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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..1202214 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #52348 (https://www.gutenberg.org/ebooks/52348) diff --git a/old/52348-0.txt b/old/52348-0.txt deleted file mode 100644 index c670021..0000000 --- a/old/52348-0.txt +++ /dev/null @@ -1,8087 +0,0 @@ -The Project Gutenberg EBook of The Exhibition Drama, by George M Baker - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: The Exhibition Drama - Comprising Drama, Comedy, and Farce, Together with Dramatic - and Musical Entertainments - -Author: George M Baker - -Release Date: June 16, 2016 [EBook #52348] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE EXHIBITION DRAMA *** - - - - -Produced by Richard Tonsing, David Edwards and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -[Illustration: - - ENLISTED FOR THE WAR. -] - -[Illustration: - - 'THE EXHIBITION STAGE - - BOSTON: LEE AND SHEPARD.' -] - - THE AMATEUR DRAMA SERIES. - - - - - THE - - EXHIBITION DRAMA: - - COMPRISING - - DRAMA, COMEDY, AND FARCE, - - TOGETHER WITH - - DRAMATIC AND MUSICAL ENTERTAINMENTS, - - FOR - - _PRIVATE THEATRICALS, HOME REPRESENTATIONS, HOLIDAY AND - SCHOOL EXHIBITIONS_. - - - BY - - GEORGE M. BAKER, - - Author of "Amateur Dramas," "The Mimic Stage," "The Social Stage," - "The Drawing-Room Stage," "Temperance Dramas," "A Baker's - Dozen," "Humorous Dialogues," "Running to Waste," - &c. - - ILLUSTRATED. - - BOSTON: - LEE AND SHEPARD, PUBLISHERS. - NEW YORK: - LEE, SHEPARD, & DILLINGHAM. - 1875. - - - - - Entered according to Act of Congress, in the year 1874, by - GEORGE M. BAKER, - In the Office of the Librarian of Congress, at Washington. - - - BOSTON: - RAND, AVERY, & CO., STEREOTYPERS AND PRINTERS. - - - - - PREFACE. - - -In the preparation of "The Exhibition Drama," the author has endeavored -to present as great a variety as in the previous volumes of this series, -and to comply, as far as possible, with the requests of numerous -correspondents. Thus "Enlisted for the War" was written in response to a -demand for something, based on the late civil war, which should meet the -requirements of various Posts of the G. A. R. The musical allegories, -"The Visions of Freedom," and "The Tournament of Idylcourt," were -prepared for the graduating-class in a Boston grammar-school, and are of -the same general character as those previously issued. The Christmas -entertainment, and the dramatization of Dickens's "Christmas Carol," -have both been successfully performed at sabbath-school entertainments. -These, as well as the allegories, are plentifully supplied with -tableaux, easily represented, and are adapted to the wants of many -occasional exhibitions. - -That "Amateur Dramas" are successful, the appearance of a fifth volume -is convincing testimony. In addition to this, the warm commendations of -the press, frequent testimonials from public teachers, and last, though -not least, a steadily increasing demand for the old as well as the new, -convince the author that he is honorably catering to a healthy appetite -for innocent and wholesome recreation. - - G. M. B. - - 207 WEST SPRINGFIELD STREET, BOSTON. - - - - - CONTENTS. - - - PAGE. - - ENLISTED FOR THE WAR; OR, THE HOME-GUARD 9 - - NEVER SAY DIE 85 - - THE CHAMPION OF HER SEX 109 - - THE VISIONS OF FREEDOM 135 - - THE MERRY CHRISTMAS OF THE OLD WOMAN WHO LIVED IN A SHOE 157 - - THE TOURNAMENT OF IDYLCOURT 173 - - A THORN AMONG THE ROSES 201 - - A CHRISTMAS CAROL 227 - - All the above are published separately, and can be obtained of LEE & - SHEPARD, Publishers, Boston. Price 15 cts. each. - - - - - ENLISTED FOR THE WAR; - OR, - THE HOME-GUARD. - - - A DRAMA IN THREE ACTS. - - _Also a complete two-act drama, by omitting the second - act, and two characters._ - - - - - CHARACTERS. - - - ROBERT TRUEWORTH, a Soldier of the Union. - WILDER ROWELL, Guardian of Gaylie Gifford. - HOSEA JENKS, Auctioneer. - HIRAM JENKS, his Son, "a mere boy." - CRIMP, Colored. - GEN. GRANT. - LIEUT.-COL. BOXER. - GAYLIE GIFFORD, an Heiress. - MRS. TRUEWORTH, Robert's Mother. - MATTIE TRUEWORTH, Robert's Sister. - - - - - COSTUMES. - - - ROBERT. Acts 1 and 2, Uniform of a private. Act 3, Uniform of a - colonel. - - ROWELL. Act 1, Modern dress, change to colonel's uniform. Act 2, - Colonel's undress uniform. Act 3, Fashionable dress. - - HOSEA. Act 1, Make up "fat;" blue coat with brass buttons; nankeen - pants; striped vest; white necktie; face florid; nose a little - pimply; curly gray wig. Act 3, Something like the same, but figure - rather emaciated; cheeks sunken; and a little more bald than in - first act. - - HIRAM JENKS. Act 1, Short jacket, through which his arms protrude; - light pants, very short; blue stockings; thick shoes; crop wig; - general juvenile appearance. Act 3, Short dress bob-tail coat, - &c.; not dandified, but neat; should be an entire change from Act - 1. - - CRIMP. Act 1, Black woolly wig; gray pants; white shirt, sleeves - rolled up; wide-rimmed straw hat. Act 2, Disguise of an old - darkey; gray wig; gray side-whiskers; blue shirt; white duck - pants, with one suspender. Act 3, Black coat and pants; white - vest; white necktie. - - GEN. GRANT. Uniform of major-general, with cloak; military slouch - hat, full beard, and make up as usual. - - GAYLIE GIFFORD. Act 1, Neat travelling-suit. Act 3, Handsome - evening-dress. - - MRS. TRUEWORTH. Black dress, white collar and cuffs, and widow's - cap, very neat. - - MATTIE. Act 1, Muslin dress and white apron; sleeves rolled up. Act - 3, Evening dress. - - NOTE.—"ENLISTED FOR THE WAR," here presented in its most simple - form, can be elaborately produced, if preferred. Where a military - display is desirable, the second act will allow of "an awkward-squad - drill," "relieving guard," a bayonet-drill, or the introduction of a - camp song. At the end of the third act, the returning company might - march across the stage, behind windows and door, illuminated with - white and red lights, with the chorus "Marching through Georgia." - - - - - ACT I.—SCENE. _Interior of farm-house. Door in flat_, R. C. _Window - in flat_, L. C. _Outside the window arrange flowers in pots, and - shrubbery. Inside, muslin curtain draped up at_ L. _Window open; - between it and door, bureau or secretary. Lounge or sofa_, L. - _Rocking-chair_, R. C. _Small table with a chair beside it_, L. - C.; _writing-materials on table. Chair_, L. MRS. TRUEWORTH - _discovered in rocking-chair, knitting and rocking_. MATTIE _in - chair beside table, her arms folded on table, her face hidden in - her arms_. - - - _Hosea_ (_outside_). It's a downright shame. Look at it; a fine - piece of property like this going, going at such a ruinous sacrifice; - and I'm only offered nine hundred and fifty dollars for it; literally - flowing with milk and honey. Shall I have ten,—ten, do you say? Quick, - or you lose it; nine hundred and fifty once, nine hundred and fifty - twice, nine hundred and fifty,—going, going, and gone to Wilder Rowell, - Esq., for nine hundred and fifty dollars. You've got a bargain. - - _Mattie_ (_raising her head_). Do you hear, mother? To Wilder - Rowell. - - _Mrs. T._ It's a shame to let it go for that price, and to a - stranger. - - _Mattie._ Mr. Rowell is no stranger, mother. It's now five years - since he came to Grainlow with Mr. Gifford. - - _Mrs. T._ For all that, he's a stranger,—a proud, haughty man, whom - nobody likes, nobody has confidence in. - - _Mattie._ Mr. Gifford had confidence enough to give him the - guardianship of his daughter when he died two years ago; and Gaylie - likes him. As for being proud and haughty, to me he is always pleasant - and condescending. - - _Mrs. T._ Condescending, indeed! You're just as good as he is. - Bless you, child, the Trueworths held their heads as high as the best - of folks until our troubles commenced. Your father took to borrowing to - experiment with his patent wrinkles, and mortgaged the farm to that - mean skinflint, Hosea Jenks. Ah, well! he did it for the best, no - doubt. Only six months dead, and now the old farm has gone too. - - _Mattie._ Mother 'tis hard, 'tis cruel, to leave you homeless in - your old age. Had father been wise— - - _Mrs. T._ Hush, child! not a word against him. He was a good, kind - father, and a husband to be proud of. In all his troubles he never - would touch a cent of the money we had put by to push Rob through - college. That was safely locked up; and the lad came through with all - the honors. - - _Mattie._ What good can his learning do him now? - - _Mrs. T._ That remains to be seen. When the call came for men, our - boy, bless him! stepped out with the first, and enlisted for the war. - Then came the hard blow, hardest of all to bear. My own dear, noble - husband breathed out his life in my arms, and joined the true and noble - in that better land. Hark! I hear Robert's step. (MATTIE _rises, and - goes up_ _to the window_. ROBERT _enters slowly door in flat; comes - down, places his hand on the back of his mother's chair_.) - - _Rob._ Mother, the farm has gone. We are homeless. - - _Mrs. T._ (_wipes her eyes, and endeavors to suppress emotion_). - Yes, Rob, the old home is ours no more. Perhaps it is as well we made a - change. Now he who, who (_rises, and stretches out her arms_)—O Rob, - Rob! I can't bear it; I can't bear it. (_Sobs, and falls upon his - neck._) - - _Rob_ (_embracing her_). O mother! this should not have been. - Had I known the worst, I could have prevented it. I have strong arms - and a cool head. I could have managed the farm. I thought father was so - comfortably settled; and now my enlistment binds me. Oh, I could have - done bravely! - - _Mrs. T._ (_recovering_). And you will do bravely now, where every - true man should stand in the hour of his country's peril, in the ranks - of brave defenders. Fear not for us: there's a power of strength in - these old arms yet, and a stout heart to struggle; ay, and a brave one. - Am I not the mother of a man who leaves all to serve his country? - - _Rob._ Brave mother, you shall have a son to be proud of. - - _Mrs. T._ Right, boy. And my prayers and blessing shall cheer you - on to victory. - - _Rob._ Yet you are homeless, mother. Our regiment is ready for - the field: it only awaits the appointment of a colonel. I may be called - away at an hour's notice. If I could only have secured the old home for - you, I should have been content. - - _Mattie._ Rob, why did you not ask the assistance of Gaylie - Gifford? She is rich, and I know would have helped us,—her old home - too. - - _Rob._ Yes, her old home. Dear little girl! how fond we all were - of her, and she of us! But she went away to school two years ago, - perhaps has forgotten us. - - _Mrs. T._ Why, Rob, not a week passes but I have a letter from her; - such a good, kind letter too! - - _Rob._ Yes, I know; and yet I could not _ask_ her assistance. - - _Mattie._ Perhaps you are right, Rob; but it does seem hard, after - all the care and attention she has received from mother, she could do - nothing for us. But they do say money makes inward changes as well as - outward. Thank Heaven, we're out of its temptation! - - [_Exit_ R. - - _Rob_ (_seating his mother in her chair, and kneeling at her - side_). Mother, there's one reason why I could not ask Gaylie for - assistance. I should like to tell you, for I would want her to know it - should I never return. - - _Mrs. T._ Never return! O Rob! do not say that. - - _Rob._ That is one of the chances of war, mother. We must think - of it. 'Tis the unlucky chance in this game of life, when so much - depends on my success. But Gaylie, mother. - - _Mrs. T._ Well, Rob, what of Gaylie? - - _Rob._ Mother, you will, perhaps, call me mad; but, since Gaylie - left us, a wild and strong desire has taken possession of my heart. I - could not see her growing up so good and beautiful, without becoming - more and more strongly attached to her. At college my dreams were of - her; my waking thoughts again and again fashioned her image into dear - companionship; and I have at last dared to believe that I might one day - woo her, perhaps win her. - - _Mrs. T._ Rob, my boy, 'tis a wild dream. She is a rich heiress; in - a year will be mistress of that grand estate yonder. (_Enter door in - flat_ WILDER ROWELL.) - - _Rob._ Yes, mother; but I am a soldier of the Union; and, out of - that glorious majority who are to battle for its rights, the North will - pick its trusty leaders. Why may not I rise? Why may not I win rank and - glory? and, when that is gained, why may not I dare to ask the hand of - her I love so dearly, Gaylie Gifford? - - _Rowell_ (_at back_). I beg your pardon if I intrude. (ROB - _rises_.) Mr. Jenks asked me to step inside. He will soon join me to - complete the sale. - - _Mrs. T._ (_rising_). You are in your own house, sir. 'Tis we who - intrude. - - _Rob._ Mr. Rowell, I shall take immediate steps to find another - home for my mother and sister. We will not long trespass. - - _Rowell_ (_down_ L.). Oh, take your own time: perhaps 'twill not - be necessary to remove. - - _Rob._ How? I do not understand you. - - _Rowell._ I will speak with you again: for the present, make - yourself perfectly at home in my house. - - _Rob_ (_aside_). His house. Poor old house! you have fallen - among thieves. Come, mother. (_Puts his arm about his mother's waist, - and they exeunt_ R. ROWELL _looks after them, then places his hat on - bureau at back, and sits at table_.) - - _Rowell._ Well, I certainly have heard something to my advantage. - So, my fine soldier-boy, you love my ward, Gaylie Gifford. So do I. - There we are perfectly agreed. But, when it comes to possession, I - think we shall quarrel. Forewarned, forearmed. I have purchased this - farm for the purpose of pleasing my ward; well knowing, that, had she - been informed of the sale, she would have requested its purchase, that - in gratitude she might have restored it to her old protectress. Her - gratitude to me, for my wise forethought, would, no doubt, bring me one - step nearer to my ambition. But this soldier loves her; should she be - allowed to carry out her wishes, would love her all the more, perhaps - arouse an answering affection. No. I'll keep the farm for my own - pleasure; perhaps play the _rôle_ of benefactor myself. Gaylie's large - fortune must be shared with me. I never dreamed of this fellow's - ambition. He rise? If fortune only smile upon me, I will guard against - that. - - _Crimp_ (_outside_). I'm obleeged to you, Massa Jinks. I jes - w-w-want to know w-w-w-whar you gwine t-t-t-ote dis yere farm? - - _Hosea_ (_outside_). Oh, bother! do you suppose we're going to - dig it up, and cart it off, you stupid? (_Enter door in flat, followed - by_ CRIMP.) - - _Crimp._ S'pose, s'pose; donno nuffin 'bout s'posin, Massa Jinks. - You cum down here, Massa Jinks, betwixt eleben and seben, A.M., into de - forenoon. You stick up a red frag ober de do', and you gets up onto de - barril; and, when you's onto de barril, you gets a crowd round de - barril, and deliber a Fourfe-ob-July speech onto de barril, and you jaw - away, and ax 'em for dollars, nine hundred dollars, fify dollars, and - tell dat ar assemblin' dis yere farm am gwine, gwine, gwine; and all I - ax you for to tole me, whar it am gwine for to go. I'm obleeged to you. - - _Hosea._ Oh! that's only a figurative expression. I've sold the - farm: that's all. - - _Crimp._ Figger-who? Sole de farm; who tole you? who ax you? - - _Hosea._ My interest. - - _Crimp._ In-ter-which? who's he? - - _Hosea._ I had a mortgage on the property, foreclosed, and sold - out. - - _Crimp._ M-m-m-orgages onto de property. No, sar, don't raise 'em; - heaps ob cabbages, but no morgages. I'm obleeged to you. - - _Hosea._ Well, I've sold the property,—house, land, - farming-utensils, and live stock. - - _Crimp._ Live stock; horses, cows, by golly, and de hogs (HOSEA - _nods_), and de chickens and roosters? - - _Hosea._ Yes, sold them all. - - _Crimp._ By golly, you don't mean it; w-w-w-what we gwine to do - for Fanksgibben? And de ole ram Jim,—he gwine too? - - _Hosea._ Yes, the old ram Jim. - - _Crimp._ Golly, dat so? I'm obleeged to you, Massa Jinks. Dat are - ole ram Jim am de mos' dyspeptic biped— - - _Hosea._ Quadruped, Crimp. Bipeds walk on two legs: he goes on - four. - - _Crimp._ Does he, Massa Jinks? You jes' don't know ole Jim: by - golly, he's on two legs mos' de time, and gwine for me so (_imitates - butting_), see, so. Hope I may die, Massa Jinks, if dat ar ole Jim - didn't creep up a-hind me las' night when I was a-leanin' ober de - pig-sty, jes' as easy, and lif' me ober dat ar fence into de mud, afore - you could ax no questions. Nearly took away my bref. I'm glad he's - gwine; he's too sociable; he is always teasin' folks to take a horn wid - him, always wantin' to help gib you a boost. By golly, I's glad ole Jim - gwine. - - _Hosea._ Suppose you go and tell him so. - - _Crimp._ What, me? Guess not, Massa Jinks. We ain't on speakin' - terms; de conbersation am always interrupted wid so many buts, can't - get on at all. But I'll jes' go and gib him a hint, Massa Jinks,—wid a - stone. By golly, ole Jim gwine! Hi! de jubilum am come. I'm obleeged to - you. - - [_Exit_ F. - - _Hosea._ Now, Mr. Rowell, I'm at your service; sorry to have kept - you waiting. - - _Rowell._ It's of no consequence, Jenks: by the way, Miss Mattie - Trueworth is a very pretty girl. - - _Hosea._ Isn't she? If she only went with the farm you'd get the - _true worth_ of your money. You see: ha, ha, ha! I'm always doing it: - can't help it; will pop out in my office, at my table, even in my - dreams. It's a bad habit,—a _pun_icious habit, for which I ought to be - punished. There it is again! Ha, ha, ha! I can't help it. I try, but - it's no use; in my office, at my table— - - _Rowell._ I'm to pay you one hundred dollars. - - _Hosea._ Exactly, to bind the bargain; balance in ten days. - - _Rowell_ (_takes out pocket-book_). These Trueworths are evidently - in a bad way. - - _Hosea._ Very. Farm gone, all gone. Poor folks! my heart bleeds - for them. - - _Rowell._ Does it, indeed? The farm is sold to pay your claim. - - _Hosea._ Yes, and you've got a bargain. It's wartimes, and folks - ain't a-goin' to put out their money. A year ago, three thousand - dollars could not have bought this farm. What's the use of buying land - when there's no telling but what the Southern Confederacy will sweep - every thing afore the war's over? - - _Rowell._ Indeed! then you've not much faith in the success of - Northern arms? - - _Hosea._ It does look a leetle black for the North. - - _Rowell._ If that's your opinion, perhaps I'd better withdraw - before the bargain's closed. - - _Hosea._ What! back out? Don't you do it! It's always blackest - just afore day. The right must conquer: it's a magnificent farm. - It's only a question of time: a hundred dollars if you have it - ready. The Union must be preserved: best cows in the country. Look - at the uprising: a million freemen in arms,—ninety acres of - meadow-land,—marching on to victory. And we're so far north, you - know, it's a safe investment. I'll write a receipt. - - _Rowell_ (_throws down money, and rises_). There's your money. - - _Hosea._ That's good. (_Snatches the money._) The best investment - you ever made. (_Sits and writes._) There's your receipt. Thank you. - (_Rises and shouts._) Hi, sonny, take down the flag: bargain's closed. - That's my son out there; a mere boy, but awful smart if he's kept in - his place. Hiram Jenks is his baptismal name. I call him Hi, for short: - see the pun? ha, ha, ha! Hi Jenks, when I'm in a highly humorous - vein,—that's another; and when he's in a teasing humor, I call him Hi, - son. There's another! Ha, ha, ha! Can't help it: I'm always doing it. I - must be funny; in my office, at my table— - - _Rowell._ You seem to be a very busy man, Mr. Jenks. - - _Hosea._ I am. I'm a auctioneer, funeral undertaker, coroner, - lawyer, expressman, carpenter, shoemaker, any thing by which I can gain - an honest penny. There's only one office that seems necessary to my - happiness. I would be a postmaster; and Stamps is on his last legs. - Poor fellow! he's nearly stamped out of existence. You see: ha, ha, ha! - I can't help it; it will pop out. Perhaps it's better, for humor is - dangerous when it strikes in. See? Ha, ha, ha! - - _Rowell._ Your humor is not of the strikin' kind, Mr. Jenks. - - _Hosea._ Ha, ha, ha! very good; it's catching. Strike in: that's - (_looks grave_) rather good. - - _Rowell._ There's a son at the head of this Trueworth family, I - believe? - - _Hosea._ Yes; a splendid fellow, who enlisted a week before his - father died. Poor chap! he's awfully cut up. Thought the old folks - nicely settled, and was chock full of patriotism. Was disappointed in - that, but could not get out of Uncle Sam's clutches. I couldn't afford - to lose my money, so foreclosed and sold out. (_Enter door in flat_ - HIRAM JENKS _with a long pole, on which a red auction-flag is rolled, - on his shoulder_.) - - _Rowell._ 'Twas a hard blow for the family. (HIRAM _turns to shut - the door: pole swings round, and hits_ HOSEA _in the head_.) - - _Hosea._ Oh, murder! you clumsy chap, you've broke my head. - - _Hiram._ 'Twas a hard blow for you, dad,—an auctioneer knocked - down under his own flag. - - "When pole meets poll, then comes the crack of skull." - - _Hosea._ Shut up, sonny! Where's your manners? Hold up your head. - (HIRAM _obeys the directions as spoken_.) Boys should be seen, not - heard. Turn out your toes. That was good, though, "when pole meets - poll:" ha, ha, ha! He can't help it: takes it from me. I can't help it; - in my office, at the table— - - _Rowell._ I'm anxious to settle this business at once, and get - possession of the farm. If you will arrange the papers, my check is - ready to-day for the whole amount of purchase. - - _Hosea._ I like that. My son, hold up your head: here's an example - for you; a man who's anxious to pay,—turn out your toes,—who never puts - off until to-morrow what can be done to-day. When you grow up, sonny, - remember ready is the color of the winning horse on the racecourse of - life,—Ready-cash; by whom that _dun_-colored nag Promise-to-pay is - always distanced. Ha, ha, ha! There's a pair of 'em. I can't help it; - it will pop out; in my office, at my table— - - _Rowell._ I'm in something of a hurry. - - _Hosea._ All right: step over to my office, and we'll settle up at - once. Sonny, straighten up! You are released from official business, - and may go off fishing. (_Pats him on the head._) That's good, Ha, ha, - ha! I can't help it; 'twill pop out regardless of time and place. We - wits know no pent-up Ut_aca_. You take, hey, Rowell? Ha, ha, ha! I - really can't help it; in my office, at my table— - - _Rowell._ Mr. Jenks, I really must insist— - - _Hosea._ You can't stand it, hey? Then we'll move on. Sonny, stand - by the flag. I'm going, going, gone. Ha, ha, ha! [_Exit, followed by_ - ROWELL, _door in flat_.] - - _Hiram_ (_stands_ C., _and looks after them_). Sonny, sonny! - Well, if the old man keeps on his degenerating pace, he'll be in his - second childhood in six months. Calls me a boy, a mere boy: twenty last - month. Keeps me in a short jacket, and shorter pantaloons. Makes me - keep my hair sandpapered like an urchin of ten. It's about time this - thing was stopped. If my arm creeps through this jacket much farther, - I'm very much afraid it will rise in indignation, and smite my aged - sire. "Honor your parents" is a very good maxim, but it may be carried - a little too far. I'd go into the army, but he won't let me; swears I - shall stand by the old flag. (_Clasps the auction-flag in his arms._) - No matter: it's only a year, and I am free. Ah! here's Mattie - Trueworth, a girl I would lay down my life for, and who laughs at me. - Heigho! if I wasn't a boy, I should be very much in love with her. How - d'ye do, Mattie? (_Enter_ MATTIE R.) - - _Mattie._ Oh! it's you, Hiram Jenks. - - _Hiram._ Yes, it's me, Mattie: the standard-bearer, (_pompously_) - bearing the old flag, that has conquered in so many battles; under - whose folds so many household gods have fallen, never to rise again. - - _Mattie._ Pshaw! you'd look more manly bearing the flag of your - country. - - _Hiram._ S'pect I would, Mattie: it's what I'd like. But dad says - No. - - _Mattie._ Oh, indeed! a dutiful son, truly. The house is sold: why - do you wait here? - - _Hiram._ To get a word with you, Mattie. I've a great admiration - for you. If I dared, I would tell you that I love you. (_Places flag - in_ R. _corner back_.) - - _Mattie._ Don't you dare do any such thing. You must know I detest - you, a mere boy; why, you're not yet out of jacket and trousers! - - _Hiram_ (_stretching up his arms_). You're mistaken, Mattie: I'm - a long way out of them. - - _Mattie._ Hiram Jenks, you're a fool. - - _Hiram._ That's just what dad says, Mattie; but he's awfully - mistaken. He's old and queer, so I think it no harm to humor his - fancies, though I do get laughed at. He does not know, that, long after - he's asleep, the fool is studying by candle-light, way into the night; - that, while he's about his business, the fool's ears are open, and his - eyes sharp set, watching the kinks and tricks of trade. Only a year, - Mattie, and I shall be free,—free to laugh at him, free to win you. - - _Mattie._ Win me! Hiram Jenks, have you lost your senses? - - _Hiram._ Sometimes I think I have, Mattie, when I look at you. - Don't be hard on me. Think me a boy, if you will: only remember that I - love you dearly; for your sake, would die a thousand deaths. - - _Mattie._ What unparalleled devotion! (_Sits in chair_ R., _and - turns her back_.) - - _Hiram._ Mattie, Rob must soon leave for the battle-field. You - will then need a friend. Let me take his place, be a brother to you; or - give me the right to be nearer and dearer. (_Kneels, and takes her - hand._) Speak, Mattie: I love you dearly, truly. (_Enter door in flat_ - HOSEA, _followed by_ ROWELL.) - - _Hosea._ Good gracious, boy! what are you about? You're spoiling - your trousers. (HIRAM _jumps up_.) Mattie, don't let that boy pester - you with his nonsense. Sonny, go home. (_Aside._) 'Pon my word, I - believe the boy was making love to that girl. I must look after him a - little closer. (_Aloud._) Hiram, hold up your head, turn out your toes, - 'bout face, march! (HIRAM _looks at his father as if he would defy him, - then obediently marches off_.) Now, Mr. Rowell, you are in possession. - There is the deed (_giving paper_), where you may read your title - clear. What's to prevent? Ha, ha, ha! there it is again! I can't help - it; in my office— - - [_Exit_ D. _in_ F. - - _Rowell._ Miss Mattie, will you be kind enough to inform your - brother that I would speak with him? - - _Mattie_ (_rising_). Certainly sir, he's somewhere about the - place: I'll find him. - - [_Exit_ R. - - _Rowell._ I will make an attempt to dispose of this farm to - advantage. I must be quick: Gaylie is expected home to-day, may return - at any moment. If this fellow was only out of the way, 'twould be clear - sailing. Yet if I can manage to spike his guns before the prize heaves - in sight, the victory is mine. (_Sits at table. Enter_ R. ROB.) - - _Rob._ You would speak with me, Mr. Rowell? - - _Rowell._ Yes: take a chair. (_Rises, and offers chair to_ ROB, - _then goes_ L., _and brings chair to_ L. _of table: both sit_.) This - farm has passed from the possession of your family into my hands; the - purchase-money is all paid; and I now hold by right the title-deed. - Here it is. (_Lays it on table._) - - _Rob._ I understand. Your property shall be vacated at once. - - _Rowell._ Not so fast, my dear fellow: hear me out. You are a brave - man; you have enlisted in your country's cause. You must go to the - battle-field, and leave your dear ones to the tender mercies of this - little world. I cannot be insensible to such patriotism, and I would - befriend you in this emergency. - - _Rob._ You befriend me! I have no claim upon you. - - _Rowell._ But you have upon my ward. She was reared beneath this - roof. Were she here, I think she would uphold me in what I am about to - do,—restore to you this farm. - - _Rob._ Restore it! I have no right to it. 'Tis yours by lawful - purchase. - - _Rowell._ You're right; and as an act of justice to one who gives - himself to a great cause, that his dear ones shall not be left - helpless, I give you back the farm. - - _Rob._ You do this, Mr. Rowell: you give me the farm freely, - unconditionally? - - _Rowell._ Not exactly. There is one condition, and only one. - (MATTIE _appears at window outside, with a pair of scissors, and is - arranging and clipping her flowers, overhearing the following - dialogue_.) - - _Rob._ One condition. Mr. Rowell, before you state that - condition, let us understand one another. I do not like you. I have - felt an instinctive dislike from the time you first entered this town. - I have heard hard stories concerning you,—that you have wronged men, - ay, and women too. With all that, I have no right to prevent my mother - and sister from remaining in their old home. I will not, can I do so - honorably. But I will accept no favor from you. Show me any way in - which I can redeem this place, the way to win it back by good service - that shall repay in full all expenses you have incurred in its - purchase, or encumber it with a mortgage and heavy interest; but give - me time to redeem, and I will believe you are my friend, will trust - you. Come, I have spoken plainly: now let me hear your condition. - - _Rowell._ Ha! I like plain speaking. You are an adept at it. You - don't like me. Well, then, in place of favor, I will offer a bargain. - Here it is: this farm to you and yours forever, for a promise—a - pledge—that you never offer your hand to my ward, Gaylie Gifford. - - _Rob._ Gaylie Gifford,—my hand!—Mr. Rowell, you are jesting. - - _Rowell._ No, I am serious. When I entered this house for the first - time to-day, I heard your confession to your mother. I know how - grateful Gaylie is for the kind care bestowed upon her here in - childhood; and I would not have her kind heart wounded by the belief - that one with whom she has been so intimate should presume upon her - friendship, to seek to gain her hand, and with it a fortune. - - _Rob_ (_rising_). Mr. Rowell, you are insulting. - - _Rowell._ Come, be reasonable! You can never hope to win her. Give - me your promise, and the farm is yours. - - _Rob._ No! A thousand times no! You know my secret, but you know - not me. I do love Gaylie Gifford, and with a hopeless love. The very - fortune you taunt me with seeking is a bar to keep me silent. - - _Rowell._ Then take the farm. I will willingly give it up to - purchase your silence. She can never be yours: 'twas her father's wish, - that, when she became of age, her hand should be given to another. - - _Rob._ And that other, yourself. Am I not right, Wilder Rowell? - - _Rowell._ 'Twas a pretty shrewd guess. - - _Rob._ It is a lie. He had no such wish. My father was with him - when he died. - - _Rowell_ (_rising_). Lie! this to me? - - _Rob._ Ay, a lie! You like plain speaking. I know he left her - free to choose her own mate, and bade you, as her guardian, to respect - her choice. - - _Rowell._ I am her choice. Already she trusts me, with a confidence - that only love can bring; and I, I love her, dearer than all else in - the world. - - _Rob._ Except her fortune. You love her, Wilder Rowell, and she - is in your power. Poor Gaylie! You shall not win her. She is too good, - too pure, to mate with such as you, an adventurer, a fortune-hunter. - - _Rowell._ Indeed! Come, we are rivals. I will be magnanimous: you - shall have the first chance. Speak, tell her of your love. If she says, - Yes, I'm silent. - - _Rob._ O villain! you know your power. Speak to her, tell her of - my love; I a poor soldier, she a rich heiress! She would think me as - mercenary as I know you to be. No, no, I cannot: I love her dearly, - truly, but must still love on in secret. (_Falls into chair, and buries - his face in his hands on table_). - - _Rowell_ (_rising. Aside_). Honorable to the last! There's no fear - of him. (_Aloud._) Think well of it, Trueworth. Take the farm, and make - your dear ones comfortable. The prize you covet hangs too high. - (_Aside._) Silent! I'll look in on him again (_takes deed_): an hour's - reflection may awaken a better spirit. - - [_Exit door in flat, passing_ MATTIE, _who enters_. - - _Mattie_ (_going to_ ROB). Why, Rob, what's the matter? - - _Rob._ Nothing, Mattie: I was only thinking over a plan I have - for your future. - - _Mattie._ Gaylie's back, Rob: I just saw her carriage drive up to - the house. - - [_Down_ R. - - _Rob._ Indeed! Then I shall see her before I go. Where's mother? - (_Enter_ MRS. TRUEWORTH, R.) - - _Mrs. T._ Here, Rob. What had Mr. Rowell to say to you? - - _Rob._ Nothing, mother, to benefit us. I must go out, and look - about for a new home. Home! home! that's a hard place to find, when the - roof that has so long sheltered us is stripped from our heads. - - _Mrs. T._ Home is where the heart is, Rob; and, while the old love - binds us together, we can bid defiance to adversity, beneath the - humblest roof. - - _Rob_ (C.). That's right, mother. Keep up a brave heart. We - shall weather the storm. (_Aside._) Oh! who will care for these dear - ones when I am gone? (_Crosses to_ L.) - - _Gaylie_ (_outside_). Ha, ha, ha, old Jim! you know me, don't you? - keep away! Open, locks, whoever knocks. I'm home, I'm home! (_Runs in - door in flat._) Home, home again! You dear, good Mother Trueworth! - (_Runs into_ MRS. TRUEWORTH'S _arms_, C.; MATTIE R., ROB L.) - - _Mrs. T._ Dear child, welcome, a thousand times welcome! - - _Gaylie._ I knew you'd be glad to see me; and Mattie (_runs to her_ - R., _and embraces her_), you dear darling, how rosy you look! - - _Mattie._ Gaylie, this is a surprise. I'm real glad to see you. - - _Gaylie._ Of course you are; isn't it jolly? But where's Rob? - - _Rob_ (_advancing_). Here he is; patiently waiting to be - recognized. - - _Gaylie_ (_runs to him, and catches his hands, shaking them - heartily_). Oh, you dear old fellow! How glad I am to see you! Why - don't you kiss me? - - _Rob_ (_kissing her_). That was certainly an oversight. So you - are back again, the same dear, good Gaylie. Two years' schooling has - made little alteration in you. - - _Gaylie_ (C. _with_ ROB; MRS. TRUEWORTH _sits in rocking-chair_; - MATTIE _stands_ L., _with arms akimbo_). Yes, it has. I'm spoiled, - completely spoiled. Got a beau yet, Mattie? - - _Mattie._ No, indeed! I hope not. - - _Gaylie._ Ha, ha, ha! what a girl! sneers at her destiny. She'll - get over it. Yes, I'm completely spoiled. Went away a _cheild_ of - nature, fresh, buoyant, and all that sort of thing: I've come back a - cultivated woman. Ahem! (_Struts across stage: comes back._) Oh, my - poor little head! it's had Latin squeezed into it, Greek pounded into - it, and French, German, Spanish, and Italian filtered through it. Oh, - it's a learned head! Then my fingers have been calloused into - familiarity with all the ugly notes in the musical scale; my feet - twisted and turned about all the figures a French dancing-master could - invent; and my poor little figure tortured with elegant movements and - graceful poses. Oh, bless you! I'm not myself at all. (_Goes back to - Rob._) - - _Rob._ You are our own Gaylie still. I know it; I can feel it in - the warm clasp of your hand, in the clear light of your eyes. - - _Gaylie._ Right, Rob: you're always right. For this dear old home, - you, my earliest, best friends, are a part of this my heart; and that - not all the teaching in the world could change. (_Goes to_ MRS. - TRUEWORTH, _and kneels at her side_. ROB _goes up stage, and watches - her_.) So here I am again, mother, at your feet. When my father went to - that far-off land, years ago, in search of wealth, he left me here, and - asked you to be a mother to his child. How well you took the place of - her who died when I was so little, let this testify. I am now the - heiress to his wealth; I have a home rich and attractive, servants at - my call, much that can make life bright and beautiful: but I could part - with all, sooner than lose the right to call this home, and you mother. - - _Mrs. T._ (_putting her arms about her_). Dear, dear child! You are - my own; still the same fresh, warm heart. - - _Rob_ (_aside_). She's an angel. Had I but the power to call - her mine! - - _Crimp_ (_outside_). Go 'way dar, you Jim! don't yer shake yer - head at me. Go' way dar! help! murder! help! (_Tumbles in at door, as - if "butted;" jumps up, runs, and shuts door, placing his back against - it._) Go 'way, yer fool! Nobody to hum. - - _Rob._ What's the matter, Crimp? - - _Crimp._ Dat ole fo-fo, Jim, he will insist on squartin' me to de - door, an' I don't want none of his attention. Go 'way, out dar: stop - dat knockin' at do'! - - _Gaylie._ Oh, here's our black Cupid! Why, Crimp, old friend, - aren't you going to speak to me? - - _Crimp_ (_comes down_). Why, bress my soul! No, 'tain't. Yes, it - am: it's Miss Gaylie hersel'. You dear little honey! bress us an' save - us, am dat yerself? - - _Gaylie_ (_taking his hand_). Yes, it's your old torment; home - again, and ready for a frolic. - - _Crimp._ Wh-wh-at! bress yer purty face; yer ain't grown a mite; - gwine fur a frolic; climb de yapple-trees, ride onto de darky's back. - Oh, golly! what times we did hab, to be sho'! - - _Gaylie._ Only give me a chance, Crimp. I'm as spry as ever. - - _Crimp._ What! would you, dough, ride onto dis year darky's back? - By golly! I'm obleeged to you. I's powerful glad to see ye back, honey. - Comfort de ole lady, now Massa Rob gwine fur a sojer. - - _Gaylie._ What! our Rob a soldier? - - _Crimp._ Yaas, indeed! Don't you see de uniform? gwine along de - tramp, tramp, tramp fellars, he am. - - _Rob._ Yes, Gaylie, enlisted for the war. - - _Gaylie._ But where are your shoulder-straps, your sword? - - _Rob._ I am but a private, Gaylie. The emblems of command are - yet to be won: they'll come in time, I hope. - - _Gaylie._ I know they will. O Rob! I'm proud of you. - - _Crimp._ Same here, Massa _Rob._ I'm obleeged to you. Golly! if I - was only a white man, I'd jist go down dar, I would. Hi! I'd lay 'em - out. I'd go for dem are fellars, like ole Jim, so (_butting_). But dey - don't want no brack guards; oh, no! S'pect dey will, dough, glad to git - 'em afore de war am ober; and, when de do, hi! Tumms Jeffsum Crimp am - dare, he am. - - _Rob._ It strikes me, Crimp, you are rather monopolizing the - conversation. Fall back, sir. - - _Crimp._ I'm obleeged to you, Massa Rob. I's dumb. (_Goes to - window, and in dumb show pesters the imaginary_ JIM _by shaking his - fist, throwing things out of the window, &c._) - - _Rob_ (L. C.). Yes, Gaylie, I am expecting daily orders to - march. I only hope I shall have time to completely settle mother and - Mattie in their new home. - - _Gaylie_ (R. C.). Their new home! what do you mean? - - _Rob._ The farm has been sold, Gaylie,—sold to-day, to satisfy - the claim of Hosea Jenks. - - _Gaylie._ Sold! Why have I heard nothing of this? - - _Rob._ You must have known it. Pardon me: I see I have been - mistaken. Your guardian— - - _Gaylie._ Has not written me a word concerning you; not a word have - I heard of this. But 'tis not too late: the farm can and must be - redeemed. Who is the purchaser? - - _Rob._ Your guardian, Wilder Rowell. - - _Gaylie._ He bought it? then it's all right. Dear, good fellow! he - knew I could not desert you. That's just splendid! (_Enter hurriedly_, - ROWELL, _door in_ F.) - - _Rowell._ Miss Gaylie, I have this moment heard of your arrival. - Welcome home! (_Gives his hand._) - - _Gaylie_ (_eagerly shaking it_). A thousand, thousand thanks, - Guardy: you have indeed made me welcome. So, sir, you have a surprise - in store for me. Come, disclose it: I am all impatience. It's so - splendid to be surprised, when you are all prepared for it! - - _Rowell._ A surprise? I do not understand. - - _Gaylie._ O Innocence! thy name is Wilder Rowell. But I know your - secret. You have bought this farm. - - _Rowell._ Yes: a good piece of property, they say. - - _Gaylie._ Indeed it is! the very investment I should have proposed. - Thank you for your thoughtful consideration. So it's my property? - - _Rowell._ No, it's my property. Not as your agent, but for myself, - I bought this farm. I mean to settle down, and become a sober, plodding - farmer, and, in time, take to myself a wife. (_Looks at_ ROB, _who is - in_ L. _corner_.) - - _Gaylie._ Guardy, I _have_ been mistaken. But you will sell _me_ - the farm. Come, you never yet refused me a request; and it is one of - the dearest wishes I have, to possess this farm. - - _Rowell._ Sorry I cannot oblige you. But, for particular reasons, I - would not sell this farm for ten times the money I gave for it. - - _Gaylie._ But you are turning from their dear home the best friends - I have in the world. - - _Rowell._ They are not very much attached to it, Gaylie; for, not - an hour ago, 'twas offered them on easy terms. - - _Gaylie._ Offered them, by you? - - _Rob._ Yes, Gaylie: on terms no honest man could for a moment - consider. - - _Rowell._ I offer it again. Consider, Robert Trueworth, 'tis you - who are driving your family from home. - - _Rob._ You have had your answer. Scoundrel! - - _Rowell._ That name again! - - _Rob._ Ay, again and again! Plead no more, Gaylie. Ask no favors - for me or mine, of that man: even from your dear hands, I could never - take the fair farm which he has polluted by ownership. - - _Rowell._ Robert Trueworth, you shall repent this. (_Comes close to - him._) You are making me your enemy. - - _Rob._ I am satisfied. Better open war than false friendship - with a heartless foe. - - _Gaylie._ No more of this, I beg. You have quarrelled. For my sake, - be friends. - - _Mattie_ (R.). Silence, Gaylie! you know not what you ask. - - _Gaylie._ You too, Mattie? What means this mystery? (_They pass to_ - R., _and converse in dumb show_. ROB _goes up stage, and passes round - to back of his mother's chair, on which he leans, conversing with her, - as_ HOSEA JENKS _enters, followed by_ HIRAM. CRIMP _runs to_ HIRAM, - _and keeps him back, conversing in dumb show about_ "JIM;" CRIMP _going - through pantomime, to convey an idea of an attack_. HOSEA _comes down_, - C.) - - _Hosea_ (_speaks as he enters_). Oh, here you are, Rowell! I - thought I should find you. I've just been down to the post-office. Poor - Stamps has gone. He has distributed his last batch, and been - transferred to the dead-letter office. Ha, ha, ha! that's a grave pun; - but I can't help it; you know my weakness. - - _Crimp._ Weakness? am you got de lumbago, Massa Jinks? Golly! I - had de rheumatiz awful, las' winter. Tell you what you do, Massa Jinks: - you jis get a poorhouse plaster; only draw a quarter out ob yer pocket, - and all de anguish out ob yer back. - - _Hosea._ Ha, Ha, Ha! he little understands my facetious humor. - - _Crimp._ Oh, humor! face itches; den clap it onto yer face. Draw - out all de pain, and some ob yer cheek too. - - _Rob._ Crimp, be silent! - - _Crimp._ Ob course, ob course! I'm obleeged to you. - - _Rowell._ So Stamps is dead? - - _Hosea._ Yes: poor fellow, I grieve for him. Who can take his - place?—I should say, his post. Postmaster, see? ha, ha, ha! There it is - again! I can't help it. - - _Rowell._ Mr. Jenks, if you could contrive to drop this jesting - humor— - - _Hosea._ But I can't. I try, but I can't drop it: it's a drop too - much. Ha, ha, ha! - - _Crimp._ Ya, ya, ya! dat's good: de ole man's been drinking jes' a - drop too much. - - _Rowell._ If I understand you, Mr. Jenks, you would be his - successor. - - _Jenks._ That's just it. I know you have influence. See, here's an - official envelope addressed to you, and from the war-office too. - - _Rowell_ (_snatches and opens it_). For me? Ah, good, good! Jenks, - I shall remember you. Now comes my turn. Gaylie, I must home at once: - will you go with me? - - _Gaylie._ I prefer remaining here. - - _Rowell._ As you please. Mr. Trueworth, a word with you. (ROB - _advances_.) I give you one more opportunity to embrace my offer. 