ACT VI.

THE SINKING SHIP.

SCENE.--_The Sea, with waves in motion._

_Enter NEGRO._

NEGRO. Ship ahoy! Ship ahoy!

DUTCHMAN. What was that you were saying?

NEGRO (_points across the sea_). Don't you see that 'ere?

DUTCHMAN. Yaw! I see the sea.

NEGRO. Yah; but I mean that 'ere--right o'er there.

DUTCHMAN. Yaw! so now I do; but, lor, I've no telescope. What do you think it is?

NEGRO. Big ship! big ship! Maybe a man-o'-war.

DUTCHMAN. Do you think she's a-coming this way?

NEGRO. I do.

_Enter IRISHMAN._

IRISHMAN. Arrah, my boys, glad you're here. Have you seen a steamship come along?

DUTCHMAN. Vell, yes; von in the distance--right over there.

IRISHMAN. Arrah, that is good! My old lady will be pleased now.

DUTCHMAN. Vy, Paddy, vot great event is on now?

IRISHMAN. Nothing, only my wife made me send over to old Ireland for her mother to come on, and she hurried me off this morning to look out for the good ship.

DUTCHMAN. I congratulate you, my boy. Going to have a mother-in-law to take care of thee.

IRISHMAN. Arrah, my friend, you try to strike me hard; but, you bet, I'll make it warm if the old lady don't provide me with a latch-key.

DUTCHMAN. Never mind for this von leetle bit o' chaff, Come with me, and take a little refreshment.

IRISHMAN. But I have to wait for the ship.

DUTCHMAN. That yon ship vill not be here for von whole hour yet. Come, now; thou hast time.

IRISHMAN. Arrah, well said! But what are those black clouds I see?

DUTCHMAN. See yon ship taking in her canvas. Hurry, before we are taken in the storm ourselves.

[_Exeunt._

(_The waves of the artificial sea are now set in motion. Ship enters at the left side, and slowly sails twice across. On its third sail the ship is met by a Steamer, coming in an opposite direction. Voices are heard--"_Hard a-port! Where are you coming to?_" The Ship and Steamer collide together; voices are again heard--"_We are sinking! Get out the life-boat!_" The sails of the Sailing[3]Ship become ruffled up, and the Ship gradually sinks beneath the waves--the Steamer passes along uninjured._)

_Enter DUTCHMAN._

DUTCHMAN. Yaw, yaw, that vessel is now no more.

IRISHMAN. Arrah, I say, is that ship come in yet?

DUTCHMAN. Ship come in! Vot, have you not heard the news?

IRISHMAN. News! What news?

DUTCHMAN. That ship has sunk--gone to the very bottom.

IRISHMAN. What! With all on board?

DUTCHMAN. Yes; all are drowned.

IRISHMAN. Then my wife's mother is gone, too. (_he puts his hands up to his face and cries._)

DUTCHMAN. Vot! Crying because you've lost your mother-in-law?

IRISHMAN. No, friend, it is not that; but maybe when I tell my ole woman she'll be arter going frantic, and clubbing my head off.

DUTCHMAN. Nonsense! I'll come with you, and gradually break the sad, sad news.

[_Exeunt._

THE BLACK JUDGE.

SCENE.--_The Prison-House._

_Enter two men who fix the JUDGE'S bench in the hole used for the gallows. PRISONERS' pen in the centre; LAWYERS' table on the left of stage._

[_Exit._

_JUDGE enters--takes his stand at the bench._

JUDGE. I have to inform my learned friends that the judge that should have been here, by the advice of his physician has left this day for Europe, and I will hold Court until his return.

LAWYER. What! A black Justice to hold Court?

JUDGE. Yes; I sit here to-day.

LAWYER. I object to your jurisdiction.

JUDGE. The Court overrules your objection, and fines you ten cigars for contempt of Court. Call the docket. Is it large? Where are the officers?

_Enter COURT OFFICER._

OFFICER. Your Honor, there are several cases set down for trial.

