters.

4. =John Wopps.= A Farce in One Act. By W.E. Suter. 4 Male, 2 Female characters.

5. =The Turkish Bath.= A Farce in One Act. By Montague Williams and F.C. Burnand. 6 Male, 1 Female character.

6. =The Two Puddifoots.= A Farce in One Act. By J.M. Morton. 3 Male, 3 Female characters.

7. =Old Honesty.= A Comic Drama in Two Acts. By J.M. Morton. 5 Male, 2 Female characters.

8. =Two Gentlemen in a Fix.= A Farce in One Act. By W.E. Suter. 2 Male characters.

9. =Smashington Goit.= A Farce in One Act. By T.J. Williams. 5 Male, 3 Female characters.

10. =Two Heads Better than One.= A Farce in One Act. By Lenox Horne. 4 Male, 1 Female character.

11. =John Dobbs.= A Farce in One Act. By J.M. Morton. 5 Male, 2 Female characters.

12. =The Daughter of the Regiment.= A Drama in Two Acts. By Edward Fitzball. 6 Male, 2 Female characters.

13. =Aunt Charlotte’s Maid.= A Farce in One Act. By J.M. Morton. 3 Male, 3 Female characters.

14. =Brother Bill and Me.= A Farce In One Act. By W.E. Suter. 4 Male, 3 Female characters.

15. =Done on Both Sides.= A Farce in One Act. By J.M. Morton. 3 Male, 2 Female characters.

16. =Dunducketty’s Picnic.= A Farce in One Act. By T.J. Williams. 6 Male, 3 Female characters.

17. =I’ve written to Browne.= A Farce in One Act. By T.J. Williams. 4 Male, 3 Female characters.

18. =Lending a Hand.= A Farce In One Act. By G.A. A’Becket. 3 Male, 2 Female characters.

19. =My Precious Betsy.= A Farce in One Act. By J.M. Morton. 4 Male, 4 Female characters.

20. =My Turn Next.= A Farce in One Act. By T.J. Williams. 4 Male, 3 Female characters.

21. =Nine Points of the Law.= A Comedy in One Act. By Tom Taylor. 4 Male, 3 Female characters.

22. =The Phantom Breakfast.= A Farce in One Act. By Charles Selby. 3 Male, 2 Female characters.

23. =Dandelions Dodges.= A Farce in One Act. By T.J. Williams. 4 Male, 2 Female characters.

24. =A Slice of Luck.= A Farce in One Act. By J.M. Morton. 4 Male, 2 Female characters.

25. =Always Intended.= A Comedy in One Act. By Horace Wigan. 3 Male, 3 Female characters.

26. =A Bull in a China Shop.= A Comedy in Two Acts. By Charles Matthews. 6 Male, 4 Female characters.

27. =Another Glass.= A Drama in One Act. By Thomas Morton. 6 Male, 3 Female characters.

28. =Bowled Out.= A Farce in One Act. By H.T. Craven. 4 Male, 3 Female characters.

29. =Cousin Tom.= A Commedietta in One Act. By George Roberts. 3 Male, 2 Female characters.

30. =Sarah’s Young Man.= A Farce in One Act. By W.E. Suter. 3 Male, 3 Female characters.

31. =Hit Him, He has No Friends.= A Farce in One Act. By E. Yates and N.H. Harrington. 7 Male, 3 Female characters.

32. =The Christening.= A Farce in One Act. By J.B. Buckstone. 5 Male, 6 Female characters.

33. =A Race for a Widow.= A Farce in One Act. By Thomas J. Williams. 5 Male, 4 Female characters.

34. =Your Life’s in Danger.= A Farce in One Act. By J.M. Morton. 3 Male, 3 Female characters.

35. =True unto Death.= A Drama in Two Acts. By J. Sheridan Knowles. 6 Male, 2 Female characters.

36. =Diamond cut Diamond.= An Interlude in One Act. By W.H. Murray. 10 Male, 1 Female character.

37. =Look after Brown.= A Farce in One Act. By George A. Stuart, M.D. 6 Male, 1 Female character.

38. =Monseigneur.= A Drama in Three Acts. By Thomas Archer. 15 Male, 3 Female characters.