'Tis - the last chance. This fine property for your silence. - - _Rob._ I will make no terms with you. When I have won the right, - I will speak. (_Turns up stage._) - - _Rowell_ (_walking up slowly to door_). When you have won the - right: that time will never come. Fool! you have made an enemy of one - who can strike deep and well. - - [_Exit door in_ _F._ - - _Hosea._ Rowell, Rowell! don't forget me. I must run after him: - there's no time to be lost. Come, Hiram! fall in, or we shall fall out. - Ha, ha, ha! - - [_Exit door in_ F. - - _Crimp._ Take care, Massa Jinks, you don't fall onto ole Jim's - horns! (_Looks out at door._) golly, he's a-laying fur him. Dere de go! - Go in, ole man; he's a arter ye! By golly, see 'em run: see 'em run! - (_Exit._ HIRAM _starts for door, stops irresolutely, and then comes, - and stretches himself upon lounge_.) - - _Hiram._ It's right comfortable here: I think I'll stop. - - _Gaylie_ (_aside_). He denies my request. What motive can he have - in thus appropriating the property of my friends? I must know more of - this. (_Aloud._) Come, mother, show me to my old room. I want to talk - to you: I've so much to say! I shall not tell you what I have bought - for you. Such a cap, a perfect beauty! and such a shawl! You'll be the - envy of the town. - - _Mrs. T._ (_rising_). Dear, dear child! ever thoughtful of my - comfort. - - _Gaylie._ If I were not, I should not deserve so good a mother. - Good-by, Mattie: good-by, Rob! [_Exit with arm about_ MRS. TRUEWORTH.] - - _Rob._ Good-by, Gaylie. Bless her dear heart! mother will have - one friend when I am gone. Now, Mattie, I'll take a look about, and see - if there's a poor but neat tenement to be had: I won't be gone long. - - _Mattie._ O Rob! where can we go? - - _Rob._ Trust all to me, Mattie: I will not leave you homeless. - (_Going._) - - _Hiram_ (_on sofa_). Sh—sh—sh! - - _Rob_ (_returning_). Why, Hiram, what's the matter? (HIRAM - _rises, walks on tiptoe to the window, looks out, turns, "Sh!" then - walks to the door, and performs the same manœuvre; then comes down_ C. - _on tiptoe, beckoning_ ROB _down_.) - - _Mattie._ What ails the boy? is he crazy? - - _Hiram._ Don't mind me. If the old man should happen about, I'm - ruined. But, sh—you want a friend. - - _Rob._ Well, Hiram, I am not quite destitute. - - _Hiram._ Sh—if I only dared, I could find a friend for you. If I - only dared; but I'm such a coward. No matter, I'll take the risk. You - know the Widow Smith place? - - _Rob._ Yes: 'twas sold at auction six months ago. - - _Hiram._ Exactly. Sh—it's mine: I bought it. - - _Rob._ You? why, 'twas knocked down to Crane! - - _Hiram._ Yes; and Crane crooked his long neck round, and took his - cue from me. I bought it: my money paid for it. Never you mind where - the money came from; it was an honest purchase. Now you're in trouble: - you want a home. Take mine, and welcome; only don't let the old man - dream I'm its owner. Crane holds it now; but, when I am free, 'twill be - known as my property. Will you have it? Not a cent will I take for it - until the war is over. It's a pretty place: not much land; but flowers, - good gracious! and woodbine, why, the front is completely covered. Will - you take it? Quick! the old man will return, and then I am a boy again. - - _Rob_ (_takes his hand_). Hiram, you're a man: you are a true - friend. Thank you: I will accept your offer. - - _Mattie._ O Hiram! I've treated you shamefully. Forgive me: I never - dreamed you had such a noble heart. - - _Hiram._ I haven't any heart, Mattie: you had it all long ago. So - you'll take the place (_enter Gaylie_ R.), and be my tenant until the - war is over. Sh—sh! not a word! - - _Gaylie._ You're too late, conspirators: I have heard all. Rob, you - have found a home? - - _Rob._ Yes, Gaylie, thanks to a true friend. - - _Hiram._ Sh—not so loud; the old man drops round mighty sudden. - - _Gaylie._ Rob, you have done this without consulting me. Why am I - shut out from your counsel? - - _Rob._ Ah, Gaylie! you cannot befriend me. You are not of age, - and I will not be indebted to your guardian. - - _Gaylie._ Tell me, why have you quarrelled with my guardian? What - means this enmity between you and him? - - _Rob._ Gaylie, you must not ask me. - - _Gaylie._ But I must know: you have no right to keep it from me. - - _Rob._ I cannot tell you, Gaylie. Let it suffice, we are - enemies; that he would do much to crush me and mine. - - _Gaylie._ Let him dare! I stand between you and him. You go to - battle in a noble cause: fear not; if he has the will to wrong the dear - ones you leave behind, I have the power to crush him, and I will. Face - the enemy in the South with a brave heart, Rob. Against the enemy here, - I will be the Home-Guard. - - _Rob._ You, Gaylie? what can you do, little woman? - - _Gaylie._ Woman's work. Think you we will sit idle at home, while - husbands, fathers, brothers, are in the field? No! there is work for - tender hands and willing hearts. To care for the needy, to protect the - helpless, at home; to heal the wounds, and charm away the pain, in the - hospitals,—this is our work: to it I give my whole heart; my whole - fortune, if need be. Henceforth I am the guardian of your mother and - your sister. (_Enter_ CRIMP _door in flat_). Alone, if need be, I will - stand the Home-Guard, a bulwark against adversity. - - _Hiram._ You shall not stand alone, Miss Gaylie. They say I'm but - a mere boy, but I'm heart and hand with you in this cause. - - _Crimp._ Same here. I'm obleeged to you; I'll be de drum-major in - dat ar corpse. - - _Gaylie._ See, Rob; they muster at my call. Home-Guard, attention! - fall in! (_Stands_ L. C. HIRAM _steps up beside her_; CRIMP _up stage - next him; form in line up and down stage_. MATTIE _sits in - rocking-chair_, R.; ROB _leans upon the back of her chair_.) - - _Rob._ Raw recruits, Gaylie! - - _Gaylie._ Yes, almost as raw as those who take the field, Rob. - Company, attention! - - _Crimp._ Hole on, Miss Cap'n. Whar's de colors? mus' have a frag. - Golly, dis year's de ticket. (_Takes auction-flag from corner, and - unrolls it_). Dar! look at dat; and, as I's de only pusson ob color in - dis yer corpse, I'll be de color-bearer. - - _Gaylie._ Attention, company! - - _Crimp._ Yes, Missy Cap'n; I's all attention. - - _Gaylie._ Eyes right: eyes left: salute! (_They bring their hands - to a salute. Enter door in_ F. ROWELL, _in full uniform of a colonel_.) - - _Rowell._ Ah! what new recruits have we here? - - _Gaylie._ Mr. Rowell, what does this mean? - - _Rowell._ That an honor for which I have exerted much influence - has, at the last moment, been conferred upon me. I am appointed colonel - of the 10th. (_Bows, and comes to_ L. _corner_.) - - _Gaylie_ (C.) Rob's regiment, and his enemy at its head! Oh, this - is cruel! - - _Rob._ He in command! He our colonel! Another blow: fate can do - no more. (_Goes up_ C.) - - _Rowell._ Robert Trueworth, you will join your regiment at once. - All furloughs are countermanded. We march at sunrise to-morrow. - - _Gaylie_ (_aside_). Oh, this is terrible! Rob's bitter foe in - command: oh, why have they quarrelled? (_Goes to rocking-chair, and - leans upon it._) - - _Rob_ (_aside_). To serve under that man, whom I detest! There - is no escape. I must submit. There's one comfort: his position takes - him away from Gaylie. (_Enter_ MRS. TRUEWORTH R.) The time has come, - mother. I have orders to join my regiment at once: we march at sunrise. - Keep a stout heart, mother. I leave kind friends behind, who will see - to it you do not suffer. - - _Mrs. T._ (_her arms about his neck_). My brave boy, serve well - your country, and do not forget your mother. She gives you up freely, - with a prayer that you may be found true to your duty. Heaven bless and - keep you, Rob! (_They stand together conversing._) - - _Gaylie._ Mattie, before Rob goes, I must know the meaning of this - quarrel between him and my guardian. Why is it kept from me? You must - know: I conjure you, as you value my friendship, as you love your - brother, speak before 'tis too late. - - _Mattie._ O Gaylie! I do know; for his sake I will speak. You are - the cause of this quarrel. Both these men love you. - - _Gaylie._ Indeed! Oh, I'm so glad! - - _Mattie._ Glad! You should be ashamed of yourself. You can't marry - them both. - - _Gaylie._ Oh! you don't know what I can, what I will do. - - _Rob_ (_approaching_). Mattie, sister, good-by. - - _Mattie_ (_rising, and running into his arms_. GAYLIE _slips into - her seat, and covers her face_). O brother! so soon? what shall we do - without you? - - _Rob._ Keep a good heart, sister. You will do bravely. (_Kisses - her._ MATTIE _goes to her mother_, C. ROB _comes down, looks at_ - GAYLIE, _sighs, and turns up stage_.) Good-by, Crimp. (_Shakes hands._) - - _Crimp._ Good-by, Massa Rob. I'm obleeged to you. You'll come home - a drum-major, sartin sure. - - _Rob._ Thank you, Crimp. Good-by, Hiram, and thank you for your - friendly aid. - - _Hiram._ Good-by, Rob. I'll look out for the women-folks, sharp - too. (ROB _goes to door_.) - - _Gaylie_ (_running up stage_). Rob, Rob! you've forgotten me! - - _Rob._ True, Gaylie. I had not the heart to say farewell to you. - You are so dear— - - _Rowell._ This is but tardy obedience. - - _Rob._ Ah! you fear me, Col. Rowell, no more than I fear myself. - But am I not bound in honor to be silent? Gaylie, farewell: you have - been a kind friend to us, will still be to my dear ones when I am gone. - Good-by. - - _Gaylie._ Rob, is there nothing more you would say to me? (_Looks - at him tenderly._) - - _Rob._ Nothing, Gaylie: were you but the poor girl I once - thought you; but no, no— - - _Gaylie._ Rob, whatever you would have said to the poor girl, say - to the rich heiress: there's the same heart here. - - _Rowell._ Confusion! is she leading him on to confession? - - _Rob._ O Gaylie! am I awake? You give me life; you give me hope: - you make me bold to speak. Gaylie, I love you, dearly, truly. - - _Gaylie_ (_placing her hands on his shoulders_). As dearly and - truly as I love you? O Rob! it must be deep and strong. - - _Rob_ (_clasping her in his arms_). Mine, Gaylie, mine! oh, - this is happiness indeed! - - _Crimp._ Hi, das a fac. De Union foreber! - - _Rowell._ Girl, are you losing your senses? I forbid this folly. - - _Gaylie._ And who are you? - - _Rowell._ Your guardian. You shall not throw yourself away upon a - common soldier. - - _Rob_ (_comes down_). A common soldier! True. I glory in my - rank. You leap to a command by power and influence. My spurs must yet - be won. I am content. Should I rise by merit, no emblems of rank could - shed a brighter glow than gleams from the trusty bayonets of Liberty's - common soldiers. - - _Rowell._ Enough! To your regiment. You forget I am your superior. - - _Rob._ No, I do not forget it; and I know what to expect,—hard - service, and an enemy in command. I am satisfied, for I have won the - victory here. (_Takes Gaylie's hand._) - - _Rowell._ Be not so sure of that. You forget the enemy has a long - arm, and it may reach even here. - - _Gaylie._ And, if it does, I fear it not. - - _Rowell._ Indeed! - - _Gaylie._ Ay, indeed, Col. Rowell. You are my guardian, true; but - you forget my father's will. In one year I am free: even now I have the - power of appeal to two noble men, should you distort your power. I will - be mistress of my fortune. I will be free to bestow my hand. With the - one, I will protect the homeless; with the other, cheer him at whom you - sneer, a common soldier. Deny my right at your peril. - - _Rowell._ No more of this. Quit that man's side. I command you, - obey me! - - _Gaylie._ You command? You forget I am a leader here. I entreat - you, in the name of justice, to deal fairly and honorably by this true - hero, who leaves all to serve his country, to recognize his right to - the hand which I freely give. Come, sir, do we part friends? - - _Rowell._ Not on such terms as you offer. (_Crosses to_ R.) - - _Gaylie._ Then beware! you make yourself my enemy. Already you - disgrace the rank you've bought, not won. You have command, and my hero - in your power. I have love, wealth, and a loyal heart, that abhors - injustice. Against all treachery and deceit, against the wily arts you - may contrive to shame my hero, I am the Home-Guard, the firm friend, - enlisted for the war. - - _Tableau_: ROB _and_ GAYLIE, C. ROB _has his right arm about her - waist, her left hand in his left; she bends forward, with her right - hand outstretched to_ ROWELL, R., _defying him_. MRS. TRUEWORTH _sits - on sofa_, L., _with her handkerchief to her eyes_. MATTIE _with her - hand on her mother's shoulder_. CRIMP, _back_ R., _has the flag rolled - up, and is menacing_ ROWELL _with it_. HIRAM _catches it in his hand as - it descends, and holds him back. Slow curtain._ - - - - - ACT II.—(_After two years._) _Headquarters of_ COL. ROWELL _in - Virginia. Room in a farm-house. Door in flat_ L., _open; window in - flat_ R., _open. Landscape behind, moonlight if possible. Set the - "moon"_ L., _so the light will fall through the door and window. - Writing-desk or table, against_ R. _side; writing-materials, a - candle to light, a pile of letters and papers, upon it. Chair in - front of this. Give the scene a military character by placing a - stack of arms in_ L. _corner back, a pile of knapsacks in_ R. - _corner with an American flag thrown over it; hang up a drum - between the door and window_. ROBERT _discovered, with musket, on - guard outside the door; passes door and window twice. A "distant" - fife plays, "The Girl I left behind me," through: as it ceases_, - ROB _should be at door; he leans against the doorway_ L. - - - _Rob._ The boys are making merry to-night around the camp-fire; - but that lively air brings only sadness to me. "The girl I left behind - me," two years ago, in Grainlow, Gaylie Gifford, is still silent. Not a - line in reply to my frequent letters. Has she repented of her choice? - No, I cannot believe that; for my sister writes me she often speaks of - me, longs for my return. But yet she never writes. Perhaps she has - never received mine; 'tis hardly possible, and yet her silence—Can my - enemy, the colonel, be conspiring to keep us apart? He is base enough - to use any means to serve his purpose. By his orders, the mail is - brought here, and inspected by him, before delivery; perhaps, that he - may intercept any letters for me. If I could only get a single line - from her, I would be content. Oh! I am ground down worse than any slave - that tills the earth beneath the overseer's lash. Two years of service, - and still a private! I know I have been honorably mentioned many times - by my captain; and yet poorer men step above me: and I toil on, fight - on, with no hope of promotion. Well, they shall not say I have not done - my duty. Will the end never come, and free me from this bondage, give - me liberty to turn my steps northward, to seek the star of promise that - gleams in Gaylie's eyes? Halt! Who goes there? - - _Crimp_ (_comes from_ L., _passes the window, and appears at door - speaking_). D-d-d-on't shoot! d-d-d-on't shoot! I's only a poor old - darky, Massa Sentenull. - - _Rob._ Your business here? - - _Crimp._ Pressing b-b-business; d-d-d-on't shoot! Want to see de - colonel. - - _Rob._ The colonel is absent. - - _Crimp._ Den I'll walk into de parlor, take a cheer, and wait for - um. D-d-d-on't shoot! - - _Rob._ Business. Your pass, uncle. - - _Crimp._ Pass: yes, massa, got a pass. Here she am! (_Searches - pocket._) Golly! it am gone. No, here she am! (_Searches bosom._) Not a - pass; had um, sure; hope I may die— - - _Rob._ What's that sticking out of your hat? - - _Crimp._ Golly, dat's so! (_Takes off hat, paper sticking out of - crown_). Put um up dar to keep um safe. (_Hands pass._) - - _Rob_ (_examines paper_). The pass is right: pass in. (_Resumes - march._) - - _Crimp._ Tole you so. Dar aint no inception about dis chile: he's - de sole ob honor. (_Comes down._) Now, w-w-what's a-gon to be did? - Missy Cap'n sends me away down here, in dis yer benighted regium, to - bring a letter to Massa Rob. Tote about forty mile afore I find him, - and den he's on guard. 'Twon't do to gib him de letter now: these sojer - fellars so stiff onto de tictacs, dat if I was to gib him de letter, - jes as likely to put de bagonet into me, or blow my head off, as not. - No, sar: Crimp don't take no risks in dis yer camplain; no, sar, I'm - obleeged to you. I'll wait till he's reliebed. Missy Cap'n say, gib 'im - de letter, and den lay round, and see what de colonel was about. I'll - hab a smoke (_takes out pipe, lights it_), an' I'll lay round. (_Takes - the American flag, and wraps it round him._) Glory, hallelujah! dat's - de warmest cobering dat eber a darkey got into. Yaas indeed. It am de - protector ob virtue. Dat's me. (_Takes a knapsack for a pillow._) I'l - jles hab a snooze into de corner, till Massa Rob is reliebed. (_Lies - down._) Hi! das a heap ob comfort in de arms ob Morphine. (_Smokes._) - 'Spect Missy Gaylie tink a heap ob dat ar Massa Rob. Oh, lub, lub! when - you got into dat Miss Gaylie's heart, you jist found de warmest place - in de whole world. Yaas, indeed! (_Drops pipe._) Dar going to be some - fun, down dar in Grainlow. By golly! de Home Guard am gwine to commence - operations. Now, Massa Colonel, mind your eye; for de Home Guard am - onto de war-path. - - _Rob._ Halt! Who goes there? (LIEUT.-COL. BOXER _enters_ L., - _passes the window to door_. ROB _salutes_. BOXER _enters_.) - - _Boxer._ The colonel away still? Hallo! (_Snuffs the air._) - Tobacco, and pipe-tobacco too! Smoking in my quarters! Bah! who is it? - I won't have it. If there's any thing I detest, it's smoking; under my - very nose too. Here, sentinel! (ROB _steps inside door_.) Have you been - smoking? - - _Rob._ I never smoke, sir. - - _Boxer._ Right: it's a filthy habit. But somebody's been here with - a pipe. Now, mind, no more of it. Let no smokers pass that door. 'Tis a - strict order which must be obeyed. That's all. (ROB _salutes, and - retires_.) Plague take the fellow, whoever he is! The smoke of battle - is inspiring; gunpowder is soothing to the nerves; but tobacco-smoke, - bah! it makes me sick. - - [_Exit_ L. - - _Crimp_ (_raising his head_). By golly! dat ar hossifer am riled. - Don't like smoke. He's proficient in a liberal heducation, he am. - (_Drops head._ GEN. GRANT _appears_ L., _slowly passes window, and - crosses to door, is stopped by_ ROB.) - - _Rob._ Halt! - - _Grant._ I have business with the colonel. - - _Rob._ The colonel is absent. - - _Grant._ Then I will await his return. - - _Rob._ Halt! I have my orders. No smokers can enter here. If you - would pass, put out that cigar. - - _Grant._ Indeed! Your orders are strict. (_Looks at_ ROB _keenly, - then throws away cigar, and enters_. BOXER _enters_ L., _meeting him_.) - Good-evening, colonel. - - _Boxer_ (_saluting_). Good-evening, general. You have surprised - our post. The colonel is absent. Can I be of service? - - _Grant_ (_sitting in chair, and tilting back against table_). - Your sentinel ordered me to throw away my cigar. - - _Boxer._ He did? confound him! Here, sentinel! (ROB _steps inside - door_.) Do you know what you have done? - - _Rob._ Obeyed orders, colonel. - - _Grant._ Do you know me, sentinel? - - _Rob_ (_saluting_). I do, general. - - _Boxer._ And didn't you know better— - - _Grant._ One moment, colonel. Sentinel, you are the first man that - ever dared put out my cigar. You did perfectly right: orders must be - obeyed. Your name. - - _Rob._ Robert Trueworth. - - _Grant._ How long have you been in service? - - _Rob._ Two years. - - _Grant._ That's all. (_Waves his hand._ ROB _salutes and - retires_.) Colonel, your orders are too strict. I cannot talk without a - cigar. - - _Boxer._ Sorry I have not one to offer you, for I do like to see a - man enjoy himself. My orders could not apply to you, general. - - _Grant._ Thank you; having permission, I can find the cigar. - (_Takes out cigar, and lights it._) I always go armed. That man at the - door,—what is his record? - - _Boxer._ Excellent: every inch a soldier; the bravest of the - brave. - - _Grant._ Two years of service, and still a private? - - _Boxer._ Yes, general; although he has been honorably mentioned. - (_Coughs._) (_Aside._) Confound his nasty cigar! (_Aloud._) There's not - the best of feeling towards him on the part of our colonel. A brave - soldier, general, but queer. It seems they quarrelled before entering - service. (_Coughs._) (_Aside._) Oh, I shall choke! (_Aloud._) A - love-affair, I believe. The private won the girl, and so he's not - pushed. - - _Grant._ Indeed! the colonel brings his private piques into the - battle-field. I rather like this boy. (_Looks round._) Can't we get out - of earshot? - - _Boxer._ Certainly; in my room. (_Crosses stage, and then opens - door_ L.) Walk in, general. (GRANT _rises, and crosses stage_.) We - shall be secure from interruption here. - - _Grant._ No: it's pleasant outside; let's walk awhile. (_Passes - out door off_ L., _smoking_.) - - _Boxer._ Bah! I foresee a smoky campaign here. (_Following him._) - - _Crimp_ (_raising his head_). By golly! dat ar fellar's a high - buck. Ain't dey nebber gwine to reliebe dat guard? (COL. ROWELL - _appears_ R., _passes window to door_. ROB _salutes, he enters_. CRIMP - _drops his head_.) - - _Rowell._ That fellow's on guard to-night. How I hate him! Rebel - bullets come fast and thick, but they never reach him. Pity! I should - lose a good soldier, no doubt; but I could spare him. (_Goes to table, - and lights candle._) Here's the mail for my inspection; let me see if - there's any thing contraband. (_Examines letters._) "Robert Trueworth." - His sister's handwriting; that shall go through. "Robert Trueworth." - Gaylie's hand; detained for the present. (_Places it in his bosom._ - ROBERT _is at the window outside, watching him_.) I have managed to - keep many sweet morsels from his parched lips. Not a letter of hers - shall ever reach him while I have the power to prevent. My guardianship - has expired: she has come to her fortune, and yet she loves this man. - Not a thought of me; and I love her madly. Ah! what's this? (_Takes - letter._) For me, and—Gaylie's hand! (_Tears it open._) So, so; at last - she thinks of me. (_Reads._) "Dear Colonel: Pardon my long silence. I - have not forgotten you. A business matter which I feel it impossible to - adjust makes me bold to ask your assistance. Come to Grainlow at once. - I have repented of my rudeness to you, long to see you. If you can - obtain a furlough, come; if you cannot, I think I could repay you for - the loss of your commission should you feel inclined to resign. Believe - me, I am not ungrateful for your former kindness, and earnestly entreat - you to return. You shall be made happy here if 'tis in my power. - Gaylie." So, so; the wind has changed. There is only one construction - to be placed upon that letter. She has repented of her folly, and I can - win her. (_Soldier enters_ R., _and relieves guard_.) What's that? Ah! - relieving guard; I'm glad of that: I cannot bear to have that fellow - near me. (ROB _is about to pass off; stands irresolute a moment, then - steps inside door. The colonel is again busy with his letters._) - - _Crimp_ (_aside_). Golly! de guard am reliebed. - - _Rob_ (_removes hat_). Your pardon, colonel. Can I speak with - you? (_Comes down_ L.) - - _Rowell_ (_turns round_). Eh? oh, Private Trueworth! Certainly, if - it is important. - - _Rob._ You have the mail. Are there letters there for me? - - _Rowell._ If there are any, they will be forwarded to your company - quarters. (ROB _is about to turn away_.) Stay! here is one. (_Hands - letter._ ROB _takes it eagerly, looks at it, and sighs_.) - - _Rob._ Are there no more? - - _Rowell_ (_sneeringly_). No. _She_ does not seem inclined to - write. - - _Rob._ I think _she_ has written, not once, but many times. - - _Rowell._ Indeed! 'Tis strange you should never have received them, - for our mails come very regular. - - _Rob._ Not so very strange, colonel. We are in an enemy's - country. Craft and deceit are all about us, even in our own ranks. I - suspect an enemy has intercepted my letters. I suspect you, colonel. - - _Rowell_ (_rising_). Do you dare, Robert Trueworth? Remember who I - am,—one high in authority, your superior. You are but a private - soldier. There is no love between us. Be warned in time. - - _Rob._ Yes, I do remember; but I do not fear you. You have used - your power to degrade me, by keeping me in the ranks, when I have _won_ - a higher place. I have not murmured. But when you step between me and - the girl I love, the girl I have won, mark me, colonel, _won_ in spite - of you, you are no longer my superior: you are a base and treacherous - spy. - - _Rowell_ (_furious_). Robert Trueworth, you lie! you have not won - her. - - _Crimp_ (_rises to a stooping position, throws off flag_). By - golly! dere's gwine to be a fight here. Wish Massa Rob jes had dat - letter. (_Creeps round to_ L. _on "all fours" while the others are - speaking_.) - - _Rob._ In the sight of Heaven she is mine. We have exchanged - vows; and, as I am true, I believe she is true. O man, man! have you no - honor? Your strategy is unworthy a soldier of the Union. (GRANT _and_ - BOXER _cross stage_ L. _to_ R., _outside_.) - - _Rowell._ I repeat, you have not won her. True, there was a foolish - plighting of vows; but one year ago, when, as her guardian, I met her - in Grainlow to surrender my trust, I found her changed. I felt she had - repented of her rashness: now I am sure of it. She no longer loves you. - - _Rob._ I will believe that when I hear it from her lips. You - cannot shake my faith in her. - - _Rowell_ (_handing open letter_). Then read that. I am recalled to - Grainlow. - - _Rob_ (_takes letter, and looks at it, then at_ ROWELL, _then - at letter_). "Come to Grainlow: I have repented of my rudeness to - you—long to see you—earnestly entreat you to return—you shall be made - happy."—oh! what is this? (_Crushes letter in his hand._) She has - forgotten me, repents. Oh! would I were dead! - - _Crimp_ (_aside_). Yaas, Guess not. What a muss! If he only had - dat ar letter! (_Creeps nearer._) - - _Rowell._ There is only one construction to be placed upon that. - 'Tis I who am the favored suitor. (GRANT _and_ BOXER _saunter across - stage outside from_ R. _to_ L. GRANT _appears at window, leans on the - casing, and watches the scene, smoking_; BOXER _with him_.) - - _Rob._ 'Tis false! more of your treachery. She would never have - rejected me without a word, a sign. - - _Rowell._ Still incredulous; poor fool! To your quarters! Another - word to your superior, and you are under arrest. I have waited my time; - and now Gaylie Gifford and her fortune shall be mine, in spite of - trusting love and plighted vows. Away! (_Goes to_ R.) - - _Rob._ No: I will not stir. I know you have intercepted my - letters; I know you have one in your bosom now; I saw you from my post - secrete it; I saw the direction upon it; and by this (_showing letter_) - I recognize the hand. 'Tis my property, and I claim it. Give it to me; - or forgetting all distinctions, remembering only I am a man persecuted - and wronged, I'll tear it from you. - - _Rowell_ (_taking pistol from his bosom_). Approach me but a step, - and I'll have your life! I should be justified, for this is mutiny. - - _Rob._ No, this is justice. I claim my rights. Give me the - letter. (_Approaches._) - - _Rowell._ Take that instead! (_Raises arm._) - - _Crimp_ (_running between, and throwing up his arm_). D-d-d-don't - shoot! (_Pistol discharged._) W-w-what you 'bout? w-want to blow dis - yer darky's head off? - - _Rowell_ (_runs to door_). Guard, guard! Quick, quick! (_Guard has - passed out of sight_, L.) - - _Crimp_ (_running to_ ROB, _and falling on his knees at his - side_, L.; _speaks quick_). Massa Rob, you's made a fo-fo ob yourself. - Here's de letter right straight from Miss Gaylie. (_Passes letter into - his hand._) - - _Rob._ Who are you? - - _Crimp._ Done ye know me? I'se Crimp ob de Home-Guard. (ROWELL - _returns; guard enters door: should all be done quick_.) - - _Rowell_ (_to guard_). Arrest that man. To the guard-house with - him! - - _Rob_ (_presses_ GAYLIE'S _letter to his lips_). At last, at - last! (_To_ ROWELL.) Ay! to the guard-house let it be. She has - outwitted you. Here's a letter from her own dear hand. - - _Rowell._ Ah! who has done this? Away with him! (_Guard places his - hand on his shoulder._) To the guard-house. (_Enter_ GRANT _door in_ - F., _writing on tablet in his hand_.) - - _Grant._ Right. To the guard-house: orders must be obeyed. (_To_ - ROB.) If it comes to a trial, you may want a friend. (_Gives paper._) - Count on me. - - _Rowell_ (R.). And who are you? - - _Grant_ (_takes off hat_). Your superior, sir. - - _Rowell_ (_confused_). Gen. Grant? (_Salutes._) - - _Crimp._ By golly! it's de ole smoke-jack. Hi! whose pipe's out - now? - - _Tableau._ GEN. GRANT C. BOXER _at door_. ROWELL R., _saluting but - confused_. ROB L. C., _saluting. Guard with his hand on his shoulder._ - CRIMP _on his knees_ L., _squeezing himself, and laughing internally, - with a show of white eyeballs and grinning teeth. Slow curtain._ - - - - - ACT III.—(_Two years later._) _Parlor in_ GAYLIE GIFFORD'S _house. - Door in flat_, C., _windows each side of it, with drapery - curtains; shrubbery outside. Table_, R. C., _with books, &c.; a - lighted astral lamp upon it. Lounge_, L. _Arm-chair_, R., _with - small table beside it. Easy-chairs_, R. _and_ L. _Should be - handsomely furnished; elegantly, if possible, by adding - statuettes, screens, &c._ MRS. TRUEWORTH _discovered in - arm-chair_, R., _knitting_. MATTIE _sitting at table_, L. C., - _reading a newspaper_. - - - _Mattie_ (_dropping paper_). And so at last this cruel war is - over, mother. Richmond has fallen, and our brave soldiers are already - marching homeward. Only think of it! any day, any hour, may bring back - our dear Rob, after four years' absence. Oh! 'twill be a happy return - for all of us. - - _Mrs. T._ For you and me, Mattie, yes. I shall see my brave boy - again; you, a noble brother, whose record in the long struggle is - spotless. But how will Gaylie receive him? - - _Mattie._ With open arms, mother: are they not lovers? - - _Mrs. T._ They parted as lovers: but you know two years ago Wilder - Rowell resigned his command, and returned to Grainlow; that from that - time he has been a constant visitor to this house; that he is always - welcomed by its mistress; that he attends her in all her walks and - drives; that she smiles upon him, and evidently delights in his - company. You know this, and I know it, and I don't like it. There, I've - dropped a stitch! - - _Mattie._ Why, mother! I really believe you are jealous of Col. - Rowell's attentions. Do _you_ doubt Gaylie's affection for us, her love - for Brother Rob? - - _Mrs. T._ Doubt her affection for us? No! Has she not been a dear - daughter to me for these years? Has she not made us members of her own - household? Have I not had, every day, convincing proofs of her - affection? No, no! bless her dear heart, for Mother Trueworth has a - warm corner in it. It's only for the boy I fear. Suppose he should come - home, and find our Gaylie's heart turned from him, caught by this man - whom I don't like, never did like, and never will like. There goes - another stitch! - - _Mattie._ Suppose, suppose! O mother, you ought to be ashamed of - yourself! Why, I should no more doubt Gaylie's love for our Rob, than I - should doubt— - - _Mrs. T._ Your love for Hiram Jenks, eh, Mattie? - - _Mattie._ There's another jealous one! He thinks Mr. Rowell is in - love with me, or pretends he does, and continually quarrels with me - about him. But we always make up, and I really believe that it's for - the pleasure of being reconciled every day that he does it. - - _Mrs. T._ Ah! Hiram Jenks is a good, honest, smart, reliable young - man: so you be careful, and not quarrel too often. There may be a time - when there will be no reconciliation. - - _Mattie._ I'm not afraid of that, mother. He loves me dearly. But I - mean to cure him of this folly the very next time he attempts it. - - _Crimp_ (_outside_). Hi! whar's Missy Gaylie? whar she be? - Hallelujum! (_Enters_, C., _running, in a high state of excitement_.) - Babylum am fallen! Got a telegram down dar: de boys am coming dis yer - night, got mos' home. Der a-lighting up down dar. "Johnny am marching - home" double-quick. Yaas, indeed! Whar Miss Gaylie? Hi! lots ob fun. - - _Mrs. T._ Coming, Crimp, to-night? - - _Crimp._ Don't I tole you? Don't I tole you? I'se jes' gwine to - 'luminate dis yer mamsum from de crown to de heel, regardless ob - expense. Hi, golly! Jubilum am a-comun, and de darkies are jes' gwine - into glory. Whar's Miss Gaylie? Whar she be? Golly! I can' hole myself - still: mus' do somfum, or I shall combusticate and smash all to pieces. - Whar's Miss Gaylie? (_Runs off_, L.) - - _Mrs. T._ (_rising_). Coming to-night! Dear, dear boy! I must dress - myself to receive him. Just see what a state I'm in,—this old cap and - this poor dress. - - _Mattie._ Why, mother, you never looked better in your life. - - _Mrs. T._ It's no such thing. I'm looking shabby, and my boy's - coming home. Oh! I wish I had the regal robes of a queen, that I might - receive him as he deserves. Dear, dear boy! (_Hurries off_, L.) - - _Mattie._ And so Rob is really coming home: how glad somebody will - be to see him! She care for Wilder Rowell? I, for one, do not believe - it. She's some reason for allowing his attentions: what it is, I cannot - find out. When I ask her, she laughs, and breaks away singing, "Trust - her not, she is fooling thee. Beware! Take care!" But I do trust her. - She is all goodness. (_Enter_ ROWELL, C.) - - _Rowell_ (_aside_). Ah! only pretty Mattie Trueworth. If I hadn't - higher aspirations, I should dearly like to make love to that girl. - (_Aloud._) Good-evening, Miss Mattie. - - _Mattie._ Ah! Mr. Rowell, good-evening. - - _Rowell._ There seems to be a hubbub about this usually quiet - mansion. What is going on? - - _Mattie._ Why, don't you know our soldiers are coming home - to-night? - - _Rowell._ To-night! That is news. Is the war over? - - _Mattie._ Why, what a man! Don't you read the papers? Don't you - take any interest in the war? - - _Rowell_ (_aside_). Not since I resigned two years ago. (_Aloud._) - Oh, certainly! Is Richmond taken? - - _Mattie._ A week ago. Here's the whole account. (_Rises with paper, - and comes forward._) - - _Rowell._ Indeed! show it to me. (_Puts his arm about her waist._ - HIRAM _appears at door_, C.) - - _Hiram._ Ahem! a-hem! (MATTIE _starts to_ L. ROWELL, _with paper - in his hand_, _starts_ R.) - - _Hiram_ (_with bombastic fury_). Oh, yes, oh, yes! it is all - true, all true. - - _Rowell._ What! is the news confirmed? - - _Hiram_ (_contemptuously_). Confirmed! my _suspicions_ are - confirmed. (_To_ MATTIE.) Oh, you cruel, deceitful, perfidious, - ungenerous, ungrateful, unkind, unjust, un—un—unsociable young woman! - what have you done? - - _Rowell_ (_aside_). Hallo! this fellow's in his jealous humor - again. (_Aloud._) Miss Mattie, as you have company, I'll take the - paper, and find the news myself. - - [_Exit_ L. - - _Mattie._ Mr. Hiram Jenks, what's the matter? - - _Hiram._ What's the matter? You ask _me_? Matter, what's the - mattie? I mean Wattie, matts the water? Oh, pshaw! I can't speak. My - tongue is paralyzed. False woman! you have shattered the shrine of - affection in this bosom. Young lady, you have burst the bonds of - devotion. Young maiden, you have lacerated my heart, crushed my soul, - blasted my hopes, destroyed my—my—Go, deceitful maid! After my long - devotion, oh! this is too much, after all I have done for you. Oh! - (_Tears hair._) - - _Mattie._ Well, what have you done for me? - - _Hiram._ Eh! well, what I was going to do for you,—marry you. To - see you fondly reclining upon the bosom of another, another's arm about - your waist,—oh, this is torture! madness! (_Tears his hair, and rushes - about stage._) Mattie Trueworth, you are a cartless hoquette; no, a— - - _Mattie._ You got the cart before the horse that time, Hiram. How - silly you are! It's all a mistake. - - _Hiram_ (_coolly_). Oh! it's a mistake: I'm glad of that; so - let's kiss and make up. (_Approaching her._) - - _Mattie._ Stop! you have opened my eyes. You saw his arm about my - waist. Then he loves me. Oh, joy! rapture! bliss! - - _Hiram._ Why, Mattie! you don't mean, you can't mean, you can't be - so mean as to say you love Col. Rowell. - - _Mattie._ Why not? he's rich; he is the owner of Trueworth Farm; - and I, I might be again its mistress. - - _Hiram._ Yes: but, Mattie, wh-wh-what's to become of me? - - _Mattie._ You? why, you unjustly suspected me; but then you opened - my eyes. You have my thanks: all else is at an end between us. - - _Hiram._ Good gracious! I don't want your thanks. I wouldn't thank - you for your thanks. I want _you_, Mattie. Come, let's make up - (_coaxingly_). Now, do, Mattie, now, do. You ain't a-going to throw me - over for that man? - - _Mattie._ Why, he owns Trueworth Farm. - - _Hiram_ (_aside_). Confound it! she means it. (_Aloud._) Hang - Trueworth Farm! what's that to a heart filled with devotion! No, don't - be hard on a feller. You know I love you. Come, let's make up. Do, now, - do. - - _Mattie_ (_drawing herself up to her full length_). No, sir! You - have trifled with me, and we must part. Seek another mate: be happy if - you can. (_Imitating_ HIRAM'S _coaxing_.) Do, now, do. I wish you well: - particularly, _fare_-well. (_Courtesies, and goes off_, L.) - - _Hiram_ (_looks after her_). Why! she's gone. She means it! - Jealous of her? why, it's absurd! She might have known it. I only - wanted to tease her into a reconciliation: these make-ups are so jolly! - But she don't tease well; and now I've set her to setting her cap for - Rowell. Pshaw! Humbug! the jealous game is all up. (_Enter_ CRIMP, L.) - - _Crimp._ Hallo, Hi-_ram_! am dat you? Jes' you come down to de - barn wid me. I'll show you, free gratis, for nuffin, no extra charge, - and no postfonemet, de greatest dissemblage ob sky—sky—sky—what dat man - call 'em? _skyrotechnicks_, golly! rickets, fourteen pounders, and—and - Rum-and-candles, and—and Bungola lights, and squabs, and bombs—golly! - Jes' busters; de take de roof right off; yaas, indeed! Come down, do, - Hi-_ram_: gwine to let 'em shoot slam bang, when de boys come home. - - _Hiram._ That's right, Crimp: give them a welcome. - - _Crimp._ Yaas, indeed, Hi-_ram_! gwine to make 'em smell - brimstone. I tole you. Serve 'em right: wish we could get up a - yearthquake: wouldn't be a bit too good for 'em. Come on, Hi. I say, - Hi-_ram_, am you any relation to ole Jim? he was de highest old ram - eber I see. Yah, yah, yah! (_Exit_, C., _laughing, followed by_ HIRAM. - _Enter from_ L., ROWELL.) - - _Rowell._ And so the war is over, and the boys are marching home, - and with them comes, of course, Mr. Rob Trueworth. Hang the luck! I - fear that fellow's appearance. Two years ago I resigned my command in - the army for two reasons. First, an unfortunate _rencontre_ with - Trueworth, whom I kept in the ranks after he had been several times - honorably mentioned, awakened the suspicions of Grant, and a - court-martial was threatened; second, a very pressing invitation from - Gaylie to return, the pretext being business which required my - assistance, but the real motive, an evident desire for my society. Of - the first reason, I took good care to let her know nothing; and having - the postmaster, Hosea Jenks, well under my thumb, I am sure she has - received no hint from Trueworth. She has evidently repented of her - folly, and takes kindly to my presence. Never a word about Rob - Trueworth. Yet I seem no nearer the attainment of my heart's desire, - than when I returned. I have assiduously courted her: we walk, ride, - and sail together. I am attentive, devoted, and she enjoys every thing. - But, when I speak of love, she evades it, or talks of her freedom, or - we are interrupted. I will speak plainly: she must be bound to me ere - he returns, or I fear my two-years' campaign will be wasted. Ah! here - she is. (_Enter_ GAYLIE, L.) - - _Gaylie._ Oh, isn't it glorious! the war is over. (_Sees_ ROWELL.) - Why, colonel, is that you? Have you been waiting long? I'm so sorry. - - _Rowell_ (_taking her hand_). Yes: I have been waiting long, two - years, Gaylie, to give you full assurance that I love you. Is my love - returned? - - _Gaylie_ (_excitedly_). Returned! O colonel! have you heard the - news? Our brave soldiers have returned; that is, they are coming home - to-night, crowned with victory. Oh, I'm so happy! ain't you? - - _Rowell._ Gaylie, I am miserable. - - _Gaylie._ Because they are coming home? Oh, fie! colonel. And you a - soldier? - - _Rowell._ Gaylie, you must listen to me. You evade a question of - the utmost importance to my welfare. I asked you, Do you love me? - - _Gaylie._ As you have asked me a dozen times in the last fortnight; - and I answer you as I have before, Wait until the war is over. - - _Rowell._ Ah, but the war is over: there is no reason for delay. - Gaylie, will you be my wife? - - _Gaylie._ That's a serious question, colonel. I'll consider it. - - _Rowell._ Gaylie, you'll drive me mad. - - _Gaylie._ Then I won't consider it: will that suit you? O colonel! - do you suppose there have been any changes in the regiment? - - _Rowell._ Will you answer my question, Gaylie? - - _Gaylie._ Will you answer mine, colonel? - - _Rowell_ (_biting his lips_). I don't know; I don't care. Boxer, - who took my place, has been made a brigadier-general; but, for the - rest, I know nothing. - - _Gaylie._ I wonder if Rob Trueworth is still a private. Perhaps - he's a captain, or a sergeant. I do hope he has risen. - - _Rowell._ You still have an interest in that fellow? - - _Gaylie._ Of course. Isn't he my brother? - - _Rowell_ (_aside_). That's good. She ignores the other tie. - (_Aloud._) Now, Gaylie, speak. (_Takes her hand._) Surely my devotion - deserves a recompense. Will you? (_Enter_ CRIMP, L., _with a lighted - candle in each hand_.) - - _Crimp_ (_speaking as he enters_). Hi! Miss Gaylie, de hole - _circumbendence_ ob de exterior ob de house up stairs am in a blaze ob - glory; lights into all de windows, an' greeze all ober de glass and de - carpets. Took sum pains up dar, I tole you. Shall I light dese yer - windows, Miss Gaylie? - - _Gaylie._ No, Crimp, I will attend to this. - - _Crimp._ Yaas, indeed! I'm obleeged to you. Jes' put your bright - eyes into de windows, and de illumination up stairs won't be no - circumstance. I'll jes' stick 'em into de bay window, out yunder. - - [_Exit_ R. - - _Rowell_ (_runs to_ GAYLIE, _and puts his arm about her waist; - takes her hand_). Gaylie, am I never to get an answer? Speak before we - are again interrupted. (MRS. TRUEWORTH _appears_, L.) - - _Rowell_ (_goes_ L.). Confusion! Will this never end? - - _Gaylie._ Come in, mother. - - _Mrs. T._ No: when two young people are so closely interested in - conversation, an old woman's presence is unpleasant. I'm not blind, - Gaylie Gifford; and I'm not likely to hold my tongue, when I see - injustice done one I love; so I'll go away. O Gaylie! Gaylie! have I - been deceived in you? (_Going._) - - _Gaylie_ (_running to her_). No, mother, no! Believe me, trust me. - - _Mrs. T._ I try to, Gaylie; but it is so hard, so hard! - - [_Exit_ L. - - _Gaylie_ (_comes down_ R. _at table_). Have I wounded her dear - heart? Am I doing right? - - _Rowell_ (_approaching_). Gaylie— - - _Gaylie._ Silence, sir! Speak to me now, and I shall hate you. - (ROWELL _returns_ L. _Enter_ C. HOSEA JENKS, _followed by_ HIRAM. - MATTIE _enters_ L. HOSEA _comes down_. HIRAM _stops up stage, and tries - to make up with_ MATTIE; _she snubs him_.) - - _Hosea._ I—I—really, really, I beg pardon, colonel, if you are - having a _tety-tety_; but I thought you'd like your mail, and so I - brought it. (_Comes down_ L. _of table, and hands letters to_ ROWELL, - _who stands_ R. _of table; then goes back to_ L. C.) - - _Rowell._ Ah! thank you, Jenks. (_Aside._) Confound his kindness! I - know you'll excuse me, Gaylie. Here's my mail. - - _Gaylie._ Certainly, colonel. (HIRAM _comes down_ R. _of table, - where_ GAYLIE _is standing, and hands her a letter secretly_.) - (_Aside._) And here's mine. (_Presses it to her lips._) - - _Rowell_ (_his back to_ GAYLIE). (_Aside._) Here's one for Gaylie, - in the old familiar hand. (_Looks round to her: she is looking down; he - turns to_ L., _and slips it into his pocket; as he does so, she bends - forward, and watches him, then shakes her head_.) - - _Gaylie._ Nothing for me, Mr. Jenks? (_She looks at_ JENKS _keenly: - he tries to look in her face, drops his eyes, and nervously plays with - his hat_.) - - _Hosea._ Oh, no! Nothing for you, not a thing. Do you suppose I - should have failed to bring them? (_She goes up stage; he comes down_ - R.) (_Aside._) That's a lie, a wicked lie. I can't help it. I try; but - it will pop out, anywhere, everywhere. Once I was a punster. "Alas, - poor Jenks! where are your jests now, that were wont to set the table - in a roar?" All lies now. - - _Gaylie_ (_goes up, takes_ HIRAM'S _hand_). (_Aside._) Thanks, - faithful sentinel. (_Aloud._) Come, Mattie, we'll go and look at - Crimp's preparations, and leave the colonel to his letters. (_Puts her - arm about_ MATTIE'S _waist, and they go off_ C.) - - _Rowell_ (_who has opened a letter, and is reading it, seated at - table_, L.). Confound it! another call for money, and no way to raise - it. (JENKS _starts for door_; ROWELL _looks round_.) Yes; there's - Jenks: he must help me out. Jenks! - - _Hosea_ (_turns trembling_). Ye-yes, colonel. - - _Rowell_ (_rising_). Jenks, I must have money at once. I have a - pressing call, and my funds are completely exhausted. Come, you shall - give me fifteen hundred dollars, and I'll transfer to you the Trueworth - Farm. - - _Hosea_ (_aside_). That's cool. (_Aloud._) But—but you see, - colonel, I—I—I don't want the Trueworth Farm. - - _Rowell._ Neither do I. But I do want money; so look round and - raise it, and don't keep me waiting long (_rises, and comes close to - him_), or Grainlow will have a new postmaster. (_Exit_ C. JENKS _falls - into chair he has left_.) - - _Hosea._ New p-p-p-postmaster! well, that's the old threat. Oh, - the villain! This comes of meddling with public affairs. When I was a - private citizen, I was gay and happy, with such a flow of humor, - punning from morning till night. I never pun now; I can't; it's sure to - turn into a lie. I'm a miserable old rascal, that's ashamed to look an - honest man in the face. I'm a swindler, a cheat, a liar, and a coward. - I can't help it. I sold my birthright for a mess of pottage; no, - potash, for it's all lie. O Jenks! when you parted with honesty, you - knocked down a rich estate at an awful sacrifice. I'm in daily dread of - these infernal detectives. In my office, at home, at my table, in bed, - I feel the hand of justice on my shoulder, and the voice of outraged - Uncle Sam thunders in my ear. - - _Hiram._ The colonel wants his money, dad. - - _Hosea_ (_starts to his feet_). Yes, yes. I'm a-going for it, I'm - a-going for it. (_Starts up stage._) - - _Hiram._ Halt! 'bout face! hold up your head, turn out your toes. - (HOSEA _obeys_.) Now, dad, you will do no such thing! - - _Hosea._ Hey! what do you mean, boy? - - _Hiram._ Come, dad, straighten up; drop that. I've changed that - name with you. You are the boy,—a weak, silly, foolish boy. - - _Hosea._ Do you want to insult my gray hairs? - - _Hiram._ Insult them? Tell me, dad, have _you_ respected them as - you should? - - _Hosea._ Eh! wh-what do you mean? - - _Hiram._ Why does that man order you to find money for him? Why - does he treat you with such cool contempt? - - _Hosea_ (_nervously_). Eh? oh! ha, ha, ha! it's only his way, you - know. We are great friends,—great friends. He got me my office; and, - you know, if I can do him a favor, why, I ought; certainty I oughter be - proud to—to do him a favor: see? (_Aside._) How he looks at me! he - knows it's a lie. I can't help it: it will pop out. - - _Hiram._ That won't do, dad. You're afraid of him: you're a - coward. - - _Hosea._ Coward, boy! this to me? - - _Hiram._ Yes, and more. You have sold yourself to this man; you - are accomplices in crime. You have made yourself liable to a long - imprisonment, for you have robbed the mail. - - _Hosea_ (_alarmed_). Hush! don't speak so loud, boy! Who told you - this? Do you want to see me hung? do you want—O Hiram, Hiram! pity me, - pity me! I'm a poor old sinner, a poor old sinner! (_Wrings his hands, - falls on his knees, and hides his face._) - - _Hiram._ That's the truth, dad; a tool in the hands of a crafty - man. O dad, you were hard on me in the old days! You sought to crush - out my ambition to be manly while yet a boy,—an ambition which should - have been encouraged, not crushed. Your example made others slight me, - and look upon me as a fool. But you were an honest man, and you made me - honest; and for that I shall always be grateful. Now you have parted - with your high estate; sold yourself, body and soul, to the—well, Col. - Rowell is his name. I have kept mine, and I mean to rescue you from the - clutches of this villain. - - _Hosea._ No, boy, you can't do that; I'm sold, delivered: it's too - late. I see my folly. But that man! O Hiram! he could deliver me up to - justice: he could have me imprisoned. - - _Hiram._ Why, dad, you forget he is your confederate; that, in - sacrificing you, he must betray himself. - - _Hosea._ Eh? I never thought of that. Of course he must. What a - fool I have been! He dare not move. I'm safe, I'm safe! - - _Hiram._ But I dare, dad, and I will. For four years you have - intercepted letters belonging to Gaylie, and Rob Trueworth. I know it: - I have full proof. Ah! I've watched you closer than you watched me when - I was a boy. - - _Hosea._ Yes, yes: but you can't betray me; you couldn't have the - heart. Hiram, I was a good father to you; that is, I tried to be. You - won't give me up to justice? - - _Hiram._ You have wronged my friends. Unless you immediately - resign your office, I will give information that shall lead to your - arrest. - - _Hosea._ I'll resign, I'll resign! but he won't let me. - - _Hiram._ He shall not prevent you. You must also decline to - furnish him with money. - - _Hosea._ I'll do that, I'll do that!