JUDGE. Call the first that is guilty.

LAWYER. Michael Doolittle.

OFFICER. Michael Doolittle. (_goes for him, and marches him into the pen._)

JUDGE. What is the charge?

LAWYER. Highway robbery.

JUDGE. Highway robbery! What is that?

LAWYER. Stealing from the person--taking the prosecutor's watch--his golden time-keeper.

JUDGE. Prisoner, what have you to say in mitigation of the sentence of the Court, pertaining to this heinous, serious charge?

PRISONER. I was guilty, your Honor, but that 'ere man (_points to the prosecutor_) came alone, and placed himself in my way.

JUDGE. Prisoner, is that your only defence? Were you hungry--were you hard up?

PRISONER. Had not one dime to rub against another.

JUDGE. The decision of this honorable Court is----

LAWYER (_interrupting_). Your Honor, so far from being hungry, he had on him--his person--a massive silver watch and a diamond ring.

JUDGE. What! Prisoners wear diamond rings?

LAWYER. Just the truth, your Honor.

JUDGE. Prisoner, look on the Court. You, having pleaded guilty to this most heinous, serious charge, the Court decides that you be taken back to jail, the diamond ring confiscated for the Court's own use, you to deliver up both watches to the prosecutor, and be by him sentenced to work at hard labor as many days as he may see fit.

[_Exit PRISONER._

JUDGE. Call the next case.

LAWYER. The next, your Honor, is an outfall betwixt a butcher and a baker.

JUDGE. A cat-fall between a butcher and a baker! How did that happen?

LAWYER. An outfall, your Honor--a misunderstanding--a fight.

JUDGE. Let them come into Court.

OFFICER (_calls_). Herman Kahlesole and William Paul. (_he brings them in and places in pen._)

JUDGE. What is this grave charge all about?

LAWYER. Nothing grave, your Honor. It appears that this butcher, on leaving his store, stepped on a piece of fat, and fell with a quarter of beef. Paul, the baker, laughed at him. The butcher got angry, and so they set to punching one another's heads.

JUDGE. What! Punch one another's heads after the spill of a quartet of beef?

LAWYER. Just the history, Judge. I am instructed to recommend them to the merciful consideration of the Court.

JUDGE. Kahlesole, you have heard the charge against you, and the recommendation of your counsel. Are you ready to bury the hatchet?

BUTCHER. Vat! Mine ax? Nein, nein.

JUDGE. I mean to make peace and shake hands.

BUTCHER. Vell, vell, I will; but dot goesh against mine constitution. (_they shake hands and depart._)

JUDGE. What is the next charge?

LAWYER. Intoxication.

JUDGE. Inoculation! Is that anything good to eat?

LAWYER. No, your Honor; I said intoxication--too much whisky.

JUDGE. Oh! I do comprehend. Call the wine-barrel in.

OFFICER (_calls_). Oscar Hubbs, this way in.

JUDGE. Hubbs, you were found drunk last night. What have you to say?

HUBBS. As long as the fox runs, he gets catched at last.

JUDGE. Does the fox ever have a ten-dollar note?

HUBBS. Sometimes; but not now.

JUDGE. You can go this time; but don't get into this fox-hole again.

[_Exit HUBBS._

JUDGE. What is the next charge?

LAWYER. Bigamy.

JUDGE. Bigger than me! How--in bad deeds?

LAWYER (_chuckling with laughter_). No; bigamy--a man that has married six wives.

JUDGE (_in astonishment_). Six wives! Are any of them in Court?

LAWYER. Yes; there are four here.

JUDGE. So the remaining two have gotten him here to be kept out of the four's way. I condemn the prisoner to be given up to the custody of the four, and if either is like mine at home, he will have punishment enough. Call the next case.

OFFICER (_calls and shows into pen_). Timothy Garpickle.

JUDGE. What is the charge?

LAWYER. Robbing hen-roosts.

JUDGE. Robbing her roasts! Roast what?