39. =A very pleasant Evening.= A Farce in One Act. By W.E. Suter. 3 Male characters.

40. =Brother Ben.= A Farce in One Act. By J.M. Morton. 3 Male, 3 Female characters.

41. =Only a Clod.= A Comic Drama in One Act. By J.P. Simpson. 4 Male, 1 Female character.

42. =Gaspardo the Gondolier.= A Drama in Three Acts. By George Almar. 10 Male, 2 Female characters.

43. =Sunshine through the Clouds.= A Drama in One Act. By Slingsby Lawrence. 3 Male, 3 Female characters.

44. =Don’t Judge by Appearances.= A Farce in One Act. By J.M. Morton. 3 Male, 2 Female characters.

45. =Nursey Chickweed.= A Farce in One Act. By T.J. Williams. 4 Male, 2 Female characters.

46. =Mary Moo; or, Which shall I Marry?= A Farce in One Act. By W.E. Suter. 2 Male, 1 Female character.

47. =East Lynne.= A Drama in Five Acts. 8 Male, 7 Female characters.

48. =The Hidden Hand.= A Drama in Five Acts. By Robert Jones. 16 Male, 7 Female characters.

49. =Silverstone’s Wager.= A Commedietta in One Act. By R.R. Andrews. 4 Male, 3 Female characters.

50. =Dora.= A Pastoral Drama in Three Acts. By Charles Reade. 5 Male, 2 Female characters.

51. =Blanks and Prizes.= A Farce in One Act. By Dexter Smith. 5 Male, 2 Female characters.

52. =Old Gooseberry.= A Farce in One Act. By T.J. Williams. 4 Male, 2 Female characters.

53. =Who’s Who.= A Farce in One Act. By T.J. Williams. 3 Male, 2 Female characters.

54. =Bouquet.= A Farce in One Act. 2 Male, 3 Female characters.

55. =The Wife’s Secret.= A Play in Five Acts. By George W. Lovell. 10 Male, 2 Female characters.

56. =The Babes in the Wood.= A Comedy in Three Acts. By Tom Taylor. 10 Male, 3 Female characters.

57. =Putkins: Heir to Castles in the Air.= A Comic Drama in One Act. By W.R. Emerson. 2 Male, 2 Female characters.

58. =An Ugly Customer.= A Farce in One Act. By Thomas J. Williams. 3 Male, 2 Female characters.

59. =Blue and Cherry.= A Comedy in One Act. 3 Male, 2 Female characters.

60. =A Doubtful Victory.= A Comedy in One Act. 3 Male, 2 Female characters.

61. =The Scarlet Letter.= A Drama in Three Acts. 8 Male, 7 Female characters.

62. =Which will have Him?= A Vaudeville. 1 Male, 2 Female characters.

63. =Madam is Abed.= A Vaudeville in One Act. 2 Male, 2 Female characters.

64. =The Anonymous Kiss.= A Vaudeville. 2 Male, 2 Female characters.

65. =The Cleft Stick.= A Comedy in Three Acts. 5 Male, 3 Female characters.

66. =A Soldier, a Sailor, a Tinker, and a Tailor.= A Farce in One Act. 4 Male, 2 Female characters.

67. =Give a Dog a Bad Name.= A Farce. 2 Male, 2 Female Characters.

68. =Damon and Pythias.= A Farce. 6 Male, 4 Female characters.

69. =A Husband to Order.= A Serio-Comic Drama in Two Acts. 5 Male, 3 Female characters.

70. =Payable on Demand.= A Domestic Drama in Two Acts. 7 Male, 1 Female character.

_Price, 15 cents each. Descriptive Catalogue mailed free on application to_

GEO. M. BAKER & CO.,

149 WASHINGTON ST., BOSTON.

Plays for Amateur Theatricals.

By GEORGE M. BAKER.

_Author of “Amateur Dramas,” “The Mimic Stage,” “The Social Stage,” “The Drawing-room Stage,” “A Baker’s Dozen,” &c._

=Titles in this Type are New Plays.=

DRAMAS.

_In Three Acts._

_Cts._

=My Brother’s Keeper.= 5 male, 3 female 15 characters.

_In Two Acts._

=Among the Breakers.= 6 male, 4 female 15 characters.