—any thing you ask, Hiram, - only don't give me up. - - _Hiram._ He's coming back. Remember, no money to that man. (_Goes - up_ R. _Enter_ ROWELL, C.) - - _Rowell._ Why, Jenks, what are you about? Didn't you hear? I want - that money to-night,—must have it. Why are you not after it? - - _Hosea._ You want fifteen hundred dollars, colonel? - - _Rowell._ That's the sum I named. - - _Hosea_ (_comes close to him_). Don't you wish you may get it, - colonel? (_Snaps his fingers in his face._) Do you understand that? not - a dollar from me. You've been drawing heavily on my conscience, but you - can't draw on my bank-account: understand that. - - _Rowell._ Fool! do you know that I could hang you, unless— - - _Hosea._ We hang together. That's good, a pun, ha, ha, ha! the - first for many a day. Oh, I'm feeling decidedly better! No, colonel, - you couldn't hang me: you dare not molest me; for we are both in the - same boat. - - _Rowell._ Indeed! Well, my _honest_ friend, we can find a new - postmaster for Grainlow. - - _Hosea._ Do, colonel! the sooner you write to Washington, "Off - with his head: so much for Jenks," the better for said Jenks. - - _Rowell._ Do you refuse to purchase the Trueworth Farm? - - _Hosea._ Decidedly I do. - - _Hiram_ (_comes down_). Do I understand you, colonel? You wish to - dispose of Trueworth Farm? - - _Rowell._ What's that to you? - - _Hiram._ If you want to sell, I'm your customer. - - _Rowell._ You? - - _Hosea._ You? Why, Hiram Jenks, where can you find the money? - - _Hiram._ No matter, dad. Name your price, colonel. - - _Rowell._ Fifteen hundred dollars. - - _Hiram_ (_takes a wallet from his pocket, and slaps it on - table_). There's your money. - - _Hosea._ The boy's crazy. (_Aside to_ H.) I say, Hiram, what are - you about? You wouldn't let me buy it, and now— - - _Hiram._ I want it: you forget you are under suspicion. Uncle Sam - might confiscate your property at any moment, and the farm would go - with it. - - _Hosea._ Oh, what a head, what a head! And I thought him a boy! - - _Hiram._ If you want the money to-night, write a receipt, and take - it. We will pass the papers in the morning. - - _Rowell_ (_goes to table_, R., _and writes_). Certainly. - - _Hiram_ (_takes paper from his pocket_). As I have had some - thoughts of making you an offer for the property, I have drawn up an - agreement. Sign that, and I am satisfied. - - _Rowell_ (_takes paper, and looks at it_). This is satisfactory. - (_Signs._) - - _Hiram._ Now, dad, if you will witness it. (_Takes bills from - wallet._) - - _Hosea._ Certainly. (_Signs. Aside._) Where could that boy have - got his money? - - _Hiram_ (_taking paper, and laying down bills_). You'll find that - all right. - - _Rowell_ (_counting money_). All correct. I will see you at Lawyer - Ware's office, to-morrow at nine. Is that satisfactory? - - _Hiram._ Perfectly. Come, dad, let's look after the office. - - _Hosea._ Yes, to the office, where I shall take the first - opportunity to write to the Postmaster General, resigning my office. - - _Rowell._ Do it at your peril! - - _Hosea._ No: I shall do it at my office. Ha, ha, ha! Why, I'm - getting back into my old humor, thanks to the boy. What a head! I used - to look in his face, and think I saw a fool. I was wrong: I should have - looked in a glass. - - _Rowell._ I hope the farm will pay you better than it has me, - Hiram. - - _Hiram._ No doubt it will. (_Aside._) If Miss Mattie Trueworth - wants Trueworth Farm, she'll have to look this way. Come, dad! - - _Hosea._ Good-by, colonel: if you want your next mail, you'll have - to come for it. (HIRAM _goes up, followed by_ HOSEA; _meet_ GAYLIE - _and_ MATTIE _coming in_; MATTIE _comes down_ R., _is stopped by_ - HIRAM; GAYLIE _speaks with_ HOSEA, L. C.) - - _Hiram._ Mattie, won't you make up? - - _Mattie._ No, sir: I have higher aspirations. - - _Hiram_ (_tragically_). I know: to the owner of Trueworth Farm! - Mattie, it's hard to lose you, but it's for the best: I see my error. I - cannot win you; and so I freely give you up to a better, a richer - man,—the owner of Trueworth Farm. Farewell! (_Clasps her in his arms - quick, and kisses her: she screams; he runs off_ C.) - - _Mattie._ Well, I never! what does he mean? He give me up? He shall - do no such thing. Dear, dear! have I lost him? Hiram, Hiram! (_Runs - off_ C.) - - _Gaylie._ Your son has gone, Mr. Jenks. - - _Hosea._ Has he? I must run after him. I can't bear to have him - out of my sight: I'm so proud of him! (_Aside._) He might repent, and - give me up. - - [_Exit_ C. - - _Rowell_ (_as_ GAYLIE _comes down_). Gaylie, may I ask a favor of - you? I have been making a sale to-night, and have here fifteen hundred - dollars: will you give me your check for it? I want to send it - to-night. - - _Gaylie._ Certainly! you'll find my check-book in the next room. - Please bring it to me, colonel. (ROWELL _bows, and exits_ L.; GAYLIE - _sits in chair_ R., _and looks after him_.) That man loves me, for two - years has been my devoted slave; and now the time has come for me to - speak plainly. He tells me there is no longer reason for delay: he is - right. He thinks his long period of devotion deserves a recompense: he - shall have it. And the other, Rob Trueworth, who left here four years - ago,—does he still love me? (_Smiles._) Can I doubt it? Yet I must - speak to-night, speak plainly. He believes that he has won me: I can - see it in his proud step, the triumphant glance of his eye. Is he - right? (_Smiles._) Can I doubt that? (_Enter_ ROWELL L., _with - check-book_.) I'm so sorry to trouble you, colonel! (_Takes book._) - Fifteen hundred, you say? (_Writes check._) - - _Rowell_ (_laying down bills_). Yes: you'll find the bills here. - - _Gaylie._ So you have made a sale to-night, colonel? - - _Rowell._ Yes: Trueworth Farm. - - _Gaylie._ Sold Trueworth Farm? And you refused to sell it to me - four years ago! - - _Rowell._ Yes,—yes, I remember. I didn't like to part with it now, - but I wanted money— - - _Gaylie_ (_rising_). Oh! I bear you no malice, colonel. (_Gives - check._) - - _Rowell._ Thank you. And now, Gaylie, that we are alone, may I once - more press you for an answer? (_Takes her hand, and puts his arm about - her waist._) You know how dearly I love you: make me happy by saying - that you return that love. - - _Gaylie._ And would that really make you happy, colonel? - - _Rowell._ Happy? The happiest of men! - - _Gaylie_ (_drawing herself up_). Then hear me, Col. Rowell! - (_Enter_ L. MRS. TRUEWORTH, _with shawl and_ _bonnet added to her - former costume, and a large band-box in her hand_.) - - _Rowell._ Oh, speak, Gaylie! tell me you love me! - - _Mrs. T._ Before you do, Gaylie, let me get out of this house. - (GAYLIE _goes_ R., ROWELL L.) - - _Gaylie._ Mother, what does this mean? - - _Mrs. T._ Mother! you have no right to call me by that name: you - have disgraced it. Four years ago you plighted vows with my dear boy; - he went to battle, trusting in your promise: and now another's arms are - about you, another's voice pleading to you for words which tremble on - your lips. O Gaylie! how I have loved you, you may never know; but I - love my boy, and he shall not come here to have his noble heart broken - at the sight of his rival, a favored suitor. No: I thank you for all - your kindness to me, but—my boy's coming, and I'll go to meet him: he - has no one to love him now so tenderly as his old mother, bless him! - 'Twill be a hard blow after all his love and hope and faith. O Gaylie, - Gaylie! you've broken my heart! (_Drops her box, and staggers forward_; - GAYLIE _runs, and catches her in her arms_.) - - _Gaylie._ O mother, mother! this must not be! Stay here; this is - your home: here Rob will come— - - _Mrs. T._ Not in that man's presence will I meet my boy. - - _Rowell_ (_aside_). The old lady's complimentary. (_Aloud._) I - think Mrs. Trueworth is right, Gaylie. It would certainly be unpleasant - to young Trueworth to see our happiness. - - _Gaylie._ I beg your pardon, colonel; I have not spoken yet. - - _Mrs. T._ Let me go, Gaylie: I cannot stay here! - - _Gaylie._ You must, you shall, mother! You have heard the colonel: - now hear me. - - _Mrs. T._ No, no! I will go. Hark! what's that? (_Distant chorus; - sings the chorus of "Marching through Georgia."_) - - _Gaylie._ At last, at last! They've come, mother, they've come. - Hear me. Within myself, and to myself, I made a vow that I would keep - Col. Rowell in suspense until I heard the victorious shouts of our - returning heroes. They come, and I can speak; hear me: Col. Rowell, you - have asked me to be your wife: I answer, No; for I detest you. (MRS. - TRUEWORTH _goes over to chair_, R.) - - _Rowell._ Gaylie, what is this? are you in earnest? - - _Gaylie._ Four years ago I defied you; enlisted, for the war - between you and my hero, on his side, not yours. I have kept the faith: - I have battled you from that time to this, and won the victory. - - _Rowell._ Battled! victory! I do not understand you. - - _Gaylie._ You sought to keep us apart, and, to that end, - intercepted our letters. - - _Rowell._ No, no! you are mistaken! I—I am innocent of any such - crime. (_Enter_ HIRAM, R.) - - _Gaylie._ Here is my witness. 'Twas he who aided me in outwitting - you. For the last two years our letters have passed under cover of his - name. Those you have stopped were decoys. - - _Rowell_ (_aside_). What a fool I have been! - - _Gaylie._ You sought to keep my hero in the ranks. Perhaps you will - recollect the first letter which reached him. 'Twas sent by the hands - of a trusty messenger. (Enter CRIMP, L.) 'Twas delivered in your - presence. - - _Crimp._ Yaas, colonel; d-d-don't shoot! - - _Rowell_ (_aside_). Oh, curse the girl! she has outwitted me. - - _Gaylie._ You sought to keep him down; and so I decoyed you here, - believing that your presence, hateful as it had become, was necessary - to the exaltation of Rob Trueworth. I have used a woman's art, - coquetry; but the end justifies the means. So you see, colonel, the - Home Guard has a right to claim the victory. Home Guard, attention! - fall in! (_She stands_ L. HIRAM _takes his place next her, and_ CRIMP - _next up stage_. GAYLIE _then faces them_.) - - _Gaylie._ Comrades, your general, ahem! is proud of you; we have - fought together; we have conquered. Now let us march to meet the - returning heroes. (_Steps back beside_ HIRAM.) Home Guard, attention! - Eyes right! eyes left! Salute! (_They salute. Chorus repeated outside, - "Marching through Georgia," nearer. Enter_ ROB, _in full uniform of a - colonel_.) Ah! Rob, Rob! he's come, mother, he's come! (_Runs into_ - ROB'S _arms_.) - - _Mrs. T._ (_springing up_). O Rob, boy! welcome, welcome, welcome! - - _Rob._ Dear, dear mother! (_Enter_ MATTIE, L.) - - _Mattie._ Where is he? O Brother Rob! (_Runs into his arms._) This - is glorious! - - _Rob._ Thanks for your hearty welcome. Ah, Hiram! (_Shakes - hands._) And Crimp! - - _Crimp._ Yaas, indeed! how is yer? an' how is Boxer? an'—an' ole - smoke-jack? Gay times in ole Virginny, two years ago. I'm obleeged to - you. - - _Rob_ (_comes down to_ L., _where_ ROWELL _stands with his back - to him, and his arms folded_). Wilder Rowell, the regiment with which - you set out for the battle-field has returned under command of its new - colonel, myself. - - _Rowell_ (_turns round_). You the colonel of the 10th? - - _Rob._ I am happy to say I have won that distinction. Won it! do - you hear? You would have kept me in the ranks; but thanks to woman's - wit, and military justice, you were removed in time. I now return to - claim my bride. (_Turns up stage._) - - _Rowell_ (_turns away_). Oh, I have failed,—miserably failed! I - cannot bear to see their happiness. (_All are gathered about_ ROB, _up - stage_.) I was so sure of her! and she has been laughing at me all this - time. I wish I could hate her; but no, no, it's impossible. I played - for her fortune, and I ended in loving her as I can never love again. - They are busy: I'll slip away. Oh! this may be justice for them: 'tis - ruin, utter ruin, for me. - - [_Exit_ L. - - _Hiram_ (_leads_ MATTIE _down_ R.) Now, Mattie, Rob has returned, - and Gaylie is true to him. Col. Rowell, of course, is in the market. - - _Mattie._ I don't care if he is: I don't want him! - - _Hiram._ But you want Trueworth Farm. - - _Mattie._ Not if I must take its owner. - - _Hiram._ No? not when his name is Hiram Jenks? It's mine, Mattie: - I bought it to-night. Come, let's kiss and make up: do, now, do! (_Kiss - and retire up, arm in arm._ ROB _and_ GAYLIE _come down_.) - - _Rob._ Gaylie, how can I ever thank you for making me what I am? - - _Gaylie._ Nonsense, Rob! you made yourself. If I did help a little, - 'twas for my own pride; for I always wanted to be a colonel's wife. - Ahem! - - _Crimp_ (_down_ L.). So did I. Yaas, yaas! I'm obleeged to you. - No, no, dat's a bifstake: dat's a bifstake. I mean—I mean—wh-w-w-what - do I mean? I mean to go an' let off dem ar squabs; make a blaze; cos de - colonel's come; yaas, indeed! - - _Hiram_ (R.). Wait, Crimp: the colonel's going to speak. - - _Crimp._ Yaas, indeed! I's waiting with both years wide open - tight. I'm obleeged to you. - - _Rob_ (C. _with_ GAYLIE). Ladies and gentlemen of the Home - Guard, accept my thanks for your kind and valuable assistance in the - campaign just closed. Ever grateful must our country's defenders be to - the strong arms and tender hands, loving hearts and watchful eyes, that - cared for the old folks at home, when they were in the field. - - _Gaylie_ (C.). Ahem! Colonel, in behalf of the Home Guard, I give - you a hearty welcome home. If our efforts have won your approbation, - if—There, I've broken down! O Rob, Rob! I'm so glad to get you back! - we'll be a happy family now, won't we, mother? - - _Mrs. T._ (_comes down_ R. C.). Indeed we will, Gaylie. My own boy - back again, thank Heaven! The skies will be bright now. - - _Rob._ Ay, mother! bright to herald the coming of peace, with - all its blessings. We have fought the good fight: we have conquered. - Henceforth the land we love is free. - - _Crimp._ Das a fac', an' I am one on 'em; I'm obleeged to you. - - _Gaylie._ Yes, we have conquered; and, though "the girl you left - behind you" has done but little for the cause, she carried into it a - loyal and a willing heart; and, if her hero is satisfied, she will - never regret having "enlisted for the war." - - HIRAM _and_ MATTIE, R. MRS. T., ROB, GAYLIE, C. - CRIMP, L. _Curtain._ - - - - - NEVER SAY DIE. - - - CHARACTERS. - - MR. SIMON GRAYLOCK. - MR. RALPH CHEENY. - JOHN BOUNCE, Mr. Graylock's coachman. - MRS. GRAYLOCK. - MISS ALICE CHASE. - PATTY PERT, Mrs. Graylock's maid. - - - COSTUMES MODERN AND APPROPRIATE. - - SCENE.—_Handsome apartment in the house of_ MR. GRAYLOCK. _Table_, - C., _red cloth. A study-lamp burning. Books and papers. Lounge_, - R. _Arm-chair_, L. _Chairs_ R. _and_ L. _of table_. PATTY PERT - _seated in arm-chair with a book_. - - _Patty_ (_reading_). "At the sound of that voice musically - voluminous as the sighing of the October gale in the lofty branches of - mountain hemlocks, Araminta Augusta Violetta sprang to her feet, and, - dashing the embroidery-frame to the floor with a crash that shook the - ancient edifice, gave one terrific, yet ecstatic scream of joy, and - sank fainting into the arms of her own fond Felix Frederick Freelove." - Oh! isn't that splendid? Oh! why wasn't I born in those barbaric days, - when knights and squires, and milk-white steeds, and high-born ladies, - pranced about, like the grand entry of a magnificent circus? Oh! why - wasn't I a barbarian? And such love-making! (_Reads._) "Beauteous - damsel, with eyes of azure blue, hear, oh, hear the vow of your own - true knight! I will cleave yonder mountain from summit to base with one - blow of my trusty cimeter, ere one tear of grief shall find its way - adown thy gently-arching nose:" oh, beautiful, beautiful! There are no - barons now. Who ever hears such language as that in these plebeian - times? Even old Mr. Graylock, fond as he is of his young wife, never - allows his ecstasy to rise above the utterance of "My dear, you're - looking well, remarkably well." And Mrs. Graylock has nothing more - romantic on the end of her tongue than, "Hubby, don't be gone long. I - do get so sleepy when you're away!" Oh, the world's degenerating! - there's not the least doubt of it. There's John Bounce, who tries to - make love to me; and precious bad business he makes of it too, forever - dropping his _h_'s, and sticking them where they don't belong. I'm - determined to reform him, or he shall bounce about the world without a - wife, though, as he says, his 'art _h_is given to me _h_alone. (_Enter_ - BOUNCE R.) - - _Bounce._ 'Illo, Patty! _h_all by yourself, 'ay? Where's the master - and missus? - - _Patty._ Still at table, Mr. Bounce, daintily toying with the - dessert of their luxurious repast. - - _Bounce._ My _h_eyes, Patty! what _h_elegance of _h_expression! - - _Patty._ It's a pity Mr. Bounce, your language is not better - seasoned with polite pronunciation. - - _Bounce._ My _h_eyes, Patty, 'ave you been drinking? - - _Patty._ Sir! - - _Bounce._ You talk just for _h_all the world like the fellows that - master used to 'ave 'ere to dine afore 'e was 'itched to the new - missus. They were dreadful free _h_and _h_easy spoken until the wine - came _h_on, and then they couldn't find words _h_expansive enough to - _h_express their _h_ideas. - - _Patty._ Mr. Bounce, no more of such language. It is time that you - and I understood each other. I believe you wish me, at some not very - distant period, to become your bride? - - _Bounce._ Yes: _h_i _h_expect to make you Mrs. Bounce. - - _Patty._ _H_expect? Why should you? - - _Bounce._ Why, Patty? 'Aven't _h_i _h_offered you my 'art _h_and - 'and? - - _Patty._ And—and what? - - _Bounce._ My 'art _h_and 'and. Don't you _h_understand _h_it? - - _Patty._ Your art? Yes: your art is driving horses. - - _Bounce._ But I ain't talking _h_about 'orses. _H_i said 'art; this - 'art which 'eaves _h_in my bosom with fond _h_aspiration. - - _Patty._ Nonsense! Once for all, Mr. John Bounce, I will never - marry a man who aspirates in such a shocking manner as you do. No, sir. - The man whose bride I shall become must be capable of declaring his - love in grammatical, pronounceably correct English. He must fall - gracefully upon his knees before me, and, in accents too wild to be - resisted, say, "Patty, my heart"—not _art_, Mr. Bounce; I'll have no - artful man—"is at your feet." Not _hat_. Hats are for heads, not feet, - Mr. Bounce. When you can do that, speak: till then a gulf as wide as - that which once yawned between Felix Frederick Freelove, and his - Araminta Augusta Violetta, separates us. - - [_Exit_ R. - - _Bounce._ My _h_eyes! Who's _H_araminta _H_augusta? _H_i don't know - 'er. Well, this _h_is _h_extraordinary. _H_and _h_i thought my language - was so _h_intelligent! Well, Miss Patty, though _h_i love you with - _h_all my 'art, _h_i'm not _h_a-going to lose no flesh on your - _h_account. Well, _h_after _h_all, women _h_are a good deal like - 'orses; _h_if they find you don't notice their capers, but keep cool, - they're very _h_apt to settle down _h_into a _h_easy trot. 'Ere's - master and missus. _H_i'll make myself scarce. (_Exit_ L. _Enter_, R., - MR. GRAYLOCK, _with a plate containing nuts and raisins balanced on - each hand, followed by_ MRS. GRAYLOCK.) - - _Mr. G._ Now, my dear, for a refreshing season of calm and - tranquil delight. Here, beneath our own vine and fig-tree, - metaphorically speaking, we will meditate, converse, and—and eat our - nuts and raisins. (_Sits in chair_ L. _of table_). - - _Mrs. G._ (_placing ottoman beside him_, L.). Yes, indeed; what - could be more delightful? (_Sits. He hands her a plate. They eat._) How - grateful I should be—and I am—that I have a dear husband, so fond of - spending his evenings with me, instead of leaving me for a stupid club, - or the society of a billiard-room! It's a shame, a disgrace to married - life, the manner in which some husbands conduct themselves. - - _Mr. G._ Ah, my dear, you were a wise young woman, when from the - multitude of your admirers, young, giddy fellows, you turned to make - choice of a staid, middle-aged, experienced individual to guide your - youthful steps. Ah, my dear, yours was a wise choice. Do I not worship - you? Do I not dote upon you? Is not every wish of your heart gratified? - - _Mrs. G._ Yes, indeed. No: there's one wish yet ungratified. Alice— - - _Mr. G._ What! you're not going to bring up that troublesome - subject again? - - _Mrs. G._ Again and again, until you give your consent to her - marriage with Mr. Cheeny. - - _Mr. G._ Now, my dear, how are we to enjoy a season of calm and - tranquil delight if you insist upon boring me with a subject upon which - we can never agree? Let's change the subject. My dear, I am seriously - thinking of dyeing— - - _Mrs. G._ O Simon, don't talk so! Do you want to frighten me to - death? - - _Mr. G._ Yes, of dyeing—my hair and beard. - - _Mrs. G._ You cannot mean it. - - _Mr. G._ Yes, I do. Watkins tells me he has a wonderful - preparation, one application of which will instantly turn white, gray, - red, or yellow hair to a beautiful black. Think of it, Susannah! In - imagination behold your husband entering the room, transformed by "The - Magic Dyer" into a youthful specimen of the genus _homo_. - - _Mrs. G._ I couldn't imagine it, and I won't. I am perfectly - satisfied with your appearance. And you would look horrid with your - hair and beard in mourning. I should never forgive you if you did such - a dreadful thing. Never say dye to me again. Now let's change that - subject. Alice and Mr. Cheeny— - - _Mr. G._ Sue! Susan! Susannah! pause. If you do not instantly - pause, I shall dye—my hair and beard. - - _Mrs. G._ Oh, no, you won't! Why are you so determined to keep - Alice single? (_Enter_ ALICE R.) - - _Alice._ Yes, uncle, why am I to be deprived of my natural rights? - - _Mr. G._ Oh, bother! You here? Now, how is a man to enjoy a season - of— - - _Mrs. G._ Oh, don't say that again! Answer my question. - - _Mr. G._ Certainty, my dear. I have three reasons: the first of - which is, she is too young to marry. - - _Mrs. G. and Alice_ (_together_). Too young to marry! - - _Mr. G._ (_aside_). Grand chorus of indignant females. (_Aloud._) - I repeat it: too young to marry. - - _Mrs. G._ Nonsense! She's as old as I am. If that is your opinion, - why did you allow me to marry? - - _Mr. G._ (_aside_). Stuck my foot in it. (_Aloud._) You didn't - allow me to finish. Too young to marry a young man. - - _Alice._ Indeed! Well, I'll never marry an old one, if I live to - be as old as my grandmother. I do detest old men, and middle-aged men - too. - - _Mr. G._ (_aside_). Stuck my foot in it again. - - _Mrs. G._ So much for your first reason. What is your second? - - _Mr. G._ My second is, Alice can do better than to marry at all. - Look at that head. How beautifully the reasoning bumps are developed! A - phrenologist would go wild with ecstasy with his hands upon that head. - - _Alice._ Would he? He'd get them well scratched for his assurance. - - _Mr. G._ (_Rising, placing plate on table, and speaking with - bombastic enthusiasm._) Alice, 'tis the era of progress. Woman's rights - will soon be fully recognized, and woman take her place among the - gifted and the learned. They will be called to the bar, the pulpit. - Think of that time, and prepare to take your place,—to rule, and not be - ruled. Married life for you! Preposterous! 'Twould be a galling chain - 'gainst which your noble intellect would chafe and worry. - - _Alice._ Uncle, are you crazy? - - _Mrs. G._ Poor Simon, has second childhood come so soon to you? - - _Mr. G._ My dear, let's change the subject. - - _Mrs. G._ Certainly; to the third and last reason. What is that? - - _Mr. G._ The third and last? That I refuse to make public. - - _Mrs. G._ What! you have another reason? - - _Mr. G._ I have, and it's a clincher; but I positively refuse to - give it. - - _Mrs. G._ To your own lawful wife? to her from whom you have often - said you have no secrets? Simon Graylock, I'm ashamed of you. - - _Mr. G._ But, my dear Susan— - - _Mrs. G._ Don't dear me, Mr. Graylock. You are a very ungrateful - man. Do I deserve this treatment? Have I not sacrificed my young and - ardent admirers for your sake? Have I not crushed out the brightness - and gayety of my young life to settle down, and become the slave of a - man old enough to be my father? For what? To have your confidence - withheld from me— - - _Mr. G._ Sue— - - _Mrs. G._ Silence, Mr. Graylock! When I fondly hoped, in making our - Alice happy, to brighten our home with the presence of gay, lively - company— - - _Mr. G._ Susan— - - _Mrs. G._ Silence, sir! I must be content with your company; not - even allowed to share your confidence. You ought to be ashamed of - yourself. I wonder your iron-gray locks do not turn white with shame. - They look streaked enough. You want to dye them. You'd better. Disguise - yourself somehow. Keep out of my sight, for I'm thoroughly ashamed of - you. Come, Alice, I'll not waste my time with such a wretch. - - _Alice._ But, Aunt Susy, my marriage— - - _Mrs. G._ Must wait till my lord and master concludes to give his - third reason. O Simon, Simon! you've broken my heart. (_Weeps._) - You—you—you've br-br-br-oken my heart. - - [_Exit_, R., _followed by_ ALICE. - - _Mr. G._ (_looks off_ R., _then speaks slowly_). Well, I never! - Bless my soul! Goodness gracious! Heavens and earth! Here's a tornado, - an earthquake, a hurricane! The wife of my bosom, the partner of my - joys, in the enjoyment of a season of calm and tranquil delight, gets - up, and—Well, well, here's blighted hearthstones, blasted happiness, - and for what? For an untold reason. Make public that reason? disclose - it to the partner of my joys? Never! distinctly, emphatically, and - unequivocally, never! Tell her that I oppose my niece's marriage - because upon that marriage I, her lawful guardian, must pay into her - hands the sum of ten thousand dollars, left in my hands by my deceased - brother, her father, to be so paid on the occurrence of her marriage, - which marriage must have my consent? Never! She would drive me from her - presence with scorn,—or any thing else that was handy. I can't part - with the money now. This unlucky, happy day must be kept far, far away. - But my wife, she must be appeased. How can I bring back her smiles? Ah, - "The Magic Dye!" She would see manhood in its prime, raven locks, and - all that sort of thing, about her home. She shall. I will disguise - myself. The die is cast. She will be pleased with the change: she can't - help it. The smile will return to her rosy lips, and all be bright - again. Wilkins can transform me in five minutes. He shall. I shall dye - happy, and live happy ever after. (_Strikes bell._) I'll make a - confidant of Bounce. No, I won't. I'll mystify him to—(_Enter_ BOUNCE - L.) - - _Bounce._ Did you ring, sir? - - _Mr. G._ Bounce, I am about to commit a desperate act. - - _Bounce._ _H_another? Why, you've only been married _h_a month! - - _Mr. G._ I am about to leave this home, to go—no matter where; to - do—no matter what. You are a faithful servant. You will keep my secret. - (_Aside._) I know he won't. - - _Bounce._ _H_as the _h_apple of my _h_eye, when I know it. - - _Mr. G._ When your mistress asks for me, you will say—nothing; - when they search for me, you will lead them to the—well; you will lead - them somewhere, anywhere, but where I am—where I go to dye. You - understand. Silence, remember. I was here, I am gone, silently, - mysteriously (_creeps to door_, R.), like the expiring flame of a - candle. Puff! I'm gone. - - [_Exit_ R. - - _Bounce._ My _h_eyes! master's _h_out of 'is 'ead. 'E's gone off - suiciding, _h_as sure _h_as _h_eggs. 'Ere's _h_a situation for _h_a - 'ouse'old. What's to be done? 'E must be stopped, but 'ow? _H_i'll call - mistress. Oh, 'ere she _h_is! (_Enter_ MRS. GRAYLOCK R.) - - _Mrs. G._ Has your master gone out, John? - - _Bounce._ _H_o, mistress, _h_i'm _h_all _h_unstrung. 'E's out of - 'is 'ead, 'e _h_is. 'E's gone somewhere, _h_and 'e's going to do - something _h_awful,—put a _h_end to 'imself. _H_it's 'orrible! - - _Mrs. G._ What do you mean? - - _Bounce._ 'E said _h_i must lead you to the well. 'E's going to - drown 'imself, _h_only the well is dry, _h_and he can't. Perhaps 'e's - going to the stable to sacrifice 'imself _h_on the 'alter. _H_o, - _h_it's 'orrible! - - _Mrs. G._ Nonsense, Bounce; he's gone out for a walk. - - _Bounce._ Yes, _h_an' 'e'll walk _h_into 'is grave, _h_an' then - 'e'll walk nights, and scare us to death. _H_o, _h_it's 'orrible! - - _Mrs. G._ John Bounce, have you been drinking? - - _Bounce._ _H_i 'ave, _h_i 'ave; tea, green tea; Young 'yson. _H_o, - you'll never set your young _h_eyes _h_on's noble form _h_again. 'E's - gone to die. - - _Mrs. G._ Gone to die? I see it all: the wretch! - - _Bounce._ So do _h_i, missus,—'is cold remains, _h_a long - procession. Poor master! 'is _h_own 'osses will never carry 'im - _h_again! - - _Mrs. G._ John Bounce, you are a fool! Stop your snivelling, and - listen to me. Your master has no thought of taking his life. He is - bound on a very foolish errand, the purport of which I know. As he has - tried to frighten us, we will endeavor to turn the tables upon him. - Call Patty. - - _Bounce._ Yes, ma'am. You're sure 'e's not gone _h_insane? - - _Mrs. G._ So sure of it that I shall prevent his entrance to the - house for the present. You will lock all the doors, and fasten the - windows, except one in the kitchen. When you have done that, go to his - room, get his rifle, and return here. - - _Bounce._ My _h_eyes! what _h_is coming to this 'ouse? _H_o, - _h_it's 'orrible! - - [_Exit_ R. - - _Mrs. G._ So my good husband, evidently vexed at my assumed anger, - is about to execute his threat of dyeing. Let me see if I cannot turn - this to good account, and fix the day for Alice's marriage. That third - reason seems to be the impediment; but, if I cannot find that out, I - will at least gain his consent by stratagem. O my good Simon! if I - cannot win your confidence, I will teach you such a lesson that you - will never say dye again. (_Enter_ PATTY R.) - - _Mrs. G._ Patty. - - _Patty._ Yes, ma'am. - - _Mrs. G._ I believe you are very fond of romantic adventures. - - _Patty._ Indeed, I am, ma'am, though I never had one in my life. - - _Mrs. G._ I am about to throw one in your way. Mr. Graylock will - soon return to the house in disguise; that is, he has gone to have his - hair and beard dyed. I have given orders to have the doors and windows - locked. He will gain an entrance, after some difficulty, to this room. - Once here, John Bounce and you, with doors locked, must keep guard over - him. Whatever he may say or do, you must not recognize him as your - master, but treat him as a burglar. You understand? - - _Patty._ Indeed I do. Trust me to treat him as a burglar. I'll - pound him with the broom, and John shall fire a few bullets into him to - keep him quiet. - - _Mrs. G._ No, no: there must be no violence. I rely upon your - discretion. You are both old servants of his, and will not fail to - treat him respectfully. It's only a frolic of his young wife, at which - he will laugh heartily when it is over. (_Bell rings._) There's the - bell. Should it be he, do not open the door. - - _Patty._ I will remember. - - [_Exit_ R. - - _Mrs. G._ Now, then, to rehearse my part in the grand tragedy. - (_Enter_ PATTY R.) - - _Patty._ Mr. Cheeny, ma'am. (_Enter_ Mr. CHEENY R.) - - _Mrs. G._ Ah, Ralph; welcome! - - [_Exit_ PATTY R. - - _Ralph_ (_shaking hands_). My dear Mrs. Graylock, this is jolly, - to see you in such good spirits. Am I right? You have succeeded? (MRS. - G. _shakes her head_.) No? - - _Mrs. G._ No, my dear friend; the enemy is still strongly - intrenched behind the bulwarks of obstinacy, from which neither smiles, - tears, nor reproaches can drive him. - - _Ralph._ And the assailing party, discomfited, is about to retire - from the contest? - - _Mrs. G._ Never! We have inscribed upon our banners the motto, - "Never say die!" - - _Ralph._ Good! You're the best friend a man ever had. But where's - Alice? (_Enter_ ALICE L.) - - _Alice._ O Ralph, it's all over! He'll never give his consent. - - _Ralph._ Then, my dear Alice, we will do without it. An unexpected - turn in business affairs to-day has made me as independent as a nabob. - I should have liked your crusty old uncle's blessing; but, as he won't - give it, we'll see Parson Clark, say next Tuesday, be married, take a - journey to Niagara, and, on our return, settle quietly into married - life. What's to hinder? - - _Mrs. G._ The crusty old uncle's wife. - - _Ralph._ Eh, my clear Mrs. Graylock! A thousand pardons for my - levity. He is crusty, you are lovely. "In contrasts lieth love's - delight," you know. You will place no bar to our union. - - _Mrs. G._ Stop. We have begun a battle: let's fight it out. If - Alice marries without her _crusty_ old uncle's consent, where's her - fortune? - - _Ralph._ Her fortune? I never knew she had one. "Her face is her - fortune." - - _Mrs. G._ With ten thousand dollars with which to buy mirrors to - see it in if she please. - - _Alice._ Why, Aunt Susy! I never heard of it. - - _Mrs. G._ Nor I. But it's true, for I've seen the papers. 'Twas - left you by your father, to be paid when you should marry with Mr. - Graylock's consent. - - _Ralph._ Why, this is charming! - - _Alice._ Do you think you like me any better, Ralph? - - _Ralph._ Ten thousand times! That is, you understand, I'm not - mercenary; but you deserve it, you're such a dear, sweet, nice— - - _Mrs. G._ Attention, company! Business! I am going to gain his - consent. Ralph, sit at that table, and write, if you please. - - _Ralph_ (_sits at table_; ALICE _leans on his chair_; MRS. G. - _stands_ L. _of table_). Yes; proceed. - - _Mrs. G._ "I, Simon Graylock, being in sound mind and body"—(_Bell - rings._) Hark! that's he. Don't mind. Write. - - _Ralph._ "Sound mind and body." - - _Mrs. G._ "Hereby bequeath to my dearly-beloved friend, Ralph - Cheeny"—(_Bell rings violently._) - - _Ralph._ "Beloved friend, Ralph Cheeny." Go on. - - _Mrs. G._ "My affectionate niece, Alice Chase"—(_Bell rings - violently._) - - _Ralph._ "Alice Chase:" that's you, Ally. Go on. - - _Mrs. G._ "To have and to hold, as his lawful wife, from this day - forth and forevermore. And to this union I give my consent, and - subscribe my name." That's all. He has stopped ringing. (_Dog barks._) - - _Mr. G._ (_outside_). Hero, Hero, old boy, don't you know your - master? (_Dog barks. Shouting._) - - _Mrs. G._ He's getting into the garden: he will soon be here. We - must retire. - - _Ralph._ But what is it all about? - - _Mrs. G._ Ask no questions. Let me arrange that paper. I will turn - the writing underneath, leaving a blank space for his signature. (_Dog - barks._) - - _Mr. G._ Clear out, you brute! There goes my coat! Murder! help! - - _Ralph._ Shall I run to his assistance? - - _Mrs. G._ Not for the world! Come this way. I will explain all. - [_Exeunt_ R. _Then enter, hurriedly_, L., MR. G., _his hair and beard - dyed black, one coat-tail, torn off, in his hand_.] - - _Mr. G._ Confound that dog! He has decidedly curtailed my - enjoyment. (_Holds up coat-tail._) Is it possible I am so transformed - as to become a terror to my own terrier? Where is everybody? Doors - locked, windows fastened, and nobody to let me into my own house! A - pretty state of affairs, truly! No matter: I have gained an entrance, - and now for a good surprise. (_Takes hand-mirror from table._) What a - change! The Simon Graylock of twenty-five takes the place of the Simon - Graylock of fifty. Glorious! Won't I make a sensation? I can see my - wife's look of astonishment and pleasure. I can hear her rapturous "O - Simon, you beauty!" Eh? what's that? (_Turns to_ L., _as_ JOHN BOUNCE - _enters, locks the door, and stands with his rifle at_ "_present_.") - Well, what's the matter? Eh! what's that? (_Turns_ R., _as_ PATTY - _enters, locks the door, and stands with a broom at_ "_present_.") - What's the meaning of this? - - _Bounce._ Silence! Not _h_a sound! not _h_a, step! Sh—! - - _Patty._ Silence! Not a look! not a breath! Sh—! - - _Patty and John_ (_together_). If you move, if you speak, - you are a dead man. Sh—! - - _Mr. G._ Why, John! Patty! you idiots! don't you know your master? - - _Patty and John_ (_together_). Master! you! Ha, ha, ha! - - _Mr. G._ Now stop that duet, or out of this house you go without - warning. Unlock those doors, and call your mistress. - - _Bounce._ Call the police. _H_i know you? You're _h_a burglar, _h_a - thief! But we're wide _h_awake. You're caught. - - _Patty._ Yes, Mr. Jack Sheppard, your foot's in the trap. You've - lost your coat-tails, but that's nothing to the loss of your liberty: - ten years in prison. - - _Mr. G._ Am I awake? John Bounce, who's your master? - - _Bounce._ Simon Graylock, _H_esquire, _h_a respectable, - middle-_h_aged gent, rather plain _h_in 'is _h_external _h_appearance, - but with _h_an 'art _h_as big _h_as an _h_ox. - - _Patty._ Yes, Mr. Burglar, as nice an old gentleman as you ever - met. - - _Mr. G._ Am not I that gentleman? - - _Patty._ You! Nonsense! - - _Bounce._ You! _H_absurd! Why, you look like what you _h_are,—_h_a - regular 'ousebreaker. - - _Mr. G._ I'll break your head if you call me that name again. I am - master of this house; and as such I order you instantly to unlock those - doors, and call your mistress. - - _Patty._ What impudence! - - _Bounce._ _H_and what _h_assurance! - - _Mr. G._ (_approaching_ PATTY). Young woman, out of my way! - - _Patty_ (_points broom at him_). Help! murder! thieves! - - _Bounce_ (_points rifle at him_). 'Ere, you, none er that! Lay - _h_a finger _h_on that young woman, _h_and I'll fire. (MR. G. _backs up - stage; they follow with their weapons pointed at him_.) - - _Mr. G._ Confound it! this is ridiculous! Go away. (_Gets up into - chair._) - - _Bounce._ Wretched _h_outcast, would you lift your 'and _h_against - _h_a woman? Would you— - - _Mr. G._ Put down that gun. - - _Bounce._ Never! You _h_ex_h_asperate the British lion; you - _h_insult the _h_object of my 'art's _h_adoration; you—you—you— - - _Mr. G._ Put down that gun. It might go off. - - _Bounce._ _H_it might; but you can't.—Patty, _h_i'll put _h_an - _h_end to 'is miserable _h_existence. - - _Patty._ No; leave him to the officer of justice. - - _Bounce._ _H_i can't. 'E 'as _h_insulted you, _h_and _h_i must 'ave - blood, blood, blood! - - _Mr. G._ Put down that gun! Here, Sue! Susan! Susannah! Help! - help! help! (_Knock at door_, L.) - - _Mrs. G._ (_outside_). Open the door, Patty. (PATTY _unlocks the - door_, R. MRS. G., ALICE, _and_ RALPH _enter, stand huddled by the - door_.) Have you got him? - - _Mr. G._ Got him! And she the wife of my bosom! Susy! - - _Bounce._ Silence! (_Threatens with gun._) - - _Mr. G._ Susan! - - _Patty._ Silence! (_Flourishes broom._) - - _Mr. G._ Susannah! - - _Mrs. G._ Why, the wretch knows my name! - - _Mr. G._ Of course he does. 'Tis I, your own true, loving husband, - Simon Graylock. - - _Ralph._ Egad, the rascal has assurance! - - _Mrs. G._ Did you ever? - - _Alice._ No, I never. - - _Mr. G._ (_coming forward_). Oh, come! this is all nonsense, you - know. You're not going to cut me off, are you? I am your husband. - - _Mrs. G._ My husband! Why, he's old enough to be your father. - - _Mr. G._ (_aside_). There's a "puff" for "The Magic Dye." - (_Aloud._) You don't know me. Am I, then, so changed? - - _Mrs. G._ You look like a burglar. - - _Ralph._ What a thievish look there is about his mouth! - - _Alice._ And such cunning eyes! Oh, do, Aunt Susy, let John call - the police, and have him taken away! - - _Mr. G._ It's only the effects of the dye, you know. I've had my - hair and whiskers colored. Gives me quite a juvenile look; quite the - dandy, eh? - - _Ralph._ Oh! come, sir, this won't do. You have entered this house - in search of plunder. Your attempt has been foiled by the keenness of - this lady, who, in the absence of her husband, can well protect his - treasures. - - _Mrs. G._ John, call the police. - - _Mr. G._ John, if you do, I'll discharge you without a - character.—Susannah, be reasonable. If you don't know me, you must know - these clothes. Are they not your husband's? - - _Mrs. G._ My husband's? Gracious heaven! I see it all! My husband - has been murdered, cruelly murdered! and you have stolen his clothing. - Oh, wretched woman that I am!—John, call the police. - - _Mr. G._ And I say, no. Confound it! Do you want to drive me out - of my senses? - - _Mrs. G._ Oh, take me away! My life's in danger. Oh, somebody take - me away! - - _Ralph._ Fear not, madam. I will protect you. If your husband has - gone, you shall find in me a watchful guardian and a trusty friend. - Fear not: the miscreant shall not harm you. - - _Mr. G._ Confound his impudence! O Susy! what can I do to make you - own me? I think I am your husband; in fact, I'm quite sure of it. - - _Mrs. G._ Can you write? - - _Mr. G._ Write? I signed a check for two hundred dollars, which - you now have in your porte-monnaie. - - _Mrs. G._ Can you write your name? - - _Mr. G._ To be sure I can. - - _Mrs. G._ Then write it. I shall recognize my husband's - handwriting, I think; yes, I'm quite sure of it. Write at once: there - are pen, ink, and paper. - - _Mr. G._ I'll be hanged if I do any such thing! This is absurd, - ridiculous! - - _Mrs. G._ John, call the police. - - _Bounce._ _H_instantly, missus. - - _Mr. G._ Stop! I'll write. (_Goes to table_, C.) If ever I'm - caught in such a ridiculous position as this, may I be— - - _Mrs. G._ (_goes to table_). Here! write your name there. - - _Mr. G._ (_sits, takes up pen, then looks up at_ MRS. G., _who - stands immovable_). And that's the wife of my bosom, the partner of my - joys! and I've got to write my name before—No! I'll be hanged if I do! - (_Throws down pen._) - - _Mrs. G._ John, the police. - - _Bounce._ _H_instantly, missus. (JOHN _and_ PATTY L., FRANK _and_ - ALICE R.) - - _Mr. G._ No, no: I'll sign! (_Writes._) - - _Mrs. G._ (_takes up paper_). What do I see? 'Tis he, my husband, - my Simon! (_Throws her arms about his neck, and repeatedly embraces him - in a frantic manner._) - - _Ralph._ What do I hear? 'Tis he, your uncle, my Alice! - (_Embraces_ ALICE.) - - _Bounce._ _H_it's _h_all _h_up. 'Tis 'e 'imself, Patty. (_Embraces_ - PATTY.) - - _Patty._ Let me alone, you exasperating Englishman! (_Releases - herself._) - - _Mr. G._ Confound it! Susy, don't smother me! - - _Mrs. G._ O Simon! something's burning! I smell brimstone! - - _Mr. G._ Smell fiddlesticks! It's "The Magic Dye." It makes me - sick: I wish I was well rid of it. And now be kind enough to tell me - the meaning of this. I've been locked out of my house, my clothes - lacerated by my dog, been threatened with death by my servant, with the - police by my wife; and am threatened with a brain-fever, if I don't - know what all this is for. - - _Mrs. G._ For the third reason, Simon. - - _Mr. G._ Eh? You're not going to bring up that subject again? - - _Mrs. G._ Oh, no! that's all settled. - - _Mr. G._ Settled? How? - - _Mrs. G._ (_takes paper from table, and reads_). "I, Simon - Graylock, being in sound mind and body, hereby bequeath to my dearly - beloved friend Ralph Cheeny, my affectionate niece Alice Chase, to have - and to hold, as his lawful wife, from this day forth and forevermore; - and to this union I give my consent, and subscribe my name." Signed, - "Simon Graylock." - - _Mr. G._ Why, this is a swindle! Obtaining goods under false - pretences! And you, the wife of my bosom, the partner—Do you know what - this would cost me, were it known? - - _Mrs. G._ Yes; ten thousand dollars: Alice's portion. - - _Ralph._ Of which she is in no immediate want; in fact, I think I - would prefer to leave it in your hands. - - _Mr. G._ My dearly beloved, take her, and be happy. When I die, - you will find I have not forgotten you. - - _Mrs. G._ As did the partner of your joys, the last time you dyed; - eh, Simon? - - _Mr. G._ My dear, let's change the subject. - - _Mrs. G._ If we could only change the color of your hair as easily! - Why, Simon, it's purple! - - _Mr. G._ Is it? Then don't look at it, don't speak of it; for, if - you're not pleased, I have dyed in vain. - - _Mrs. G._ No: for it has helped to make two people happy who were - dying for each other, helped your dear wife to triumph in a good cause, - and helped us all to a little amusement— - - _Mr. G._ At my expense. Sue, Susan, Susannah, let's change the - subject. Never say die, and I never will. - - JOHN BOUNCE _and_ PATTY, R. MR. _and_ MRS. G., C. - RALPH _and_ ALICE, L. _Curtain._ - -[Illustration: - - THE CHAMPION OF HER SEX. -] - - - - - THE CHAMPION OF HER SEX. - - - (FOR FEMALE CHARACTERS ONLY.) - - - CHARACTERS. - - MRS. DUPLEX, a widow with money and a mission. - MRS. DEBORAH HARTSHORN, her mother. - FLORENCE DUPLEX, her daughter. - CAROLINE DUPLEX, her step-daughter. - RHODA DENDRON, │ her friends. - POLLIE NAY, │ - KATIE O'NAIL, the cook. - MAGGIE DONOVAN, the chambermaid. - - - COSTUMES MODERN AND APPROPRIATE. - - SCENE.—_Apartment in_ MRS. DUPLEX'S _house. Lounge_, L.; _two - chairs_, R.; _table with writing-materials, and an easy-chair_, C. - - _Mrs. H._ (_outside_, R.) Don't tell me, yeou imperdent thing! - Clear out, I tell yeou! - - _Maggie_ (_outside_, R.) Faix! not for the likes av yez, at all, - at all. - - _Mrs. H._ (_outside_, R.). Yeou won't, hay? We'll see about it. - (_Enter_ MAGGIE, R., _followed by_ MRS. H., _brandishing a broom_.) - - _Maggie._ Aisy, Mrs. Hartshorn, or it's yersilf will be sent to - coort for salt and bathery, sure. - - _Mrs. H._ Don't care! If I'm sent to prison for life, I mean to - have my orders obeyed. - - _Maggie._ Faix, an' it's not yersilf is the lady of the house, at - all, at all. - - _Mrs. H._ Don't make no difference. Yeou take that broom, and sweep - out my room, and be quick about it! - - _Maggie._ It's warning I'll give to onct the misthress cooms, Mrs. - Hartshorn. Faix! there's a power of work in the house, and a heap of - misthresses to order about—bad luck to 'em! Niver mind, I'll swape the - room; an', if ye find any thing broke, it's not the fault av Maggie - Donovan. (_Aside._) Only jist I'll—I'll have one good crack at her - chiny vases, so I will. - - [_Exit_ L. - - _Mrs. H._ (_sits in chair_, C., _takes out her smelling-bottle, - removes stopper, places her finger over it, and applies it to her nose, - snuffs it, gives a little start, with something between a sigh and an - exclamation, sounding like "Kee," accompanying it. This should be - repeated wherever the word appears in the dialogue_). Well! if Hannah - Merria's heouse ain't a-going to eternal smash, it's not for want er - help. Sich actions I never did see. There's that ere cook! If I stick - my head into the kitchen (kee), I'm sure to be saluted with the - dishcloth; and, if I go up stairs, there's always a broom laying round - loose for me to tumble over (kee). For the land of liberty's sake, - what's the use of having a home if you don't take care of it? Neow, - here's Hannah Merria, whose husband died a year ago, leaving all his - property to her, his second wife, and who ought to be the happiest - woman in the world in consequence (kee),—not of his death, but the - money,—a-prancin' round in perlitical circuses, ravin' like a lunatic - about "speers," and "rights," and "sufferings," and leaving her home to - take care of itself. She's the queerest young 'un I ever had (kee). - (_Enter_ CAROLINE, R.) - - _Caroline._ What's the trouble, grandmother? - - _Mrs. H._ Oh, it's them hired gals, Ca'line. They've made me crazy - with their shiftlessness. I do think Hannah Merria might stay at home, - and look arter them. - - _Caroline._ My good step-mother has other affairs to occupy her time. - You know she is one of the leaders of the Female Reform Club. - - _Mrs. H._ Then she'd better bring her club home, and trounce these - sassy critters into some kind of reform (kee). - - _Caroline._ She thinks she is engaged in a noble work. She is the - champion of her sex. - - _Mrs. H._ Champion fiddlesticks! There's no sense in such - carryings-on. What would my old man, Hezekiah Hartshorn (kee)—bless his - dear dead and gone memory—have thought if I'd 'a' gone off in this - fashion, a meddlin' with things that women don't know nothin' about? - When he took me for better or for wus, sez he to me, "Deborah, there's - the old homestid,—a snug house and a likely farm,—all ours. Yeou take - kere of the house, and I'll take kere of the farm. Outside I'll be - master, inside you shall be mistress; and we won't interfere." That's - all the bargain we ever made, and we stuck to it. I took good care to - make his home pleasant; but meddlin' with his affairs would have ben as - rediculous as it would have ben for him to stick his nose into the - churn every time I made butter. No, indeed! Let woman do her own work, - and leave man to his'n. - - _Caroline._ Ah, grandmother, the world has turned over a great many - times since your day. Women have acquired larger ideas of usefulness, - and have found in intellectual pursuits release from household - drudgery. Triumphs in medical practice, and success in the pulpit, have - fired them with ambition to take their place beside the sterner sex in - those educational, scientific, and political spheres, for which they - feel themselves equally well fitted. - - _Mrs. H._ (Kee.) Do hear that young 'un talk; and she don't believe - a word of it, nuther. - - _Caroline._ But my good step-mother does; and, if she can elevate her - sex, she is doing a noble work. - - _Mrs. H._ Noble cat's foot! If she wants to elervate her sex, as - she calls it, let her stay to home, and look after things. If that - Katie don't want elervating with a broomstick, then I'm mistaken (kee). - Why don't she give you a eddication, instead of keeping you drudging - about the house, when you should be at school with Florence? She's got - your father's money, and that's all she keres for (kee). - - _Caroline._ I am contented, grandmother. I make no complaint. - - _Mrs. H._ 'Cause you're meek as Moses. But I'll give her a piece of - my mind, you see ef I don't. - - _Caroline._ Don't get angry, grandmother. To-day Florence returns - after six months' absence at school. Let her find every thing bright - and pleasant. - - _Mrs. H._ Lor-a-massy! So she does. Well, I'm glad on it. Ef she - don't upset things, then I'm greatly mistaken. (_Bell rings_, R.) She's - a dear good girl. - - _Caroline._ Indeed she is, and deserves all the care and affection - bestowed upon her. (_Enter_ KATIE, R., _with a scrubbing-brush in her - hand_.) - - _Katie._ She's coom, ma'am, she's coom, as rosy and bright as a - new copper tay-kettle. - - _Caroline._ Who? Florence? - - _Katie._ Indade, it's the truth ye's spakin'; her own swate silf, - Miss Ca'line. - - _Caroline._ Glorious news! I must run to her at once. Come, - grandmother. - - [_Exit_, R. - - _Mrs. H._ Bless the child! I must go and fix her somethin' warm. - - _Katie._ Somethin' warm, is it? Faix, jist kape out av the - kitchen, d'ye mind, or it's yersilf will git somethin' warm. - - _Mrs. H._ Wal, I never! The airs that these critters do put on - (kee)! - - [_Exit_, R. - - _Katie._ Faix, the ould woman's a sore thrial, that she is. - There's little chance to kape my sisther Bridget's children in sugar - and tay, wid her middlin'. (_Enter_ MAGGIE, L., _with a broom_.) - - _Maggie._ An' it's mesilf would likes to know what ye mane by - demaining yersilf in this fashion, Kate O'Nail. It's little yez know of - itikate. - - _Katie._ Och, be aisy wid yer spakin', Maggie Donovan. Itikate, - indade! - - _Maggie._ Isn't it me privilege to tend the bell, I'd like to know? - - _Katie._ To be sure it is. But 'twas the darling Miss Florence - rowled up to the door; and would I be afther lavin' her on the stips, - an' you in the attic? - - _Maggie._ It's a desateful tongue ye have. Don't I know ye'd be - afther liftin' yersilf above yer pots and kittles to my place, to - betther yer condition? - - _Katie._ Betther my condition, is it? Wid what? Swapin' and - dustin', and the likes? Niver, at all, at all. When I betther my - condition, 'twill be as the widded bride of Terence McFunnigafferty. - - _Maggie._ McFunnigafferty! Bad luck to him! he's only a - hod-carrier. - - _Katie._ He's dacent and respictable; an' it's my belafe, Maggie - Donovan, ye'd be glad av me chance. Haven't I seen ye castin' sly looks - that way yersilf? - - _Maggie._ Oh, murther! An', an' me own b'y, Teddy Murphy, sailin' - the thrackless say— - - _Katie._ Wid a swateheart in ivery port. - - _Maggie._ Och! it's invious ye are, Kate O'Nail; an' it's out av - place ye are above the kitchen shtair. Away wid yez to yer pots and - kittles! (_Threatening with broom._) - - _Katie._ An' its out av place ye are onywhere. Be off to yer - swapin'! (_Threatens with brush. Enter_ FLORENCE _and_ CAROLINE, R.) - - _Florence._ Fie, fie, girls! You're both out of place, quarrelling. - Ah, Maggie! I'm glad to meet you again. (_Shakes hands with Maggie._) - - _Maggie._ Thank you, Miss Florence. An' it's a warm welcome home to - yez; an' it's glad I am to see yer own bright face once more. - - _Florence._ And it's glad I am to be here, Maggie. Now