LAWYER. Hen-roosts--taking away the eggs and young chickens.

JUDGE. Prisoner, what have you got to say to the charge?

PRISONER. Guilty.

JUDGE. Clear him out; we'll stand no blarney fooling here. The Court and learned counsel will take a recess for luncheon.

[_Exit LAWYER._

(_Voices are now heard from without. Two men, with sticks, enter, and demand an interview with the JUDGE. The OFFICER attempts to disarm them of their weapons. A lively fight ensues, during which the stage is cleared of its LAWYERS' table, PRISONERS' pen and JUDGE'S box. The fight continuing, the JUDGE and COURT OFFICER at last succeed in causing the two pugilists to beat a hasty retreat._)

* * * * *

The above Drama has been arranged for acting on the Punch and Judy stage. For the parlor acting Drama, which is on a more extended scale, send 15 cents to the publisher, for a copy of the "Dutch Justice."

[4]Mr. Punch and the Great $25,000 Box Trick.

_Enter FOREIGNER and MR. PUNCH._

FOREIGNER. Mr. Punch, have you heard the news?

PUNCH. News! What news?

FOREIGNER. Why, my boss has received from Europe a great twenty-five-thousand-dollar box.

PUNCH (_with a gesticulation of surprise, says_). I don't believe it.

FOREIGNER. It is all true, and he has left me in charge of it.

PUNCH. Is that so? Well, what is there inside that box?

FOREIGNER. Oh, I don't exactly know; but lots of funny things, alive, I think.

PUNCH. Well, suppose you bring it up, and let's see what it looks like.

FOREIGNER. Ah! so I will; but mind, you mustn't raise the lid up.

PUNCH. All right; go ahead--bring it up. (_PUNCH commences to dance with delight._)

FOREIGNER. Yes, yes, it shall be brought up, but you must come down and help me, it is so heavy. (_PUNCH disappears, following the FOREIGNER._)

_Re-enter FOREIGNER and PUNCH, bearing box. They fix it in position._

FOREIGNER. Now mind, Mr. Punch, you are not to touch that box.

PUNCH (_dances up and down the stage in high glee; peeps round, and looks at front of box, says_). Oh, no; I not touch it.

FOREIGNER. Now, Mr. Punch, I am going away; but remember, you are not to touch that box.

[_Exit FOREIGNER._

PUNCH. Oh, no; I not touch it. (_he taps, however, at side of box, and darts away, dancing._)

FOREIGNER (_returning_). Ah! Now, Mr. Punch, I saw you touching that box.

PUNCH. Oh, no! me no go near it.

FOREIGNER. Now remember, Mr. Punch, if you go touching or opening that box, the little dog may wake up and bite.

PUNCH (_continuing his dance to and fro, says_). I not touch box; you can go away. (_FOREIGNER disappears._)

(_PUNCH, getting curious, remarks: "_I'd like to see what is inside that box._" Attempts to raise the lid, but is startled by a yell. Box flies open, and the little Dog pops his head and forepaws out; tries to get a grip at PUNCH, which he partially succeeds in. PUNCH squeals, and gets away; cautiously carries on a combat, ending in the little Dog being driven down, the lid of the box closing on him. MR. PUNCH, congratulating himself that there are no more foes, is startled by hearing a roaring sound, and, on attempting to open the lid, shows alarm at the appearance of his SATANIC MAJESTY._)

DEMON. Mr. Punch, I'm from the infernal regions.

PUNCH. Well, what of that?

DEMON. I've come to take you below with me.

PUNCH. I don't know so much about that.

DEMON. Yes, Mr. Punch, your time is up; you have to come with me.

PUNCH. Then we'll fight.