SYLVIA’S SOLDIER. 3 male, 2 female 15 characters.

ONCE ON A TIME. 4 male, 2 female 15 characters.

DOWN BY THE SEA. 6 male, 3 female 15 characters.

BREAD ON THE WATERS. 5 male, 3 female 15 characters.

THE LAST LOAF. 5 male, 3 female 15 characters.

_In One Act._

STAND BY THE FLAG. 5 male characters. 15 THE TEMPTER. 3 male, 1 female charac. 15

COMEDIES and FARCES.

=The Boston Dip.= 4 male, 3 female 15 characters.

=The Duchess of Dublin.= 6 male, 4 15 female characters.

WE’RE ALL TEETOTALERS. 4 male, 2 female 15 characters.

A DROP TOO MUCH. 4 male, 2 female 15 characters.

THIRTY MINUTES FOR REFRESHMENTS. 4 male, 15 3 female characters.

A LITTLE MORE CIDER. 5 male, 3 female 15 characters.

_Male Characters Only._

=Gentlemen of the Jury.= 12 char. 15 =A Tender Attachment.= 7 char. 15 =The Thief of Time.= 6 char. 15 =The Hypochondriac.= 5 char. 15 =A Public Benefactor.= 6 char. 15 =The Runaways.= 4 char. 15 =Coals of Fire.= 6 char. 15 WANTED, A MALE COOK. 4 char. 15 A SEA OF TROUBLES. 8 char. 15

FARCES.

FREEDOM OF THE PRESS. 8 char. 15 A CLOSE SHAVE. 6 char. 15 THE GREAT ELIXIR. 9 char. 15 THE MAN WITH THE DEMIJOHN. 4 char. 15 HUMORS OF THE STRIKE. 8 char. 15 NEW BROOMS SWEEP CLEAN. 6 char. 15 MY UNCLE THE CAPTAIN. 6 char. 15

_Female Characters Only._

=The Red Chignon.= 6 char. 15 =Using the Weed.= 7 char. 15 =A Love of a Bonnet.= 5 char. 15 =A Precious Pickle.= 6 char. 15 THE GREATEST PLAGUE IN LIFE. 8 cha. 15 NO CURE, NO PAY. 7 char. 15 THE GRECIAN BEND. 7 char. 15

ALLEGORIES. _Arranged for Music and Tableaux._

=The Revolt of the Bees.= 9 female 15 characters.

LIGHTHEART’S PILGRIMAGE. 8 female 15 characters.

THE WAR OF THE ROSES. 8 female 15 characters.

THE SCULPTOR’S TRIUMPH. 1 male, 4 female 15 characters.

MUSICAL AND DRAMATIC.

=The Seven Ages.= A Tableau 15 Entertainment. Numerous male and female characters.

TOO LATE FOR THE TRAIN. 2 male 15 characters.

SNOW BOUND; OR, ALONZO THE BRAVE AND THE 25 FAIR IMOGENE. 3 male, 1 female character.

BONBONS; OR, THE PAINT-KING. 3 male, 1 25 female character.

THE PEDLER OF VERY NICE. 7 male 15 characters.

AN ORIGINAL IDEA. 1 male, 1 female 15 character.

CAPULETTA; OR, ROMEO AND JULIET 15 RESTORED. 3 male, 1 female character.

_TEMPERANCE PIECES._

THE LAST LOAF. 5 male, 3 female 15 characters.

THE TEMPTER. 3 male, 1 female character. 15

WE’RE ALL TEETOTALERS. 4 male, 2 female 15 characters.

A DROP TOO MUCH. 4 male, 2 female 15 characters.

A LITTLE MORE CIDER. 5 male, 3 female 15 characters.

THE MAN WITH THE DEMIJOHN. 4 characters. 15

Transcriber’s Note

Punctuation has been normalized.

The first page of Spencer’s catalog originally located in the front of the book has been moved to the back of the book with the balance of the catalog pages.

The author's choices of spelling and hyphenation, and variations threin, have been maintained.

Spellings of the names of the following authors listed in Spencer’s catalog have been maintained, however it is noted to the reader they differ from other published sources:

Montague Williams has been noted as Montagu Williams in other sources.