I want you and - Katie to get my trunk up stairs. It's not very heavy, and I wish to - open it at once. - - "Take it up tenderly, - Fashioned so slenderly, - It's fickle and frail." - - _Maggie._ Indade, Miss Florence, I'll do my best with the help of - very rough company. - - [_Exit_, R. - - _Katie._ Thar's a fling at me! Arrah, I'll give her one thump on - the fut with the thrunk. - - [_Exit_, R. - - _Caroline._ Welcome, welcome, welcome home! A thousand times welcome, - Florence! Oh! we have missed you very much. (_They sit on lounge_, L.) - - _Florence._ I'm glad of that, Carrie, for you will be so glad to see - me now that I can have my own way in every thing; and I'm going to - spend my time advantageously. I'm going to induce mother to send you - with me when I return to school. - - _Caroline._ Oh, that would be grand! But I fear you will not succeed. - - _Florence._ But I will. You have as much right to the advantages of - Rushly Seminary as I; and I will no longer allow you to submit to the - cruel treatment you are receiving. You go with me: that's settled. But - where's mother? - - _Caroline._ At a committee-meeting. - - _Florence._ A committee-meeting at eleven o'clock in the forenoon! - What important project can take her from home at this hour? - - _Caroline._ She is one of the leaders of the Female Reform Club. - - _Florence._ What! my mother! You don't mean to say that she has come - out for women's rights! - - _Caroline._ She has, most decidedly. She gives all her time to the - club. She is a very zealous member. - - _Florence._ And who takes care of the house? - - _Caroline._ It takes care of itself. The mistress away, it is very - hard for me to govern affairs; and grandmother does much harm by her - kindly-meant interference in household matters. - - _Florence._ It's too bad! Does mother speak at public meetings? - - _Caroline._ She spoke for the first time last night. There's a report - of her speech in the papers. (_Takes paper from table._) Here it is. - - _Florence_ (_reads_). "Mrs. Duplex, widow of the celebrated - match-manufacturer, whose decease last winter was chronicled in our - paper, arose and spoke warmly of the oppression of the female sex. She - vehemently asserted their ability to achieve success in any path - trodden by man, and eloquently styled herself the champion of her sex - in its endeavors to throw off the yoke of bondage, and victoriously - array itself by the side of man in his onward march of progress." What - nonsense! - - _Caroline._ Nonsense, Florence? Then you are not in sympathy with the - woman movement. - - _Florence._ Yes, Carrie: I am an earnest advocate for reform. Noble - women are doing brave work in _educating_ our sex to a realizing sense - of their power for good in many of the walks of life heretofore kept - sacred to the foot of man. But foolish women, who raise the cry of - oppression or slavery, are no better than the political demagogues of - the other sex,—loud in speech, but dumb in council. - - _Caroline._ And so you think mother has made a mistake? - - _Florence._ I certainly do. A woman's duty is to care for her - household. From what little I have seen since I came home, I am - convinced reform is needed here. (_Bell rings_, R.) If she would - elevate her sex, I'm sure she could have no better task than to fit - you—who were left penniless on her hands by a thoughtless father—for - the station to which you have a right to aspire. (_Enter_ MAGGIE, R.) - - _Maggie._ If ye plase, Miss Florence, yez frinds, the Misses Nay - and Dendron, are below, axin' for yez. - - _Florence._ Show them up, Maggie. (_Exit_ MAGGIE, R.) I must find - some way to rid mother of her delusion. - - _Caroline._ I wish you could, Floy, for it is certainly very - disagreeable for us who are left at home. (RHODA _and_ POLLIE _appear_, - R.) - - _Rhoda._ May we come in? - - _Florence_ (_jumping up_). To be sure you may. Rhoda, you dear, dear - girl! (_Kissing her._) Pollie, I'm glad to see you! (_Kissing_ POLLIE.) - - _Rhoda._ Saw you come up, and couldn't wait a minute longer; could - we, Pollie? - - _Pollie._ No, indeed. We just dropped every thing, and ran across. - How d'ye do? - - _Rhoda._ Yes; how are ye? Tell us, quick! - - _Pollie._ Had a splendid time, hey? - - _Rhoda._ Not engaged, are you? - - _Pollie._ What you got new for dresses? Why, there's Carrie! - (_Shakes hands, and kisses._) - - _Rhoda._ Well, I declare, Miss Meekness! you are as still as a - mouse. (_Shakes hands, and kisses._) - - _Caroline._ She's here, girls, and just as splendid as ever. - - _Rhoda and Pollie_ (_together_). Splendid? Of course she is. - - _Florence._ Come, come, girls; sit down and tell me the news. - (CAROLINE _and_ RHODA _sit on lounge_, L.; POLLIE _in chair_, R.; - FLORENCE _in chair_, C.) I'm dying to know what has been going on since - I left. - - _Pollie._ Well, then, Tilly Dodd's really married. - - _Rhoda._ Pooh! that's an old story. She's talking about getting - divorced now. - - _Pollie._ Divorced! Why, she's only been married six months! - - _Rhoda._ Six months and ten days. No matter about her. Have you - read your mother's speech? - - _Florence._ I read a brief notice of it. - - _Rhoda._ I heard it all. She's the champion of her sex. Oh, it was - grand! She flourished her right hand as majestically as any orator I - ever heard; and her voice was as strong and clear as Patrick Henry's. - - _Pollie._ Lor, Rhoda, you never heard Patrick Henry. - - _Rhoda._ But I've read his speeches, and they've got the ring of - his voice in them yet. Ain't you proud of your mother, Flory? - - _Florence._ Not of her last effort, Rhoda. - - _Pollie._ That's where you're right, Floy. I wouldn't like to have - my mother spouting in that manner. It looks coarse and unladylike. - - _Rhoda._ Well, I don't think I should like to have my mother take - to that kind of business. - - _Florence._ I like it so little, girls, that I am determined to give - mother a lesson, if you will grant me your assistance. Our principal, - Miss Steady, had an attack of "woman's rights" at school last winter; - and the girls took advantage of it to indulge in a little masquerading, - which so affected our honored head, that we heard no more of woman's - rights for the balance of the term. I shouldn't wonder if something of - the kind would make mother a little less zealous in the cause. - - _Rhoda._ Oh, tell us all about it! - - _Pollie._ Is there any fun in it? - - _Florence._ You shall see. Come to my room. Mother may return at any - moment, and I do not wish her to see us at present. - - _Pollie._ There's something delightfully mysterious in your - proceedings, Floy. - - _Rhoda._ Yes: there's mischief in your eyes. - - _Florence._ Perhaps; time will show. Come, I want you too, Carrie. - [_Exeunt_, R., FLORENCE, RHODA, _and_ POLLIE.] - - _Caroline._ Take me with her! I wish she could. I love Floy too well - to envy her. But the privileges she enjoys, and to which I feel I am - entitled, would afford me those opportunities for culture for which I - have often sighed. (_Enter_ MRS. DUPLEX.) - - _Mrs. D._ Caroline, I am astonished! You sitting here with your - arms folded, and the house in disorder! Is this a fitting return for my - care? or have you forgotten that to me you owe all you have in the - world? - - _Caroline._ You never allow me to forget that, madam. Yet I am - grateful for your care. Add one favor more, and let me go into the - world, and earn my living. - - _Mrs. D._ Indeed! As you are anxious to earn a living, perhaps it - would be as well to commence at home. - - _Caroline._ This life is distasteful— - - _Mrs. D._ There, that's quite enough. I have very important - business to engage my attention. Set the reception-room in order at - once. (_Takes off bonnet and shawl, and sits in easy-chair near - table._) - - _Caroline._ Certainly, madam. - - [_Exit_, R. - - _Mrs. D._ My late lamented husband left me one useless - incumbrance,—that girl. Strange some people are so hard to manage! Now, - then, to business. I've a long report to make to-night on the "Scheme - for Improving the Condition of Motherless Girls." (_Enter_ MRS. - HARTSHORN, R.) - - _Mrs. H._ Lor, sakes, Hannah Merria! You home? - - _Mrs. D._ Yes, mother, and hard at work. - - _Mrs. H._ (_sitting on lounge, and knitting_). Du tell! - - _Mrs. D._ Yes, mother. There's a wide field of labor opening to - willing hands. To raise woman from her lowly position, is not that most - noble work? - - _Mrs. H._ That depends on what she's doing, Hannah Merria. If she's - scrubbing the floor (kee), the lower the better. - - _Mrs. D._ She was never meant for such ignoble toil. - - _Mrs. H._ Ignoble fiddlesticks! P'r'aps you want the men-folks to - do that. - - _Mrs. D._ It may be necessary for the triumph of woman. Did you - read my speech, mother? - - _Mrs. H._ No, I didn't. I've _heard_ enough on 'em to be heartily - sick. A pretty champion of your sex, you are! - - _Mrs. D._ I hope I am an earnest and an honest one. I have a - mission,—to lift woman to a higher plane of civilization; and I believe - I have the power to fulfil it. - - _Mrs. H._ How? By getting up and speaking out in meeting? Never - heard nothin' like it since Sally Skreecher j'ined the Millerites, and - hollered so in meetin', that they thought the Angel Gabriel was - a-tootin' his horn (kee.) - - _Mrs. D._ Ah, mother! you do not understand this noble movement of - woman. - - _Mrs. H._ I understand washin' and ironin', and that's what I call - the noblest movement woman ever took a hand in. - - _Mrs. D._ There; that's quite enough: we shall never agree. Be - quiet, and let me write. - - _Mrs. H._ (Kee.) - - _Mrs. D._ (_writes_). "Silently, but steadily, moves on the mighty - car of progress"— - - _Mrs. H._ (Kee.) - - _Mrs. D._ "Crushing, beneath its fast revolving wheels, prejudice - and wrong; upward soars the spirit of freedom, mounting on eagles' - wings." - - _Mrs. H._ (Kee.) Say goose's wings, Hannah Merria. - - _Mrs. D._ Mother, will you be silent? - - _Mrs. H._ And hear you talk that bosh? Why, every Fourth-of-July - speaker has said them things year after year since Cornwallis - surrendered. (_Enter RHODA, R., disguised; a black shawl pinned tightly - across her breast; faded black bonnet with bright flowers stuck in it; - large, black cotton gloves, much too long in the fingers, on her hands; - and parasol._) - - _Rhoda_ (_very extravagant in her gestures_). Where is she? Let - me look upon her, the deliverer of our race, the champion of our sex! - Ah, she's here! the noble face, the stately figger! 'Tis she! 'tis she! - (_Falls at the feet of_ MRS. D.) - - _Mrs. H._ Land er Goshen! that's Hannah Dudley! - - _Mrs. D._ My good woman, can I be of service to you? - - _Rhoda_ (_rises_). You can, you can. I am the mother of nine - interesting children, whom I have vainly endeavored to support for five - years by the manufacture of molasses-candy. A sweet occupation, but, - alas! not profitable; for, work as I will, I can make but just enough - to satisfy the wants of my children. 'Tis all they have for food. - - _Mrs. H._ Well, they're a sweet set. - - _Mrs. D._ My good woman, why do you come to me? - - _Rhoda._ I come to sit at your feet; to draw into my thirsty soul - the teachings of your stupendous intellect. Glorious champion of my - sex, I would wrest from proud man one of his boasted prerogatives. - - _Mrs. D._ Indeed! To what sphere of usefulness do you aspire? - - _Mrs. H._ She's ravin' about paregoric. She ought to be a doctor. - - _Rhoda._ I heard your glorious speech last night, and every fibre - of my being thrilled beneath the touch of your matchless eloquence. You - told us we had the ability to achieve success in any occupation where - man could triumph. I want to be a butcher. - - _Mrs. H._ Heavens and airth! the woman's loony! - - _Rhoda._ Yes, a butcher; that I may give my children strong food, - for which they hanker. Ah, the mighty butcher! the crafty butcher! the - skilful butcher! I have gazed upon him with admiration. With what power - he fells the mighty oxen and—and—things! How skilfully he sends to - "green fields and pastures new" the sportive lambs! With what grace he - seizes the portly hog, and, regardless of its piteous cries, ends its - devouring life! Oh, glorious champion of our sex, teach me to excel in - this great branch of usefulness, and fill the mouths of my babes! - - _Mrs. D._ Woman, have you escaped from a lunatic asylum? - - _Mrs. H._ Lor, Hannah Merria, she's 'sterricky. - - _Mrs. D._ The poor woman's mad. - - _Rhoda._ Mad? Then 'tis you who have made me so. You promise, and - do not fulfil. Make me a butcher, or I will proclaim you a traitor to - our cause, from the market-place, in the council-hall, from the - house-tops. Champion of the sex! Bah! Give my children beef, pork, - mutton, or "get you to a nunnery," quick. - - [_Exit_, R. - - _Mrs. D._ Poor woman, poor woman! - - _Mrs. H._ Nothin' but skin and bones (kee). This all comes of - political circuses. O Hannah Merria! the millinariam won't come any - sooner for all yer speechifyin'. Better stay to home. Lor sakes! who's - this? (_Enter_ POLLIE, _disguised. Old-fashioned straw bonnet, bright - ribbons; faded shawl of bright patterns; white cotton gloves, very - large, upon hands._) - - _Pollie._ W-w-where is she,—the ch-ch-champion of our s-s-s-s-sex? - - _Mrs. D._ What do you wish, good woman? - - _Pollie._ 'T-t-tis she: I know th-th-th-that v-v-voice! D-d-dear - Mrs. D-D-Duplex, last night you m-m-moved me with the f-f-f-force of - your el-l-l-oquence. I have long b-b-blushed at our de-p-p-p-pendent - situation: I have thrown off the c-ch-chain, and stand p-p-prepared to - wrest from man one of his pr-p-proud p-p-p-p-prerogatives. - - _Mrs. H._ There's an awful waste of paregoric there. - - _Mrs. D._ And pray, my good woman, to what new field of labor do - you aspire? - - _Pollie._ B-b-before I heard your v-voice, I listened to one that - charmed my f-f-f-fancy. M-m-make me like him, and I will b-b-bless you. - I would be an auc-sh-sh-shuneer. - - _Mrs. D._ An auctioneer! do you want to insult me? - - _Pollie._ Insult you, the ch-ch-champion of our s-s-s-sex? - N-n-never! B-b-but an auc-sh-sh-shuneer I must be. G-g-going, - g-g-going, g-g-gone. Oh, it's splendid! How much am I offered? - St-st-stove, t-t-table, ch-chair, in one l-l-lot. H-h-how much? - G-g-going, g-going— - - _Mrs. H._ (Kee.) - - _Pollie._ G-g-gone! Thank you, marm. - - _Mrs. D._ Woman, leave this house at once! - - _Pollie._ What f-f-for? Ain't you the ch-ch-champion of our - s-s-sex? D-d-didn't you s-s-say we were f-f-f-fitted to t-t-take the - place of m-m-man? and ain't I g-g-going to be an auc-sh-shuneer, hey? - - _Mrs. D._ You are fit for nothing but the workhouse. Instantly - leave this room, or I will have you driven into the street. - - _Pollie._ Ch-ch-champion of our s-s-sex! P-p-pooh! You're an - imp-p-postor: you d-d-deceive us with your sp-p-peeches. If you don't - make me an auc-sh-sh-shuneer, I'll d-denounce you,—yes, I will, now, at - once. I'm g-g-going, g-g-going, g-gone. - - [_Exit_, R. - - _Mrs. D._ Was there ever any thing so provoking? It's the work of - our enemies. - - _Mrs. H._ No, 'tain't, Hannah: it's a nat'ral impediment. - - _Mrs. D._ Mother, shut up! - - _Mrs. H._ Wal, I never! Is that the way you honor your parent? - (Kee.) - - _Mrs. D._ It seems I am to be made a laughing-stock for my speech. - Could I have been too hasty? (_Enter_ FLORENCE, R.) - - _Mrs. D._ Goodness, child! you home again? (_Rises._) - - _Florence_ (_tragically_). Stop! Approach me not. Busy rumor, with - its thousand tongues, says, last night you asserted, in a crowded - assembly, that woman could achieve success in any path trodden by man. - I come to you for truth. Speak, mother! did you speak those words? is - rumor true? - - _Mrs. D._ I did say so, _Florence._ - - _Florence_ (_lightly_). Then, my good mother, you will be delighted - to hear that your daughter has chosen the profession in which she hopes - to win fame. I want to be a lawyer. - - _Mrs. H._ Lor sakes! - - _Mrs. D._ Florence, you are trifling with a serious matter. - - _Florence._ Yes, 'tis a serious matter. But I feel that in that - profession I can win success. "Gentlemen of the jury, I stand before - you to plead the cause of a young girl, who needs all your sympathy. - She was the idol of fond parents; but, alas! her mother died: her - father took to his side a second bride, and she was neglected. Not - content with this, on his death-bed the father cut her off from any - share of his wealth, and left to the mercy of her step-mother." - - _Mrs. D._ Florence, what means this? - - _Florence._ "Gentlemen of the jury, can you ask? Beneath this roof is - one who is entitled to all the benefits of wealth and education; but - she is made a drudge: while she who should rear her tenderly sees not - the oppressed in her own home, but seeks abroad that labor for the - improvement of the condition of motherless girls which should be - commenced beneath her own roof." - - _Mrs. D._ Florence, are you serious, or are you crazy? - - _Mrs. H._ Not a bit of it, Hannah Merria (kee). - - _Florence._ Only practising, mother. (_Enter_ RHODA, R.) - - _Rhoda._ Mrs. Duplex, champion of our sex, I want to be an actor! - - _Mrs. D._ An actress, you mean. - - _Rhoda._ No, an actor. Richard the Third, Richelieu, Macbeth, are - the characters I would play. They are manly. If man can excel in them, - so can woman. Have you not said we could win success— - - _Mrs. D._ Silence! Don't let me hear that word again. - - _Rhoda._ Yes: let me tread the boards as Macbeth. - - "Is this a dagger which I see before me?" - - _Mrs. H._ (Kee.) That young one's loony too. - - _Rhoda._ Or as Richelieu. - - "In the lexicon of youth, which Fate preserves for a bright manhood, - There's no such word as fail!" - - _Mrs. H._ (Kee.) Mad as a March hare! - - _Rhoda._ Or as Richard. - - "Off with his head! So much for Buckingham." - - _Mrs. H._ Land sakes! that would be too much for him. - - _Mrs. D._ Enough of this, Rhoda Dendron. I do not care to be made - the butt of your amusement. We can dispense with your company. (_Enter_ - POLLIE, R.) - - _Pollie._ Mrs. Duplex, champion of your sex, I have chosen my - profession. I will be a general in the army. - - _Mrs. D._ Pollie Nay! - - _Pollie._ A glorious life, at the head of a host, charging upon the - foe. "Up and at them!" - - "Charge, Chester, charge! On, Stanley, on!" - - _Mrs. D._ Silence! Florence, what does all this mean? Gracious - goodness! whom have we here? (_Enter_ MAGGIE, L., _with a rough - pea-jacket and a tarpaulin hat added to her costume_.) - - _Mrs. D._ Maggie, what does this mean? - - _Maggie._ If ye plaze, missus, they towld me nixt door that all the - women-folks was a-goin' to step into the men's places; and so I thought - I'd jist give warnin', and take mesilf to the say, for me own Teddy is - a sailor, and I might climb the sails, and pull the ropes, and haul in - a jib, till I larnt the way, if ye plaze. - - _Mrs. D._ Why, Maggie, I'm astounded to think you should listen to - such nonsense. - - _Maggie._ Sure, 'twas Bridget Daly, nixt door, that heard yez own - silf talk last night, and towld me. (_Enter_ KATIE, R., _with a large - military hat on her head, a gun on her shoulder_.) - - _Maggie._ Oh, murther! Here's Kate wid a gun! - - _All._ A gun! (KATIE _comes_, C.) - - _Pollie_ (R.). Oh, dear! put it the other way! (KATIE _turns to_ - R.) - - _Rhoda._ (L.) No, no! the other way! - - _Mrs. H._ Lord-a-mercy! she'll blow all our brains out! (_Gets - behind lounge._) - - _Florence._ Put down that gun, Katie. (KATIE _takes it from her - shoulder_.) - - (POLLIE _and_ RHODA _scream, and jump up in chairs_, - R.; MRS. DUPLEX _gets behind easy-chair_; MAGGIE _jumps upon - lounge; and all cry, "Drop it!" "It's loaded!" "Take it away!" - "Call somebody!"_) _Florence_ (_takes the gun, and lays it upon the - floor_). - - You can descend in safety, girls. (_All get down._) - - _Mrs. D._ Now, Katie, what does this mean? - - _Katie._ If ye plaze, Mrs. Duplex, I thought, bein' the good time - that's comin' was come, and the women-folks was a goin' to rule, and - the men-folks do the housework, I'd give warnin', if you plaze. - (_Stoops, and picks up the gun. All scream, and renew their old - positions on chairs, behind chair and lounge, as before; repeat cries, - "Put it down" &c._) - - _Florence._ Don't be alarmed: it's not loaded. (_All quiet again._) - - _Mrs. D._ Well, it's about time an end was put to this nonsense. - You have picked up one of my remarks last night for the purpose of - laughing at me, or— - - _Florence._ Teaching a lesson, mother. - - _Mrs. D._ Well, I acknowledge my remarks were a little wild, and am - prepared to pay the penance. What shall it be? You seem to have been - the manager of the remarkable scene. Speak. - - _Florence._ Mother, I want to take Carrie back with me when I return - to school. - - _Mrs. H._ Bless my soul! what do you think I found in your father's - desk to-day? Something that looks, for all the world, like a will. Here - it is. (_Gives paper to_ MRS. D.) - - _Mrs. D._ A will! (_Opening it._) And of a later date than the one - in my possession. (_Reads._) "To be equally divided between my dear - wife, and my beloved daughter Caroline." Indeed! This must be seen to. - - _Florence._ Ah! then Carrie is not penniless, after all. - - _Mrs. D._ Florence, how can you speak so? Never, while I live. - Where is the dear child? - - _Mrs. H._ Shouldn't wonder if she was sweepin' off the steps. - (_Enter_ CAROLINE, R.) - - _Caroline._ The reception-room is in order, madam. - - _Mrs. D._ Caroline, my dear child, I think your experience in - house-affairs has been sufficient for the present. You will go with my - daughter to Rushly Seminary on her return. I shall look after my house - myself hereafter. - - _Mrs. H._ Lor' sakes, Hannah Merria, are you coming to your senses? - - _Mrs. D._ I hope I have never been bereft of them. - - _Florence._ And the Reform Club, mother— - - _Mrs. D._ Shall still have my hearty support; but no more public - speeches for the present, for my house needs putting in order; and you - have reminded me of that which I had almost forgotten, that a woman's - first duty is to her home. - - _Katie._ Faith, ma'am, if there's to be a misthress, I'll sthay, - if yez plaze. - - _Maggie._ An' mesilf, too, missus, by your lave. - - _Florence._ There, mother, the storm's over; so let's hear no more of - "woman's rights." - - _Rhoda._ And I can't be a butcher! - - _Pollie._ Nor I an auc-sh-sh-shuneer. It's too bad! - - _Mrs. D._ So there has been masquerading here. - - _Florence._ For which I alone am to blame. Mother, we are wild girls, - and good subjects for missionary work. Set the Female Reform Club a - good example by commencing its work in your own neighborhood, and - reform us. - - _Mrs. D._ There is certainly a large field of labor here for me; - and I shall set about the work at once. But what will the officers of - the club say? - - _Mrs. H._ (Kee.) That you've backslid, Hannah Merria. - - _Florence._ If they are honest and earnest, they will say that she - who to the welfare of her family first gives her heart, is a stanch - friend to progress. In that realm she is queen, and they who bend - beneath her loving sway, freely acknowledge her, in that grand sphere, - the Champion of her Sex. - - _Situations._ - - CAROLINE. FLORENCE. - RHODA. MRS. D. - POLLIE. MRS. H. - KATIE. MAGGIE. - R. L. - - _Curtain._ - - - - - THE VISIONS OF FREEDOM. - - - A NATIONAL ALLEGORY. - - - CHARACTERS. - - GLORIA, Goddess of Freedom. - RUBINA, her Counsellor of War. - SERENA, her Counsellor of Peace. - QUEEN MAB of Dreamland. - DROWSA, OBLIVIA, SOMNA, SOOTHA, Dream-Spirits. - ART, INDUSTRY, MUSIC, PLENTY, SERENA'S Attendants. - REVENGE, DISCORD, CRUELTY, HATRED, RUBINA'S Attendants. - - _Action supposed to have occurred in Dreamland. Green bank_, C. - _Behind this a small platform about six inches high; chorus - seated_ R. _and_ L. _of stage_. - - _Opening Chorus; air, "The Quiet Night."_ - - Slumber o'er earth is sending - Its realm of sweet repose: - The stream of life, rest-tending, - In peace through Dreamland flows; - Where waiting and caressing, - With varied visions blessing, - Dream spirits vigils keep; - Dream spirits vigils keep; - Their vigils keep, their vigils keep. - - (_As the chorus closes, enter_ R., DROWSA _and_ OBLIVIA; L., SOMNA - _and_ SOOTHA; _then_ R., QUEEN MAB, _who stands_ C.) - - _Q. Mab._ Spirits of Dreamland, once again we meet, - Our round of nightly revel to repeat. - O'er earth, when locked in sleep's warm, close embrace, - Since time began, the genius of our race - Has had the power fearlessly to sway - The visionary sceptre all obey. - The mighty monarch, who, with tyrant frown, - Upholds the burden of his weighty crown; - The fierce-browed warrior who relentless slays, - And, bathed in blood, his vows to Moloch pays; - Haughty and lowly, powerful and weak,— - Under mysterious spells our guidance seek. - Sweet sister spirits, Dreamland opens wide; - Yet justice guards it well on every side. - Over the pure we rosy visions throw: - Around the base a sea of troubles flow. - Ere forth you glide to ply your happy arts, - Your queen would learn the secrets of your hearts; - Who hie to sport, with mischievous intent, - And who on graver ministries are bent. - - _Sootha._ I've an old miser under watchful care, - With sordid soul, of generous impulse bare; - Who nightly feasts, with avaricious eyes, - Where treasured gold in rare profusion lies; - Who revels o'er his fast-increasing store, - Chuckles with glee, yet wistful sighs for more; - Starvation's image, in a den so bare, - It seems a fit abode for dark despair. - Into his sleep I glide, disturb his rest, - Rattle his treasure, till, with fear possessed, - As frightful visions thick and thicker press, - He trembling wakes, his idol to caress. - - _Oblivia._ Fair queen, a toiling student I enchain, - And with my art refresh his weary brain: - Up wisdom's heights I lead him by the hand, - And show him visions of the promised land; - Fair fields of learning spread before his gaze, - For him the realm of science set ablaze, - Ope Fame's grand temple, Honor's scroll unroll, - And tell the triumphs of the trusting soul, - Till hope re-animates the wasting fire - With earnest zeal and conquering desire. - - _Somna._ I guard a trusting maiden, young and fair, - Whom Love has tangled in his silken snare; - Spread rosy dreams amid her sleeping hours, - And lead her captive through a land of flowers; - Adorn her hero with true manly pride, - And of the future ope the portal wide, - While smiles of pleasure o'er her sweet face creep, - And blissful words betray her secret deep. - With rare delight her day-dreams I repeat, - And make her young life's round of love complete. - - _Drowsa._ Oh, I've a task, fair queen, will love secure. - Last night I visited with visions pure - A weary mother, who, for many a day, - Watched o'er the cradle where her dear babe lay - Wasting with fever, till the unseen Hand - Took it in kindness to a better land. - Long has she mourned its loss, with wakeful eyes, - Fast-falling tears, low, sad, and bitter cries. - Last night she slept; and then, in vision's charms, - I crept, and laid her babe within her arms. - Content she rested, with a smile so sweet, - I go to-night this comfort to repeat. - - _Q. Mab._ Your zeal, industrious spirits, we applaud: - Your chosen missions meet with full accord; - Yet for this night we have a task so grand, - Your queen would all your energies command. - - _Somna._ We wait your pleasure, - - _Oblivia._ All our arts employ; - - _Drowsa._ Set us what tasks you will, - - _Sootha._ We'll serve with joy. - - _Q. Mab._ Thanks, sisters! To our confidence draw near, - And list our secret with attentive ear. - Freedom's fair goddess, Gloria, in doubt, - Her fair Republic, restless roams about, - Seeking a talisman to life prolong, - And make her youthful charge wax brave and strong. - Close at her side Rubina, crafty maid, - Whose fire-lit eyes gloat over war's dread trade, - Plies her bold speech, unchecked by fear of frown, - Counselling deeds of conquest and renown; - While calm Serena, long to Peace allied, - Whose gentle influence stretches far and wide, - Recounts the glories of a land at rest, - With sterling Industry's rich harvests blest. - Wavering betwixt the gentle and the bold, - By turns rebellious, and by turns controlled, - Poor Gloria wanders long, in dire distress - Which counsellor to choose her realm to bless. - Old custom gives to us prophetic power - To guide by vision in the trying hour. - And so to-night, o'er Gloria's doubting heart, - Fair sister spirits, we will ply our art, - Lure her to Dreamland, and in phantom light - Illume her path, and guide her to the right. - Stand close! she comes! the light winds bear along - The martial burden of her triumph song. - - [_Retire, and form behind bank._ - - _Chorus; air, "Love of Country."_ - - Blest is the land where Freedom rears, - 'Neath heaven's blue, arching dome, - For labor's sons of every clime, - Her proud and happy home. - Beyond the reach of tyrant rule, - Free are the hands we raise: - Onward we move, with joyous song - Of thankfulness and praise. - Blest is the land, &c. - - (_Enter_ L., GLORIA, _attended by_ RUBINA _and_ SERENA, - _followed by_ ATTENDANTS.) - - C. GLORIA. - R. RUBINA. SERENA, L. - ATTENDANTS. ATTENDANTS. - - _Gloria._ Yes, mine, all mine, this bounteous land, - So rich in varied blessings that command - Homage from all. The mighty of the earth - Must stoop to thee, O land of lowly birth! - Thy mountains rise in majesty and pride; - In royal state thy valleys open wide; - Thy broad, expansive waters, spreading free, - Embrace the bosom of the mother sea; - Out of a fruitful earth thy harvests rise; - Out leaps the golden ore with glad surprise; - Over thy broad domains, with ceaseless hum, - Labor's grand armies ever conquering come; - While rare Invention opes its secret heart, - And Genius rears its monumental art. - O land of promise! Gloria's inmost prayer - Could ask no more than thy fair fate to share. - Sweet counsellors, let Wisdom quick contrive - Some plan this happy state to keep alive. - - _Rubina._ A nation's life, fair mistress, action craves; - Cold, sluggish apathy the blood enslaves. - Renown's the rock on which to rear a state; - Rubina's counsel is for conquest straight. - - _Gloria._ Conquest, Rubina! Thine's a sorry jest. - We have no quarrels: friends with all we rest. - - _Rubina._ Ay: but to win renown, with fair excuse, - Strike at the shadow of some old abuse - Among our neighbors; or, with slight parade - Of justice, boldly on their borders raid. - Quick to revenge, their warlike hearts upspring: - "To arms! to arms!" they cry. Their weapons ring; - On us they march, a fast-increasing band, - Till in the confines of our realm they stand. - "Quick! to repel invasion!" then our cry; - Alarming signals flash out fierce and high; - From east and west, from north and south, outpour - The sons of Freedom, in their strength secure; - Drive back the foe, in turn invade their fold, - Until their fate victoriously we hold. - - _Gloria._ And then— - - _Rubina._ And then boldly for ransom claim - A portion of their realm in Freedom's name. - - _Gloria._ What says Serena? - - _Serena._ 'Tis a crafty plot, - And full of wickedness. I like it not. - Freedom's a name too sacred to infold - A hungering appetite for greed and gold. - What conquest gains is ne'er enriched by toil; - Ensanguined earth is but a sterile soil. - Rubina's counsel, and her bold device, - Would purchase glory at a bloody price. - - _Rubina._ Serena, pause! thou hast no right to frown, - With thy cold-hearted words, my counsel down. - No crafty plot I weave to bring disgrace, - But lofty plans to glorify the race. - Let War once set his standard in the field, - With strength and valor blazoned on his shield, - The roar of cannon, and the clash of steel, - Shall glad the nation with triumphant peal, - And strong and mighty conquerers enroll - Heroic deeds on her historic scroll. - - _Serena._ While o'er the land the blood of her dear sons— - Conquest's sad recompense—in horror runs. - Forbear, Rubina! Gracious mistress, might - Should ever wield its strong arm for the right. - Let not Rubina's counsel carry weight, - Lest angry discord rend your lofty state. - - _Rubina._ Insult again— - - _Gloria._ Nay, nay, Rubina. Pause: - Thou hast had ample time to urge thy cause. - With patience curb a while thy fiery mood; - We'll ponder well thy influence for good. - Speak thou, Serena. Canst thou find release - For our perplexity in ways of peace? - - _Serena._ Ay, peace, fair mistress, is the fount of health, - Whence flow the streams of happiness and wealth - That bless a nation. In its waters fair, - Drowned are the pangs of life-corroding care; - Cheered and refreshed is duty's faithful heart, - In labor's trials strong to take its part. - O happy Gloria! o'er this blest domain, - With Peace thy minister, forever reign. - Its power can bless thy state with bright renown, - And deck with radiant gems thy royal crown. - Let not bold War thy quiet glades invade, - To ruthless revel in thy marts of trade, - Affront thy people with its thundering peal, - And grind the harvests 'neath its iron heel. - For Peace is mighty to achieve all ends, - And highest good with grandest triumph blends. - - _Rubina._ Ignoble Toil, Serena, grovels low, - And on the race no glory can bestow. - - _Serena._ Toil is the power that tears the rock away, - And brings rare jewels to the light of day. - - _Rubina._ 'Tis base! - - _Serena._ 'Tis noble! - - _Gloria._ Silence, I entreat! - Counsel is vain when angry passions meet. - In patience we have heard: in patience wait, - Till we have pondered on this strange debate, - And made our choice. Anon we'll make it known. - Await our pleasure. We would be alone. - - (_Repeat chorus, "Blest is the land," &c., and - march off_ R., RUBINA _and_ ATTENDANTS; L., SERENA _and_ - ATTENDANTS. GLORIA _sits on bank_.) - - _Gloria._ O doubting heart! the battle to repeat, - Within thy depths Content and Conquest meet. - Upon the field where Conscience sits enthroned, - One must be victor crowned, and one disowned. - When Wisdom all its arguments hath plied, - Thou, judge impartial, must the case decide. - Upon thy fiat hangs a nation's fate: - Give me the power to make my people great. - - _Song; air, "Oh, come ye into the summer woods:"_ - QUEEN MAB _and_ DREAM-SPIRITS. - - Oh, sink you into soft slumber's arms! - There dwelleth no annoy; - There freely rove the Dreamland sprites, - And sweet rest is full of joy. - - _Gloria_ (_slowly sinks to rest, speaking softly, - with closed eyes_). - - Soft, drowsy spirits o'er my senses creep, - And bear me captive to the realm of sleep. - - _Song continued._ - - We'll spread for you, in phantom light, - That plainly you may know, - The woes of dreadful warfare, - The joys from peace that flow. - Oh! sink you, &c. - - _QUEEN MAB (comes front of bank, and kneels; - SOMNA and OBLIVIA come down R.; DROWSA and SOOTHA, L.)._ - - Ay, sink to sleep, fair goddess. Healthy rest - From weighty care shall ease thy troubled breast; - Prophetic visions o'er thy senses roll, - To guide to just result thy struggling soul. - Rubina comes with treason in her tread, - To crafty acts by false ambition led. - - (_Enter_ RUBINA, R. _She passes behind bank, and - stands_ C., _looking down at_ GLORIA. _Then enter_ R., CRUELTY - _and_ HATRED, _who pass to_ L.; DISCORD _and_ REVENGE, _who stand_ - R.) - - RUBINA. - GLORIA, _on bank_. - QUEEN MAB, _kneeling_. - R. DISCORD. HATRED. L. - SOMNA. SOOTHA. - REVENGE. CRUELTY. - OBLIVIA. DROWSA. - - _Rubina._ In fetters bound all powerless she lies, - The mighty goddess who all earth defies, - The slave of sleep. Relinquished the command - Which sways the fortune of her chosen land. - The gleaming crown on her majestic brow - But serves as symbol of her bondage now. - Should I but snatch it from her pillowed head, - Rubina rules, and Freedom's host is led - Instant to conquest. 'Tis a glorious aim. - Speak, you who wait: have I your free acclaim? - - _Discord._ Quick! snatch the crown, and I will hie away - To boldly with the meaner passions play; - Quicken your hosts with feverish desire, - With love of anarchy their bosoms fire. - Pause not, but on the instant power assume! - Discord will go before, and cry, "Make room!" - - _Cruelty._ Ay, wear the crown. Let war defiant move; - Let me 'mid soft and tender passions rove, - Crushing and slaying, turning all to steel, - Forged in the flame of fierce and bitter zeal. - Allegiance to thee, Cruelty will give; - Under thy triumphs will she grandly live. - - _Hatred._ Usurp the regal state, and I am free - War's stanch and sturdy champion to be. - Warm blood I quicken with a thirsty hate, - That nought but anarchy can satiate. - Unto thy crown I full allegiance lend; - Hatred by thee will ever stand as friend. - - _Revenge._ Success to treason! At thy feet I lay - My fond allegiance. Bid me quick array - The fiercest passions. I will straightway prove - My bold endeavor worthy of thy love. - War is my idol; at its luring call - Revenge is quick, and sure to conquer all. - - _Rubina._ O glorious spirits! what you free accord, - This grateful heart shall bless with rich reward. - Success is certain: I'll no longer pause, - But raise aloft the standard of our cause. - - (_Takes crown from_ GLORIA'S _head_.) - - The crown is mine. Rise, War, in triumph now; - Gloria's rare diadem is on my brow! - - TABLEAU. _The crowning of War._ - - HATRED. RUBINA. DISCORD. - GLORIA, _on bank_. - R. SOMNA. QUEEN MAB. SOOTHA. L. - REVENGE. CRUELTY. - OBLIVIA. DROWSA. - - _A chord._ RUBINA _places crown on her head; - stands with her hands raised to the crown_. GLORIA _starts up, - resting on one hand, her other hand raised to her brow, terror in - her eyes_. QUEEN MAB _on her knees in front of bank, her hands - clasped, resting in her lap, head thrown back_. SOMNA, R., _and_ - SOOTHA, L., _in line with_ QUEEN MAB, _crouch each with one hand on - her shoulder, the other outstretched, as though warding off - danger_. HATRED _and_ DISCORD _run_ R. _and_ L. _of_ RUBINA; _each - has hand on her waist, the other raised in triumph_. DROWSA _falls - at the feet of_ CRUELTY, L., _her back to audience, her hands - raised and clasped_. CRUELTY _looks down at her with right hand - raised and clenched, as though about to strike_. OBLIVIA _falls at - the feet of_ REVENGE, R., _with outstretched arms, facing - audience_; REVENGE _seizes her hands, bends her back, and looks - into her face. Expressions of terror on the faces of_ DREAM-SPIRITS - _and_ GLORIA; _triumph in those of_ RUBINA _and her_ ATTENDANTS. - _Soft music until the attention of the audience is fastened on the - picture, then_,— - - _Chorus; air, "Soldier's Chorus."_ - - Glory and fame for the free and bold! - War's red banner let heroes unfold, - Boldly advancing to win renown, - Ay, eager to fight, and ready to guard Rubina's crown. - - _Semi-chorus._ - - Who lack courage to dare in the front of fight, - With conquest before, and the foe in sight? - - _Semi-chorus._ - - Who would falter or turn when glory and fame - Their bright laurels press, and with victory bless, - In War's mighty name? - - _Chorus._ - - Glory and fame, &c. - - _Rubina._ Up and away! the tocsin sounds afar; - The land of freedom is the realm of war. - - (_Repeat chorus, "Glory and Fame," &c., and exit_ - R., RUBINA, _followed by_ REVENGE, HATRED, DISCORD, _and_ CRUELTY. - _As the music ceases_, QUEEN MAB _and the_ DREAM-SPIRITS _resume - their places at back of bank_.) - - _Gloria._ Rubina false, and I, by sleep possessed, - Powerless to rise my rightful crown to wrest! - - _Queen Mab._ Now, fair Serena, let thy loyal heart, - The treasures of its secret depths impart. - Sisters, the spell prolong with slumber's chain; - Bind the fair goddess to her dreams again. - - _Song_: QUEEN MAB _and_ DREAM-SPIRITS; _air, "The - Image of the Rose."_ - - Come, Sleep, on drowsy pinions flying, - Fair Gloria lull to sweet repose. - The land of dreams around her lying, - To charm her senses, brightly glows. - There peaceful visions, soft, entrancing, - In changeful measures sport and play. - Sleep, by thy magic power advancing, - Within thy arms bear her away. - Magical sleep, bear her, bear her, oh, bear her away! - - _As the song proceeds, the_ DREAM-SPIRITS _and_ - QUEEN MAB _slowly exeunt_, R. SERENA, _and_ ATTENDANTS, MUSIC, - _with a lyre_; INDUSTRY, _with a distaff_; PLENTY, _with a horn of - plenty; and_ ART, _with a palette and brushes,—appear_, L., _when - the music ceases_. SERENA _stands_ C., _looking down at_ GLORIA; - _her_ ATTENDANTS L. _The implements carried by the_ ATTENDANTS - _should be made of flowers, if possible_. - - _Bank._ - SERENA. - R. L. ATTENDANTS. - - _Serena._ Genius of Freedom, in thy visions bless - Serena's faithful heart with warm caress. - Let not vain Conquest flatter and deceive: - Bid restful Peace at once thy doubts relieve. - Bending in homage to thy royal sway, - Strong to achieve, and zealous to obey, - She sues for favor: bid her journey wide, - Prosperity to sow on every side. - She pleads in love: receive her earnest prayer, - And of thy love bestow a generous share. - - _Industry._ Hear her, great goddess: ready to inthrall - True-hearted worth, I wait her cheery call. - With brain and muscle ceaselessly I play, - Opening new harvests to the light of day. - Contentment, life's warm, sweet, and better part, - Industry thrones in Labor's thrifty heart. - - _Plenty._ List to her prayer, O Gloria! All elate - To fill the treasure-house of wealth I wait; - At her command, the harvest shall outpour, - To deck thy chosen land from shore to shore. - Warmed in the love-light of her peaceful eyes, - Plenty, fruit-freighted, shall luxurious rise. - - _Art._ Grant her fond wish, fair goddess, and I twine - Into thy reign, with rare and grand design, - All that pen, brush, and chisel can achieve, - Thy weighty cares to lighten and relieve. - Gigantic Genius bends a willing knee, - When Art, by Peace, to triumph is set free. - - _Music._ Hear her, fair goddess, and I joyous soar, - Pæans of thankfulness and praise to pour - In bounteous song. Thy proud and happy reign - Shall be the burden of my glad refrain. - Religion's anthems swell with large increase - When Music rises at the call of Peace. - - _Serena._ Dost hear, my mistress? All the Graces meet - In my behalf, thy favor to entreat. - Grant me thy love, and beautiful and grand - Shall be the labors of this gifted band. - - (_Enter_ RUBINA, R., _and her_ ATTENDANTS.) - - _Rubina._ Thou suest for love, Serena, all too late: - Gloria has parted with her high estate. - I sued for power, defied the royal frown, - Played with bold hand, and won the regal crown. - - _Serena._ The crown upon thy head! Oh, bitter woe - O'er a fair land relentlessly shall flow! - Must I relinquish all my dreams of bliss? - Do I deserve such recompense as this? - - _Rubina._ Check thy bold speech, Serena. Get thee hence! - Thy piteous pleading is a rash offence - Against our state. - - _Serena._ Rash Rubina, hold! - Peace by thy sway can never be controlled. - Thou hast usurped the guidance of a race - Who shrink in terror from thy brazen face. - Thou hast with treachery obtained a crown; - Serena quails not at a wicked frown. - Traitress— - - _Rubina._ Defied by thee! At once away! - Rubina rules, and can relentless slay. - Thy power is crushed: Serena now must cease - The fickle glow of enervating peace. - With all the sprites that compass thee about, - From Freedom's realms I boldly drive thee out. - War's mighty reign begins— - - (GLORIA _rises quickly, steps between, and snatches the - crown from_ RUBINA'S _head_.) - - _Gloria._ False one, 'tis o'er! - Flaunt thy fierce mien in our domain no more. - Thy rude assaults of recklessness and pride, - Fame, glory, and renown, in scorn deride. - Thou hast no charms the noble to inthrall; - No knightly hearts obey thy martial call - When Conquest beckons. Here, within the realm, - Be thou content to treason overwhelm - With mighty force. Fate binds thee to our side; - Henceforth thou watchful guard, and we will guide. - - (_Waves her hand_; RUBINA _and her_ ATTENDANTS - _retire to back of stage_, L.; GLORIA _passes behind bank, and - stands_.) - - By vision hath our sleep been girt about, - And happy wake we, free from anxious doubt. - Our choice 'twixt War and Peace we here reveal, - And stamp the fiat with our royal seal. - Approach, Serena! Love thou dost desire. - - (SERENA _stands near_ C.) - - Thou hast all charms affection to inspire,— - Heart warm with honesty and generous zeal; - Brain strong to contrive, and mighty to reveal; - Soul full of teeming virtues. All outflow, - Blessings of peace and love to free bestow. - Henceforth to guide us by thy loving arts, - We crown thee sovereign in our heart of hearts. - - _TABLEAU. The crowning of Peace._ - - DREAM-SPIRITS. ATTENDANTS. - QUEEN MAB. RUBINA. - GLORIA. - _Bank._ - INDUSTRY. SERENA. ART. - R. PLENTY. MUSIC, L. - - SERENA _sits on bank_, C., _facing audience, - hands folded across her breast_. GLORIA _stands behind her, placing - the crown upon her head_; INDUSTRY R. _of_ SERENA, _seated on bank, - facing_ R., _distaff in her left hand resting against shoulder_; - ART _in the same position_ L. _of_ SERENA, _facing_ L., _with - palette in her left hand_; MUSIC _kneeling in front of_ ART, - _facing audience, playing upon lyre_; PLENTY _kneeling on right - knee, front of_ INDUSTRY, _outpouring her horn of plenty_; RUBINA - L., _back, with her_ ATTENDANTS _grouped behind her_. QUEEN MAB - _enters_ R., _with her_ DREAM-SPIRITS, _and group_ R., _back. - Appropriate music: then chorus; air, Eichberg's "National Hymn."_ - - On thee, O Freedom, grand and great! - In confidence we lean, - Our land to bless, with fond caress - Of happiness serene. - To hail thy crowning, gentle Peace, - Let music joyous soar; - While harvests wave, and blessings lave - Thy realm from shore to shore. - - _Repeat._ _Curtain._ - - NOTE.—All the tunes used in this allegory, with - the single - exception of Eichberg's "National Hymn" (which is published - in sheet-form), are from "The Grammar School Chorus," which - furnished the tunes for "The Revolt of the Bees," "The War - of the Roses," and "Lightheart's Pilgrimage," by the same - author. Published by O. Ditson & Co., and sold by Lee & - Shepard, Boston. Price $1.00. - - - - - THE MERRY CHRISTMAS - OF THE - OLD WOMAN WHO LIVED IN A SHOE. - - - CHARACTERS. - - THE OLD WOMAN who lived in a Shoe. - SANTA CLAUS, disguised as a Beggar. - Ten or twelve CHILDREN, Boys and Girls of various ages. - - SCENE.—_The exterior of "Copper Toe Shoe House," - which is set at back of platform._ - - _Chorus (invisible); air, "Revolutionary Tea"_ (p. 194, - "Golden Wreath"). - - There was an old woman who lived in a shoe; - Of children she had a score: - So many had she, to know what to do - Was a question which puzzled her sore. - - (_Head of_ CHILD _appears at 1_.) - - To some she gave broth without any bread; - But never contented were they, - Till she whipped them all soundly, and put them to bed, - - And then very happy were they, - And then very happy were they. - - (_Head appears at 2._) - - "Now, mother, dear mother," the young ones would cry, - As they dropped off with a nod, - "To train up a child in the way to go, - O mother, dear, ne'er spare the rod. - - (CHILD'S _head appears at 3_.) - - For broth without bread is a watery waste; - And never contented are we, - Till with your good stick it is thickened to taste; - - (_Three heads appear at 4._) - - And then, oh, how happy are we! - And then, oh, how happy are we!" - - _Enter_ OLD WOMAN, R. _Her costume, bodice, quilted petticoat, - sugar-loaf hat, high-heeled shoes, and cane._ - - _O. W._ Aha! (_Heads disappear quick._) - Good gracious! can't I leave the house a minute, - But what a head's at every window in it? - Don't let me see the tip of a single nose; - For, if you do, we'll surely come to blows. - Poor dears! they want the air. Well, that is cheap - And strengthening; for they live on air and sleep. - Food is so high, and work is so unstiddy, - Life's really wearing on this poor old widdy. - -[Illustration: FRONT VIEW OF COPPER TOE SHOE HOUSE.] - - 1. Split in the Heel. - 2. Patch on the best Corn. - 3. Copper Toe. - 4. Lookout, or Observatory at top of House. - - (_Heads appear, one after the other, as before._) - - Ah me! here's good old Christmas come again. - How can I join in the triumphant strain - Which moves all hearts? I am so old and poor, - With none to aid me from their generous store. - - CHILD _at 1_. Mother, I want a drum. - - CHILD _at 2_. I want a doll! - - CHILD _at 3_. Gimme a sword! - - _Three_ CHILDREN _at 4_. Got presents for us all? - - _O. W._ Aha! (_Heads disappear quick._) - Poor dears! if with the will I had the power, - The choicest Christmas gifts should on them shower. - - _Song_: OLD WOMAN; _air, "Comin' through the Rye."