(_PUNCH and the DEMON have a very smart combat, during which the DEMON nearly succeeds in drawing MR. PUNCH down the box. PUNCH squeals, and wriggles himself away, afterwards taking care not to approach too near, to be again grasped by his MAJESTY; sets to making a vigorous attack, ending by driving the DEMON down the box. PUNCH is now greatly elated over his triumphal battle with the DEMON; darts quickly from corner to corner of the stage; then showing himself at the centre, approaches the box, raises up the lid, looks within, says: "_I see there is nothing more in there, and being all safe, think that I will now take a nap._" He lies down on the stage, his head towards the box. He is soon disturbed by the appearance of a wide-mouthed Snake, who tries to gulp him down. PUNCH, escaping, and emboldened with the success over his former foes, shows fight. Snake nips him, but he again escapes. PUNCH is much put about by the appearance, also, of a huge Crocodile on the opposite end of the stage. Finding the chances of victory going against him, he calls out for JOEY, who, appearing, is seized by the Crocodile. PUNCH forces him away, and, in his excitement, places him in the way of the wide-mouthed Snake, who gulps at him, and draws him down the box out of sight. Snake, reappearing, lays hold of MR. PUNCH, draws him squealing, headforemost, down the box, the Crocodile assisting by snapping at MR. PUNCH'S legs as they are disappearing from view. The Crocodile plunges round about and over the front of the stage, but finding nothing more to snap at, also disappears from view._)

DIALOGUE FOR A PAIR OF VENTRILOQUIAL CHAMPIONS.

_See Illustration._

PERFORMER. Well, my little boys, can you talk?

JOEY. Yes; I can talk.

FREDDY. And I can talk, too.

PERF. Since you can talk, will you please tell me your names?

FRED. Well, my name is Freddy.

JOEY. And call me Joey.

PERF. Well, Joey, how do you feel?

JOEY. Well, I don't feel very well.

PERF. Don't feel very well?

JOEY. No.

PERF. What appears to be the matter with you?

JOEY. Well, I was out in the rain, and I caught cold.

PERF. Out in the rain and caught cold?

JOEY. Yes.

FRED. I say, Mr. Valentine.

PERF. Yes, Freddy.

FRED. What good is the rain?

PERF. What good is the rain!

FRED. Yes.

PERF. The rain, my boy, has a tendency of bringing everything up from the ground.

JOEY. Well I hope it won't bring my old woman up.

PERF. (_with surprise_). What? Your old woman! You don't mean to say you were ever married!

JOEY. Yes, I was, once.

PERF. You are but a little boy. You don't look old enough to have been ever married.

JOEY. I am older than you think I am.

PERF. How old a man are you?

JOEY. I am more than twenty years old.

PERF. Do you pretend to say that you were born twenty years ago?

JOEY. I do.

PERF. I don't believe it.

JOEY (_looks in PERFORMER'S face_). Was you there?

PERF. No.

JOEY. Well, I was.

PERF. Then, if you was there, you must know all about it.

JOEY. I do.

PERF. You are a pretty good speller, are you not, Joey?

JOEY. Yes, and I can count, too.

PERF. You can count! I'll just try you. What do two and two make?

JOEY. Please to give me a harder one than that.

PERF. Four and four?

JOEY. Eight.

PERF. Twice eight?

JOEY. Sixteen.

PERF. Ten and ten?

JOEY. Twenty.

PERF. Good, so far, Joey, but I shall catch you soon.

JOEY. No, you won't.

PERF. Well, we shall see. Twice eleven?

JOEY. Twenty.

PERF. Wrong. Ah, Joey! I've caught you this time. Twice ten was twenty.

JOEY. And twice eleven is twenty, too (two).

PERF. Right, Joey; you are getting smart. Can you spell milk?

JOEY. You must show me how.

PERF. Will soon do that. M-i-l-k.

JOEY. Milk.

PERF. No; I want you to spell it.

JOEY. M-i-l-k, milk.

PERF. I will try you on another. Spell sugar.

JOEY. S-e-g-a-r, segar.

PERF. That's wrong. Not segar--sugar, I want you to spell.

JOEY. That was right. S-e-g-a-r, segar.

PERF. No, no! What does my wife put in my tea in the morning?

JOEY. Ah! now I know. Whisky. Is that what it spells?

PERF. (_waiting a few seconds for the applause to quiet down, says_). Smart again, Joey. I'll try you yet on another. Constantinople.

JOEY. Oh, Jerushua! What an hard 'un!

PERF. Well, Joey, I will help you. Now, right after me. Con.

JOEY. Con.

PERF. Stan.

JOEY. Stan.

PERF. Ti.

JOEY. Ti.

PERF. No.

JOEY. No.

PERF. Ple.

JOEY. Ple.

PERF. Constantinople.

JOEY. Constable.

PERF. That was wrong. Constantinople--not constable.

JOEY. Well, that isn't the way we spelt it when I went to school.

PERF. Well how did you spell it, then?

JOEY. We spelt it in this way: Con, with a stan, with a t, with a ti, with a tipple, with a tople, with a Constantinople.

PERF. Good, Mr. Joey! After that we----

FRED. (_interrupting_). I say, Mr. Valentine?

PERF. Yes, Freddy.

FRED. Do you know that Joe went down-town and knocked down an old woman near sixty years old?

PERF. He did!

FRED. Yes, he did.

JOEY. Yes, and I would have knocked her down if she had been an hundred and sixty years old.

PERF. (_giving JOEY a box on the ear_). Now, you would do no such thing.

JOEY. Yes, I would.

PERF. Now, Joey, what was your father?

JOEY. Well they say that he was a good man.

PERF. I mean, what trade was he?

JOEY. My father, sir, was a glazier.

PERF. A glazier?

JOEY. Yes; and pray, Mr. Valentine, what was your father?

PERF. My father, sir, was a gentleman.

JOEY. A gentleman?

PERF. Yes.

JOEY. Then how was it, Mr. Valentine, that he did not make a gentleman of you?

PERF. Joey, you are getting a little too personal. (_turns to FREDDY_) Now, Freddy, what were you doing over the bridge last night?

FRED. I went over to see my girl.

PERF. And did you see her?

FRED. The old people would not let me into the house.

PERF. Well, what did you do?

FRED. I stood under a tree.

PERF. What happened then?

FRED. I got wet all over.

PERF. Well, I suppose that it rained.

FRED. No, not that. Some say that it was perspiration.

PERF. And was it that?

FRED. No; I guess that it was dish-water.

PERF. Now, Freddy, supposing that a man were to dig down deep into the earth, what would he come to?

FRED. To dirt.

PERF. But supposing that he were to dig down through the earth?

FRED. He would come out of the hole.

PERF. How is your aunty?

FRED. She has the chills and shakes at four o'clock every afternoon.

PERF. She has?

FRED. Yes; and I wish that she would shake out the half-dollar she promised me.

PERF. Now, Joey and Freddy, do you see that trunk?

JOEY. I do. Is any one in there?

PERF. Yes; a little girl.

FRED. Oh, do put me in there!

(_PERFORMER places them in the trunk; a hushed voice is heard from JOEY complaining that FREDDY will not give him any room. As the PERFORMER opens the box, voice is suddenly increased in depth of tone; he closes it; the voices are again heard in a subdued tone, until they quiet themselves. The PERFORMER, making a slight bow, draws the trunk off the stage._)

* * * * *

For full description and prices of the Ventriloquial Champions, see pages 58 and 59 of Judd's Illustrated Catalogue, mailed by him for 15 cents. On page 78 will be found a Price List of Punch and Judy properties sold by him.

A YOUNG LADY'S CONVERSATION.