_ - - If a widdy's with her biddies, - Living in a shoe, - If a widdy's work unstiddies, - What'll widdy do? - - (_Heads appear as before._) - - Every mother loves her biddies; - Many a one have I; - But where get gifts to fill their fists, - When I've no gold to buy? - - Aha! (_Heads disappear quick._) - - There is a sprite oft comes this night, - Whom children love full well; - But what's his name, and where's his hame, - He does not always tell. - - (_Heads appear as before._) - - Lads and lassies know good Santa, - With presents not a few; - Would he were here, my chicks to cheer, - Living in a shoe! - - Aha! (_Heads disappear._) - Well, I'll get in, and make the children warm. - Tucked in their beds, they're always safe from harm. - And in their dreams, perhaps, such gifts will rise - As wakeful, wretched poverty denies. - - (_Disappears behind shoe._) - - _Enter cautiously_, R., SANTA CLAUS; _his fabled - dress is hidden by a long domino, or "waterproof;" he has, swung - about his neck, a tin kitchen, on which he grinds an imaginary - accompaniment to his song_. - - _Santa._ "You'd scarce expect one of my age"— - For gray hair is the symbol of the sage— - To play at "hide-and-seek," to your surprise. - Here's honest Santa Claus, in rough disguise. - But 'tis all right, as I will quick explain, - For I've a mystic project "on the brain." - I've dropped down chimneys all this blessed night, - Where warmth and comfort join to give delight; - I've filled the stockings of the merry elves, - Who, to fond parents, are rich gifts themselves; - And now I've come, resolved to make a show - In that old mansion with the copper toe, - Where dwells a dame, with children great and small, - Enough to stock a school, or crowd a hall. - If they are worthy of our kind regard, - Christmas shall bring to them a rich reward. - So I have donned for once a meaner dress, - To personate a beggar in distress. - If to my wants they lend a listening ear, - The rough old shoe shall glow with Christmas cheer: - If they are rude, and turn me from the door, - Presto! I vanish, and return no more. - - _Song_: SANTA CLAUS; _air_, "_Them blessed Roomatics._" - - My name's Johnny Schmoker, and I am no joker; - I don't in my pockets no greenbacks perceive. - For, what with high dressing in fashions distressing, - I can't with a morsel my hunger relieve. - My stomach so tender, that aches there engender; - The whole blessed day I am crying out, "Oh!" - Drat these grand fashions! they wakens my passions, - A-nippin' and gnawin' my poor stomach so! - - (_Heads appear as before._) - - I've had the lumbager, dyspepsy, and ager, - With tight-fitting veskits and pantaloons too; - Highsterics and swimins, delirious trimins, - St. Vestris's dance, and the tick dolly-oo. - But not the whole gettin', one's body tight fits in, - Is noffin' to this, which is drefful. Oh, oh! - Drat these grand fashions! they wakens my passions, - A-nippin' and gnawin' my poor stomach so! - - (_Heads disappear._) - - Now, there's a touching song to move the heart, - Hark! what's that? I thought I heard them start. - - _Song_: CHILDREN, _outside; air, "Oh, dear, what can - the matter be?"_ - - Oh, dear, what can the matter be? - Dear, dear, what can the matter be? - Oh, dear, what can the matter be? - Somebody's groaning out there! - A hungry old beggar has come here to tease us, - By grinding an organ he knows will not please us. - He hopes it may bring him a handful of pennies, - To buy him a loaf of brown bread. - - _Enter_ OLD WOMAN, _with_ CHILDREN, L., _from - behind shoe. The largest hangs on to her skirts, the next in size - to the largest, until they dwindle to the smallest; repeat song as - they enter slowly, turn to_ R., _march across stage; turn to_ L., - _march across again; turn to_ R., _and form across stage._ - - _O. W._ Now go away, old man. 'Tis very queer - That you should seek to waste your sweetness here; - For we've no money, not a cent, to pay - For music; so you'd better up and move away. - - _Santa._ Alas, alas! and can you be unkind - To one who's been by Fortune left behind; - Who has no friend, no money, and no clo'es; - The hunted victim of unnumbered woes? - Good dame, I ask not money: if you please, - A simple crust my hunger to appease. - - _O. W._ Good gracious! Starving! Children, do you hear? - The old man's hungry: quickly disappear! - - (CHILDREN _scamper behind shoe_.) - - _Santa._ She drives them in. To me 'tis very clear - Old Santa fails to find a welcome here. - - _O. W._ We're very poor, have fasted many a day, - Yet from our door ne'er drove the poor away. - - _Song; air, "Balm of Gilead," by the_ CHILDREN, - _who march in as before, carrying sticks, on which are stuck - apples, potatoes, crusts of bread, turnip, carrot, "beat," &c. They - move around the stage, singing as they pass_ SANTA; _the last time, - pitch their potatoes, &c., into his tin kitchen. He stands_ L. _of - stage_; OLD WOMAN, R. - - Oh, you sha'n't be hungry now, - Oh, you sha'n't be hungry now, - Oh, you sha'n't be hungry now, - Down at Copper Toe Shoe. - Cold potato—tato, - Cold potato—tato, - Cold pota—to, - Down at Copper Toe Shoe. - - (_No interlude._) - - Oh, you sha'n't be hungry now, - Oh, you sha'n't be hungry now, - Oh, you sha'n't be hungry now, - Down at Copper Toe Shoe. - Crusts for breakfast—breakfast, - Crusts for breakfast—breakfast, - Crusts for break—fast, - Down at Copper Toe Shoe. - - Oh, you sha'n't be hungry now, - Oh, you sha'n't be hungry now, - Oh, you sha'n't be hungry now, - Down at Copper Toe Shoe. - Broth for supper—supper, - Broth for supper—supper, - Broth for sup—per, - Down at Copper Toe Shoe. - - Oh, you sha'n't, &c. - - _Santa._ Well, well, I'm puzzled! Here's a grand surprise. - Bless me, the tears are dropping from my eyes! - Thank you, my children. This is quite bewitchin'; - With eatables you've nearly filled my kitchen. - Ah, little ones! you've learned the better part. - They are the poor who lack the kindly heart; - And they the rich, the noble, and the high, - Who never willing pass the sufferer by. - Now comes my triumph. Children, speak up bright: - What day is this? - - _All._ Christmas. - - _Little Girl._ No; 'tis Christmas night! - - _Santa._ That's true. Now tell me who, against the laws, - Drops down the chimneys? - - _All._ Why, old Santa Claus! - - _Santa._ Bless me! how bright and nice these children are! - Each eye doth sparkle like the evening star. - Now, then, suppose I were that ancient sprite, - What would you ask, to give you most delight? - - _Child 1._ I'd have a sled. - - _Child 2._ A doll. - - _Child 3._ A kite for me. - - _Child 4._ Something still better. - - _Santa._ What? - - _Child 4._ A Christmas tree! - - _All Children._ Oh, my! Good gracious! Wouldn't that be grand? - - _O. W._ Too grand, my chicks, for you to understand. - Why, such a tree within our old shoe spread, - Would from their fastenings tear out every thread; - Make every peg to start from out its socket, - And send the buckle flying like a rocket. - - _Santa._ Good, good! there's fun beneath that wrinkled phiz. - At playing Santa Claus, let's make a biz. - Suppose me Santa Claus. I bless you all: - Then from my waistcoat let this oven fall, - - (_Takes off kitchen._) - - Throw off this mantle with a sudden jerk, - - (_Throws off disguise, and appears as_ SANTA CLAUS.) - - And in an instant set myself to work. - - _Children._ 'Tis Santa Claus! - - _Santa._ You're right. I am the man, - Yours to command. I'll serve you if I can; - For I have found, good dame, that honest worth - Can burrow in the lowliest spot on earth; - That sweet compassion's ne'er so poorly fed, - But what she finds an extra crust of bread. - Now, to reward your generous hearts, my chicks, - Into the earth these magic seeds I sticks; - These cabalistic words in Hebrew mutter,— - "Ene, mene, moni, suti, sutter;" - Presto! appear! and, glittering bright and free, - Beams on your sight the mystic Christmas tree. - - (_Shoe divides, and disappears_ R. _and_ L. _Curtains at - back open, disclosing tree._) - - _Song: "We'll gather round the Christmas Tree."_ SANTA CLAUS _and_ - OLD WOMAN _distribute presents to the company. Curtain falls._ - -[Illustration: - - REAR VIEW OF COPPER TOE SHOE HOUSE. -] - - NOTE.—This entertainment was prepared for a Sunday school's - Christmas Eve, and was arranged as follows: A stage, fourteen feet - square, was fitted with a "roll-up" curtain in front. Drapery was - hung at the sides and back; a Christmas tree, filled with presents, - was placed well back on the stage, and hidden by curtains arranged - to separate in the middle. In front of these was placed "Copper Toe - Shoe House." The rear view represents the frame made of wood, in two - pieces, to separate in the middle, of the following dimensions: ten - feet from toe to heel, five feet and one half from heel to top, four - feet and one half across top, heel about twenty inches long, eight - inches high. Cover front, in two separate sections, with black - cambric; for toe, copper tinsel paper; for sole and patch, brown - cambric; for buckle, silver tinsel paper; the patch fastened only at - bottom. A curtain, of same material or color as back stage, should - be hung in rear of shank, that children standing behind may not be - seen. A settee is placed behind it, on which the children in the - dwelling stand. 1, 2, and 3 lie upon the stage, and stick their - heads out when required. The characters can pass between the - curtains at back, to their places. When the tree is disclosed, all - the characters are in front, the settee is removed, the braces - unfastened, and, at a signal, two boys run off the shoe, and others - draw the curtains. - -[Illustration: - - THE TOURNAMENT OF IDYLCOURT. -] - - - - - THE - TOURNAMENT OF IDYLCOURT. - - - AN ALLEGORY. - - - CHARACTERS. - - JUSTICIA, Genius of Idylcourt. - PRIMEVA, Goddess of Nature. - MAJESTA, Guardian of the Mountains. - LOFTIE, AERIE, Mountain-Spirits. - FLORA, Guardian of the Fields. - POMONA, AGRIA, Field-Spirits. - OCEANA, Guardian of the Sea. - SHELLIE, WAVA, Sea-Spirits. - GENIA, Goddess of Art. - BLENDA, Genius of Painting. - CLASSICA, Genius of Sculpture. - HARMONIA, Genius of Music. - FAITH, HOPE, CHARITY, Classica's Models. - RELIGION, PRAYER, SORROW, JOY, Blenda's Picture. - POESIE, a wandering Maiden. - - SCENE.—_Idylcourt. For a school exhibition, the chorus should be - seated right and left of an open space in the centre of the - platform, for the speakers. There should be a raised platform, six - or eight inches high, at the rear of this, with a dark background - for the more effective display of tableaux._ - - _Opening Chorus; air, "Shady Groves."_ - - Idylcourt, in fame and beauty - Glorious, bright thy realms appear; - Idylcourt, in love and duty - Willing hearts to thee draw near, - Wise Justicia's words to hear, - Wise Justicia's words to hear. - Court of genius, home of beauty, - Court of genius, home of beauty, - Court of genius, home of beauty, - Willing hearts to thee draw near; - Court of genius, home of beauty, - Court of genius, home of beauty, - Court of genius, home of beauty, - Willing hearts to thee draw near; - Court of genius, love and duty - Render homage to thy beauty, - Render to thy beauty, - Court of genius, love and duty. - - _During the singing of the Chorus, enter_, R., PRIMEVA, MAJESTA, - FLORA, _and_ OCEANA. _Enter_ L., GENIA, CLASSICA, BLENDA, - HARMONIA. _At the conclusion, enter_ JUSTICIA R., _and stands_ C. - _Positions are indicated by the following diagram_:— - -[Illustration] - - JUSTICIA. - _Chorus._ R. C. L. _Chorus._ - MAJ. CLAS. - FLO. PRIM. GEN. HAR. - OCEA. BLEN. - - _Justicia._ Welcome, fair sisters, to our regal court; - Your tuneful measures breathe of good report; - Twin guardian spirits of the fruitful earth, - To glad mankind creation gave you birth. - To you, Primeva, Nature bends in awe; - From you, fair Genia, Art receives its law. - Your free acclaim, upon this regal seat, - Justicia placed, all arguments to meet - With ear impartial; bade her voice decide, - That blissful harmony might here abide. - Your graceful homage, to our royal ear - Is but the foretaste of more welcome cheer. - You need our aid: unto our grateful heart - Your mission's import quickly now impart. - - _Primeva._ Fair genius— - - _Genia._ Sweet Justicia— - - _Justicia._ Our decree, - By courtly rule, admits no double plea. - Be gracious, sisters. - - _Genia._ I was wanting grace, - And humbly bend to give Primeva place. - - _Primeva._ Justicia, yonder proud and haughty sprite - Usurps a name Primeva claims by right. - I would have justice! - - _Justicia._ Art thou just to her? - Genia usurper! 'tis a cruel slur. - Brave, truthful speech bears no envenomed sting, - But, like good metal, has an honest ring. - - _Primeva._ It was an honest truth, I dare repeat; - I may be rough in speech, but scorn deceit. - - _Genia._ 'Tis true, Justicia, in a friendly way, - I chanced to cross Primeva's path to-day, - And held some converse with my sister sprite, - Whose bold, free speech is often my delight. - Our theme was conquest; and, in pleasant strife, - Each boasted of her power o'er human life; - And, half in jest, this boast I gayly hurled,— - "I, Genia, am the empress of the world." - - _Primeva._ 'Tis false. It was no jest. - - _Justicia._ Primeva, cease! - Your angry humor doth disturb our peace. - - _Genia._ Primeva met my jest with frowning brow, - And angry words, so bitter in their flow, - My jesting humor fled. We argued long - To whom, by right, that title should belong; - Leaving all else but this great truth behind,— - She is the greatest who best serves mankind. - - _Justicia._ Who won the battle? - - _Genia._ That you must decide. - By your impartial fiat we abide. - - _Primeva._ On this we are agreed. Justicia, hear, - And let your judgment be both wise and clear. - Nature's own goddess, crowned and sceptred, I - Stand forth all meaner powers to defy. - I rule the field, the mount, the sky, the sea: - Who shall presume in power to rival me? - I wave my hand; and, o'er the barren waste, - Upspringing flowers to meet my coming haste. - I smile: the trees, o'erburdened with their fruit, - Bend low, with blushing cheeks, for my salute. - I speak: the bristling hillocks, far and near, - Present in homage many an opening ear; - The grand old mountains, stately and serene, - Welcome my coming, own me as their queen; - Adown their sides I loose the mimic streams, - To sport and revel in the sun's warm beams. - I rule the mighty sea by wave and tide; - I deck with starry gems the heavens wide; - I hurl the storm upon the maddening sea; - The shifting winds, obedient, follow me; - I bind the waters in an icy band, - And spread a snowy pall o'er all the land; - With all the elements I sport at will, - And, fast or loose, all my commands fulfil. - Fair genius, 'tis but just, that, so renowned, - As empress of the world I should be crowned. - - _Justicia._ There's anger in thy speech, pride in thine eye; - Ambition's soaring pinions lift thee high. - What says your rival to this weighty claim? - Can aught be found to heighten Genia's fame? - - _Genia._ Justicia, I a mightier sceptre sway, - And make Primeva's realms but pave the way - To grand achievements. Through her flowery field - I drive the plough, and bounteous harvests yield; - With skilful husbandry I trim and train, - And bursting garners from wild growth obtain; - Tunnel her mountains with resistless force, - And make a pathway for the iron horse; - Gird up her waters to obey my will, - And move the strong arm of the whirring mill. - Across her broad expanse, the mighty sea, - My white-winged messengers move swift and free; - From out their earthen graves I pluck the gems - That warm and shape, or glow in diadems. - In aërial flights I wander through her sphere, - Or with rare science draw her planets near, - With touch electric feel the farthest clime, - And count the storm-specks on the wings of time. - She empress of the world! it cannot be; - All her possessions minister to me. - Rough and ill-shaped the treasure she displays; - I mould and carve, and make the jewel blaze. - I claim the crown. Justicia, be thou true; - She must be greatest who can all subdue. - - _Justicia._ Unto this haughty speech, and fulsome praise, - We've listened, Genia, in a wild amaze. - Hast thou forgot, self-laudatory boast - Was ne'er the leader of a conquering host? - But that to sober justice we're allied, - We should be merry at such foolish pride. - - _Genia._ We wait your verdict. - - _Primeva._ 'Twill give me the crown. - - _Genia._ Primeva, cease. - - _Primeva._ I care not for your frown. - Betwixt the false and true she _must_ decide: - Mine is the wise, and yours the foolish pride. - - _Justicia._ This idle skirmish doth our court defame; - A silly quarrel for an empty name. - - _Primeva._ A silly quarrel! Is Justicia fair, - To shun a verdict by excuse so bare? - - _Genia._ She's bound to rule whene'er we make appeal: - Be wise, Justicia, and your choice reveal. - - _Justicia._ Hear, then, the judgment which we now proclaim:— - As each has sought to blazon her own fame, - The key to right in this one truth we find,— - She is the greatest who best serves mankind. - On this you are agreed. Here rest your case, - And leave the verdict to the human race. - Ofttimes, in Idylcourt, you've chanced to meet - An earthly maid, who favors our retreat, - With curious, watchful eyes, as though she sought - Food for the nourishment of new-born thought,— - A goodly type of fair, ingenuous youth, - About whom floats an atmosphere of truth. - Woo her, fair sisters, with all fair device, - Which should in honest rivalry suffice; - In peaceful tourney meet to win the maid; - And on the victor shall our hand be laid - In benediction of so wise a choice; - Then harmony prevails, and all rejoice. - - _Primeva._ An admirable plan. - - _Genia._ Justicia's right. - - _Justicia._ Prepare your forces for the bloodless fight. - Be earnest in the strife, but loyal ever, - And some success _must_ crown a right endeavor. - - _Chorus; air, "New-mown Hay."_ - - Then gayly to the tourney hie, - And struggle for the crown; - The strong in right shall all defy, - The wrong in shame go down. - In peaceful contest meeting, - All courteous be the greeting. - We arm, the contest to begin: - Hurrah! the right shall win! - - _At the words, "All courteous"_ JUSTICIA _extends - her right hand_; PRIMEVA _lays her left hand upon it_; GENIA _lays - her right. They stand thus until the chorus ends. Then repeat the - chorus._ JUSTICIA _steps back, and exit_ R.; PRIMEVA _and_ GENIA - _with their attendants countermarch, and exeunt_ R. _and_ L. _As - the song ceases, enter from_ R., POESIE. - - _Poesie_. Vanquished again! Was ever mortal maid - By wild, illusive phantoms so betrayed? - Taught by a wise old seer that Idylcourt - Of guiding genii is the famed resort, - I've wandered in and out for weary hours, - Seeking the leaders of those mighty powers - That robe the earth in beauty, seasons guide, - Hang out the stars, and shift the changing tide, - Endow with action all the sons of earth, - And to the good and beautiful give birth. - Alas! my search is vain. About me glide - Tormenting shadows, that my calls deride. - I feel their presence in the fragrant breeze; - I touch their fingers in the fruited trees; - I spy their images in mirrored fount; - I hear their music in the echoing mount. - I know that at their touch fair cities rise; - That at their call delighted progress flies; - That at their smiles e'en towering genius soars - To loftier heights, and richer spoil secures. - And yet far off they stand. I cannot meet - The love-light of their eyes, or at their feet - Drink in the wisdom of inspiring speech. - The springs of power rise far beyond my reach. - Hear me, ye spirits, wonderful and grand! - Upon your charmèd ground I fearless stand. - Come ye in frightful shapes, or forms of grace, - I challenge you to meet me face to face. - - _Chorus: "The Fairy's Revel."_ - - The mountains are sending their forces in might; - The fields are upspringing, and girding for fight; - The sea is outpouring, the air is alive, - For thee, fair Primeva, in tourney to strive. - - _During which, enter_, R., PRIMEVA; FLORA, - _bearing flowers_; POMONA, _bearing basket of fruit_; AGRIA, _with - a bundle of dried grass, hay, and grain_; OCEANA, SHELLIE, WAVA, - MAJESTA, LOFTIE, AERIE, _and take positions according to following - diagram_:— - -[Illustration] - - _Chorus_, R. C. _Chorus_, L. - ─────────────────────────────────────────────────────────── - _Chorus_, R. WAV. SHEL. POESIE. _Chorus_, L. - _Chorus_, R. OC. _Chorus_, L. - - _Chorus_, R. POM. LOFT. _Chorus_, L. - _Chorus_, R. AGR. PRIM. AER. _Chorus_, L. - _Chorus_, R. FLO. MAJ. _Chorus_, L. - - _Poesie._ Conquered at last; and yet with strange affright - I am possessed at this most dazzling sight. - Fair spirits, at my call you've kindly met. - I'm little skilled in your court etiquette: - Accept the homage of a grateful heart, - That long will cherish what you may impart. - - _Primeva._ A suitor for that heart behold in me,— - Primeva, Nature's goddess, strong and free. - Follow my footsteps, and the path of life - Shall be with beauty and instruction rife. - Nature's grand empire all inviting opes, - To crown with joy and bliss thy youthful hopes. - The realm of matter owns my sovereign sway; - All working forces my commands obey. - But give to me thy heart, and onward press, - For I've the power to beautify and bless. - Come thou, fair Flora, guardian of my fields, - Display the charms thy rich dominion yields. - - (FLORA _steps upon platform at_ L. _of_ POESIE. POMONA - _and_ AGRIA _step behind them_.) - - _Flora._ Broad and bright, in beauty and in worth, - The realms I govern stretch about the earth: - In pastures where the meek-eyed cattle graze, - In clustering woodlands, musical with praise, - In mighty forests where the untamed rove, - O'er rich plantations, through the tropic grove, - O'er plain and prairie, noiseless to the tread, - My regal green luxuriously is spread. - Out of my thrifty soil mankind's supplies, - At lusty labor's call, obedient rise. - With fancy's touch I skilfully combine - Grove, hill, and river in a rare design, - And spread for Genius, rich, attractive views - She fails to catch, yet hopefully pursues. - Come to my realms, fair maid! Primeva's heart - With warmest love shall purest joys impart. - - _Agria._ Haste, gentle maid, into our fair retreat: - Agria will lay her treasures at thy feet. - - _Pomona._ And in thy lap, from her abundant store, - Pomona will her choicest treasures pour. - - _Flora._ Thou shalt be welcomed with a matchless song, - Our heaven-taught singers joyously prolong; - On mossy beds recline for happy hours, - Charmed by rich perfumes, decked with lovely flowers. - - _Tableau: "Flora's Tribute." Music._ - - POESIE _sinks on one knee, making a "lap" of her - dress with her hand_. FLORA _steps behind, holding flowers over her - head_. AGRIA _at_ R., _kneeling, in the act of laying her treasures - at her feet_. POMONA, L., _bending forward, about to pour her - fruits into her lap_. OCEANA _with her arms about_ WAVA _and_ - SHELLIE, R. _and_ L., _kneel_. MAJESTA, LOFTIE, _and_ AERIE _form a - standing group, with arms thrown about each other_. POMONA _passes - to back_, L. _corner_. FLORA _looks down at_ POESIE. POESIE _has - her head thrown back, looking up at_ FLORA. _All the others look - at_ POESIE. _Music continues until the group is well settled in - position, then_,— - - _Chorus; air, "The First Violets."_ - - Come with gentle Flora, fair fields to rove. - She can deck with beauty, she will share with love. - Bathed by the sunlight, and fed by the dew, - Her bright and verdant regions are opening to you. - - _Poesie_ (_springing to her feet; others retiring to their - first positions_). - - Sweet, gentle Flora, take me to your heart; - In all your joys I long to bear a part. - - _Primeva._ Nay, not so fast, fair maiden. List again. - Majesta burns your homage to obtain; - She is the guardian of the mountains high, - Whose peaks in grandeur pierce the arching sky. - - _Majesta._ Where the fierce eagle builds her dizzy nest, - Amid the clouds, I take my regal rest. - The sun on me his morning kiss bestows, - And nightly wraps me in his farewell glows. - The storm-king grimly musters round my throne, - And sends his chariots to the farthest zone. - My realms stretch far and wide o'er all the land, - And monuments of awe-inspiring grandeur stand. - Within my treasure-caverns locked secure, - Are precious stones, and veins of gleaming ore; - Marbles and granites—sleeping giants—lie, - Long to escape the crafty builder's eye. - Come to my realm, fair maid, and thou shalt find - The golden talisman that lures mankind. - From towering summits watch the creeping world; - See beauty's colors gloriously unfurled; - Heap the weird echoes bound from steep to steep; - And see the lightning take his earthward leap. - Primeva's fortress shall thy guardian be: - Give me thy hand, and upward mount with me. - - _Tableau: "The Listeners." Music._ - - MAJESTA _stands_ C., _with left hand pointing up - over audience_. POESIE, _kneeling_ R., _places her left hand in_ - MAJESTA'S _left, and bends forward, intently gazing in the - direction in which she points, her right hand behind her ear_. - LOFTIE _passes to_ L. _of_ MAJESTA, _and kneels with her hand on - the waist of_ MAJESTA. AERIE _in same position_, R. _of_ POESIE. - OCEANA _and her sprites form a standing group_, R., _back_. PRIMEVA - _steps back of all; and_ FLORA _and her sprites form standing - group_, L., _back. Music continues until all arranged, then_,— - - _Chorus; air, "The Herd-Bells."_ - - Amid the mountains fleeting, - The echoes linger long, - Earth's song of praise repeating, - In chorus rich and strong. - The grand old mountains proudly - Their heads in beauty raise, - And, bathed in blushing glory, - Accept the song of praise. - - [_The effect could be heightened by concealing a - chorus at the farther end of the hall, and introducing an echo - refrain in the song._] - - _Poesie_ (_springing up; the others resuming their former - positions_). - - Upward, Majesta, guide my willing feet; - I long to share the joys of your retreat. - - _Primeva._ Curb your impatience once again, I crave. - Speak, Oceana, guardian of the wave. - - _Oceana._ Know me, fair maid, as guardian of the sea, - The wealth of waters stretching far and free, - Deep basined in the world; in peace as mild, - As bright and beauteous, as a sportive child; - Dancing in sunlight up and down the sand; - Leaping, with white-capped waves, the rocky strand; - Creeping to shady nooks on pebbly bed; - Sleeping in moonlight 'neath a silvery spread. - Over her rolling roads, in strength and pride, - The floating treasure-chests of nations glide; - In emerald pastures deep beneath her crest, - The fin-clad wanderers from their gambols rest. - At mankind's call she hastes to do her part, - And from her herds bestows with generous heart. - Far, far below, fair cities rear their walls - With jewelled keeps, and coral-caverned halls. - Come to my realms, fair maid, and float with me - Upon the bosom of the swelling sea. - Hark to the song of Naiads far below; - See in the sunlight yonder billows glow. - - _Tableau: "The Gazers." Music._ - - OCEANA _kneels on one knee_ R. _of_ POESIE, - _pointing off_ R. POESIE _places her left hand on_ OCEANA'S - _shoulder, leans forward, shades her eyes with right hand, and - looks in the direction of pointed hand_. SHELLIE _comes_ L. _of_ - POESIE, _a little behind her, and kneels quickly, holding a shell - in her hand_. WAVA _kneels in front of all, with her finger to her - lip, and her hand waving silence to_ PRIMEVA, _who stands_ L. AERIE - _and her sprites form a standing group_, L., _back, and_ MAJESTA - _and her sprites the same_, R., _back; all looking in the direction - in which_ OCEANA _points. Music continues until the picture is - complete, then_,— - - _Chorus; air, "Boating Song."_ - - Gayly, ye billows, among you we play; - Take us up gently, and bear us away; - Light on the surface of ocean we glide; - Deep in her bosom we fearless abide. - Roving at pleasure, joyous and free, - Rocked in the arms of the murmuring sea. - - _Poesie_ (_starting up; others resume former positions_). - - Among thy happy scenes I long to roam; - Bright Oceana, take me to thy home. - - _Primeva._ Thou shalt be free to roam field, mount, and sea, - If thou but give thy gentle heart to me. - These sisters three, my ministers of state, - My edicts to enforce, obedient wait; - And I, submissive to a heavenly will, - With mighty powers its commands fulfil. - I own no earthly rule, no rival fear; - Beauty and grandeur at my voice appear; - What title, Poesie, will you here bestow - On one in whom such rare endowments glow? - - _Poesie._ Thy glorious visions wrap me in amaze; - Speech were too poor, in eloquence of praise, - To frame a title that would fitly stand - To mark a power so wonderful and grand. - What title can I give? I pray thee tell. - - _Primeva._ The empress of the world would suit me well. - - _Enter_ JUSTICIA, R. - - _Justicia._ Hold, rash Primeva! not to gain applause - Should wild ambition overstep our laws.— - What thou hast heard, fair mortal, ponder long, - For hasty action often strengthens wrong; - Another suitor comes; give willing ear; - Weigh well all doubts; then let the truth appear. - - [_Exit_, R. - - _Chorus_: "_The Fairy's Revel._" - - The armies of Genius outpour in their might, - Fair Science is marching her clans to the fight. - At the call of its mistress Art's realms are alive, - For thee, lovely Genia, in tourney to strive. - - (_During the chorus, all upon the platform move - round back of_ POESIE, _and form in line_. _Enter_ L. GENIA, - BLENDA, _and_ CLASSICA.) - - _Poesie._ Another brilliant throng, so fair and bright, - My spirit quickens with a new delight. - Welcome, sweet friends: if me you come to greet, - Such glowing honors lay me at your feet. - - _Genia._ Kneel not to me; I come to win thy heart. - The suitor here should choose the lowly part. - Fair mortal, listen. Genia is my name: - Art's chosen goddess, mighty is my fame. - Thou art the offspring of that sovereign Thought, - Under whose sway the universe is brought; - And I, the guiding genius of mankind, - In bonds submissive, Nature's realms to bind. - Before my birth, the world was filled with strife, - And all the squalor of barbaric life; - The human race in ignorance sunk deep, - Content to live and die in sloth and sleep. - But, with my coming, energy awoke, - And reason through the deadening chaos broke; - Awakened Thought, in wonder, sought by lore - Creation's mystic riddle to explore; - And, as she strove, the world's great change was wrought, - With purer joys from deeper delvings brought. - Beneath my sway, all's wonderful and grand - Where taste and culture deck what Nature planned. - Give me thy heart, and with all-conquering might - I'll guide thy steps through life to realms of light. - I bring three sisters in my regal train, - Who high in Art's supreme dominion reign.— - Blenda, approach. Thy skill to Poesie show, - And let rare colors on thy canvas glow. - - _Blenda._ In Nature's studio, Blenda's models rise - In various shapes to gladden and surprise. - The shadows of their beauties to secure, - Leads genius many trials to endure. - But what a triumph waits the earnest heart, - Who on the canvas sees her trophies start - To life and action, adding, age on age, - To history many a bright, illumined page! - Portraying vice with rarely gifted hand, - She sees a warning light 'gainst passion stand. - Depicting virtue in her pure attire, - She warms all hearts to worship and aspire. - Inwrapping sense and soul with pleasure high, - To homage leads the world's applauding cry. - Look on the picture I will now display,— - Religion standing in the heavenly way, - Her finger pointing in the Book of truth, - Instruction pouring in the ears of youth. - - _Tableau: "The Heavenly Way" Music._ - - BLENDA _takes_ POESIE'S _hand, and leads her_ R., - t_hen turns, and points to_ C. POESIE _falls upon her knees with - clasped hands_. PRIMEVA _and her sprites, who are in a line, back, - separate_ R. _and_ L., _disclosing group_. RELIGION, _standing_ C., - _an open Bible supported on her left hand, rests upon her arm, the - open pages towards audience; her right hand rests on the page, with - one finger pointing. At her right hand, kneels_ JOY, _pointing with - her left hand to_ RELIGION, _her right on the shoulder of_ SORROW, - _who is crouching before her, with her face buried in her hands. - Left of_ RELIGION, PRAYER _kneels, joining the hands of a little - child who is in front of her: she is looking up at_ RELIGION. - _Music soft and low, until the group is formed, then_,— - - _Chorus_: "_How gently, how calmly._" - - So gently, so calmly descending, - Religion glides over the earth, - So pure, so bright, - She decks the earth with heavenly light, - That charms to calm and sweet repose. - Oh, lovely spirit! - Genia in triumph shall soon arise; - Blenda calls beauty from out the skies; - She shall be honored evermore; - Goddess of Art, your crown is secure. - Joyous are we, &c. - - (_Music continues until all change to their old positions._) - - _Poesie._ I am enraptured with your beauteous art; - Sweet Blenda, let me henceforth share your heart. - - _Genia._ Classica waits, fair maid: we hold her dear; - With words of counsel let her now draw near. - - _Classica._ Dull, senseless stone, I train to living grace, - Trace beauty's lines upon the pallid face; - From sullen marble draw the prisoned heart, - And strength and sense to meaner clay impart. - Over the earth I rear the grandest homes, - With towering pinnacles, and stately domes; - While tombs and pyramids for ages stand, - To mark the workings of my gifted hand. - Who follows me must labor hard and long, - Be brave in trial, and in patience strong. - The tasks I spread, by perils oft beset, - The sculptor strengthen, when courageous met; - Through me, life-studies he must ponder o'er, - And dive deep down in streams of classic lore; - And, if he fails to reach his ideal plan, - Out of his struggles he has carved—a man. - But, if he triumphs, grand is his renown; - Fame can bestow no more enduring crown. - Upon my marbles, maiden, look with me; - Faith, Hope, and Charity,—the peerless three. - - _Tableau: "The Peerless Three" Music._ - - CLASSICA _takes_ POESIE'S _hand, and leads her_ - R., _then turns, and points_ C. POESIE _falls upon her knees. The - characters at back separate, showing group_: CHARITY, _a tall - figure_, C., _her left hand upon the left shoulder of a child, who - stands nearly in front of her, half turned towards her, with - outstretched hand, into which_ CHARITY _is in the act of dropping a - coin, with her right hand. At_ R. _of_ CHARITY _stands_ HOPE, - _leaning upon an anchor, looking at_ CHARITY. _On her_ L. _stands_ - FAITH, _with her arms folded about a large cross, which rests upon - the platform, and reaches above her shoulder_. FAITH _and_ HOPE - s_hould be a little shorter than_ CHARITY. _All the figures in - plain white, no colors; the cross and the anchor should be white. - Music soft and low until all is arranged, then_,— - - _Chorus_; _air, "How gently, how calmly."_ - - How calmly, how sweetly relieving, - Moves Charity over the earth, - With Faith and Hope! - They deck the earth with heavenly light, - That charms to calm and sweet belief. - Oh, lovely spirits! - Genia in triumph shall now arise; - Classica calls from out the skies; - Her works for ages shall endure; - Goddess of Art, your crown is secure. - Joyous are we, &c. - - _Poesie_ (_starting up; line at back changing as - before_). - - Classica, thy sculptured forms are all divine. - Has Art another realm can equal thine? - - _Genia._ Thou shalt be judge, fair maid; within my train, - Is one who can the wildest heart enchain; - She rules the realm of song, melodious moves, - Gathering the warbled sweets of woodland groves; - And thence distilling soul-entrancing lays, - That fill the earth with peace, the heavens with praise. - Spirit of music, sweet Harmonia, wake: - Of thy rich gifts bid Poesie partake. - - _Music. Characters at back separate._ HARMONIA - _discovered_, C., _standing erect, a lyre in her left hand, the - fingers of her right upon the strings_. POESIE _moves up, and - kneels at her feet, looking up at her with clasped hands. The - characters group themselves in sitting and reclining positions - about her._ PRIMEVA _and_ GENIA _stand at extreme_ R. _and_ L., - _back_. - - _Solo and chorus_: "_So merrily over the Ocean - Spray._" - - HARMONIA _sings the three solos, then full chorus_. - - _Solo._ I am queen of the realm of song, - My home the harmonious sea, - Where the spirits of music prolong - Unceasing a welcome for me. - From the song wave they merrily brave, - Melodious voices glide; - Oh, sweet is their song as it floateth along - The crest of the tremulous tide! - - _Chorus._ So merrily over the sea of song, - Rising and falling we float along; - So merrily over the sea of song, - Gayly we float along. - Gayly over the sea, - Harmonia's spirits free, - Singing, singing, - Happy, happy are we. - As merrily over the sea of song, - Rising and falling we float along; - So merrily over the sea of song, - Over the sea of song, - Gayly we float along, - Gayly we float along. - - (_When the song is ended, all keep their places_, - POESIE _kneeling, with her eyes fixed upon_ HARMONIA. _A pause; - then_ GENIA _steps to the side of_ POESIE.) - - _Genia._ Silent, fair Poesie? What! no words of praise - As tribute to Harmonia's matchless lays? - - _Poesie._ Can words pay fitting homage to her art? - My tribute's here, in this high-swelling heart, - Which, filled with rapture, checks the flow of speech - That would aspire to praise it cannot reach. - - _Genia._ And so I triumph. Maiden, unto me - This soaring spirit bends the humble knee; - Is but a slave to work my sovereign will, - And with her sisters my commands fulfil. - Over the earth unnumbered spirits bind, - At smile from me, rich blessings for mankind; - What title can she claim who thus displays - All that can bless and strengthen and amaze? - - _Poesie._ What title can she claim? You ask me this, - Whose soul is filled with one rich draught of bliss,— - Harmonia's mistress? - - _Genia._ I that spirit claim. - - _Primeva_ (_comes down_ L. POESIE _rises_). - - 'Tis false! 'Twas I, Primeva, gave her fame. - From heaven she came, to purify and bless; - And Nature nurtured her with warm caress. - - _Genia._ 'Twas Art's rich culture trained her infant voice - In grand, majestic numbers to rejoice. - - _Primeva._ Genia, no more; let Poesie decide - Upon our claims. Her judgment we abide. - - _Genia._ I am content. - - _Poesie._ Of me, ye judgment seek? - You, strong and mighty, I but poor and weak. - - _Primeva._ To save a sovereign title of command, - Nature and Art in strife before you stand. - In full accord our forces are combined - For this great task,—to serve and bless mankind. - Who is the greatest? Fearlessly proclaim. - We ask your verdict in Justicia's name. - Both have our powers skilfully unfurled; - Who shall be crowned as empress of the world? - - _Poesie._ O spirits regal, beautiful, and wise! - In unity supreme your glory lies; - Can frail mortality presume to call - Her judgment forth, to make you rise or fall? - Fair Genia, through your realms of thought and light, - I wander in a maze of grand delight; - Behold mankind upspring in strength and grace, - And sturdy tasks courageously embrace. - As through your realms, Primeva, free I rove, - My spirit glows with reverence and love. - I see your earth, so wonderful and vast, - Which proud man conquers, conquer him at last; - And in both Art and Nature see the hand - Which wields the sceptre of supreme command, - Where each within my heart holds equal place, - I could not elevate, would not abase. - - (_Joins their hands._) - - Together reign, and teach mankind the way - To that grand realm, and that one sovereign sway. - - _Enter_ JUSTICIA, C. - - _Justicia._ A righteous verdict, which we joyous seal. - Our tourney's ended: let the chorus peal. - - _Tableau_: JUSTICIA _on platform, with her hands raised in - benediction over_ POESIE, _who stands before her, joining the - hands of_ GENIA, L., _and_ PRIMEVA, R.; GENIA'S _followers on her_ - L., PRIMEVA'S _followers on her_ R. - - _Chorus, same as opening chorus._ - - Idylcourt, in love and beauty, &c. - - (_Curtain._) - - NOTE.—The airs, "Shady Groves," and "Boatman's Song," can be found - in "The Grammar School Chorus." The other airs are from the new - "Fourth Music Reader," published by Ginn Brothers. Price, $1.50. - Furnished by Lee and Shepard, Boston. - - - - - A THORN AMONG THE ROSES. - - - CHARACTERS. - - MRS. CANDOR, Principal of Rosebush Institute. - PATIENCE PLUNKETT, the oldest of her pupils, age thirty-five. - LUCY WOODS, │ - BESSIE TRAVERS, │ - JANE TURNER, │Pupils. - AUGUSTA STEPHENS, │ - MARIA MELLISH, │ - BRIDGET MAHONY, the cook, age fifty. - TOM CANDOR, MRS. CANDOR'S nephew, a homesick youth of nineteen. - JOB SEEDLING, lad-of-all-work, age twenty. - - - COSTUMES. - - PATIENCE PLUNKETT. A very girlish attire, with an old face strongly - marked; red hair, with corkscrew ringlets. - - JOB SEEDLING. Dark pants, rather short, white jacket, apron, - stockings and shoes. - - Other characters appropriately dressed. - - SCENE.—_Music-room at Rosebush Institute; piano, back_, C.; _lounge - or sofa_, L.; _arm-chair_, R.; _two or three chairs_, R. _and_ L. - _Entrance from_ R. - - (_Enter_ BESSIE TRAVERS _and_ LUCY WOODS.) - - _Bessie._ Madam Solfa has really gone off in a pet? - - _Lucy._ Yes: because poor me could not run up the musical scale - with celerity,—in fact, stuck fast at the bottom,—her highness - complained to Mrs. Candor; and Mrs. Candor—bless her!—took my part. "If - the poor child cannot sing, let her alone."—"But se most be made to - seeng," says madam; "and se weel steek to 'do,' and go no - furzer."—"Well, let her stick there, if she likes. Her father's a - baker, and she has a perfect right to stick to dough, if she likes it." - So madam, shocked at the levity of our delightful preceptress, put on - her bonnet and shawl, and vanished in a blaze of fury. - - _Bessie._ O Lucy, you have driven the poor lady away! - - _Lucy._ But she won't be gone long, depend upon it; for she left - her baggage behind, and there's a quarter's salary due her. - - _Bessie._ And we must go without our lesson to-day. - - _Lucy._ I'm glad of it. There's no music in my soul. I must be - "fit for treason and conspiracies." - - _Bessie._ You are the smartest girl in the school, Lucy, with this - _inharmonious_ exception. - - _Lucy._ I the smartest? You flatter me; and you forget our aged - schoolmate, Patience Plunkett. - - _Bessie._ Aged! Why, Lucy, what could have possessed that mature—to - speak mildly—female to class herself with young girls like us? - - _Lucy._ I'm sure I don't know; but Maria Mellish, who is always - fishing out mysteries, told me her father, a farmer, has recently made - a mint of money; and Patience has a foolish idea that she can procure - an education, even at her age, and so entered Rosebush Institute as a - pupil. - - _Bessie._ Poor thing! she is the laughing-stock of the school, and - cannot be made to see it. - - _Lucy._ She has one devoted admirer, Job Seedling. The silly - gander is evidently in love, and takes no pains to conceal it. At the - table he forgets his occupation, and stands staring at her. - - _Bessie._ She certainly receives a great deal of attention, and all - the tidbits, there. (_Enter_ MARIA MELLISH, R.) - - _Maria._ O girls! I have found it out at last. Only think of it! a - romance in Rosebush Institute! Yes: now, don't speak of this,—Job - Seedling, the meek, patient Job, is a prince in disguise. - - _Bessie._ A prince? Nonsense. - - _Maria._ Well, not exactly a prince; but Hopps the milkman told me - that Johnson the butcher told him that Bates the expressman told him - that Patience Plunkett belongs in Razorly, and that his agent there - told him that Job Seedling was the son of a rich farmer; that he got - desperately enamoured of Patience, and followed her here, taking a - menial situation that he might be near the object of his love. Isn't it - splendid? - - _Lucy._ Splendid. If Mrs. Candor should hear of this, I fear that - Job would have to give up his menial situation for a meaner. - - _Maria._ But nobody shall tell her. I mean to watch them. It will - be such fun to hear Job sigh as he passes the butter, see him roll his - eyes as he lifts the rolls. Oh, it's just jolly! (_Enter_ JANE TURNER - _and_ AUGUSTA STEPHENS.) - - _Jane._ O girls! have you heard the news? Tom— - - _Augusta._ Candor has just arrived. - - _Jane._ Sick. Only think of it! Come here to be nursed. And he - looks awfully. - - _Augusta._ Mrs. Candor hurried him off to bed at once, ordered hot - jugs for his feet, hot ginger-tea, and a cold towel for his head. - - _Maria._ Dear me! and I never heard a word of it! - - _Lucy._ He ought to have a holiday, and go home. - - _Maria._ Oh, wouldn't that be fun! Poor fellow! I'm so sorry for - him! But then, he can have jam, and jellies, and all the consolations - of sickness. I think it's rather pleasant to be sick—a little. (_Enter_ - MRS. CANDOR, _equipped for going out_.) - - _Mrs. Candor._ Girls, I must run down and see Dr. Bruce. - - _Augusta._ │ │ Is he very sick? - _Maria._ │ (_Together._) │ Is he going to die? - _Lucy._ │ │ Is he dangerous? - - _Mrs. Candor._ I hope not. - - _Augusta._ │ │ Will school close? - _Maria._ │ (_Together._) │ Shall we have a holiday? - _Lucy._ │ │ Will you send us home? - - _Mrs. Candor._ Dear me, what talkers! Keep quiet, girls. I'll run down - and tell the doctor his symptoms. - - _Bessie._ Let me go for him, Mrs. Candor. - - _Other girls_ (_in chorus_). Let me! I'll go! We'll all go! Do let us - go! - - _Mrs. Candor._ No: I don't want to have him come unless it is necessary. - He can determine that when I tell him the symptoms. So keep quiet. - There will be no music-lesson, and you can amuse yourselves until my - return—under the rules, remember. Dear me! what could have sent that - boy home sick? - - [_Exit._ - - _Maria._ Amuse ourselves! Oh, isn't that nice? Let's have a game - of tag! - - _Augusta._ Nonsense! With that poor sick youth over our heads? - - _Maria._ That's so! We must be quiet. (_Enter_ BRIDGET.) - - _Bridget._ If yez plase, ma'am, what'll I do? Shure, the misthress - is nowhere at all, at all. - - _Bessie._ No, Bridget: she's gone to the doctor's. - - _Bridget._ To the doctor's, is it? 'Pon my sowl, there's throuble be - comin' to the place. Didn't I say a windin'-sheet in the flame av me - candle last night? Shure, that's a sign av disolation. - - _Bessie._ It's a sign the candle wanted snuffing, Bridget. - - _Bridget._ Oh, be dacent, Miss Bessie! Don't make light av the - signs. Shure, I seed it in a candle onct whin me brither Pathrick was - ailin' wid the masles, and jist fourteen months and six days from that - very night he died. - - _Maria._ Of the measles? - - _Bridget._ Go long wid yez! Didn't he fall into a well, and break - his neck wid drowning? - - _Augusta._ Now, Bridget, Mrs. Candor told us we might amuse - ourselves while she is gone. Do you know what would _most_ amuse us? - - _Bridget._ Troth, I don't. - - _Augusta._ A nice mince-pie. - - _Maria._ Oh, yes; and some cold tongue! - - _Jane._ And a pickle. Don't forget a pickle. - - _Bridget._ I'll forgit mesilf if I git any sich dili_cases_. No, no: - I'll not be afther givin' yez ony sich divarshun. - - _Maria._ O Bridget! you know me. I've got an elegant breastpin, - that will look well— - - _Augusta._ Fastened to a pretty green necktie that I've no use for. - - _Jane._ And they will match a nice pair of earrings that mother - has promised to send me for somebody—you know, Bridget. - - _Bridget._ Och, the darlints! It's the foine wheedlin' way yez have, - onyhow. Well, well, it's mesilf will look into the panthry; an' if - there's a deli_cate_ morsel, that's in danger av shpoiling, mayhap it - moight find its way up here. But I'll make no promises. - - [_Exit._ - - _Maria._ Now let's have a dance. - - _Augusta._ Oh, that's splendid! (_Enter_ PATIENCE.) - - _Patience._ A dance! A dance in the halls of learning! Horrible! - Girls, it must not be! You shock me. _I_ came here to cultivate my - understanding. - - _Maria._ And dancing will do it, Patience: it's just the thing for - the understanding. - - _Patience._ Maria Mellish, I'm ashamed of you. You want polish. - - _Maria._ A polished floor is delightful, but not necessary to the - poetry of motion. Come, girls, a dance, a dance! - - _Patience._ Not in my presence. I will be no spec_takor_ of such - priv-priv—nonsense. No: we are here for a higher purpose; to enlarge - our ca-ca—talents, to store our minds with the in-in—things which the - great minds of all ages have con-con—got together for good. - - _Maria_ (_aside to_ AUGUSTA). Poor Patience! how she trips at the - hard words! - - _Patience._ If there is any dancing here, I shall feel under ob-ob—I - shall tell Mrs. Candor. - - _Maria._ Well, Miss Tattler, you shall be under no ob-ob to do any - such thing, for we won't dance. - - _Patience._ If we have a leisure hour, it cannot be better employed - than in the per-per—reading of a useful book. - - _Maria._ That's so. (_Goes to_ R., _and calls_.) Here, Job, bring - Miss Patience the dictionary. Come, girls, let's have a sing. - - _Augusta_ (_aside to_ MARIA). Hateful old thing! - - _Bessie._ Let us look over the music; perhaps we can find something - sweet and soft, that will not disturb the invalid. - - _Jane._ Good! "Mulligan Guards," or, "Gentle Spring." (_They go - to the piano, which should be placed with back to audience._ BESSIE - _opens a musicbook; and they gather about her, turning over the - leaves_. PATIENCE _sits on lounge_, L.) - - _Patience._ Thoughtless girls! they lack the wisdom and ripe - ex-ex—Dear me! it's so hard to remember these words!—experience of my - ma-ma—older years. But I, in what the poet calls "the fresh bloom of - womanhood," can curb their flightiness. Ah, this life is so - con-con-gealing to my ambitious spirit! I am so rapidly mastering the - ru-ru—first steps of learning! I feel that I shall de-de-velop a - gi-gi-_antic_ mind, and burst upon the rude boors of Razorly like some - glorious starry con-con-consternation. - - (_Enter_ JOB, R., _with a large quarto dictionary in - his arms. He stops at entrance; sees_ PATIENCE, _clasps the - dictionary to his breast, and heaves a sigh_.) - - _Maria_ (_at piano_). Hush! there's Job. Now watch the pair. - - _Job._ There she is, "a-sittin' on the style, Mary," the stylish - lounge. Oh, would I were the plush upon that lounge, that I might clasp - that form! That's Romeo, altered for the occasion. Oh, I'm chock full - of these frenzied ideas! I do nothing but read Shakspeare and them - other poet-chaps—when I ain't handling plates, or scouring knives; for - I'm in love, oh, so bad! with Patience Plunkett. Oh that name! it runs - in my head. It is so musical, so full of poetry! - - With fair, bewitching Patience Plunkett - I'm in love. Who would have thunk it? - - There's poetry, all out of my own head too. (_Comes - down._) Miss Patience! dear Patience! - - _Patience._ Why, Job, is that you? How you startled me! I was - rume-rume— - - _Job._ Not rheumatic. Oh, don't say that you are suffering, - beloved Patience! - - _Patience._ I was ruminating upon some lines in Homer's _Ilyd_, the - original Greek. You are not acquainted with Greek, Job? - - _Job._ Well, Patience, I'm not acquainted with many on 'em. - There was old Pat Haggerty, in Razorly: they used to call him an - Original Greek— - - _Patience._ O Job! I have no patience with you. How can you expect me - to stoop from my high speer to mate with you, unless you cultivate your - head more ass-ass-iduously? - - _Job._ Well, I've had it cut and shampooed three times since - I've been here. If that ain't cultivating it, I'll have it ploughed - next time. Here's your dictionary, Patience. - - _Patience._ Thank you: I do not require it. - - _Job._ Then, why did you send for it? - - _Augusta_ (_at piano, reading music-titles as they turn the - leaves_). "Wouldn't you like to know?" - - _Job_ (_turning round_). Eh? Why, there's the whole lot of 'em! - - _Maria._ No: that won't do. That's too sentimental. - - _Patience._ They sent for it, not I. You can take it back. - - _Job._ O Patience! why are you so cold to one who loves you to - distraction? Why— - - _Maria_ (_reading title_). "Lubly Cynthia." That's good. - - _Job_ (_turning round_). Plague take those girls! You know that - for love of you I've left my home, Patience, and have donned the apron - of a waiter, and become a patient waiter for you, Patience. Oh! when - shall my love be rewarded with the possession of that plump white hand? - - _Jane._ "When Johnny comes marching home." That's lovely. - - _Job_ (_turning round_). Eh? Oh, bother them girls! - - _Patience._ Don't mind them, Job. They do not dream of our - attachment. They do not dream you are my— - - _Maria._ "Curly little bow-wow." - - _Job_ (_turning round_). There, now! What's the use of trying - to talk where them girls are? Patience, dear Patience, meet me, meet - me— - - _Augusta._ "Meet me by moonlight alone." - - _Job._ Oh them girls! Meet me after tea in the woodshed, while I - am cleaning knives. We can commune: we can exchange vows: we can— - - _Maria._ "Root hog or die." - - _Patience._ Yes, Job, I will be there. But be secret. If our - attachment is discovered, Mrs. Candor will instantly dismiss you. And - it's so romantic to have a lover in disguise! I know you love me, Job. - Have patience. - - _Job._ I mean to have her. Don't I love you better than all else - in the world? better than— - - _Augusta._ "My old Aunt Sally." - - _Job._ Eh? (_Aside._) I believe they are doing that on purpose. - (_Aloud._) Farewell, Patience! I must tear myself away from your - beloved presence. My heart— - - _Maria._ "Oh! my heart goes pit-a-pat." - - _Augusta._ "Somebody's coming, I'll not tell who." - - _Jane._ "Let me kiss him for his mother." - - _Lucy._ "Single gentleman, how do you do?" - - _Job._ Eh? Oh, I'm pretty well. - - _Maria._ Oh! nobody's talking to you, Job. Go about your business. - - _Job._ Thank you. I don't hanker for your society, do I? A - parcel of harum-scarum girls, who are no more to be compared to— - - _Lucy_ (_reads_). "The girl I left behind me." - - _Job._ Oh, gracious! can they suspect? (_Starts off_ R., _drops - the dictionary, and stumbles over it; then picks it up, and exit_ R.) - - _Maria._ He's stumbled over the hard words too. - - _Bessie._ There's nothing here we can sing. - - _Maria._ Oh! here's one: "Upidee." - - _Lucy._ Oh, that's nice! (_One of the girls strikes the piano, - and all join in chorus of "Upidee." At the conclusion, three loud - thumps are heard outside._) - - _Maria._ Oh, dear! That's Tom. We have disturbed him. - - _Lucy._ No matter: let's try it again, softer. (_Chorus repeated. - At its conclusion, enter_ TOM, R., _with a blanket wrapped about him, - and a wet towel tied about his head. The girls scream, and run down_ R. - _and_ L., _leaving him in_ C.) - - _Tom._ Oh, dear! how can you reasonably suppose that a young man - can be comfortably sick with such a racket going on down here? Oh, my - head, my head! my poor, poor head! - - _Bessie._ Oh, Tom, we're so sorry we disturbed you! - - _All_ (_in chorus_). Yes, indeed; awful! - - _Lucy._ Wouldn't have done it for the world, had we known you - didn't like it. - - _All_ (_in chorus_). No, indeed, we wouldn't! - - _Tom._ Oh, yes! that's all very well, now the mischief's done. - Why, you might drive me into a fever. - - _All_ (_in chorus_). Oh, that would be dreadful! - - _Tom._ You might—you might bring on convulsions, spasms, with - such outrageous squalling. I'll complain of you! Where's my aunt? Where - is my fond, affectionate relative? - - _Bessie._ She's gone out, Tom: gone to the doctor's. - - _Tom._ Eh? Gone out? Good! (_Throws off blanket, and tears towel - from his head._) Thomas is himself again! - - _All_ (_in chorus_). Why, Tom! - - _Tom._ Because Tom is only homesick, girls. My good aunt would - not give me time to explain that I was tired of school, eager to have a - frolic, and so got leave of absence, and came home for a day. No: she - caught the "sickness," and bundled me off to bed. I humored the joke, - and laughed under the bedquilt. But no sooner was she out of the room, - but I was out of bed, dressed myself, and here I am, ready for any - thing in the way of sport you have to offer. How long will she be gone? - - _Bessie._ Perhaps half an hour. - - _Tom._ Then for half an hour we will enjoy ourselves. Come, - girls, what shall it be? - - _Maria._ Oh! isn't this jolly? - - _Augusta._ Real nice! - - _Jane_ (_and others_). Splendid! Beautiful! - - _Augusta._ Let's play "Hide the Slipper." - - _Maria._ No: "Copenhagen." - - _Tom._ Any thing—every thing. The noisier the better. - - _Patience_ (_rising_). Stop! Young ladies, are you aware of the - rules of this ed-ed-ucational institute? We have been sent here from - our happy homes, to be se-se-quest_rated_ from contact with the ruder - sex; and now you propose to indulge in games, childish games, for your - amusement and ame-ame-amelioration. I am ashamed of you! I blush for - you! - - _Tom_ (_aside to_ MARIA). Oh! that's one of the teachers. - - _Maria._ Hush! It's one of the girls. - - _Tom._ One of the girls? Why, she's old enough to be your - mother! - - _Patience._ I shall not submit to the in-in-trusion of a young man - upon our privacy. He must instantly leave the room. - - _Tom._ I beg your pardon, Mrs.—Excuse me, miss: a slip of the - tongue. But you look so much like my Aunt Matilda! But then, she's - forty-five; and you can't be over thirty— - - _Patience._ Sir! - - _Tom._ Not quite, miss. I'm still very young, and not entitled - to that address. But I couldn't think of infringing upon the rules; oh, - no! I should have been pleased to spend half an hour in such agreeable - society; but, as you object, I will go. - - _Girls_ (_in chorus_). Oh, no; don't go; stay! - - _Patience._ I insist upon his immediately quitting the room. I did - not come here to flirt and frolic with young men, but to improve my - mind, to store it— - - _Maria._ Oh, bosh, Patience! I've no patience with you. - - _Tom._ "Let Patience have her perfect work." - - _Maria_ (_aside_). She's a humbug, Tom. Our Job is in love with - her, and she with him; and they are billing and cooing every chance - they can get. - - _Tom_ (_aside_). Maria, you're a jewel. You have enlightened my - understanding. You shall see some fun. (_Aloud._) Miss Patience, you - are right: I was wrong to disturb your peaceful meditation. Forgive me. - I will go, and in the quiet of my chamber contemplate—the basin of - gruel which my fond aunt has left me for consolation.—Sorry, girls; but - the rules must be obeyed. - - [_Exit_, R. - - _Maria._ Patience Plunkett, you're a hateful old thing! - - _Augusta._ Yes; just as mean as you can be. - - _Jane._ If you are so fond of seclusion, why don't you go to your - own room? - - _Maria._ Yes; and study the Book of Job. - - _Bessie._ Hush, Maria! - - _Patience._ You know I am right; and I am not at all stu-stu-pefied - by your ob-ob-jackulations. I am a few years older than you—only a few; - and I have wisdom to guide— - - _Maria._ Oh, fiddlesticks! We have all the preaching we want, and - don't believe in yours. - - _Tom_ (_outside_). Oh, oh! My hand! my hand! - - _Bessie._ Tom has hurt himself. - - _Tom_ (_outside_). Oh! gracious goodness, how it smarts! - (_Enters_ R. _hurriedly, his left hand concealed in a large piece of - white cloth. He should also have in his hand apiece of wood, under the - cloth; a string in his right hand._) O girls! I've done it now! That - hand I was so proud of, oh! so white and delicate, oh! - - _Bessie._ What is it, Tom? Have you cut it? - - _Lucy._ Burnt it? - - _All_ (_in chorus_). Oh! what is the matter? (_They gather - about him._) - - _Tom._ Oh! don't come near me. The slightest touch is agony, - agony, agony! I went up stairs—oh! to my basin of gruel—oh! Beside the - gruel—oh! there was a knife—oh! I took it up—oh! and—and—and oh, oh, - oh! - - _Jane._ I've got some Russia salve in my room. - - _Maria._ Let me run for it. - - _Tom._ No. I've spread on the salve an inch thick. Oh! it's all - right. It will soon be well. If I only had some one to tie it up for - me! - - _All_ (_in chorus_). Let me. Let me. I'll tie it. (_They crowd - around him._) - - _Tom._ Oh, quit! Keep off! Do you want to kill me. The least - touch causes an indescribable sensation to quiver and shoot to the - roots of my hair. Oh! I want a gentle hand, a skilful hand, a matronly - hand. Miss Patience, you have much skill, tact. Will you condescend - to—to tie up my paw? - - _Girls_ (_in chorus_). Poor Tom! - - _Patience_ (_approaching him_). Certainty, if I can relieve your - suffering. - - _Tom._ You can, you can! Oh! (_Gives her string, and extends his - hand. She stands_ L. _of him_. GIRLS _fall back_ R. _and_ L. _She winds - the string about hand._) - - _Tom._ Gently, gently! Oh! how soft and tender! It seems as - though my mother was hovering about me. Take care, take care! Gently! - (_She ties the string._) Be very careful. - - _Patience._ I think that is tied tight. - - _Tom._ You think so? But you must be sure. - - _Patience_ (_taking his hand, and looking at string_). Yes, it's all - right. - - _Tom_ (_slipping his hand out of cloth, leaving it in her - hands_). Then you keep it, Patience, as a slight token of regard. "I'd - offer thee this hand of mine, if I could love thee less." Keep it, - Patience, and "wipe your weeping eyes," when I am far away. - - [_Runs off_ R. - - _Patience_ (_throws the wrapper after him_; GIRLS _laugh_). Was - there ever such an insulting young puppy! Oh, his aunt shall know of - this! I'll not go to my slumbers until I have told my story. Now laugh. - (GIRLS _shout with laughter_.) You ought to be ashamed of yourselves. - - _Maria._ You told us to laugh. Seems to me you cannot be suited - any way. - - _Patience_ (_sits on lounge_). That scamp shall go out of this - house, or I will. The idea of his daring to play such a trick upon me! - Thought his mother was hovering about him! - - (_Enter_ TOM R., _enveloped in a large cloak or - "waterproof," straw bonnet on his head, with a green veil down_.) - - _Tom_ (_at_ R.). Ef yez plaise, young ladies, I'm a poor ould - widdy-woman, wid a husband in Californy; and the door was open, and I - made bould, ef yez plaise, to walk in, and beg a chrust of bread. It's - nine days jist, since a morsel of bread, or a sup of tay, has passed me - lips. - - _Bessie._ Poor old lady! - - _Chorus._ Oh! do come in! (BESSIE _sets a chair_ C., _and the - others crowd about_ TOM, _and lead him to chair_.) - - _Tom._ Oh! it's the kind hearts yez have, ony way. I'm wairy wid - the walkin', and faint wid the hunger; and I've corns on my fute, and - chilblain on my fingers, an' siven childer at home. - - _Maria._ Somebody give her something to eat. - - _Jane._ Here's Job with the tray. - - _Augusta._ And our lunch. (_Enter_ JOB _with tray_.) - - _Job._ Hallo! Who's this? - - _Jane._ A poor old woman, nearly starving. Quick! Give me the - tray. (_Takes it, and places it in_ TOM'S _lap_.) Here, old woman, help - yourself. - - _Tom_ (_aside_). My eyes! Here's luck; and I've had nothing but - gruel. (_Eats voraciously._) It's the kind hearts ye have. - - _Jane._ Poor thing. Hasn't eaten any thing for nine days! - - _Job._ I should say nine months,—the way she puts it away. - - _Maria._ Oh, there's Bridget! Here, Bridget! (_Enter_ BRIDGET, R.) - Here's a countrywoman of yours. - - _Bridget._ Indade! An' what be she doin' up-stairs, I dunno? - - _Bessie._ She's very hungry, and we gave her our lunch. - - _Bridget._ Oh, murther! An' me company mince-pies goin' down her - throat! Oh! it's wastin' yez are. A cowld pratie would be good enough - for her. - - _Maria._ Speak to her, Bridget; the tongue of her native land - might please her. - - _Bridget._ Faith, it's my belief that the Yankee tongue she's - stowin' away is far more to her liking. Whist, avourneen! - - _Tom_ (_aside_). That's Irish. (_Aloud._) To be sure! Yis, - siscon. Fag-a-Balah. Erin-go-bragh. I'm obleeged to yez. - - _Bridget._ Were yez long from the owld country? - - _Tom._ Siventeen years come nixt Candlemas. - - _Bridget._ County Tipperary, I dunno? - - _Tom_ (_aside_). Nor I either. (_Aloud._) County - Coberdowelgowen. D'ye mind that? - - _Bridget._ 'Pon my sowl, I niver heard of it. D'ye know Larry - McFinley at all, at all? - - _Tom._ Him as lived at Doublin? - - _Bridget._ Thrue for yez. - - _Tom._ 'Pon me sowl, I niver hard his name before or since. My - memory's failin', since I took to fortin'-tellin'. - - _Girls_ (_in chorus_). Oh! a fortune-teller. Isn't that grand! - - _Job._ Well, old lady, if you're done with that waiter, I'll - take it. - - _Tom_ (_giving waiter_). It's little appetite I have, any way. - - _Job._ Little! She _has_ done with it. There's nothing left. - - _Tom._ Yis. I'm a bit of a fortin'-teller; and, in return for - yer kindness, I'll be after tellin' yez a bit. - - _Maria._ Tell me mine first. - - _Other girls._ No, no! Mine, mine! - - _Tom._ Ah, be aisy. The wisest and the wittiest afore the - youngest and the prettiest, that's my way. - - _Job._ Well, 'sposin' you commence with me, old lady. I - calculate I can see through a grindstone when there's a hole in it. - - _Tom._ Ah! but they don't make the holes large enough for your - observation nowadays, my foine fellow. But I know you. I can say - through yez. Yez not yerself at all. Lave me alone for seein' through a - body. You're in love. Ah! don't blush, man: it's rid enough yez are, - onyhow. Yer fortune's made,—why would I be tellin' yez? - - _Job_ (_aside_). She's a keen one. - - _Bridget._ If yez plaise, will yez tell me? - - _Tom._ Oh! go way wid yez. Don't demane yerself before the foine - folk! - - _Bridget_ (_angrily_). Will, I'd loike to know. - - _Tom._ Will, yez won't. It's ignorant yez are. The lady of the - house would like to know where the sugar goes! D'ye mind? - - _Bridget._ Oh! it's a witch she is, onyhow. I'll not cross her. - - _Jane._ Now, my good woman, please tell me my fortune. - - _Other Girls._ No. Mine, mine! - - _Tom._ Be aisy. Don't I tell you? There's the foine lady on the - sate beyant. Would she be after having her fortune towld, I dunno? - - _Patience._ No. I do not believe in such negrominstrelsy. - - _Maria._ Necromancy. Oh! what a mistake! - - _Tom._ Well, I don't know. The fates p'int that way. Onless I - can tell her fate, I'll not be permitted to oblige yez. - - _Maria._ Oh, do, Patience! - - _Other Girls._ Yes, Patience, do! - - _Job._ Yes, do, dear—I mean, Miss Patience. - - _Patience._ Well, if it will please you, I will condescend to the - examination. (_Approaches_ TOM, _and offers her hand. He takes it. The_ - GIRLS _crowd about him_.) - - _Tom._ Faith, that's a good hand,—a foine large hand; and yez a - fortune. You've gowld and galore. (_Enter_ MRS. CANDOR, _unperceived, - at back, with her hat and shawl; she stands by piano_.) Ah! but what's - this? Ah! Yis, it's the way of the wourld. There's a young man close - by. - - _Patience_ (_trying to release her hand_). It's no such thing. Let - me go! - - _Tom._ It's the truth I'm tellin'. - - _Job._ She's a-goin' to let the cat out of the bag. - - _Patience._ I don't want to hear any more. - - _Tom._ Aisy, aisy! It's the fates wills it! He loves yez, honey, - and you love him; and what will love not do, honey? He drops from his - high estate, puts on the waiter's apron, and follows you,—his heart all - the time cryin', "Have Patience!" Owld Job, him as had the cutaneous - irruptions, had patience, and so shall Job Seedling have Patience. - - _Girls_ (_in chorus_). Oh, my! Our Job? - - _Patience._ No: not your Job, but my Job. I'm not ashamed to own him! - - _Mrs. Candor_ (_coming forward_). I'm very glad to hear it. (GIRLS - _start to_ R. _and_ L.) - - _Girls_ (_in chorus_). Mrs. Candor! - - _Tom_ (_aside_). My aunt! Oh, here's a pickle. (_Hides his - head._) - - _Job_ (_aside_). There'll be a nice row now! - - _Mrs. Candor_ (_to_ PATIENCE). So, young lady, contrary to all rules, - you are carrying on a flirtation under my very nose. - - _Girls_ (_in chorus_). It's awful! wicked! O Patience! - - _Patience._ Well, what is a poor girl to do? Job loves me, and I love - Job; and—and (_sobbing_) you couldn't be so wicked as to part two-wo-wo - young lovers! - - _Job._ Yes; born for each other,— - - "Two roses on one stalk!" - - Them's us, Patience and Job. - - _Mrs. Candor._ You, Master Job, will be wanted here no more; and as for - you, Miss Patience, a word with you. (_They go_ L., _and talk in dumb - show_.) - - _Bridget._ Faith, I'll git the owld woman out of the way. (_To_ - TOM.) Whist, come away! (_Takes hold of him, and shakes him._) The - misthress will be the death of yez. Coome! - - _Tom_ (_aside_). Away wid yez! - - _Bridget._ Away wid yerself, or there'll be throuble whin the - misthress claps her eye onto yez. Coome, coome! (_Pulling her._) - - _Mrs. Candor._ Yes, Patience, I think it best you should close your - connection with the school at once. (_Turns to_ TOM.) But who is this? - - _Bridget._ If yez plaise, she's a cousin of mine from County - Cob-Cob—something; and, if yez plaise, she's a fortune-teller. - - _Tom._ Af yez plaise, would I tell yez fate, misthress? - - _Mrs. Candor._ No: let me tell yours. Boys that deceive their elders - will never come to good. - - _Tom_ (_jumps up, and throws off cloak and bonnet_). - Discovered! - - _Girls_ (_in chorus_). It's Tom! Oh, it's Tom! - - _Bridget._ Well, I niver! 'Pon my sowl! I dhouted the accint of his - muther-tongue. County Cob-Cob! Oh, yez a gay desaver! - - _Tom._ It was the gruel, aunt. It flew to my head. - - _Mrs. Candor._ Oh, you scamp! Pack up your bag, and off to school at - once: you have made a fine disturbance here. - - _Tom._ I meant no harm, aunt. I was anxious to come home to - taste your mince-pies; eh, Bridget? - - _Bridget._ It's a greedy epicae yez are, anyhow. - - _Tom._ Your tongue and pickles. You wouldn't give me time to - explain, and I was so homesick! Let me stay my time out. - - _Girls_ (_in chorus_). Oh, do, Mrs. Candor, do! - - _Mrs. Candor._ No: back you go. You've given me a fright, made me travel - a mile to the doctor's, and set my school in commotion. No, sir; back - you go. I'll have no thorns among my roses. - - _Tom._ Ah! but I removed the thorns, aunt. I think I'll get - back, though. 'Twill be such an item for the papers!—"Romantic episode - at Rosebush Institute." - - _Mrs. Candor._ Would you ruin me? - - _Tom._ Then don't send me away hungry. Stuff me with mince-pies, - so that I can't utter a word, and the world shall never know how a - homesick youth proved that love, in the halls of learning, is but a - Thorn among the Roses. - - _Curtain._ - - - - - A CHRISTMAS CAROL. - - - [Arranged as an entertainment from Dickens's Christmas Story.] - - - CHARACTERS. - - EBENEZER SCROOGE. - JACOB MARLEY, the shadow. - FRED, Scrooge's nephew. - BOB CRATCHIT. - TINY TIM. - BOY. - THE GHOST OF CHRISTMAS PAST. - THE GHOST OF CHRISTMAS PRESENT. - THE GHOST OF CHRISTMAS TO COME. - - - COSTUMES. - - SCROOGE. Rusty suit of black; gray wig. - - MARLEY. Blue coat with brass buttons; breeches; top-boots with - tassels; chain about his waist, with padlocks and keys fastened - upon it; at the end, a cash-box; very white face; white wig, with - hair standing up. - - FRED. Handsome modern costume; light overcoat; red scarf tied - loosely about his neck; gloves; hat. - - BOB CRATCHIT. Rusty blue coat; shabby pants; iron-gray wig; large - white comforter about his neck. - - TINY TIM. Roundabout jacket; comforter about his neck; crutch; cap. - - BOY. Jacket; large cap; very red nose; large mittens; comforter - about his neck. - - CHRISTMAS PAST. A little girl; short white spangled dress; white - stockings; shoes; a wig of long white hair. - - CHRISTMAS PRESENT. Purple robe reaching to the floor, trimmed with - fur; long, brown, curly hair; full brown beard; on his head "a - holly-wreath, set here and there with shining icicles;" a belt - around his waist, to which is attached a scabbard. - - CHRISTMAS TO COME. Long black robe, with hood entirely concealing - his features. - - These costumes can be altered or improved by reference to Fields, - Osgood, & Co.'s illustrated Christmas Carol. - - ARRANGEMENT. This entertainment is arranged for a stage eighteen - feet wide by fourteen feet deep. A curtain, to draw up, is - required between the audience and the performers. Half way up the - stage, another curtain, to separate in the centre, and draw aside; - the front curtain should be green, the back dark fabric. The front - of the stage represents Scrooge's office, where the dream (in this - version) occurs. The back is used for the pictures. For home - representation, the same arrangement can be easily carried out. - The performer is directed as though standing upon the stage, - facing audience. - - - - - STAVE I. - - SCENE.—SCROOGE'S _office_. L., _a low desk, at which sits_ SCROOGE, - _in a large arm-chair_. R., _a high desk, with a tall stool; - candle burning upon the desk_. C., _a low stool_. BOB _standing by - the desk with a poker in his hand; one foot advanced, as though - creeping off_ L., _looking at_ SCROOGE _with an anxious - expression_. - - - _Scrooge_ (_looking round_). Here, you! don't you do it; don't you - do it! Haven't I told you, that, if you venture to waste my coals, - 'twill be necessary for us to part? Haven't I? - - (BOB _drops the poker, gets upon stool, and tries to - warm his hands at the candle_.) - - _Fred_ (_outside_, R.). A merry Christmas, uncle! Ha, ha, ha! - (_Enters_ R.) A merry Christmas! God save you! - - _Scrooge._ Bah! humbug! - - _Fred._ Christmas a humbug, uncle? You don't mean _that_, I'm - sure. - - _Scrooge._ I do. Out upon merry Christmas! What's Christmas-time to - _you_ but a time for paying bills without money,—a time for finding - yourself a year older, and not an hour richer? Bah! If I had my will, - every idiot who goes about with "Merry Christmas" on his lips should be - boiled with his own pudding, and burned with a stake of holly through - his heart, he should. - - _Fred._ Uncle! - - _Scrooge._ Nephew, keep Christmas in your own way, and let me keep - it in mine. - - _Fred._ Keep it! But you don't keep it. - - _Scrooge._ Let me leave it alone, then. Much good may it do you! - Much good it has ever _done_ you. - - _Fred._ There are many good things, from which I might have - derived good, by which I have not profited, I dare say Christmas among - the rest. But I am sure I have always thought of Christmas-time when it - has come round, apart from the veneration due to its sacred origin (if - any thing belonging to it can be apart from that), as a good time,—a - kind, forgiving, charitable, pleasant time,—the only time I know of in - the long calendar of the year when men and women seem, by one consent, - to open their shut-up hearts freely, and to think of people below them - as if they really were fellow-travellers to the grave, and not another - race of creatures, bound on other journeys. And therefore, uncle, - though it has never put a scrap of gold or silver in my pocket, I - believe that it has done me good, and _will_ do me good; and I say, God - bless it! (BOB _claps his hands heartily_.) - - _Scrooge._ Let me hear another sound from you, and you'll keep your - Christmas by losing your situation. (_To_ FRED.) You're quite a - powerful speaker, sir. I wonder you don't go into Parliament. - - _Fred._ Don't be angry, uncle. Come, dine with us to-morrow. - - _Scrooge._ I'll see you—(BOB _sneezes violently_.) What's the matter - with _you_? - - _Fred._ Come, uncle; say "Yes." - - _Scrooge._ No. - - _Fred._ But why? why? - - _Scrooge._ Why did you get married? - - _Fred._ Because I fell in love. - - _Scrooge._ Because you fell in love! (_Suddenly turns to his desk._) - Good afternoon. - - _Fred._ Nay, uncle, you never came to see me before that - happened. Why give it as a reason for not coming now? - - _Scrooge._ Good afternoon. - - _Fred._ I want nothing from you: I ask nothing from you. Why - cannot we be friends? - - _Scrooge._ Good afternoon. - - _Fred._ I am sorry, with all my heart, to find you so resolute. - But I have made the trial, in homage to Christmas; and I'll keep my - Christmas humor to the last. So a merry Christmas, uncle! - - _Scrooge._ Good afternoon. - - _Fred._ And a happy new year! - - _Scrooge._ Good afternoon. - - _Fred_ (_turns to_ R.) Bob Cratchit, a merry Christmas! - - _Bob_ (_shakes_ FRED'S _hand_). A merry Christmas, sir. God - bless it! - - _Fred._ Ay, God bless it! and a happy new year. - - _Bob._ And a happy new year, sir; God bless that too! - - _Fred._ Ay, ay, Bob; God bless that too. - - [_Exit_, R. - - _Scrooge._ Here, you! - - _Bob_ (_jumping off stool_). Yes, sir. - - _Scrooge._ _You'll_ want all day to-morrow, I suppose? - - _Bob._ If quite convenient, sir. - - _Scrooge._ It's not convenient, and it's not fair. If I was to stop - half-a-crown for it, you'd think yourself mightily ill-used, I'll be - bound. - - _Bob._ Yes, sir. - - _Scrooge._ And yet you don't think me ill-used, when I pay a day's - wages for no work. - - _Bob._ It's only once a year, sir. - - _Scrooge._ A poor excuse for picking a man's pocket every - twenty-fifth day of December. Well, you can't have it. - - _Bob._ But, sir— - - _Scrooge._ You can't have it. I shall expect you here earlier - to-morrow. - - _Bob._ But, sir— - - _Scrooge._ No more. Go! (BOB, _with a very rueful face, puts on his - hat, looks at_ SCROOGE, _and goes slowly out_ R.) - - _Scrooge_ (_turns his chair round to face_ C.) There's another - fellow, my clerk, with fifteen shillings a week, and a wife and family, - talking about a "merry Christmas!" I'll retire to Bedlam. I don't make - merry myself at Christmas, and I can't afford to make idle people - merry. I help to support the prisons and the workhouses. They cost - enough, and those who are badly off can go there. Merry Christmas! - Pooh! bah! humbug, humbug! (_Bell rings_ R., _bell rings_ L., _and - then_ R. _and_ L. _together_.) Mercy! what's that? (_Music, piano, slow - and solemn. Enter_ R., MARLEY, _dragging his chain, moving slow. Stops_ - C., _looking at_ SCROOGE; _a bandage of white cloth, passing under his - jaws, tied on top of his head_.) How now? What do you want with me? - - _Marley._ Much. - - _Scrooge._ Who are you? - - _Marley._ Ask me who I _was_. - - _Scrooge._ Who _were_ you, then? - - _Marley._ In life, I was your partner, Jacob Marley. - - _Scrooge._ Can—can you sit down? - - _Marley._ I can. - - _Scrooge._ Do it, then. (MARLEY _sits on stool_, C., _facing_ - SCROOGE.) - - _Marley._ You don't believe in me. - - _Scrooge._ I don't. - - _Marley._ What evidence would you have of my reality, beyond that - of your senses? - - _Scrooge._ I don't know. - - _Marley._ Why do you doubt your senses? - - _Scrooge._ Because a little thing affects them. A slight disorder of - the stomach makes them cheats. You may be an undigested blot of beef, a - bit of mustard, a crumb of cheese, a fragment of an underdone potato. - There's more of gravy than grave about you, whatever you are. (MARLEY - _takes the bandage from his head; his jaw drops_.) Mercy! Dreadful - apparition, why do you trouble me? Why do spirits walk the earth? and - why do they come to me? - - _Marley._ It is required of every man, that the spirit within him - should walk abroad among his fellow-men, and travel far and wide; and, - if that spirit goes not forth in life, it is condemned to do so after - death. My spirit never walked beyond the counting-house. Mark me! in - life my spirit never moved beyond the narrow limits of our - money-changing hole; and weary journeys lie before me. - - _Scrooge._ Seven years dead, and travelling all the time! You travel - fast. - - _Marley._ On the wings of the wind. - - _Scrooge._ You might have got over a great quantity of ground in - seven years. - - _Marley._ Oh, blind man! blind man! not to know that ages of - incessant labor by immortal creatures for this earth, must pass into - eternity before the good of which it is susceptible is all developed; - not to know that no space of regret can make amends for one life's - opportunities misused. Yet I was like this man. I once was like this - man. - - _Scrooge._ But you were always a good man of business, Jacob. - - _Marley._ Business! Mankind was my business. The common welfare was - my business. Charity, mercy, forbearance, benevolence, were all my - business. Hear me; my time is nearly gone. - - _Scrooge._ I will; but don't be hard upon me. Don't be flowery, - Jacob, pray. - - _Marley._ I am here to-night, to warn you that you have yet a - chance and hope of escaping my fate; a chance and hope of my procuring, - Ebenezer. - - _Scrooge._ You were always a good friend to me. Thank'ee. - - _Marley_ (_rising_). You will be haunted by three spirits. - - _Scrooge._ Is that the chance and hope you mentioned, Jacob? I—I - think I'd rather not. - - _Marley._ Without their visits you cannot hope to shun the path I - tread. Expect the first to-night, when the bell tolls one. Expect the - second to-morrow night at the same hour; the third upon the next night, - when the last stroke of twelve has ceased to vibrate. Look to see me no - more; and look that, for your own sake, you remember what has passed - between us. (_Music as before._ MARLEY _walks backward to_ R., - _followed by_ SCROOGE, _with the same slow step_. MARLEY _goes off_ R. - _As_ SCROOGE _reaches the_ R., _bell tolls one: he turns. At the same - moment, the_ SPIRIT OF CHRISTMAS PAST _appears_, C., _entering at the - opening in back curtain_.) - - _Scrooge._ Are you the spirit whose coming was foretold to me? - - _Spirit._ I am. - - _Scrooge._ Who and what are you? - - _Spirit._ I am the Ghost of Christmas Past. - - _Scrooge._ Long past? - - _Spirit._ No: your past. The things that you will see with me are - shadows of the things that have been. They will have no consciousness - of us. - - _Scrooge._ What business brought you here? - - _Spirit._ Your welfare. Look! (_Steps_ L., SCROOGE R. _Music. The - back curtains are drawn, showing a boy sitting at a desk_, R., _with an - open book before him_.) - - _Scrooge._ It is myself. (_A man dressed as_ ALI BABA, _with an axe - across his shoulder, passes slowly and noiselessly across stage back of - desk_, R. _to_ L.) Why, it's Ali Baba! It's dear, old, honest Ali Baba. - Yes, yes; I know. One day, Christmas-time, when yonder solitary child - was left here all alone, he _did_ come here the first time, just like - that poor boy. (ROBINSON CRUSOE, _with a parrot perched upon his - finger, crosses from_ R. _to_ L. _For costumes, the performers can - consult the picture-books._) There's Robinson. There's the - parrot,—green body and yellow tail, with a thing like a lettuce growing - out of the top of his head; there he is. Poor Robin Crusoe, he called - him, when he came home after sailing round the island. "Poor Robin - Crusoe! Where have you been, Robin Crusoe?" Ah! poor boy, poor boy! - (_Curtain closes._) I wish (_puts his hand in his pocket_)—but it's too - late now. - - _Spirit._ What is the matter? - - _Scrooge._ Nothing, nothing. There was a boy singing a Christmas - carol at my door last night. I should like to have given him something. - That's all. - - _Spirit._ Let us see another Christmas. - - (_Curtains are drawn, disclosing_ "FEZZIWIG'S - _Dance_." R., _sits an old lady in cap and spectacles, her hands - raised in admiration_; C., _is_ FEZZIWIG, _in the act of "cutting." - He is a large man; white stockings, knee-breeches, shoes with - buckles, long white waistcoat, brown coat, large white cravat, and - wig. He stands upon his toes, with feet crossed, his countenance - radiant with enjoyment. Opposite him_, MRS. F., _as though dancing, - one hand on her waist, the other above her head; bright petticoat, - dress tucked up, cap, and gray wig._ R. _and_ L. _of this couple, - three young women and three young men; costumes same as_ MR. _and_ - MRS. FEZZIWIG, _with the exception of the wig. They stand leaning - forward, with their hands together, as though applauding. In front - of_ FEZZIWIG, _a little boy, imitating_ FEZZIWIG. _Behind all, a - musician, standing in a chair, in the act of fiddling; music - (violin), "Sir Roger de Coverley." The characters should be all - ready, and take their places, instantly the curtain falls on the - previous picture, as the time is very short._) - - _Scrooge._ Why, it's Fezziwig,—bless his old heart!—my master - Fezziwig alive again; and there's Dick Wilkins, to be sure. He was very - much attached to me, was Dick. Poor Dick! Dear, dear! those were happy - times. How grateful we were! (_Curtains close on picture._) - - _Spirit._ A small matter, to make these silly people so full of - gratitude. - - _Scrooge._ Small? - - _Spirit._ Why, is it not? He has spent but a few pounds of your - mortal money,—three or four, perhaps. Is that so much, that he deserves - this praise? - - _Scrooge._ It isn't that, Spirit. He has the power to make his - people happy or unhappy,—to make their service light or burdensome, a - pleasure or a toil. The happiness he gives is quite as great as though - it cost a fortune. - - _Spirit._ What is the matter? - - _Scrooge._ Nothing particular. - - _Spirit._ Something, I think. - - _Scrooge._ No, no. I should like to be able to say a word or two to - my clerk just now: that's all. - - _Spirit._ My time grows short. Quick! - - (_Curtains are drawn, disclosing a young girl sitting - upon a lounge. Beside her a young man stands, with his arms folded. - She is looking away, he looking down at her. Costumes same as in_ - "FEZZIWIG'S _Dance._") - - _Scrooge._ Again myself. - - _Spirit._ Listen. - - (_The characters in the picture speak, with soft music - while they are speaking._) - - _Girl._ It matters little—to you, very little. Another idol has - displaced me; and if it can cheer and comfort you in time to come, as I - would have tried to do, I have no just cause to grieve. - - _Youth._ What idol has displaced you? - - _Girl._ A golden one. You fear the world too much. I have seen - your noble aspirations fall off, one by one, until the master - passion—gain—engrosses you; have I not? - - _Youth._ What then? Even if I have grown so much wiser, what then? - I am not changed towards you. Have I ever sought release from our - engagement? - - _Girl._ In words, no. Never. - - _Youth._ In what, then? - - _Girl._ In a changed nature; in an altered spirit; in another - atmosphere of life, another hope as its great end. If you were free - to-day, to-morrow, yesterday, can even I believe that you would choose - a dowerless girl? or, choosing her, do I not know that your repentance - and regret would surely follow? I do; and I release you, with a full - heart, for the love of him you once were. - - _Scrooge._ Spirit, remove me from this place. - - _Spirit._ I told you these were shadows of the things that have - been. That they are what they are, do not blame me. - - _Scrooge._ Away, I say! I cannot bear it. Leave me. Away, away! - Haunt me no longer! (_Falls into chair_, L., _and covers his face with - his hands. The_ SPIRIT _stands at the side of his chair, pointing at - the picture. The front curtain slowly descends._) - - - - - STAVE TWO. - - _Lively music. Curtain rises, showing_ SCROOGE'S _office, as - before_. SCROOGE _sitting in chair, looking at back stage, the - curtains of which are drawn, disclosing the_ GHOST OF CHRISTMAS - PRESENT, _who sits upon a seat covered with red, his right arm - leaning upon a barrel. In his lap is a bowl of steaming punch; in - his left hand, a torch [red fire, such as is used in tableaux, - placed in a hollow at the end of a stick, will produce the desired - effect]; round him are strewn articles, such as are given for - presents. After a few seconds_, CHRISTMAS PRESENT _rises, and - comes forward. The curtains close._ - - - _Spirit._ Look up, look up, and know me better, man. I am the Ghost - of Christmas Present. Look upon me. (SCROOGE _slowly rises, and moves - round him, looking closely at him. Music continues. This is to give an - opportunity to set the stage for the next picture._) You have never - seen the like of me before? - - _Scrooge._ Never. - - _Spirit._ Have never walked forth with the younger members of my - family; meaning (for I am very young) my elders born in these later - years? - - _Scrooge._ I don't think I have. I'm afraid I have not. Have you had - many brothers, Spirit? - - _Spirit._ More than eighteen hundred. - - _Scrooge._ A tremendous family to provide for. Spirit, show me what - you will. Last night I learnt a lesson which is working now. To-night, - if you have aught to teach me, let me profit by it. - - _Spirit._ Look well upon the pictures I disclose. - - [SPIRIT _retires_ R., SCROOGE, L. - - (_Curtains open, disclosing_ "BOB CRATCHIT'S - _Christmas_." _Table_, C., _covered with white cloth; plates_. L. - _of table sits_ MARTHA, _a young lady about eighteen; brown dress, - white collar and cuffs; hair neatly arranged. Beside her, a boy of - ten; jacket, with an enormous dickey and black cravat; his hands - raised and clasped._ R. _of table, a boy, with a large ruffled - collar; his fork in his mouth. Next him, a girl of eight, with her - spoon thrust into her mouth. At the farther corner of table_, R., - _sits_ BOB CRATCHIT, _with_ TINY TIM _sitting upon his knee_. MRS. - CRATCHIT, _dressed in plaid, stands at back of table, holding in - both hands a plate bearing a plum-pudding, rather small, with a - bunch of holly stuck in the top of it, and alcohol blazing around - it. All eyes are fixed upon the pudding. Expression upon the faces - joyful and expectant. Music lively._) - - _Scrooge._ It's my clerk, Bob Cratchit. - - _Spirit._ Ay, Bob Cratchit, who pockets on Saturdays but fifteen - copies of his Christian name; and yet the Ghost of Christmas Present - blesses his four-roomed house with the sprinklings of his torch. - - _Bob Cratchit_ (_raising a cup_). A merry Christmas to us all, my dears! - God bless us! - - _All_ (_in picture_). God bless us! - - _Tiny Tim._ God bless us, every one! (_Curtain closes._) - - _Scrooge._ Spirit, tell me if Tiny Tim will live. - - _Spirit._ I see a vacant seat in the poor chimney-corner, and a - crutch without an owner, carefully preserved. If these shadows remain - unaltered by the future, the child will die. - - _Scrooge._ No, no! Oh, no, kind Spirit; say he will be spared. - - _Spirit._ If these shadows remain unaltered by the future, none - other of my race will find him here. What then? If he be like to die, - he had better do it, and decrease the surplus population. - - _Scrooge._ My very words, when I was asked to give a trifle for the - poor! - - _Spirit._ Man,—if man you be in heart, not adamant,—forbear that - wretched cant until you have discovered what the surplus is, and where - it is. Will you decide what men shall live, what men shall die? It may - be, that, in the sight of Heaven, you are more worthless, and less fit - to live, than this poor man's child. - - _Scrooge._ He must live! he must live! Poor Bob! poor Bob! - - _Spirit._ Come; look upon another picture. - - (_Music lively. Curtain rises upon picture of "Blind - Man's Buff at_ NEPHEW FRED'S." _Characters in full evening - costume,—gentlemen, white vests and white ties, black clothes; - ladies, rich and tasty. In the_ C. _stands a gentleman, - blindfolded, leaning forward, groping with his hands, the right - hand just touching a young lady, who is half turned from him, but - who is looking back with a smile upon her face. Beside her stands a - gentleman with his finger upon his lip. Behind the blindfolded - gentleman_, NEPHEW FRED, _with his head thrown back, his mouth - open, as though laughing. On the_ L., _a young lady, leaning - forward, with her fan to her lips; next her, a gentleman, holding - the blindfolded gentleman by the coat-tail, his other hand upon his - side, his head thrown back, and mouth open, as though laughing. A - boy in front of the party, on his knees, with finger pointing up to - the blindfolded gentleman._) - - _Scrooge._ Fred's house! - - _Spirit._ Ay, your nephew, making merry. If you listen, you will - hear him say of his Uncle Scrooge, "He may rail at Christmas till he - dies; but he can't help thinking better of it—I defy him—if he finds me - going there in good temper, year after year, and saying, 'Uncle - Scrooge, how are you?'" - - _Scrooge._ And I refused his invitation,—I refused it! I couldn't do - it again, if I had the chance. O Fred, Fred! A merry Christmas, and God - bless you! - - (_Front curtain descends quickly._) - - - - - STAVE THREE. - - SCROOGE'S _office, as before. Back curtains drawn. The_ GHOST OF - CHRISTMAS FUTURE _standing_, R., _pointing down_; SCROOGE _beside - him_, L. _Mournful music._ - - - _Scrooge._ Ghost of Christmas Yet to Come, Ghost of the Future, I - fear you more than any spectre I have seen; but as I know your purpose - is to do me good, and as I hope to live to be another man from what I - was, I have borne you company, and did it with a thankful heart. - Spectre, something informs me that our parting moment is at hand. I - know it, but I know not how. Tell me who that man was with the covered - face, whom we saw lying dead, of whom the merchants in the street spoke - so carelessly, at whom the vultures of the dead sneered and jested. - (_The_ SPIRIT _raises his hand, then points behind him_.) Before I draw - near to that stone to which you point, answer me one question. Are - these the shadows of the things that will be? or are they shadows of - things that _may_ be, only? (_The_ SPIRIT _points as before_.) Men's - courses will foreshadow certain ends, to which, if persevered in, they - must lead; but, if the courses be departed from, the ends will change. - Say it is thus with what you show me. (_The_ SPIRIT _moves to_ R., - _turns, and points to back, where a gravestone leans against the wall, - lettered_ "EBENEZER SCROOGE." _The position of the_ SPIRIT _should hide - it till this_. SCROOGE _staggers back till he reaches chair_, L.) Am I - that man who lay upon the bed? No, Spirit! Oh, no, no! Spirit, hear me! - I am not the man I was. I will not be the man I must have been but for - this intercourse. Why show me this, if I am past all hope? Assure me - that I yet may change these shadows you have shown me, by an altered - life. (_The_ SPIRIT _slowly lets his hand drop by his side_.) I will - honor Christmas in my heart, and try to keep it all the year. I will - live in the past, the present, and the future. The spirits of all these - shall strive within me. I will not shut out the lessons that they - teach. Oh, tell me I may sponge away the writing on this stone! (_Sinks - into chair. The curtains slowly close. Bells outside ringing a merry - peal. Music lively._ SCROOGE _starts from his chair_.) What's this, my - own office! (_Runs across stage._) Hallo! what's to-day? - - _Boy_ (_outside_, R.). Eh? - - _Scrooge._ What's to-day, my fine fellow? - - _Boy_ (_outside_, R.). To-day? Why, Christmas Day. - - _Scrooge_ (_dancing about_). It's Christmas Day. I haven't missed - it. Hallo, my fine fellow! - - _Boy_ (_entering_, R.). Hallo! - - _Scrooge._ Do you know the poulterer's, in the next street but one, - at the corner? - - _Boy._ I should hope I did. - - _Scrooge._ An intelligent boy; a remarkable boy! Do you know whether - they've sold the prize turkey that was hanging up there? Not the little - prize turkey, the big one. - - _Boy._ What! the one as big as me? - - _Scrooge_ (_rubbing his hands_). Ha, ha, ha! What a delightful boy! - It's a pleasure to talk to him. Yes, my buck. - - _Boy._ It's hanging there now. - - _Scrooge._ Is it? Go and buy it. - - _Boy_ (_with finger to his nose_). Walk-er. - - _Scrooge._ No, no: I am in earnest. Go and buy it, and tell 'em to - bring it here, that I may give them the directions. Come back with the - man, and I'll give you a shilling. Come back with him in less than five - minutes, and I'll give you half-a-crown. (_Exit boy in a hurry_, R.) - What a delightful boy! See him run! I'll send him to Bob Cratchit's. He - sha'n't know who sent it. It's twice the size of Tiny Tim. Joe Miller - never made such a joke as sending it to Bob's will be. I forget he's to - be here to-day. Oh, if he'd only come late! (_Sits at desk_, L.) Here - he is, sure enough! (_Enter_ BOB, R., _looking very dejected. Takes off - his hat and comforter, and gets upon stool._) (_Gruffly._) Hallo! what - do you mean by coming here at this time of day? - - _Bob._ I am very sorry, sir. I _am_ behind my time. - - _Scrooge._ You are? Yes, I think you are. Step this way, if you - please. - - _Bob_ (_getting down from stool_). I'm very sorry— - - _Scrooge._ Are you? What do you mean by coming here at this time? - Now, I'll tell you what, my man; I'm not going to stand this thing any - longer; and therefore (_jumps up, and gives_ BOB _a dig in the ribs_) - I'm about to raise your salary. (BOB _runs to his desk, and gets a - ruler, looking frightened_.) A merry Christmas, Bob! (_Slaps him in the - back._) A merrier Christmas, Bob, my good fellow, than I have given you - for many a year. I'll raise your salary, and endeavor to assist your - struggling family; and we'll discuss your affairs to-morrow over a - Christmas bowl of sparkling bishop, Bob. Home to your family, and have - a merry Christmas, and in the morning make up the fires, and buy a - second coal-scuttle before you dot another _i_, Bob Cratchit. - - _Fred_ (_outside_, R.). A merry Christmas! (_Enters_, R.) Here I - am again, uncle. - - _Scrooge_ (_running to him, and shaking hands_). A merry Christmas, - Fred! I'm going to dine with you. - - _Fred._ That's right, uncle. You'll find a merry company. - - _Scrooge._ You can't tell me. I know 'em all. My niece, Plumper, the - fat sister. Wonderful party! wonderful games! wonderful unanimity! - wonderful happiness! - - _Fred._ We'll have a merry Christmas. - - _Scrooge._ Ay, that we will. Henceforth _I_ will honor Christmas in - my heart, and try to keep it all the year. I will live in the past, the - present, and the future. The spirits of all three shall strive within - me. (_Sinks to his knees._) God bless us all! - - _Fred_ │(_sink to their knees_). God bless us all! - _Bob_ │ - - (_Music: curtains at back are drawn, disclosing "A Christmas - Picture." In the centre, the_ GHOST OF CHRISTMAS PRESENT, _seated - as before, with his torch raised, red fire blazing in it. At his_ - L., _the blindfolded gentleman, in the same position as before, - with the lady getting away from him; on his_ L., _the lady with - the fan_; R. _of_ CHRISTMAS PRESENT, MRS. CRATCHIT, _with the - pudding in her hands_; MARTHA _at her_ R., _with_ TINY TIM _in her - arms. Two of the children opposite them, looking at the pudding._ - TINY TIM _speaks, when curtain is fairly drawn, "God bless us - every one!" "The Christmas Carol" [see p. 64] is then sung by an - invisible chorus; and the front curtain falls upon the whole - picture._) - - - - - TRANSCRIBER'S NOTES - - - 1. Changed "Mrs. Trueworth" to "Mrs. T." on p. 42 to be consistent with - other entries of the same character. - 2. Changed "Mrs. Hartshorn" to "Mrs. H." on p. 109 to be consistent - with other entries of the same character. - 3. Corrected "Col." to "Rowell" on p. 68. - 4. Corrected "Jenks" to "Hosea" on p. 71. - 5. Corrected "Mr. G." to "Mrs. G." on p. 99. - 6. Silently corrected simple spelling, grammar, and typographical - errors. - 7. Retained anachronistic and non-standard spellings as printed. - 8. Enclosed italics font in _underscores_. - - - - - -End of the Project Gutenberg EBook of The Exhibition Drama, by George M Baker - -*** END OF THIS PROJECT GUTENBERG EBOOK THE EXHIBITION DRAMA *** - -***** This file should be named 52348-0.txt or 52348-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/2/3/4/52348/ - -Produced by Richard Tonsing, David Edwards and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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} - .c018 { vertical-align: top; text-align: right; padding-right: 1em; } - .c019 { vertical-align: top; text-align: center; } - .c020 { vertical-align: top; text-align: left; text-indent: -1em; - padding-left: 1em; padding-right: .5em; } - .c021 { vertical-align: top; text-align: center; padding-left: .5em; - padding-right: .5em; } - div.tnotes { padding-left:1em;padding-right:1em;background-color:#E3E4FA; - border:1px solid silver; margin:2em 10% 0 10%; } - .covernote { visibility: hidden; display: none; } - div.tnotes p { text-align:left; } - @media handheld { .covernote { visibility: visible; display: block;} } - .sc {font-style: normal; } - </style> - </head> - <body> - - -<pre> - -The Project Gutenberg EBook of The Exhibition Drama, by George M Baker - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: The Exhibition Drama - Comprising Drama, Comedy, and Farce, Together with Dramatic - and Musical Entertainments - -Author: George M Baker - -Release Date: June 16, 2016 [EBook #52348] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE EXHIBITION DRAMA *** - - - - -Produced by Richard Tonsing, David Edwards and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - -<div class='tnotes covernote'> - -<p class='c000'> <strong>Transcriber's Note:</strong></p> - -<p class='c000'> The cover image was created by the transcriber and is placed in the public domain.