_Enter PRETTY POLL._

"How do you do? I was just going into the garden when papa said you were here; and, of course, it doesn't do to keep company, it's so rude. I'm sixteen to-day, and have just left school, and everybody says I've made such rapid progress as regards my education. Do you know they all say I've grown so tall lately? Well, I wouldn't have any objections to that if it wasn't for one reason, and that is--Well, I hardly like to tell you the reason, either; but I have a young man, and his name's Julius, and he's so awfully short himself his head hardly comes above my shoulder; but then, you know, half a loaf's better than no bread, and a short young man's better than none at all. Talking of Julius, I will tell you something. The other evening we were strolling up-town together, and Julius is awfully generous--he'd give me anything. Said he to me, 'Adelina, supposing I was to offer you a present, would you accept one?' Says I, 'Oh, certainly!' Accordingly we went into a store together, and while we were looking at the things, what should the young man do who stood behind the counter, but he came all the way round, took Julius by the shoulder. 'There,' says he, 'leave the things alone, and let your mamma pick what she likes.' Oh! I was awfully confused, and poor Julius, he didn't know which way to look. But when I got my present, what do you think that was? Oh, such a splendid pair of new shoes! But when I got home I found the young shopman had made such a foolish mistake--he'd wrapped up eights, and everybody knows I only take twos."

PRICE LIST OF PUNCH AND JUDY PROPERTIES.

PUNCH AND JUDY FIGURES,

=Handsomely dressed, all characters, each $1.25.=

As it is very essential that the figures and all apparatus should be perfect and complete, Prof. Judd calls attention to the fact that he manufactures and finishes in the most approved style the following

BEST DRESSED FIGURES, WITH SOLID WOODEN HEADS.

Punch, $1 25 Judy, 1 25 Pretty Poll, 1 25 Doctor, 1 25 Policeman, 1 25 Clown, 1 25 Jack Ketch, 1 25 Scaramouch, 1 25 Opera Singer, 1 25 Darkie, 1 25 Irishman, 1 25 Dutchman, 1 25 Old Nick, 1 25 Foreigner, 1 25 Arabella, 1 25 Lawyer, 1 25 Punch's Dog, 1 50 Horse, 1 50 Crocodile, 1 75 Judge's Bench, 1 75 Prisoner's Pen, 1 75 Bedstead, 1 75 Bed and Pillow, 50 Lawyer's Table, 75 Punch's 2 005,000 Box, 2 00 Steamer and Ship, 2 50 Ship, 1 75 Skeleton Mouth, Movable, 2 00 Ghost, 1 25 Gallows, 1 00 Coffin, 1 00 Snake, 1 25 Servant's Bell, 50 Baby, 50 Squeakers, 25c., solid sil'r, 1 00 Club, 10

Superior Punch and Judy Theatres, made portable for traveling, fitted with a Stage, Performing Shelf and Covering, Complete =$12 00=

Goods sent by Express, on receipt of Cash, or C. O. D. (cash on delivery), on your enclosing to me one-quarter of the full amount, the remaining three-quarters to be paid to the Expressman when he delivers the goods to you. Address all orders to

PROFESSOR W. J. JUDD, _MAGICAL REPOSITORY_, 131 HENRY ST., - - - - - - - - NEW YORK CITY.

THE ROYAL MARIONETTES.

Our Artist has given us Illustrations of four of the Leading Marionette Puppets. They are of peculiar construction, and differ from the Punch and Judy Troupe in that the Performer is standing over instead of beneath them. They are worked by each having five or more invisible silken cords, terminating in an instrument held in the hands of the Performer. Their feet, hands and head go through all the life-like motions of living actors. The smallest are twenty-four inches, and the largest made are forty-two inches in height. PROFESSOR JUDD of New York, who manufactures and has them in stock, will give you all further information and furnish the particulars concerning their cost.

FOOTNOTES:

[1] The performer takes advantage of the time occupied in singing this song by arranging all in readiness for the grand closing scene of this act.

[2] At this point, where the show is wholly or in part paid for by voluntary contributions, one of the performers, with a basket, passes round amongst the audience and takes up the collection.

[3] This ship is mechanically constructed, so that at the desired moment it is made to show signs of becoming a wreck. The steamer is in like manner constructed, with the addition that on its reverse side it represents a sailing vessel only. For this dialogue the steamer may be wrecked in place of the sail ship.

[4] This famous act never fails in bringing out a round of applause, and should be used as a closing piece to the popular Tragedies of Punch and Judy.