</p> - -</div> - -<div class='figcenter id001'> -<img src='images/frontis.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>ENLISTED FOR THE WAR.</p> -</div> -</div> - -<div class='figcenter id002'> -<img src='images/illustratedtitlepage.jpg' alt='THE EXHIBITION STAGE BOSTON: LEE AND SHEPARD.' class='ig001' /> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>THE AMATEUR DRAMA SERIES.</div> - </div> -</div> - -<div> - <h1 class='c001'><span class='small'>THE</span><br /> <br /> EXHIBITION DRAMA:<br /> <br /> <span class='small'>COMPRISING</span><br /> <br /> <span class='xlarge'>DRAMA, COMEDY, AND FARCE,</span><br /> <br /> <span class='small'>TOGETHER WITH</span><br /> <br /> <span class='large'>DRAMATIC AND MUSICAL ENTERTAINMENTS,</span><br /> <br /> <span class='small'>FOR</span><br /> <br /> <span class='small'><em>PRIVATE THEATRICALS, HOME REPRESENTATIONS, HOLIDAY AND<br /> SCHOOL EXHIBITIONS</em>.</span></h1> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c002'> - <div>BY</div> - <div class='c003'><span class='large'>GEORGE M. BAKER</span>,</div> - <div class='c003'><span class='small'>Author of "Amateur Dramas," "The Mimic Stage," "The Social Stage,"</span></div> - <div><span class='small'>"The Drawing-Room Stage," "Temperance Dramas," "A Baker's</span></div> - <div><span class='small'>Dozen," "Humorous Dialogues," "Running to Waste,"</span></div> - <div><span class='small'>&c.</span></div> - <div class='c003'>ILLUSTRATED.</div> - <div class='c003'><span class='large'>BOSTON:</span></div> - <div><span class='large'>LEE AND SHEPARD, PUBLISHERS.</span></div> - <div>NEW YORK:</div> - <div>LEE, SHEPARD, & DILLINGHAM.</div> - <div>1875.</div> - </div> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c004'> - <div>Entered according to Act of Congress, in the year 1874, by</div> - <div>GEORGE M. BAKER,</div> - <div>In the Office of the Librarian of Congress, at Washington.</div> - <div class='c002'><span class='sc'>Boston</span>:</div> - <div><span class='sc'>Rand, Avery, & Co., Stereotypers and Printers</span>.</div> - </div> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_3'>3</span> - <h2 class='c005'>PREFACE.</h2> -</div> - -<p class='c006'>In the preparation of "The Exhibition Drama," the -author has endeavored to present as great a variety as in -the previous volumes of this series, and to comply, as far as -possible, with the requests of numerous correspondents. -Thus "Enlisted for the War" was written in response to a -demand for something, based on the late civil war, which -should meet the requirements of various Posts of the G. A. R. -The musical allegories, "The Visions of Freedom," and -"The Tournament of Idylcourt," were prepared for the -graduating-class in a Boston grammar-school, and are of the -same general character as those previously issued. The -Christmas entertainment, and the dramatization of Dickens's -"Christmas Carol," have both been successfully performed -at sabbath-school entertainments. These, as well as -the allegories, are plentifully supplied with tableaux, easily -represented, and are adapted to the wants of many occasional -exhibitions.</p> - -<p class='c000'>That "Amateur Dramas" are successful, the appearance -<span class='pageno' id='Page_4'>4</span>of a fifth volume is convincing testimony. In addition to -this, the warm commendations of the press, frequent testimonials -from public teachers, and last, though not least, a -steadily increasing demand for the old as well as the new, -convince the author that he is honorably catering to a -healthy appetite for innocent and wholesome recreation.</p> - -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>G. M. B.</div> - </div> - </div> -</div> - -<div class='lg-container-l'> - <div class='linegroup'> - <div class='group0'> - <div class='line'><span class='sc'>207 West Springfield Street, Boston.</span></div> - </div> - </div> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_5'>5</span> - <h2 class='c005'>CONTENTS.</h2> -</div> - -<table class='table0' summary='CONTENTS'> -<colgroup> -<col width='91%' /> -<col width='8%' /> -</colgroup> - <tr> - <th class='c007'></th> - <th class='c008'>PAGE.</th> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'><span class='sc'>Enlisted for the War; or, The Home-Guard</span></td> - <td class='c008'><a href='#Page_9'>9</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'><span class='sc'>Never say Die</span></td> - <td class='c008'><a href='#Page_85'>85</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'><span class='sc'>The Champion of her Sex</span></td> - <td class='c008'><a href='#Page_109'>109</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'><span class='sc'>The Visions of Freedom</span></td> - <td class='c008'><a href='#Page_135'>135</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'><span class='sc'>The Merry Christmas of the Old Woman who lived in a Shoe</span></td> - <td class='c008'><a href='#Page_157'>157</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'><span class='sc'>The Tournament of Idylcourt</span></td> - <td class='c008'><a href='#Page_173'>173</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'><span class='sc'>A Thorn among the Roses</span></td> - <td class='c008'><a href='#Page_201'>201</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'><span class='sc'>A Christmas Carol</span></td> - <td class='c008'><a href='#Page_227'>227</a></td> - </tr> -</table> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>All the above are published separately, and can be obtained of <span class='sc'>Lee &</span></div> - <div><span class='sc'>Shepard</span>, Publishers, Boston. Price 15 cts. each.</div> - </div> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_9'>9</span> - <h2 class='c005'>ENLISTED FOR THE WAR;<br /> OR,<br /> THE HOME-GUARD.</h2> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c002'> - <div>A DRAMA IN THREE ACTS.</div> - <div class='c003'><em>Also a complete two-act drama, by omitting the second</em></div> - <div><em>act, and two characters.</em></div> - </div> -</div> - -<h3 class='c001'>CHARACTERS.</h3> - -<div class='lg-container-b c002'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>Robert Trueworth</span>, a Soldier of the Union.</div> - <div class='line'><span class='sc'>Wilder Rowell</span>, Guardian of Gaylie Gifford.</div> - <div class='line'><span class='sc'>Hosea Jenks</span>, Auctioneer.</div> - <div class='line'><span class='sc'>Hiram Jenks</span>, his Son, "a mere boy."</div> - <div class='line'><span class='sc'>Crimp</span>, Colored.</div> - <div class='line'><span class='sc'>Gen. Grant.</span></div> - <div class='line'><span class='sc'>Lieut.-Col. Boxer.</span></div> - <div class='line'><span class='sc'>Gaylie Gifford</span>, an Heiress.</div> - <div class='line'><span class='sc'>Mrs. Trueworth</span>, Robert's Mother.</div> - <div class='line'><span class='sc'>Mattie Trueworth</span>, Robert's Sister.</div> - </div> - </div> -</div> - -<h3 class='c001'>COSTUMES.</h3> - -<p class='c009'><span class='sc'>Robert.</span> Acts 1 and 2, Uniform of a private. Act 3, Uniform of -a colonel.</p> - -<p class='c010'><span class='sc'>Rowell.</span> Act 1, Modern dress, change to colonel's uniform. Act -2, Colonel's undress uniform. Act 3, Fashionable dress.</p> - -<p class='c010'><span class='pageno' id='Page_10'>10</span><span class='sc'>Hosea.</span> Act 1, Make up "fat;" blue coat with brass buttons; -nankeen pants; striped vest; white necktie; face florid; nose -a little pimply; curly gray wig. Act 3, Something like the -same, but figure rather emaciated; cheeks sunken; and a little -more bald than in first act.</p> - -<p class='c010'><span class='sc'>Hiram Jenks.</span> Act 1, Short jacket, through which his arms protrude; -light pants, very short; blue stockings; thick shoes; -crop wig; general juvenile appearance. Act 3, Short dress -bob-tail coat, &c.; not dandified, but neat; should be an entire -change from Act 1.</p> - -<p class='c010'><span class='sc'>Crimp.</span> Act 1, Black woolly wig; gray pants; white shirt, -sleeves rolled up; wide-rimmed straw hat. Act 2, Disguise of -an old darkey; gray wig; gray side-whiskers; blue shirt; -white duck pants, with one suspender. Act 3, Black coat and -pants; white vest; white necktie.</p> - -<p class='c010'><span class='sc'>Gen. Grant.</span> Uniform of major-general, with cloak; military -slouch hat, full beard, and make up as usual.</p> - -<p class='c010'><span class='sc'>Gaylie Gifford.</span> Act 1, Neat travelling-suit. Act 3, Handsome -evening-dress.</p> - -<p class='c010'><span class='sc'>Mrs. Trueworth.</span> Black dress, white collar and cuffs, and -widow's cap, very neat.</p> - -<p class='c010'><span class='sc'>Mattie.</span> Act 1, Muslin dress and white apron; sleeves rolled -up. Act 3, Evening dress.</p> - -<p class='c011'>NOTE.—"<span class='sc'>Enlisted for the War</span>," here presented in its -most simple form, can be elaborately produced, if preferred. -Where a military display is desirable, the second act will allow of -"an awkward-squad drill," "relieving guard," a bayonet-drill, -or the introduction of a camp song. At the end of the third act, -the returning company might march across the stage, behind -windows and door, illuminated with white and red lights, with -the chorus "Marching through Georgia."</p> - -<p class='c012'><span class='pageno' id='Page_11'>11</span><span class='sc'>Act I.</span>—<span class='sc'>Scene.</span> <em>Interior of farm-house. Door in -flat</em>, <span class='fss'>R. C.</span> <em>Window in flat</em>, <span class='fss'>L. C.</span> <em>Outside the window -arrange flowers in pots, and shrubbery. Inside, muslin -curtain draped up at</em> <span class='fss'>L.</span> <em>Window open; between -it and door, bureau or secretary. Lounge or sofa</em>, <span class='fss'>L.</span> -<em>Rocking-chair</em>, <span class='fss'>R. C.</span> <em>Small table with a chair beside -it</em>, <span class='fss'>L. C.</span>; <em>writing-materials on table. Chair</em>, <span class='fss'>L.</span> -<span class='sc'>Mrs. Trueworth</span> <em>discovered in rocking-chair, knitting -and rocking</em>. <span class='sc'>Mattie</span> <em>in chair beside table, her -arms folded on table, her face hidden in her arms</em>.</p> - - <dl class='dl_1 c002'> - <dt><em>Hosea</em></dt> - <dd>(<em>outside</em>). It's a downright shame. Look at it; a fine piece of property like - this going, going at such a ruinous sacrifice; and I'm only offered nine hundred and - fifty dollars for it; literally flowing with milk and honey. Shall I have ten,—ten, do - you say? Quick, or you lose it; nine hundred and fifty once, nine hundred and fifty - twice, nine hundred and fifty,—going, going, and gone to Wilder Rowell, Esq., for nine - hundred and fifty dollars. You've got a bargain. - </dd> - <dt><em>Mattie</em></dt> - <dd>(<em>raising her head</em>). Do you hear, mother? To Wilder Rowell. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>It's a shame to let it go for that price, and to a stranger. - </dd> - <dt><em>Mattie.</em></dt> - <dd>Mr. Rowell is no stranger, mother. It's now five years since he came to Grainlow with Mr. - Gifford. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>For all that, he's a stranger,—a proud, <span class='pageno' id='Page_12'>12</span>haughty man, whom nobody likes, nobody - has confidence in. - </dd> - <dt><em>Mattie.</em></dt> - <dd>Mr. Gifford had confidence enough to give him the guardianship of his daughter when he - died two years ago; and Gaylie likes him. As for being proud and haughty, to me he is - always pleasant and condescending. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Condescending, indeed! You're just as good as he is. Bless you, child, the Trueworths - held their heads as high as the best of folks until our troubles commenced. Your father - took to borrowing to experiment with his patent wrinkles, and mortgaged the farm to that - mean skinflint, Hosea Jenks. Ah, well! he did it for the best, no doubt. Only six months - dead, and now the old farm has gone too. - </dd> - <dt><em>Mattie.</em></dt> - <dd>Mother 'tis hard, 'tis cruel, to leave you homeless in your old age. Had father been wise— - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Hush, child! not a word against him. He was a good, kind father, and a husband to be - proud of. In all his troubles he never would touch a cent of the money we had put by to - push Rob through college. That was safely locked up; and the lad came through with all - the honors. - </dd> - <dt><em>Mattie.</em></dt> - <dd>What good can his learning do him now? - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>That remains to be seen. When the call came for men, our boy, bless him! stepped out with - the first, and enlisted for the war. Then came the hard blow, hardest of all to bear. My - own dear, noble husband breathed out his life in my arms, and joined the true and noble - in that better land. Hark! I hear Robert's step. (<span class='sc'>Mattie</span> - <em>rises, and goes up</em> <span class='pageno' id='Page_13'>13</span><em>to the window</em>. <span - class='sc'>Robert</span> <em>enters slowly door in flat; comes down, places his hand on - the back of his mother's chair</em>.) - </dd> - <dt><em>Rob.</em></dt> - <dd>Mother, the farm has gone. We are homeless. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>(<em>wipes her eyes, and endeavors to suppress emotion</em>). Yes, Rob, the old home is - ours no more. Perhaps it is as well we made a change. Now he who, who (<em>rises, and - stretches out her arms</em>)—O Rob, Rob! I can't bear it; I can't bear it. (<em>Sobs, and - falls upon his neck.</em>) - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>embracing her</em>). O mother! this should not have been. Had I known the worst, I - could have prevented it. I have strong arms and a cool head. I could have managed the - farm. I thought father was so comfortably settled; and now my enlistment binds me. Oh, I - could have done bravely! - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>(<em>recovering</em>). And you will do bravely now, where every true man should stand in - the hour of his country's peril, in the ranks of brave defenders. Fear not for us: - there's a power of strength in these old arms yet, and a stout heart to struggle; ay, and - a brave one. Am I not the mother of a man who leaves all to serve his country? - </dd> - <dt><em>Rob.</em></dt> - <dd>Brave mother, you shall have a son to be proud of. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Right, boy. And my prayers and blessing shall cheer you on to victory. - </dd> - <dt><em>Rob.</em></dt> - <dd>Yet you are homeless, mother. Our regiment is ready for the field: it only awaits the - appointment of a colonel. I may be called away at an hour's notice. If I could only have - secured the old home for you, I should have been content. -<div><span class='pageno' id='Page_14'>14</span></div> - </dd> - <dt><em>Mattie.</em></dt> - <dd>Rob, why did you not ask the assistance of Gaylie Gifford? She is rich, and I know would - have helped us,—her old home too. - </dd> - <dt><em>Rob.</em></dt> - <dd>Yes, her old home. Dear little girl! how fond we all were of her, and she of us! But she - went away to school two years ago, perhaps has forgotten us. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Why, Rob, not a week passes but I have a letter from her; such a good, kind letter too! - </dd> - <dt><em>Rob.</em></dt> - <dd>Yes, I know; and yet I could not <em>ask</em> her assistance. - </dd> - <dt><em>Mattie.</em></dt> - <dd>Perhaps you are right, Rob; but it does seem hard, after all the care and attention she - has received from mother, she could do nothing for us. But they do say money makes inward - changes as well as outward. Thank Heaven, we're out of its temptation! -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Exit</em> <span class='fss'>R.</span></div> - </div> - </div> -</div> - - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>seating his mother in her chair, and kneeling at her side</em>). Mother, there's one - reason why I could not ask Gaylie for assistance. I should like to tell you, for I would - want her to know it should I never return. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Never return! O Rob! do not say that. - </dd> - <dt><em>Rob.</em></dt> - <dd>That is one of the chances of war, mother. We must think of it. 'Tis the unlucky chance - in this game of life, when so much depends on my success. But Gaylie, mother. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Well, Rob, what of Gaylie? - </dd> - <dt><em>Rob.</em></dt> - <dd>Mother, you will, perhaps, call me mad; but, since Gaylie left us, a wild and strong - desire has taken possession of my heart. I could not see her growing up so good and - beautiful, without becoming more and <span class='pageno' id='Page_15'>15</span>more strongly attached to her. At college - my dreams were of her; my waking thoughts again and again fashioned her image into dear - companionship; and I have at last dared to believe that I might one day woo her, perhaps - win her. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Rob, my boy, 'tis a wild dream. She is a rich heiress; in a year will be mistress of that - grand estate yonder. (<em>Enter door in flat</em> <span class='sc'>Wilder Rowell</span>.) - </dd> - <dt><em>Rob.</em></dt> - <dd>Yes, mother; but I am a soldier of the Union; and, out of that glorious majority who are - to battle for its rights, the North will pick its trusty leaders. Why may not I rise? Why - may not I win rank and glory? and, when that is gained, why may not I dare to ask the - hand of her I love so dearly, Gaylie Gifford? - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>at back</em>). I beg your pardon if I intrude. (<span class='sc'>Rob</span> - <em>rises</em>.) Mr. Jenks asked me to step inside. He will soon join me to complete the - sale. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>(<em>rising</em>). You are in your own house, sir. 'Tis we who intrude. - </dd> - <dt><em>Rob.</em></dt> - <dd>Mr. Rowell, I shall take immediate steps to find another home for my mother and sister. - We will not long trespass. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>down</em> <span class='fss'>L.</span>). Oh, take your own time: perhaps 'twill not - be necessary to remove. - </dd> - <dt><em>Rob.</em></dt> - <dd>How? I do not understand you. - </dd> - <dt><em>Rowell.</em></dt> - <dd>I will speak with you again: for the present, make yourself perfectly at home in my house. - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>aside</em>). His house. Poor old house! you have fallen among thieves. Come, mother. - (<em>Puts his arm about his mother's waist, and they exeunt</em> <span - class='fss'>R.</span> <span class='sc'>Rowell</span> <span class='pageno' id='Page_16'>16</span><em>looks after them, then - places his hat on bureau at back, and sits at table</em>.) - </dd> - <dt><em>Rowell.</em></dt> - <dd>Well, I certainly have heard something to my advantage. So, my fine soldier-boy, you love - my ward, Gaylie Gifford. So do I. There we are perfectly agreed. But, when it comes to - possession, I think we shall quarrel. Forewarned, forearmed. I have purchased this farm - for the purpose of pleasing my ward; well knowing, that, had she been informed of the - sale, she would have requested its purchase, that in gratitude she might have restored it - to her old protectress. Her gratitude to me, for my wise forethought, would, no doubt, - bring me one step nearer to my ambition. But this soldier loves her; should she be - allowed to carry out her wishes, would love her all the more, perhaps arouse an answering - affection. No. I'll keep the farm for my own pleasure; perhaps play the <i><span lang="fr" xml:lang="fr">rôle</span></i> - of benefactor myself. Gaylie's large fortune must be shared with me. I never dreamed of - this fellow's ambition. He rise? If fortune only smile upon me, I will guard against that. - </dd> - <dt><em>Crimp</em></dt> - <dd>(<em>outside</em>). I'm obleeged to you, Massa Jinks. I jes w-w-want to know w-w-w-whar - you gwine t-t-t-ote dis yere farm? - </dd> - <dt><em>Hosea</em></dt> - <dd>(<em>outside</em>). Oh, bother! do you suppose we're going to dig it up, and cart it off, - you stupid? (<em>Enter door in flat, followed by</em> <span class='sc'>Crimp</span>.) - </dd> - <dt><em>Crimp.</em></dt> - <dd>S'pose, s'pose; donno nuffin 'bout s'posin, Massa Jinks. You cum down here, Massa Jinks, - betwixt eleben and seben, <span class='fss'>A.M.</span>, into de forenoon. You stick up a - red frag ober de do', and you gets up onto <span class='pageno' id='Page_17'>17</span>de barril; and, when you's onto de - barril, you gets a crowd round de barril, and deliber a Fourfe-ob-July speech onto de - barril, and you jaw away, and ax 'em for dollars, nine hundred dollars, fify dollars, and - tell dat ar assemblin' dis yere farm am gwine, gwine, gwine; and all I ax you for to tole - me, whar it am gwine for to go. I'm obleeged to you. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Oh! that's only a figurative expression. I've sold the farm: that's all. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Figger-who? Sole de farm; who tole you? who ax you? - </dd> - <dt><em>Hosea.</em></dt> - <dd>My interest. - </dd> - <dt><em>Crimp.</em></dt> - <dd>In-ter-which? who's he? - </dd> - <dt><em>Hosea.</em></dt> - <dd>I had a mortgage on the property, foreclosed, and sold out. - </dd> - <dt><em>Crimp.</em></dt> - <dd>M-m-m-orgages onto de property. No, sar, don't raise 'em; heaps ob cabbages, but no - morgages. I'm obleeged to you. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Well, I've sold the property,—house, land, farming-utensils, and live stock. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Live stock; horses, cows, by golly, and de hogs (<span class='sc'>Hosea</span> - <em>nods</em>), and de chickens and roosters? - </dd> - <dt><em>Hosea.</em></dt> - <dd>Yes, sold them all. - </dd> - <dt><em>Crimp.</em></dt> - <dd>By golly, you don't mean it; w-w-w-what we gwine to do for Fanksgibben? And de ole ram - Jim,—he gwine too? - </dd> - <dt><em>Hosea.</em></dt> - <dd>Yes, the old ram Jim. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Golly, dat so? I'm obleeged to you, Massa Jinks. Dat are ole ram Jim am de mos' dyspeptic - biped— - </dd> - <dt><em>Hosea.</em></dt> - <dd>Quadruped, Crimp. Bipeds walk on two legs: he goes on four. -<div><span class='pageno' id='Page_18'>18</span></div> - </dd> - <dt><em>Crimp.</em></dt> - <dd>Does he, Massa Jinks? You jes' don't know ole Jim: by golly, he's on two legs mos' de - time, and gwine for me so (<em>imitates butting</em>), see, so. Hope I may die, Massa - Jinks, if dat ar ole Jim didn't creep up a-hind me las' night when I was a-leanin' ober - de pig-sty, jes' as easy, and lif' me ober dat ar fence into de mud, afore you could ax - no questions. Nearly took away my bref. I'm glad he's gwine; he's too sociable; he is - always teasin' folks to take a horn wid him, always wantin' to help gib you a boost. By - golly, I's glad ole Jim gwine. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Suppose you go and tell him so. - </dd> - <dt><em>Crimp.</em></dt> - <dd>What, me? Guess not, Massa Jinks. We ain't on speakin' terms; de conbersation am always - interrupted wid so many buts, can't get on at all. But I'll jes' go and gib him a hint, - Massa Jinks,—wid a stone. By golly, ole Jim gwine! Hi! de jubilum am come. I'm obleeged - to you. -<div class='c013'>[<em>Exit</em> <span class='fss'>F.</span></div> - </dd> - <dt><em>Hosea.</em></dt> - <dd>Now, Mr. Rowell, I'm at your service; sorry to have kept you waiting. - </dd> - <dt><em>Rowell.</em></dt> - <dd>It's of no consequence, Jenks: by the way, Miss Mattie Trueworth is a very pretty girl. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Isn't she? If she only went with the farm you'd get the <em>true worth</em> of your - money. You see: ha, ha, ha! I'm always doing it: can't help it; will pop out in my - office, at my table, even in my dreams. It's a bad habit,—a <em>pun</em>icious habit, for - which I ought to be punished. There it is again! Ha, ha, ha! I can't help it. I try, but - it's no use; in my office, at my table— - </dd> - <dt><em>Rowell.</em></dt> - <dd>I'm to pay you one hundred dollars. -<div><span class='pageno' id='Page_19'>19</span></div> - </dd> - <dt><em>Hosea.</em></dt> - <dd>Exactly, to bind the bargain; balance in ten days. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>takes out pocket-book</em>). These Trueworths are evidently in a bad way. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Very. Farm gone, all gone. Poor folks! my heart bleeds for them. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Does it, indeed? The farm is sold to pay your claim. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Yes, and you've got a bargain. It's wartimes, and folks ain't a-goin' to put out their - money. A year ago, three thousand dollars could not have bought this farm. What's the use - of buying land when there's no telling but what the Southern Confederacy will sweep every - thing afore the war's over? - </dd> - <dt><em>Rowell.</em></dt> - <dd>Indeed! then you've not much faith in the success of Northern arms? - </dd> - <dt><em>Hosea.</em></dt> - <dd>It does look a leetle black for the North. - </dd> - <dt><em>Rowell.</em></dt> - <dd>If that's your opinion, perhaps I'd better withdraw before the bargain's closed. - </dd> - <dt><em>Hosea.</em></dt> - <dd>What! back out? Don't you do it! It's always blackest just afore day. The right must - conquer: it's a magnificent farm. It's only a question of time: a hundred dollars if you - have it ready. The Union must be preserved: best cows in the country. Look at the - uprising: a million freemen in arms,—ninety acres of meadow-land,—marching on to victory. - And we're so far north, you know, it's a safe investment. I'll write a receipt. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>throws down money, and rises</em>). There's your money. - </dd> - <dt><em>Hosea.</em></dt> - <dd>That's good. (<em>Snatches the money.</em>) The <span class='pageno' id='Page_20'>20</span>best investment you ever made. - (<em>Sits and writes.</em>) There's your receipt. Thank you. (<em>Rises and shouts.</em>) - Hi, sonny, take down the flag: bargain's closed. That's my son out there; a mere boy, but - awful smart if he's kept in his place. Hiram Jenks is his baptismal name. I call him Hi, - for short: see the pun? ha, ha, ha! Hi Jenks, when I'm in a highly humorous vein,—that's - another; and when he's in a teasing humor, I call him Hi, son. There's another! Ha, ha, - ha! Can't help it: I'm always doing it. I must be funny; in my office, at my table— - </dd> - <dt><em>Rowell.</em></dt> - <dd>You seem to be a very busy man, Mr. Jenks. - </dd> - <dt><em>Hosea.</em></dt> - <dd>I am. I'm a auctioneer, funeral undertaker, coroner, lawyer, expressman, carpenter, - shoemaker, any thing by which I can gain an honest penny. There's only one office that - seems necessary to my happiness. I would be a postmaster; and Stamps is on his last legs. - Poor fellow! he's nearly stamped out of existence. You see: ha, ha, ha! I can't help it; - it will pop out. Perhaps it's better, for humor is dangerous when it strikes in. See? Ha, - ha, ha! - </dd> - <dt><em>Rowell.</em></dt> - <dd>Your humor is not of the strikin' kind, Mr. Jenks. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Ha, ha, ha! very good; it's catching. Strike in: that's (<em>looks grave</em>) rather - good. - </dd> - <dt><em>Rowell.</em></dt> - <dd>There's a son at the head of this Trueworth family, I believe? - </dd> - <dt><em>Hosea.</em></dt> - <dd>Yes; a splendid fellow, who enlisted a week before his father died. Poor chap! he's - awfully cut up. Thought the old folks nicely settled, and was <span class='pageno' id='Page_21'>21</span>chock full of - patriotism. Was disappointed in that, but could not get out of Uncle Sam's clutches. I - couldn't afford to lose my money, so foreclosed and sold out. (<em>Enter door in - flat</em> <span class='sc'>Hiram Jenks</span> <em>with a long pole, on which a red - auction-flag is rolled, on his shoulder</em>.) - </dd> - <dt><em>Rowell.</em></dt> - <dd>'Twas a hard blow for the family. (<span class='sc'>Hiram</span> <em>turns to shut the - door: pole swings round, and hits</em> <span class='sc'>Hosea</span> <em>in the - head</em>.) - </dd> - <dt><em>Hosea.</em></dt> - <dd>Oh, murder! you clumsy chap, you've broke my head. - </dd> - <dt><em>Hiram.</em></dt> - <dd>'Twas a hard blow for you, dad,—an auctioneer knocked down under his own flag. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>"When pole meets poll, then comes the crack of skull."</div> - </div> -</div> - - </dd> - <dt><em>Hosea.</em></dt> - <dd>Shut up, sonny! Where's your manners? Hold up your head. (<span class='sc'>Hiram</span> - <em>obeys the directions as spoken</em>.) Boys should be seen, not heard. Turn out your - toes. That was good, though, "when pole meets poll:" ha, ha, ha! He can't help it: takes - it from me. I can't help it; in my office, at the table— - </dd> - <dt><em>Rowell.</em></dt> - <dd>I'm anxious to settle this business at once, and get possession of the farm. If you will - arrange the papers, my check is ready to-day for the whole amount of purchase. - </dd> - <dt><em>Hosea.</em></dt> - <dd>I like that. My son, hold up your head: here's an example for you; a man who's anxious to - pay,—turn out your toes,—who never puts off until to-morrow what can be done to-day. When - you grow up, sonny, remember ready is the color of the winning <span class='pageno' id='Page_22'>22</span>horse on the - racecourse of life,—Ready-cash; by whom that <em>dun</em>-colored nag Promise-to-pay is - always distanced. Ha, ha, ha! There's a pair of 'em. I can't help it; it will pop out; in - my office, at my table— - </dd> - <dt><em>Rowell.</em></dt> - <dd>I'm in something of a hurry. - </dd> - <dt><em>Hosea.</em></dt> - <dd>All right: step over to my office, and we'll settle up at once. Sonny, straighten up! You - are released from official business, and may go off fishing. (<em>Pats him on the - head.</em>) That's good, Ha, ha, ha! I can't help it; 'twill pop out regardless of time - and place. We wits know no pent-up Ut<em>aca</em>. You take, hey, Rowell? Ha, ha, ha! I - really can't help it; in my office, at my table— - </dd> - <dt><em>Rowell.</em></dt> - <dd>Mr. Jenks, I really must insist— - </dd> - <dt><em>Hosea.</em></dt> - <dd>You can't stand it, hey? Then we'll move on. Sonny, stand by the flag. I'm going, going, - gone. Ha, ha, ha! [<em>Exit, followed by</em> <span class='sc'>Rowell</span>, <em>door in - flat</em>.] - </dd> - <dt><em>Hiram</em></dt> - <dd>(<em>stands</em> <span class='fss'>C.</span>, <em>and looks after them</em>). Sonny, - sonny! Well, if the old man keeps on his degenerating pace, he'll be in his second - childhood in six months. Calls me a boy, a mere boy: twenty last month. Keeps me in a - short jacket, and shorter pantaloons. Makes me keep my hair sandpapered like an urchin of - ten. It's about time this thing was stopped. If my arm creeps through this jacket much - farther, I'm very much afraid it will rise in indignation, and smite my aged sire. "Honor - your parents" is a very good maxim, but it may be carried a little too far. I'd go into - the army, but he won't let me; swears I <span class='pageno' id='Page_23'>23</span>shall stand by the old flag. (<em>Clasps - the auction-flag in his arms.</em>) No matter: it's only a year, and I am free. Ah! - here's Mattie Trueworth, a girl I would lay down my life for, and who laughs at me. - Heigho! if I wasn't a boy, I should be very much in love with her. How d'ye do, Mattie? - (<em>Enter</em> <span class='sc'>Mattie</span> <span class='fss'>R.</span>) - </dd> - <dt><em>Mattie.</em></dt> - <dd>Oh! it's you, Hiram Jenks. - </dd> - <dt><em>Hiram.</em></dt> - <dd>Yes, it's me, Mattie: the standard-bearer, (<em>pompously</em>) bearing the old flag, - that has conquered in so many battles; under whose folds so many household gods have - fallen, never to rise again. - </dd> - <dt><em>Mattie.</em></dt> - <dd>Pshaw! you'd look more manly bearing the flag of your country. - </dd> - <dt><em>Hiram.</em></dt> - <dd>S'pect I would, Mattie: it's what I'd like. But dad says No. - </dd> - <dt><em>Mattie.</em></dt> - <dd>Oh, indeed! a dutiful son, truly. The house is sold: why do you wait here? - </dd> - <dt><em>Hiram.</em></dt> - <dd>To get a word with you, Mattie. I've a great admiration for you. If I dared, I would tell - you that I love you. (<em>Places flag in</em> <span class='fss'>R.</span> <em>corner - back</em>.) - </dd> - <dt><em>Mattie.</em></dt> - <dd>Don't you dare do any such thing. You must know I detest you, a mere boy; why, you're not - yet out of jacket and trousers! - </dd> - <dt><em>Hiram</em></dt> - <dd>(<em>stretching up his arms</em>). You're mistaken, Mattie: I'm a long way out of them. - </dd> - <dt><em>Mattie.</em></dt> - <dd>Hiram Jenks, you're a fool. - </dd> - <dt><em>Hiram.</em></dt> - <dd>That's just what dad says, Mattie; but he's awfully mistaken. He's old and queer, so I - think it no harm to humor his fancies, though I do get laughed at. He does not know, - that, long after he's asleep, the fool is studying by candle-light, way into <span class='pageno' id='Page_24'>24</span>the - night; that, while he's about his business, the fool's ears are open, and his eyes sharp - set, watching the kinks and tricks of trade. Only a year, Mattie, and I shall be - free,—free to laugh at him, free to win you. - </dd> - <dt><em>Mattie.</em></dt> - <dd>Win me! Hiram Jenks, have you lost your senses? - </dd> - <dt><em>Hiram.</em></dt> - <dd>Sometimes I think I have, Mattie, when I look at you. Don't be hard on me. Think me a - boy, if you will: only remember that I love you dearly; for your sake, would die a - thousand deaths. - </dd> - <dt><em>Mattie.</em></dt> - <dd>What unparalleled devotion! (<em>Sits in chair</em> <span class='fss'>R.</span>, <em>and - turns her back</em>.) - </dd> - <dt><em>Hiram.</em></dt> - <dd>Mattie, Rob must soon leave for the battle-field. You will then need a friend. Let me - take his place, be a brother to you; or give me the right to be nearer and dearer. - (<em>Kneels, and takes her hand.</em>) Speak, Mattie: I love you dearly, truly. - (<em>Enter door in flat</em> <span class='sc'>Hosea</span>, <em>followed by</em> <span - class='sc'>Rowell</span>.) - </dd> - <dt><em>Hosea.</em></dt> - <dd>Good gracious, boy! what are you about? You're spoiling your trousers. (<span - class='sc'>Hiram</span> <em>jumps up</em>.) Mattie, don't let that boy pester you with - his nonsense. Sonny, go home. (<em>Aside.</em>) 'Pon my word, I believe the boy was - making love to that girl. I must look after him a little closer. (<em>Aloud.</em>) Hiram, - hold up your head, turn out your toes, 'bout face, march! (<span class='sc'>Hiram</span> - <em>looks at his father as if he would defy him, then obediently marches off</em>.) Now, - Mr. Rowell, you are in possession. There is the deed (<em>giving paper</em>), where you - may read your title clear. What's to prevent? Ha, ha, ha! there it is again! I can't help - it; in my office— -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Exit</em> <span class='fss'>D.</span> <em>in</em> <span class='fss'>F.</span></div> - </div> - </div> -</div> - -<div><span class='pageno' id='Page_25'>25</span></div> - </dd> - <dt><em>Rowell.</em></dt> - <dd>Miss Mattie, will you be kind enough to inform your brother that I would speak with him? - </dd> - <dt><em>Mattie</em></dt> - <dd>(<em>rising</em>). Certainly sir, he's somewhere about the place: I'll find him. -<div class='c013'>[<em>Exit</em> <span class='fss'>R.</span></div> - </dd> - <dt><em>Rowell.</em></dt> - <dd>I will make an attempt to dispose of this farm to advantage. I must be quick: Gaylie is - expected home to-day, may return at any moment. If this fellow was only out of the way, - 'twould be clear sailing. Yet if I can manage to spike his guns before the prize heaves - in sight, the victory is mine. (<em>Sits at table. Enter</em> <span class='fss'>R.</span> - <span class='sc'>Rob</span>.) - </dd> - <dt><em>Rob.</em></dt> - <dd>You would speak with me, Mr. Rowell? - </dd> - <dt><em>Rowell.</em></dt> - <dd>Yes: take a chair. (<em>Rises, and offers chair to</em> <span class='sc'>Rob</span>, - <em>then goes</em> <span class='fss'>L.</span>, <em>and brings chair to</em> <span - class='fss'>L.</span> <em>of table: both sit</em>.) This farm has passed from the - possession of your family into my hands; the purchase-money is all paid; and I now hold - by right the title-deed. Here it is. (<em>Lays it on table.</em>) - </dd> - <dt><em>Rob.</em></dt> - <dd>I understand. Your property shall be vacated at once. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Not so fast, my dear fellow: hear me out. You are a brave man; you have enlisted in your - country's cause. You must go to the battle-field, and leave your dear ones to the tender - mercies of this little world. I cannot be insensible to such patriotism, and I would - befriend you in this emergency. - </dd> - <dt><em>Rob.</em></dt> - <dd>You befriend me! I have no claim upon you. - </dd> - <dt><em>Rowell.</em></dt> - <dd>But you have upon my ward. She was reared beneath this roof. Were she here, I think she - would uphold me in what I am about to do,—restore to you this farm. -<div><span class='pageno' id='Page_26'>26</span></div> - </dd> - <dt><em>Rob.</em></dt> - <dd>Restore it! I have no right to it. 'Tis yours by lawful purchase. - </dd> - <dt><em>Rowell.</em></dt> - <dd>You're right; and as an act of justice to one who gives himself to a great cause, that - his dear ones shall not be left helpless, I give you back the farm. - </dd> - <dt><em>Rob.</em></dt> - <dd>You do this, Mr. Rowell: you give me the farm freely, unconditionally? - </dd> - <dt><em>Rowell.</em></dt> - <dd>Not exactly. There is one condition, and only one. (<span class='sc'>Mattie</span> - <em>appears at window outside, with a pair of scissors, and is arranging and clipping her - flowers, overhearing the following dialogue</em>.) - </dd> - <dt><em>Rob.</em></dt> - <dd>One condition. Mr. Rowell, before you state that condition, let us understand one - another. I do not like you. I have felt an instinctive dislike from the time you first - entered this town. I have heard hard stories concerning you,—that you have wronged men, - ay, and women too. With all that, I have no right to prevent my mother and sister from - remaining in their old home. I will not, can I do so honorably. But I will accept no - favor from you. Show me any way in which I can redeem this place, the way to win it back - by good service that shall repay in full all expenses you have incurred in its purchase, - or encumber it with a mortgage and heavy interest; but give me time to redeem, and I will - believe you are my friend, will trust you. Come, I have spoken plainly: now let me hear - your condition. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Ha! I like plain speaking. You are an adept at it. You don't like me. Well, then, in - place of favor, I will offer a bargain. Here it is: this farm <span class='pageno' id='Page_27'>27</span>to you and yours - forever, for a promise—a pledge—that you never offer your hand to my ward, Gaylie Gifford. - </dd> - <dt><em>Rob.</em></dt> - <dd>Gaylie Gifford,—my hand!—Mr. Rowell, you are jesting. - </dd> - <dt><em>Rowell.</em></dt> - <dd>No, I am serious. When I entered this house for the first time to-day, I heard your - confession to your mother. I know how grateful Gaylie is for the kind care bestowed upon - her here in childhood; and I would not have her kind heart wounded by the belief that one - with whom she has been so intimate should presume upon her friendship, to seek to gain - her hand, and with it a fortune. - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>rising</em>). Mr. Rowell, you are insulting. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Come, be reasonable! You can never hope to win her. Give me your promise, and the farm is - yours. - </dd> - <dt><em>Rob.</em></dt> - <dd>No! A thousand times no! You know my secret, but you know not me. I do love Gaylie - Gifford, and with a hopeless love. The very fortune you taunt me with seeking is a bar to - keep me silent. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Then take the farm. I will willingly give it up to purchase your silence. She can never - be yours: 'twas her father's wish, that, when she became of age, her hand should be given - to another. - </dd> - <dt><em>Rob.</em></dt> - <dd>And that other, yourself. Am I not right, Wilder Rowell? - </dd> - <dt><em>Rowell.</em></dt> - <dd>'Twas a pretty shrewd guess. - </dd> - <dt><em>Rob.</em></dt> - <dd>It is a lie. He had no such wish. My father was with him when he died. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>rising</em>). Lie! this to me? -<div><span class='pageno' id='Page_28'>28</span></div> - </dd> - <dt><em>Rob.</em></dt> - <dd>Ay, a lie! You like plain speaking. I know he left her free to choose her own mate, and - bade you, as her guardian, to respect her choice. - </dd> - <dt><em>Rowell.</em></dt> - <dd>I am her choice. Already she trusts me, with a confidence that only love can bring; and - I, I love her, dearer than all else in the world. - </dd> - <dt><em>Rob.</em></dt> - <dd>Except her fortune. You love her, Wilder Rowell, and she is in your power. Poor Gaylie! - You shall not win her. She is too good, too pure, to mate with such as you, an - adventurer, a fortune-hunter. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Indeed! Come, we are rivals. I will be magnanimous: you shall have the first chance. - Speak, tell her of your love. If she says, Yes, I'm silent. - </dd> - <dt><em>Rob.</em></dt> - <dd>O villain! you know your power. Speak to her, tell her of my love; I a poor soldier, she - a rich heiress! She would think me as mercenary as I know you to be. No, no, I cannot: I - love her dearly, truly, but must still love on in secret. (<em>Falls into chair, and - buries his face in his hands on table</em>). - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>rising. Aside</em>). Honorable to the last! There's no fear of him. - (<em>Aloud.</em>) Think well of it, Trueworth. Take the farm, and make your dear ones - comfortable. The prize you covet hangs too high. (<em>Aside.</em>) Silent! I'll look in - on him again (<em>takes deed</em>): an hour's reflection may awaken a better spirit. -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Exit door in flat, passing</em> <span class='sc'>Mattie</span>, <em>who enters</em>.</div> - </div> - </div> -</div> - - </dd> - <dt><em>Mattie</em></dt> - <dd>(<em>going to</em> <span class='sc'>Rob</span>). Why, Rob, what's the matter? - </dd> - <dt><em>Rob.</em></dt> - <dd>Nothing, Mattie: I was only thinking over a plan I have for your future. - </dd> - <dt><em>Mattie.</em></dt> - <dd>Gaylie's back, Rob: I just saw her carriage drive up to the house. -<div class='c013'>[<em>Down</em> <span class='fss'>R.</span></div> -<div><span class='pageno' id='Page_29'>29</span></div> - </dd> - <dt><em>Rob.</em></dt> - <dd>Indeed! Then I shall see her before I go. Where's mother? (<em>Enter</em> <span - class='sc'>Mrs. Trueworth</span>, <span class='fss'>R.</span>) - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Here, Rob. What had Mr. Rowell to say to you? - </dd> - <dt><em>Rob.</em></dt> - <dd>Nothing, mother, to benefit us. I must go out, and look about for a new home. Home! home! - that's a hard place to find, when the roof that has so long sheltered us is stripped from - our heads. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Home is where the heart is, Rob; and, while the old love binds us together, we can bid - defiance to adversity, beneath the humblest roof. - </dd> - <dt><em>Rob</em></dt> - <dd>(<span class='fss'>C.</span>). That's right, mother. Keep up a brave heart. We shall - weather the storm. (<em>Aside.</em>) Oh! who will care for these dear ones when I am - gone? (<em>Crosses to</em> <span class='fss'>L.</span>) - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<em>outside</em>). Ha, ha, ha, old Jim! you know me, don't you? keep away! Open, locks, - whoever knocks. I'm home, I'm home! (<em>Runs in door in flat.</em>) Home, home again! - You dear, good Mother Trueworth! (<em>Runs into</em> <span class='sc'>Mrs. - Trueworth's</span> <em>arms</em>, <span class='fss'>C.</span>; <span - class='sc'>Mattie</span> <span class='fss'>R.</span>, <span class='sc'>Rob</span> <span - class='fss'>L.</span>) - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Dear child, welcome, a thousand times welcome! - </dd> - <dt><em>Gaylie.</em></dt> - <dd>I knew you'd be glad to see me; and Mattie (<em>runs to her</em> <span - class='fss'>R.</span>, <em>and embraces her</em>), you dear darling, how rosy you look! - </dd> - <dt><em>Mattie.</em></dt> - <dd>Gaylie, this is a surprise. I'm real glad to see you. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Of course you are; isn't it jolly? But where's Rob? - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>advancing</em>). Here he is; patiently waiting to be recognized. -<div><span class='pageno' id='Page_30'>30</span></div> - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<em>runs to him, and catches his hands, shaking them heartily</em>). Oh, you dear old - fellow! How glad I am to see you! Why don't you kiss me? - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>kissing her</em>). That was certainly an oversight. So you are back again, the same - dear, good Gaylie. Two years' schooling has made little alteration in you. - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<span class='fss'>C.</span> <em>with</em> <span class='sc'>Rob</span>; <span - class='sc'>Mrs. Trueworth</span> <em>sits in rocking-chair</em>; <span - class='sc'>Mattie</span> <em>stands</em> <span class='fss'>L.</span>, <em>with arms - akimbo</em>). Yes, it has. I'm spoiled, completely spoiled. Got a beau yet, Mattie? - </dd> - <dt><em>Mattie.</em></dt> - <dd>No, indeed! I hope not. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Ha, ha, ha! what a girl! sneers at her destiny. She'll get over it. Yes, I'm completely - spoiled. Went away a <em>cheild</em> of nature, fresh, buoyant, and all that sort of - thing: I've come back a cultivated woman. Ahem! (<em>Struts across stage: comes - back.