DRAWING ROOM MAGIC A MANUAL OF MYSTICAL MYSTERIES, _FOR THE PARLOR, SCHOOL AND DRAWING-ROOM_, WITH NUMEROUS ILLUSTRATIVE DIAGRAMS.

If, as BUTLER insinuates,

"The pleasure is as great of being cheated as to cheat,"

the life of a Prestidigitator must be a pleasant one; and to enable any one to realize the fact, we, in this volume, present the key to the "Mystical Mysteries," whereby any boy, of an ingenious turn of mind, can amuse and astound his friends, schoolfellows and neighbors.

Annexed we give a list of a

PORTION OF THE CONTENTS.

Magic Plums, Self Balancing, Sea of Ink, Chameleon Trick, Vanishing Seed, Arab in the Air, Magic Candles, Rope Trick, New Ribbon Manufactory, Changing Fruit, Magic Telegraph, Enchanted Coin, Tricks with Eggs, Mystic Tea Caddies, Invisible Courier, Japanese Butterflies, Iron Hand, Erratic Knaves, Flying Knife, Etc., Etc., Etc.

Price 30 Cents.

HAND BOOK OF ELOCUTION AND ORATORY.

Being a Systematic Compendium of the necessary Rules for attaining Proficiency in Reading and Speaking. With copious and interesting examples.

This treatise on Elocution and Oratory has been prepared with a strict regard to practical utility, by a favorite tragedienne of the stage. By attention to its rules the learner may rapidly acquire the art of reading aloud with due emphasis, and of expressing himself in a set speech, or a recitation, with propriety. Though chiefly designed for social purposes, it will also prove a safe guide for those who wish to establish a well founded professional reputation, either as readers, speakers, or actors.

CONTENTS.

PART FIRST.

Preliminary Remarks on the Leading Principles of Elocution.

PART SECOND.--Reading.

Family Reading. Public Reading. Table Oratory. After Dinner Speeches. Wedding Breakfast Speeches. Funeral Orations. Verse.

PART THIRD.--Elocution.

The Bar. Parliamentary. The Pulpit. The Lecture Desk. The Stage. The Platform. Conclusion.

Price 30 Cents.

Either of the above will be sent by mail, postpaid, on receipt of the price.

RECITERS, GUIDE BOOKS, ETC.

Actor's Art, The, Price 15 cts. Amateur's Guide, The, Price 25 cts. Arnold's Dialogues, Plays and Speeches, Price 30 cts. Arnold's Dutch Recitations and Headings, Price 15 cts. Art of Public Speaking, The, Price 25 cts. Darkey Plays, six parts, Price, per part 30 cts. Drawing Room Magic, Price 30 cts. Elocution Without a Master, Price 15 cts. Evening Entertainments, Price 15 cts. Hand-Book of Elocution and Oratory, Price 30 cts. Holiday Guest, The, Price 10 cts. How to Join a Circus, Price 25 cts. How we Managed Our Private Theatricals, Price 25 cts. Little Plays for Little People, Price 30 cts. McBride's Comic Speeches and Recitations, Price 30 cts. McBride's Humorous Dialogues, Price 30 cts. McBride's Temperance Dialogues, Price 30 cts. Minstrel Gags and End Men's Hand-Book, Price 30 cts. Parlor Amusements for the Young Folks, Price 30 cts. Parlor Tableaux, Price 25 cts. Plays for Young People, Price 30 cts. Punch and Judy, Price 25 cts. Shadow Pantomimes, Price 25 cts. Shakespeare Proverbs, Price 25 cts. Speechiana, Price 30 cts. Stump Speaker, The, Price 15 cts.

Either of the above will be sent by mail, on receipt of price, by HAPPY HOURS COMPANY, No. 5 Beekman Street, New York.

Transcriber's Note:

Every effort has been made to replicate this text as faithfully as possible. Some minor corrections of spelling have been made.

Italic text has been marked with _underscores_. Bold text has been marked with =equals signs=.