</em>) Oh, my poor little head! it's had Latin squeezed into it, Greek pounded into - it, and French, German, Spanish, and Italian filtered through it. Oh, it's a learned - head! Then my fingers have been calloused into familiarity with all the ugly notes in the - musical scale; my feet twisted and turned about all the figures a French dancing-master - could invent; and my poor little figure tortured with elegant movements and graceful - poses. Oh, bless you! I'm not myself at all. (<em>Goes back to Rob.</em>) - </dd> - <dt><em>Rob.</em></dt> - <dd>You are our own Gaylie still. I know it; I can feel it in the warm clasp of your hand, in - the clear light of your eyes. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Right, Rob: you're always right. For this dear old home, you, my earliest, best friends, - are a <span class='pageno' id='Page_31'>31</span>part of this my heart; and that not all the teaching in the world could - change. (<em>Goes to</em> <span class='sc'>Mrs. Trueworth</span>, <em>and kneels at her - side</em>. <span class='sc'>Rob</span> <em>goes up stage, and watches her</em>.) So here - I am again, mother, at your feet. When my father went to that far-off land, years ago, in - search of wealth, he left me here, and asked you to be a mother to his child. How well - you took the place of her who died when I was so little, let this testify. I am now the - heiress to his wealth; I have a home rich and attractive, servants at my call, much that - can make life bright and beautiful: but I could part with all, sooner than lose the right - to call this home, and you mother. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>(<em>putting her arms about her</em>). Dear, dear child! You are my own; still the same - fresh, warm heart. - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>aside</em>). She's an angel. Had I but the power to call her mine! - </dd> - <dt><em>Crimp</em></dt> - <dd>(<em>outside</em>). Go 'way dar, you Jim! don't yer shake yer head at me. Go' way dar! - help! murder! help! (<em>Tumbles in at door, as if "butted;" jumps up, runs, and shuts - door, placing his back against it.</em>) Go 'way, yer fool! Nobody to hum. - </dd> - <dt><em>Rob.</em></dt> - <dd>What's the matter, Crimp? - </dd> - <dt><em>Crimp.</em></dt> - <dd>Dat ole fo-fo, Jim, he will insist on squartin' me to de door, an' I don't want none of - his attention. Go 'way, out dar: stop dat knockin' at do'! - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Oh, here's our black Cupid! Why, Crimp, old friend, aren't you going to speak to me? - </dd> - <dt><em>Crimp</em></dt> - <dd>(<em>comes down</em>). Why, bress my soul! No, <span class='pageno' id='Page_32'>32</span>'tain't. Yes, it am: it's Miss - Gaylie hersel'. You dear little honey! bress us an' save us, am dat yerself? - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<em>taking his hand</em>). Yes, it's your old torment; home again, and ready for a - frolic. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Wh-wh-at! bress yer purty face; yer ain't grown a mite; gwine fur a frolic; climb de - yapple-trees, ride onto de darky's back. Oh, golly! what times we did hab, to be sho'! - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Only give me a chance, Crimp. I'm as spry as ever. - </dd> - <dt><em>Crimp.</em></dt> - <dd>What! would you, dough, ride onto dis year darky's back? By golly! I'm obleeged to you. - I's powerful glad to see ye back, honey. Comfort de ole lady, now Massa Rob gwine fur a - sojer. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>What! our Rob a soldier? - </dd> - <dt><em>Crimp.</em></dt> - <dd>Yaas, indeed! Don't you see de uniform? gwine along de tramp, tramp, tramp fellars, he am. - </dd> - <dt><em>Rob.</em></dt> - <dd>Yes, Gaylie, enlisted for the war. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>But where are your shoulder-straps, your sword? - </dd> - <dt><em>Rob.</em></dt> - <dd>I am but a private, Gaylie. The emblems of command are yet to be won: they'll come in - time, I hope. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>I know they will. O Rob! I'm proud of you. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Same here, Massa <em>Rob.</em> I'm obleeged to you. Golly! if I was only a white man, I'd - jist go down dar, I would. Hi! I'd lay 'em out. I'd go for dem are fellars, like ole Jim, - so (<em>butting</em>). But dey don't want no brack guards; oh, no! S'pect dey will, - dough, glad to git 'em afore de war am ober; and, when de do, hi! Tumms Jeffsum Crimp am - dare, he am. -<div><span class='pageno' id='Page_33'>33</span></div> - </dd> - <dt><em>Rob.</em></dt> - <dd>It strikes me, Crimp, you are rather monopolizing the conversation. Fall back, sir. - </dd> - <dt><em>Crimp.</em></dt> - <dd>I'm obleeged to you, Massa Rob. I's dumb. (<em>Goes to window, and in dumb show pesters - the imaginary</em> <span class='sc'>Jim</span> <em>by shaking his fist, throwing things - out of the window, &c.</em>) - </dd> - <dt><em>Rob</em></dt> - <dd>(<span class='fss'>L. C.</span>). Yes, Gaylie, I am expecting daily orders to march. I - only hope I shall have time to completely settle mother and Mattie in their new home. - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<span class='fss'>R. C.</span>). Their new home! what do you mean? - </dd> - <dt><em>Rob.</em></dt> - <dd>The farm has been sold, Gaylie,—sold to-day, to satisfy the claim of Hosea Jenks. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Sold! Why have I heard nothing of this? - </dd> - <dt><em>Rob.</em></dt> - <dd>You must have known it. Pardon me: I see I have been mistaken. Your guardian— - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Has not written me a word concerning you; not a word have I heard of this. But 'tis not - too late: the farm can and must be redeemed. Who is the purchaser? - </dd> - <dt><em>Rob.</em></dt> - <dd>Your guardian, Wilder Rowell. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>He bought it? then it's all right. Dear, good fellow! he knew I could not desert you. - That's just splendid! (<em>Enter hurriedly</em>, <span class='sc'>Rowell</span>, <em>door - in</em> <span class='fss'>F.</span>) - </dd> - <dt><em>Rowell.</em></dt> - <dd>Miss Gaylie, I have this moment heard of your arrival. Welcome home! (<em>Gives his - hand.</em>) - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<em>eagerly shaking it</em>). A thousand, thousand thanks, Guardy: you have indeed made - me welcome. So, sir, you have a surprise in store for me. Come, disclose it: I am all - impatience. It's so splendid to be surprised, when you are all prepared for it! -<div><span class='pageno' id='Page_34'>34</span></div> - </dd> - <dt><em>Rowell.</em></dt> - <dd>A surprise? I do not understand. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>O Innocence! thy name is Wilder Rowell. But I know your secret. You have bought this farm. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Yes: a good piece of property, they say. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Indeed it is! the very investment I should have proposed. Thank you for your thoughtful - consideration. So it's my property? - </dd> - <dt><em>Rowell.</em></dt> - <dd>No, it's my property. Not as your agent, but for myself, I bought this farm. I mean to - settle down, and become a sober, plodding farmer, and, in time, take to myself a wife. - (<em>Looks at</em> <span class='sc'>Rob</span>, <em>who is in</em> <span - class='fss'>L.</span> <em>corner</em>.) - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Guardy, I <em>have</em> been mistaken. But you will sell <em>me</em> the farm. Come, you - never yet refused me a request; and it is one of the dearest wishes I have, to possess - this farm. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Sorry I cannot oblige you. But, for particular reasons, I would not sell this farm for - ten times the money I gave for it. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>But you are turning from their dear home the best friends I have in the world. - </dd> - <dt><em>Rowell.</em></dt> - <dd>They are not very much attached to it, Gaylie; for, not an hour ago, 'twas offered them - on easy terms. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Offered them, by you? - </dd> - <dt><em>Rob.</em></dt> - <dd>Yes, Gaylie: on terms no honest man could for a moment consider. - </dd> - <dt><em>Rowell.</em></dt> - <dd>I offer it again. Consider, Robert Trueworth, 'tis you who are driving your family from - home. - </dd> - <dt><em>Rob.</em></dt> - <dd>You have had your answer. Scoundrel! - </dd> - <dt><em>Rowell.</em></dt> - <dd>That name again! -<div><span class='pageno' id='Page_35'>35</span></div> - </dd> - <dt><em>Rob.</em></dt> - <dd>Ay, again and again! Plead no more, Gaylie. Ask no favors for me or mine, of that man: - even from your dear hands, I could never take the fair farm which he has polluted by - ownership. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Robert Trueworth, you shall repent this. (<em>Comes close to him.</em>) You are making me - your enemy. - </dd> - <dt><em>Rob.</em></dt> - <dd>I am satisfied. Better open war than false friendship with a heartless foe. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>No more of this, I beg. You have quarrelled. For my sake, be friends. - </dd> - <dt><em>Mattie</em></dt> - <dd>(<span class='fss'>R.</span>). Silence, Gaylie! you know not what you ask. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>You too, Mattie? What means this mystery? (<em>They pass to</em> <span - class='fss'>R.</span>, <em>and converse in dumb show</em>. <span class='sc'>Rob</span> - <em>goes up stage, and passes round to back of his mother's chair, on which he leans, - conversing with her, as</em> <span class='sc'>Hosea Jenks</span> <em>enters, followed - by</em> <span class='sc'>Hiram</span>. <span class='sc'>Crimp</span> <em>runs to</em> - <span class='sc'>Hiram</span>, <em>and keeps him back, conversing in dumb show about</em> - "<span class='sc'>Jim</span>;" <span class='sc'>Crimp</span> <em>going through pantomime, - to convey an idea of an attack</em>. <span class='sc'>Hosea</span> <em>comes down</em>, - <span class='fss'>C.</span>) - </dd> - <dt><em>Hosea</em></dt> - <dd>(<em>speaks as he enters</em>). Oh, here you are, Rowell! I thought I should find you. - I've just been down to the post-office. Poor Stamps has gone. He has distributed his last - batch, and been transferred to the dead-letter office. Ha, ha, ha! that's a grave pun; - but I can't help it; you know my weakness. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Weakness? am you got de lumbago, Massa Jinks? Golly! I had de rheumatiz awful, las' - winter. Tell you what you do, Massa Jinks: you jis get a poorhouse plaster; only draw a - quarter out ob yer pocket, and all de anguish out ob yer back. -<div><span class='pageno' id='Page_36'>36</span></div> - </dd> - <dt><em>Hosea.</em></dt> - <dd>Ha, Ha, Ha! he little understands my facetious humor. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Oh, humor! face itches; den clap it onto yer face. Draw out all de pain, and some ob yer - cheek too. - </dd> - <dt><em>Rob.</em></dt> - <dd>Crimp, be silent! - </dd> - <dt><em>Crimp.</em></dt> - <dd>Ob course, ob course! I'm obleeged to you. - </dd> - <dt><em>Rowell.</em></dt> - <dd>So Stamps is dead? - </dd> - <dt><em>Hosea.</em></dt> - <dd>Yes: poor fellow, I grieve for him. Who can take his place?—I should say, his post. - Postmaster, see? ha, ha, ha! There it is again! I can't help it. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Mr. Jenks, if you could contrive to drop this jesting humor— - </dd> - <dt><em>Hosea.</em></dt> - <dd>But I can't. I try, but I can't drop it: it's a drop too much. Ha, ha, ha! - </dd> - <dt><em>Crimp.</em></dt> - <dd>Ya, ya, ya! dat's good: de ole man's been drinking jes' a drop too much. - </dd> - <dt><em>Rowell.</em></dt> - <dd>If I understand you, Mr. Jenks, you would be his successor. - </dd> - <dt><em>Jenks.</em></dt> - <dd>That's just it. I know you have influence. See, here's an official envelope addressed to - you, and from the war-office too. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>snatches and opens it</em>). For me? Ah, good, good! Jenks, I shall remember you. - Now comes my turn. Gaylie, I must home at once: will you go with me? - </dd> - <dt><em>Gaylie.</em></dt> - <dd>I prefer remaining here. - </dd> - <dt><em>Rowell.</em></dt> - <dd>As you please. Mr. Trueworth, a word with you. (<span class='sc'>Rob</span> - <em>advances</em>.) I give you one more opportunity to embrace my offer. 'Tis the last - chance. This fine property for your silence. -<div><span class='pageno' id='Page_37'>37</span></div> - </dd> - <dt><em>Rob.</em></dt> - <dd>I will make no terms with you. When I have won the right, I will speak. (<em>Turns up - stage.</em>) - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>walking up slowly to door</em>). When you have won the right: that time will never - come. Fool! you have made an enemy of one who can strike deep and well. -<div class='c013'>[<em>Exit door in</em> <em>F.</em></div> - </dd> - <dt><em>Hosea.</em></dt> - <dd>Rowell, Rowell! don't forget me. I must run after him: there's no time to be lost. Come, - Hiram! fall in, or we shall fall out. Ha, ha, ha! -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Exit door in</em> <span class='fss'>F.</span></div> - </div> - </div> -</div> - - </dd> - <dt><em>Crimp.</em></dt> - <dd>Take care, Massa Jinks, you don't fall onto ole Jim's horns! (<em>Looks out at - door.</em>) golly, he's a-laying fur him. Dere de go! Go in, ole man; he's a arter ye! By - golly, see 'em run: see 'em run! (<em>Exit.</em> <span class='sc'>Hiram</span> <em>starts - for door, stops irresolutely, and then comes, and stretches himself upon lounge</em>.) - </dd> - <dt><em>Hiram.</em></dt> - <dd>It's right comfortable here: I think I'll stop. - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<em>aside</em>). He denies my request. What motive can he have in thus appropriating the - property of my friends? I must know more of this. (<em>Aloud.</em>) Come, mother, show me - to my old room. I want to talk to you: I've so much to say! I shall not tell you what I - have bought for you. Such a cap, a perfect beauty! and such a shawl! You'll be the envy - of the town. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>(<em>rising</em>). Dear, dear child! ever thoughtful of my comfort. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>If I were not, I should not deserve so good a mother. Good-by, Mattie: good-by, Rob! - [<em>Exit with arm about</em> <span class='sc'>Mrs. Trueworth</span>.] - </dd> - <dt><em>Rob.</em></dt> - <dd>Good-by, Gaylie. Bless her dear heart! mother <span class='pageno' id='Page_38'>38</span>will have one friend when I am - gone. Now, Mattie, I'll take a look about, and see if there's a poor but neat tenement to - be had: I won't be gone long. - </dd> - <dt><em>Mattie.</em></dt> - <dd>O Rob! where can we go? - </dd> - <dt><em>Rob.</em></dt> - <dd>Trust all to me, Mattie: I will not leave you homeless. (<em>Going.</em>) - </dd> - <dt><em>Hiram</em></dt> - <dd>(<em>on sofa</em>). Sh—sh—sh! - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>returning</em>). Why, Hiram, what's the matter? (<span class='sc'>Hiram</span> - <em>rises, walks on tiptoe to the window, looks out, turns, "Sh!" then walks to the door, - and performs the same manœuvre; then comes down</em> <span class='fss'>C.</span> <em>on - tiptoe, beckoning</em> <span class='sc'>Rob</span> <em>down</em>.) - </dd> - <dt><em>Mattie.</em></dt> - <dd>What ails the boy? is he crazy? - </dd> - <dt><em>Hiram.</em></dt> - <dd>Don't mind me. If the old man should happen about, I'm ruined. But, sh—you want a friend. - </dd> - <dt><em>Rob.</em></dt> - <dd>Well, Hiram, I am not quite destitute. - </dd> - <dt><em>Hiram.</em></dt> - <dd>Sh—if I only dared, I could find a friend for you. If I only dared; but I'm such a - coward. No matter, I'll take the risk. You know the Widow Smith place? - </dd> - <dt><em>Rob.</em></dt> - <dd>Yes: 'twas sold at auction six months ago. - </dd> - <dt><em>Hiram.</em></dt> - <dd>Exactly. Sh—it's mine: I bought it. - </dd> - <dt><em>Rob.</em></dt> - <dd>You? why, 'twas knocked down to Crane! - </dd> - <dt><em>Hiram.</em></dt> - <dd>Yes; and Crane crooked his long neck round, and took his cue from me. I bought it: my - money paid for it. Never you mind where the money came from; it was an honest purchase. - Now you're in trouble: you want a home. Take mine, and welcome; only don't let the old - man dream I'm its owner. Crane holds it now; but, when I am free, 'twill be known as my - property. Will you have it? Not a cent will I take <span class='pageno' id='Page_39'>39</span>for it until the war is over. - It's a pretty place: not much land; but flowers, good gracious! and woodbine, why, the - front is completely covered. Will you take it? Quick! the old man will return, and then I - am a boy again. - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>takes his hand</em>). Hiram, you're a man: you are a true friend. Thank you: I will - accept your offer. - </dd> - <dt><em>Mattie.</em></dt> - <dd>O Hiram! I've treated you shamefully. Forgive me: I never dreamed you had such a noble - heart. - </dd> - <dt><em>Hiram.</em></dt> - <dd>I haven't any heart, Mattie: you had it all long ago. So you'll take the place (<em>enter - Gaylie</em> <span class='fss'>R.</span>), and be my tenant until the war is over. Sh—sh! - not a word! - </dd> - <dt><em>Gaylie.</em></dt> - <dd>You're too late, conspirators: I have heard all. Rob, you have found a home? - </dd> - <dt><em>Rob.</em></dt> - <dd>Yes, Gaylie, thanks to a true friend. - </dd> - <dt><em>Hiram.</em></dt> - <dd>Sh—not so loud; the old man drops round mighty sudden. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Rob, you have done this without consulting me. Why am I shut out from your counsel? - </dd> - <dt><em>Rob.</em></dt> - <dd>Ah, Gaylie! you cannot befriend me. You are not of age, and I will not be indebted to - your guardian. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Tell me, why have you quarrelled with my guardian? What means this enmity between you and - him? - </dd> - <dt><em>Rob.</em></dt> - <dd>Gaylie, you must not ask me. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>But I must know: you have no right to keep it from me. - </dd> - <dt><em>Rob.</em></dt> - <dd>I cannot tell you, Gaylie. Let it suffice, we <span class='pageno' id='Page_40'>40</span>are enemies; that he would do much - to crush me and mine. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Let him dare! I stand between you and him. You go to battle in a noble cause: fear not; - if he has the will to wrong the dear ones you leave behind, I have the power to crush - him, and I will. Face the enemy in the South with a brave heart, Rob. Against the enemy - here, I will be the Home-Guard. - </dd> - <dt><em>Rob.</em></dt> - <dd>You, Gaylie? what can you do, little woman? - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Woman's work. Think you we will sit idle at home, while husbands, fathers, brothers, are - in the field? No! there is work for tender hands and willing hearts. To care for the - needy, to protect the helpless, at home; to heal the wounds, and charm away the pain, in - the hospitals,—this is our work: to it I give my whole heart; my whole fortune, if need - be. Henceforth I am the guardian of your mother and your sister. (<em>Enter</em> <span - class='sc'>Crimp</span> <em>door in flat</em>). Alone, if need be, I will stand the - Home-Guard, a bulwark against adversity. - </dd> - <dt><em>Hiram.</em></dt> - <dd>You shall not stand alone, Miss Gaylie. They say I'm but a mere boy, but I'm heart and - hand with you in this cause. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Same here. I'm obleeged to you; I'll be de drum-major in dat ar corpse. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>See, Rob; they muster at my call. Home-Guard, attention! fall in! (<em>Stands</em> <span - class='fss'>L. C.</span> <span class='sc'>Hiram</span> <em>steps up beside her</em>; - <span class='sc'>Crimp</span> <em>up stage next him; form in line up and down stage</em>. - <span class='sc'>Mattie</span> <em>sits in rocking-chair</em>, <span - class='fss'>R.</span>; <span class='sc'>Rob</span> <em>leans upon the back of her - chair</em>.) - </dd> - <dt><em>Rob.</em></dt> - <dd>Raw recruits, Gaylie! -<div><span class='pageno' id='Page_41'>41</span></div> - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Yes, almost as raw as those who take the field, Rob. Company, attention! - </dd> - <dt><em>Crimp.</em></dt> - <dd>Hole on, Miss Cap'n. Whar's de colors? mus' have a frag. Golly, dis year's de ticket. - (<em>Takes auction-flag from corner, and unrolls it</em>). Dar! look at dat; and, as I's - de only pusson ob color in dis yer corpse, I'll be de color-bearer. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Attention, company! - </dd> - <dt><em>Crimp.</em></dt> - <dd>Yes, Missy Cap'n; I's all attention. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Eyes right: eyes left: salute! (<em>They bring their hands to a salute. Enter door - in</em> <span class='fss'>F.</span> <span class='sc'>Rowell</span>, <em>in full uniform - of a colonel</em>.) - </dd> - <dt><em>Rowell.</em></dt> - <dd>Ah! what new recruits have we here? - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Mr. Rowell, what does this mean? - </dd> - <dt><em>Rowell.</em></dt> - <dd>That an honor for which I have exerted much influence has, at the last moment, been - conferred upon me. I am appointed colonel of the 10th. (<em>Bows, and comes to</em> <span - class='fss'>L.</span> <em>corner</em>.) - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<span class='fss'>C.</span>) Rob's regiment, and his enemy at its head! Oh, this is - cruel! - </dd> - <dt><em>Rob.</em></dt> - <dd>He in command! He our colonel! Another blow: fate can do no more. (<em>Goes up</em> <span - class='fss'>C.</span>) - </dd> - <dt><em>Rowell.</em></dt> - <dd>Robert Trueworth, you will join your regiment at once. All furloughs are countermanded. - We march at sunrise to-morrow. - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<em>aside</em>). Oh, this is terrible! Rob's bitter foe in command: oh, why have they - quarrelled? (<em>Goes to rocking-chair, and leans upon it.</em>) - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>aside</em>). To serve under that man, whom I detest! There is no escape. I must - submit. There's one comfort: his position takes him away from Gaylie. - <span class='pageno' id='Page_42'>42</span>(<em>Enter</em> <span class='sc'>Mrs. Trueworth</span> <span class='fss'>R.</span>) - The time has come, mother. I have orders to join my regiment at once: we march at - sunrise. Keep a stout heart, mother. I leave kind friends behind, who will see to it you - do not suffer. - </dd> - <dt><em>Mrs. T.</em><a id='Trueworth'></a></dt> - <dd>(<em>her arms about his neck</em>). My brave boy, serve well your country, and do not - forget your mother. She gives you up freely, with a prayer that you may be found true to - your duty. Heaven bless and keep you, Rob! (<em>They stand together conversing.</em>) - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Mattie, before Rob goes, I must know the meaning of this quarrel between him and my - guardian. Why is it kept from me? You must know: I conjure you, as you value my - friendship, as you love your brother, speak before 'tis too late. - </dd> - <dt><em>Mattie.</em></dt> - <dd>O Gaylie! I do know; for his sake I will speak. You are the cause of this quarrel. Both - these men love you. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Indeed! Oh, I'm so glad! - </dd> - <dt><em>Mattie.</em></dt> - <dd>Glad! You should be ashamed of yourself. You can't marry them both. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Oh! you don't know what I can, what I will do. - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>approaching</em>). Mattie, sister, good-by. - </dd> - <dt><em>Mattie</em></dt> - <dd>(<em>rising, and running into his arms</em>. <span class='sc'>Gaylie</span> <em>slips - into her seat, and covers her face</em>). O brother! so soon? what shall we do without - you? - </dd> - <dt><em>Rob.</em></dt> - <dd>Keep a good heart, sister. You will do bravely. (<em>Kisses her.</em> <span - class='sc'>Mattie</span> <em>goes to her mother</em>, <span class='fss'>C.</span> <span - class='sc'>Rob</span> <em>comes down, looks at</em> <span class='sc'>Gaylie</span>, - <em>sighs, and turns up stage</em>.) Good-by, Crimp. (<em>Shakes hands.</em>) -<div><span class='pageno' id='Page_43'>43</span></div> - </dd> - <dt><em>Crimp.</em></dt> - <dd>Good-by, Massa Rob. I'm obleeged to you. You'll come home a drum-major, sartin sure. - </dd> - <dt><em>Rob.</em></dt> - <dd>Thank you, Crimp. Good-by, Hiram, and thank you for your friendly aid. - </dd> - <dt><em>Hiram.</em></dt> - <dd>Good-by, Rob. I'll look out for the women-folks, sharp too. (<span class='sc'>Rob</span> - <em>goes to door</em>.) - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<em>running up stage</em>). Rob, Rob! you've forgotten me! - </dd> - <dt><em>Rob.</em></dt> - <dd>True, Gaylie. I had not the heart to say farewell to you. You are so dear— - </dd> - <dt><em>Rowell.</em></dt> - <dd>This is but tardy obedience. - </dd> - <dt><em>Rob.</em></dt> - <dd>Ah! you fear me, Col. Rowell, no more than I fear myself. But am I not bound in honor to - be silent? Gaylie, farewell: you have been a kind friend to us, will still be to my dear - ones when I am gone. Good-by. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Rob, is there nothing more you would say to me? (<em>Looks at him tenderly.</em>) - </dd> - <dt><em>Rob.</em></dt> - <dd>Nothing, Gaylie: were you but the poor girl I once thought you; but no, no— - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Rob, whatever you would have said to the poor girl, say to the rich heiress: there's the - same heart here. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Confusion! is she leading him on to confession? - </dd> - <dt><em>Rob.</em></dt> - <dd>O Gaylie! am I awake? You give me life; you give me hope: you make me bold to speak. - Gaylie, I love you, dearly, truly. - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<em>placing her hands on his shoulders</em>). As dearly and truly as I love you? O Rob! - it must be deep and strong. -<div><span class='pageno' id='Page_44'>44</span></div> - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>clasping her in his arms</em>). Mine, Gaylie, mine! oh, this is happiness indeed! - </dd> - <dt><em>Crimp.</em></dt> - <dd>Hi, das a fac. De Union foreber! - </dd> - <dt><em>Rowell.</em></dt> - <dd>Girl, are you losing your senses? I forbid this folly. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>And who are you? - </dd> - <dt><em>Rowell.</em></dt> - <dd>Your guardian. You shall not throw yourself away upon a common soldier. - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>comes down</em>). A common soldier! True. I glory in my rank. You leap to a command - by power and influence. My spurs must yet be won. I am content. Should I rise by merit, - no emblems of rank could shed a brighter glow than gleams from the trusty bayonets of - Liberty's common soldiers. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Enough! To your regiment. You forget I am your superior. - </dd> - <dt><em>Rob.</em></dt> - <dd>No, I do not forget it; and I know what to expect,—hard service, and an enemy in command. - I am satisfied, for I have won the victory here. (<em>Takes Gaylie's hand.</em>) - </dd> - <dt><em>Rowell.</em></dt> - <dd>Be not so sure of that. You forget the enemy has a long arm, and it may reach even here. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>And, if it does, I fear it not. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Indeed! - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Ay, indeed, Col. Rowell. You are my guardian, true; but you forget my father's will. In - one year I am free: even now I have the power of appeal to two noble men, should you - distort your power. I will be mistress of my fortune. I will be free to bestow my hand. - With the one, I will protect the homeless; with the other, cheer him at whom you - <span class='pageno' id='Page_45'>45</span>sneer, a common soldier. Deny my right at your peril. - </dd> - <dt><em>Rowell.</em></dt> - <dd>No more of this. Quit that man's side. I command you, obey me! - </dd> - <dt><em>Gaylie.</em></dt> - <dd>You command? You forget I am a leader here. I entreat you, in the name of justice, to - deal fairly and honorably by this true hero, who leaves all to serve his country, to - recognize his right to the hand which I freely give. Come, sir, do we part friends? - </dd> - <dt><em>Rowell.</em></dt> - <dd>Not on such terms as you offer. (<em>Crosses to</em> <span class='fss'>R.</span>) - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Then beware! you make yourself my enemy. Already you disgrace the rank you've bought, not - won. You have command, and my hero in your power. I have love, wealth, and a loyal heart, - that abhors injustice. Against all treachery and deceit, against the wily arts you may - contrive to shame my hero, I am the Home-Guard, the firm friend, enlisted for the war. - </dd> - <dt><em>Tableau</em>:</dt> - <dd><span class='sc'>Rob</span> <em>and</em> <span class='sc'>Gaylie</span>, <span - class='fss'>C.</span> <span class='sc'>Rob</span> <em>has his right arm about her waist, - her left hand in his left; she bends forward, with her right hand outstretched to</em> - <span class='sc'>Rowell</span>, <span class='fss'>R.</span>, <em>defying him</em>. <span - class='sc'>Mrs. Trueworth</span> <em>sits on sofa</em>, <span class='fss'>L.</span>, - <em>with her handkerchief to her eyes</em>. <span class='sc'>Mattie</span> <em>with her - hand on her mother's shoulder</em>. <span class='sc'>Crimp</span>, <em>back</em> <span - class='fss'>R.</span>, <em>has the flag rolled up, and is menacing</em> <span - class='sc'>Rowell</span> <em>with it</em>. <span class='sc'>Hiram</span> <em>catches it - in his hand as it descends, and holds him back. Slow curtain.</em> - </dd> - </dl> - -<p class='c012'><span class='pageno' id='Page_46'>46</span><span class='sc'>Act II.</span>—(<em>After two years.</em>) <em>Headquarters of</em> <span class='sc'>Col. -Rowell</span> <em>in Virginia. Room in a farm-house. -Door in flat</em> <span class='fss'>L.</span>, <em>open; window in flat</em> <span class='fss'>R.</span>, <em>open. -Landscape behind, moonlight if possible. Set the -"moon"</em> <span class='fss'>L.</span>, <em>so the light will fall through the door -and window. Writing-desk or table, against</em> <span class='fss'>R.</span> -<em>side; writing-materials, a candle to light, a pile of -letters and papers, upon it. Chair in front of this. -Give the scene a military character by placing a stack -of arms in</em> <span class='fss'>L.</span> <em>corner back, a pile of knapsacks in</em> <span class='fss'>R.</span> -<em>corner with an American flag thrown over it; hang -up a drum between the door and window</em>. <span class='sc'>Robert</span> -<em>discovered, with musket, on guard outside the door; -passes door and window twice. A "distant" fife -plays, "The Girl I left behind me," through: as it -ceases</em>, <span class='sc'>Rob</span> <em>should be at door; he leans against the -doorway</em> <span class='fss'>L.</span></p> - - <dl class='dl_1 c002'> - <dt><em>Rob.</em></dt> - <dd>The boys are making merry to-night around the camp-fire; but that lively air brings only - sadness to me. "The girl I left behind me," two years ago, in Grainlow, Gaylie Gifford, - is still silent. Not a line in reply to my frequent letters. Has she repented of her - choice? No, I cannot believe that; for my sister writes me she often speaks of me, longs - for my return. But yet she never writes. Perhaps she has never received mine; 'tis hardly - possible, and yet her silence—Can my enemy, the colonel, be conspiring to keep us apart? - He is base enough to use any means to serve <span class='pageno' id='Page_47'>47</span>his purpose. By his orders, the mail - is brought here, and inspected by him, before delivery; perhaps, that he may intercept - any letters for me. If I could only get a single line from her, I would be content. Oh! I - am ground down worse than any slave that tills the earth beneath the overseer's lash. Two - years of service, and still a private! I know I have been honorably mentioned many times - by my captain; and yet poorer men step above me: and I toil on, fight on, with no hope of - promotion. Well, they shall not say I have not done my duty. Will the end never come, and - free me from this bondage, give me liberty to turn my steps northward, to seek the star - of promise that gleams in Gaylie's eyes? Halt! Who goes there? - </dd> - <dt><em>Crimp</em></dt> - <dd>(<em>comes from</em> <span class='fss'>L.</span>, <em>passes the window, and appears at - door speaking</em>). D-d-d-on't shoot! d-d-d-on't shoot! I's only a poor old darky, Massa - Sentenull. - </dd> - <dt><em>Rob.</em></dt> - <dd>Your business here? - </dd> - <dt><em>Crimp.</em></dt> - <dd>Pressing b-b-business; d-d-d-on't shoot! Want to see de colonel. - </dd> - <dt><em>Rob.</em></dt> - <dd>The colonel is absent. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Den I'll walk into de parlor, take a cheer, and wait for um. D-d-d-on't shoot! - </dd> - <dt><em>Rob.</em></dt> - <dd>Business. Your pass, uncle. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Pass: yes, massa, got a pass. Here she am! (<em>Searches pocket.</em>) Golly! it am gone. - No, here she am! (<em>Searches bosom.</em>) Not a pass; had um, sure; hope I may die— - </dd> - <dt><em>Rob.</em></dt> - <dd>What's that sticking out of your hat? - </dd> - <dt><em>Crimp.</em></dt> - <dd>Golly, dat's so! (<em>Takes off hat, paper sticking out of crown</em>). Put um up dar to - keep um safe. (<em>Hands pass.</em>) -<div><span class='pageno' id='Page_48'>48</span></div> - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>examines paper</em>). The pass is right: pass in. (<em>Resumes march.</em>) - </dd> - <dt><em>Crimp.</em></dt> - <dd>Tole you so. Dar aint no inception about dis chile: he's de sole ob honor. (<em>Comes - down.</em>) Now, w-w-what's a-gon to be did? Missy Cap'n sends me away down here, in dis - yer benighted regium, to bring a letter to Massa Rob. Tote about forty mile afore I find - him, and den he's on guard. 'Twon't do to gib him de letter now: these sojer fellars so - stiff onto de tictacs, dat if I was to gib him de letter, jes as likely to put de bagonet - into me, or blow my head off, as not. No, sar: Crimp don't take no risks in dis yer - camplain; no, sar, I'm obleeged to you. I'll wait till he's reliebed. Missy Cap'n say, - gib 'im de letter, and den lay round, and see what de colonel was about. I'll hab a smoke - (<em>takes out pipe, lights it</em>), an' I'll lay round. (<em>Takes the American flag, - and wraps it round him.</em>) Glory, hallelujah! dat's de warmest cobering dat eber a - darkey got into. Yaas indeed. It am de protector ob virtue. Dat's me. (<em>Takes a - knapsack for a pillow.</em>) I'l jles hab a snooze into de corner, till Massa Rob is - reliebed. (<em>Lies down.</em>) Hi! das a heap ob comfort in de arms ob Morphine. - (<em>Smokes.</em>) 'Spect Missy Gaylie tink a heap ob dat ar Massa Rob. Oh, lub, lub! - when you got into dat Miss Gaylie's heart, you jist found de warmest place in de whole - world. Yaas, indeed! (<em>Drops pipe.</em>) Dar going to be some fun, down dar in - Grainlow. By golly! de Home Guard am gwine to commence operations. Now, Massa Colonel, - mind your eye; for de Home Guard am onto de war-path. -<div><span class='pageno' id='Page_49'>49</span></div> - </dd> - <dt><em>Rob.</em></dt> - <dd>Halt! Who goes there? (<span class='sc'>Lieut.-Col. Boxer</span> <em>enters</em> <span - class='fss'>L.</span>, <em>passes the window to door</em>. <span class='sc'>Rob</span> - <em>salutes</em>. <span class='sc'>Boxer</span> <em>enters</em>.) - </dd> - <dt><em>Boxer.</em></dt> - <dd>The colonel away still? Hallo! (<em>Snuffs the air.</em>) Tobacco, and pipe-tobacco too! - Smoking in my quarters! Bah! who is it? I won't have it. If there's any thing I detest, - it's smoking; under my very nose too. Here, sentinel! (<span class='sc'>Rob</span> - <em>steps inside door</em>.) Have you been smoking? - </dd> - <dt><em>Rob.</em></dt> - <dd>I never smoke, sir. - </dd> - <dt><em>Boxer.</em></dt> - <dd>Right: it's a filthy habit. But somebody's been here with a pipe. Now, mind, no more of - it. Let no smokers pass that door. 'Tis a strict order which must be obeyed. That's all. - (<span class='sc'>Rob</span> <em>salutes, and retires</em>.) Plague take the fellow, - whoever he is! The smoke of battle is inspiring; gunpowder is soothing to the nerves; but - tobacco-smoke, bah! it makes me sick. -<div class='c013'>[<em>Exit</em> <span class='fss'>L.</span></div> - </dd> - <dt><em>Crimp</em></dt> - <dd>(<em>raising his head</em>). By golly! dat ar hossifer am riled. Don't like smoke. He's - proficient in a liberal heducation, he am. (<em>Drops head.</em> <span class='sc'>Gen. - Grant</span> <em>appears</em> <span class='fss'>L.</span>, <em>slowly passes window, and - crosses to door, is stopped by</em> <span class='sc'>Rob</span>.) - </dd> - <dt><em>Rob.</em></dt> - <dd>Halt! - </dd> - <dt><em>Grant.</em></dt> - <dd>I have business with the colonel. - </dd> - <dt><em>Rob.</em></dt> - <dd>The colonel is absent. - </dd> - <dt><em>Grant.</em></dt> - <dd>Then I will await his return. - </dd> - <dt><em>Rob.</em></dt> - <dd>Halt! I have my orders. No smokers can enter here. If you would pass, put out that cigar. - </dd> - <dt><em>Grant.</em></dt> - <dd>Indeed! Your orders are strict. (<em>Looks at</em> <span class='sc'>Rob</span> - <em>keenly, then throws away cigar, and enters</em>. <span class='pageno' id='Page_50'>50</span><span - class='sc'>Boxer</span> <em>enters</em> <span class='fss'>L.</span>, <em>meeting - him</em>.) Good-evening, colonel. - </dd> - <dt><em>Boxer</em></dt> - <dd>(<em>saluting</em>). Good-evening, general. You have surprised our post. The colonel is - absent. Can I be of service? - </dd> - <dt><em>Grant</em></dt> - <dd>(<em>sitting in chair, and tilting back against table</em>). Your sentinel ordered me to - throw away my cigar. - </dd> - <dt><em>Boxer.</em></dt> - <dd>He did? confound him! Here, sentinel! (<span class='sc'>Rob</span> <em>steps inside - door</em>.) Do you know what you have done? - </dd> - <dt><em>Rob.</em></dt> - <dd>Obeyed orders, colonel. - </dd> - <dt><em>Grant.</em></dt> - <dd>Do you know me, sentinel? - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>saluting</em>). I do, general. - </dd> - <dt><em>Boxer.</em></dt> - <dd>And didn't you know better— - </dd> - <dt><em>Grant.</em></dt> - <dd>One moment, colonel. Sentinel, you are the first man that ever dared put out my cigar. - You did perfectly right: orders must be obeyed. Your name. - </dd> - <dt><em>Rob.</em></dt> - <dd>Robert Trueworth. - </dd> - <dt><em>Grant.</em></dt> - <dd>How long have you been in service? - </dd> - <dt><em>Rob.</em></dt> - <dd>Two years. - </dd> - <dt><em>Grant.</em></dt> - <dd>That's all. (<em>Waves his hand.</em> <span class='sc'>Rob</span> <em>salutes and - retires</em>.) Colonel, your orders are too strict. I cannot talk without a cigar. - </dd> - <dt><em>Boxer.</em></dt> - <dd>Sorry I have not one to offer you, for I do like to see a man enjoy himself. My orders - could not apply to you, general. - </dd> - <dt><em>Grant.</em></dt> - <dd>Thank you; having permission, I can find the cigar. (<em>Takes out cigar, and lights - it.</em>) I always go armed. That man at the door,—what is his record? -<div><span class='pageno' id='Page_51'>51</span></div> - </dd> - <dt><em>Boxer.</em></dt> - <dd>Excellent: every inch a soldier; the bravest of the brave. - </dd> - <dt><em>Grant.</em></dt> - <dd>Two years of service, and still a private? - </dd> - <dt><em>Boxer.</em></dt> - <dd>Yes, general; although he has been honorably mentioned. (<em>Coughs.</em>) - (<em>Aside.</em>) Confound his nasty cigar! (<em>Aloud.</em>) There's not the best of - feeling towards him on the part of our colonel. A brave soldier, general, but queer. It - seems they quarrelled before entering service. (<em>Coughs.</em>) (<em>Aside.</em>) Oh, I - shall choke! (<em>Aloud.</em>) A love-affair, I believe. The private won the girl, and so - he's not pushed. - </dd> - <dt><em>Grant.</em></dt> - <dd>Indeed! the colonel brings his private piques into the battle-field. I rather like this - boy. (<em>Looks round.</em>) Can't we get out of earshot? - </dd> - <dt><em>Boxer.</em></dt> - <dd>Certainly; in my room. (<em>Crosses stage, and then opens door</em> <span - class='fss'>L.</span>) Walk in, general. (<span class='sc'>Grant</span> <em>rises, and - crosses stage</em>.) We shall be secure from interruption here. - </dd> - <dt><em>Grant.</em></dt> - <dd>No: it's pleasant outside; let's walk awhile. (<em>Passes out door off</em> <span - class='fss'>L.</span>, <em>smoking</em>.) - </dd> - <dt><em>Boxer.</em></dt> - <dd>Bah! I foresee a smoky campaign here. (<em>Following him.</em>) - </dd> - <dt><em>Crimp</em></dt> - <dd>(<em>raising his head</em>). By golly! dat ar fellar's a high buck. Ain't dey nebber - gwine to reliebe dat guard? (<span class='sc'>Col. Rowell</span> <em>appears</em> <span - class='fss'>R.</span>, <em>passes window to door</em>. <span class='sc'>Rob</span> - <em>salutes, he enters</em>. <span class='sc'>Crimp</span> <em>drops his head</em>.) - </dd> - <dt><em>Rowell.</em></dt> - <dd>That fellow's on guard to-night. How I hate him! Rebel bullets come fast and thick, but - they never reach him. Pity! I should lose a good soldier, no doubt; but I could spare - him. (<em>Goes to table, and lights candle.</em>) Here's the mail for my inspection; - let <span class='pageno' id='Page_52'>52</span>me see if there's any thing contraband. (<em>Examines letters.</em>) "Robert - Trueworth." His sister's handwriting; that shall go through. "Robert Trueworth." Gaylie's - hand; detained for the present. (<em>Places it in his bosom.</em> <span - class='sc'>Robert</span> <em>is at the window outside, watching him</em>.) I have managed - to keep many sweet morsels from his parched lips. Not a letter of hers shall ever reach - him while I have the power to prevent. My guardianship has expired: she has come to her - fortune, and yet she loves this man. Not a thought of me; and I love her madly. Ah! - what's this? (<em>Takes letter.</em>) For me, and—Gaylie's hand! (<em>Tears it - open.</em>) So, so; at last she thinks of me. (<em>Reads.</em>) "Dear Colonel: Pardon my - long silence. I have not forgotten you. A business matter which I feel it impossible to - adjust makes me bold to ask your assistance. Come to Grainlow at once. I have repented of - my rudeness to you, long to see you. If you can obtain a furlough, come; if you cannot, I - think I could repay you for the loss of your commission should you feel inclined to - resign. Believe me, I am not ungrateful for your former kindness, and earnestly entreat - you to return. You shall be made happy here if 'tis in my power. Gaylie." So, so; the - wind has changed. There is only one construction to be placed upon that letter. She has - repented of her folly, and I can win her. (<em>Soldier enters</em> <span - class='fss'>R.</span>, <em>and relieves guard</em>.) What's that? Ah! relieving guard; - I'm glad of that: I cannot bear to have that fellow near me. (<span class='sc'>Rob</span> - <em>is about to pass off; stands irresolute a moment, then steps inside door. The colonel - is again busy with his letters.</em>) -<div><span class='pageno' id='Page_53'>53</span></div> - </dd> - <dt><em>Crimp</em></dt> - <dd>(<em>aside</em>). Golly! de guard am reliebed. - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>removes hat</em>). Your pardon, colonel. Can I speak with you? (<em>Comes down</em> - <span class='fss'>L.</span>) - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>turns round</em>). Eh? oh, Private Trueworth! Certainly, if it is important. - </dd> - <dt><em>Rob.</em></dt> - <dd>You have the mail. Are there letters there for me? - </dd> - <dt><em>Rowell.</em></dt> - <dd>If there are any, they will be forwarded to your company quarters. (<span - class='sc'>Rob</span> <em>is about to turn away</em>.) Stay! here is one. (<em>Hands - letter.</em> <span class='sc'>Rob</span> <em>takes it eagerly, looks at it, and - sighs</em>.) - </dd> - <dt><em>Rob.</em></dt> - <dd>Are there no more? - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>sneeringly</em>). No. <em>She</em> does not seem inclined to write. - </dd> - <dt><em>Rob.</em></dt> - <dd>I think <em>she</em> has written, not once, but many times. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Indeed! 'Tis strange you should never have received them, for our mails come very regular. - </dd> - <dt><em>Rob.</em></dt> - <dd>Not so very strange, colonel. We are in an enemy's country. Craft and deceit are all - about us, even in our own ranks. I suspect an enemy has intercepted my letters. I suspect - you, colonel. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>rising</em>). Do you dare, Robert Trueworth? Remember who I am,—one high in - authority, your superior. You are but a private soldier. There is no love between us. Be - warned in time. - </dd> - <dt><em>Rob.</em></dt> - <dd>Yes, I do remember; but I do not fear you. You have used your power to degrade me, by - keeping me in the ranks, when I have <em>won</em> a higher place. I have not murmured. - But when you step between me and the girl I love, the girl I have won, mark me, - <span class='pageno' id='Page_54'>54</span>colonel, <em>won</em> in spite of you, you are no longer my superior: you are a base - and treacherous spy. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>furious</em>). Robert Trueworth, you lie! you have not won her. - </dd> - <dt><em>Crimp</em></dt> - <dd>(<em>rises to a stooping position, throws off flag</em>). By golly! dere's gwine to be a - fight here. Wish Massa Rob jes had dat letter. (<em>Creeps round to</em> <span - class='fss'>L.</span> <em>on "all fours" while the others are speaking</em>.) - </dd> - <dt><em>Rob.</em></dt> - <dd>In the sight of Heaven she is mine. We have exchanged vows; and, as I am true, I believe - she is true. O man, man! have you no honor? Your strategy is unworthy a soldier of the - Union. (<span class='sc'>Grant</span> <em>and</em> <span class='sc'>Boxer</span> - <em>cross stage</em> <span class='fss'>L.</span> <em>to</em> <span class='fss'>R.</span>, - <em>outside</em>.) - </dd> - <dt><em>Rowell.</em></dt> - <dd>I repeat, you have not won her. True, there was a foolish plighting of vows; but one year - ago, when, as her guardian, I met her in Grainlow to surrender my trust, I found her - changed. I felt she had repented of her rashness: now I am sure of it. She no longer - loves you. - </dd> - <dt><em>Rob.</em></dt> - <dd>I will believe that when I hear it from her lips. You cannot shake my faith in her. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>handing open letter</em>). Then read that. I am recalled to Grainlow. - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>takes letter, and looks at it, then at</em> <span class='sc'>Rowell</span>, <em>then - at letter</em>). "Come to Grainlow: I have repented of my rudeness to you—long to see - you—earnestly entreat you to return—you shall be made happy."—oh! what is this? - (<em>Crushes letter in his hand.</em>) She has forgotten me, repents. Oh! would I were - dead! - </dd> - <dt><em>Crimp</em></dt> - <dd>(<em>aside</em>). Yaas, Guess not. What a muss! If he only had dat ar letter! (<em>Creeps - nearer.</em>) -<div><span class='pageno' id='Page_55'>55</span></div> - </dd> - <dt><em>Rowell.</em></dt> - <dd>There is only one construction to be placed upon that. 'Tis I who am the favored suitor. - (<span class='sc'>Grant</span> <em>and</em> <span class='sc'>Boxer</span> <em>saunter - across stage outside from</em> <span class='fss'>R.</span> <em>to</em> <span - class='fss'>L.</span> <span class='sc'>Grant</span> <em>appears at window, leans on the - casing, and watches the scene, smoking</em>; <span class='sc'>Boxer</span> <em>with - him</em>.) - </dd> - <dt><em>Rob.</em></dt> - <dd>'Tis false! more of your treachery. She would never have rejected me without a word, a - sign. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Still incredulous; poor fool! To your quarters! Another word to your superior, and you - are under arrest. I have waited my time; and now Gaylie Gifford and her fortune shall be - mine, in spite of trusting love and plighted vows. Away! (<em>Goes to</em> <span - class='fss'>R.</span>) - </dd> - <dt><em>Rob.</em></dt> - <dd>No: I will not stir. I know you have intercepted my letters; I know you have one in your - bosom now; I saw you from my post secrete it; I saw the direction upon it; and by this - (<em>showing letter</em>) I recognize the hand. 'Tis my property, and I claim it. Give it - to me; or forgetting all distinctions, remembering only I am a man persecuted and - wronged, I'll tear it from you. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>taking pistol from his bosom</em>). Approach me but a step, and I'll have your life! - I should be justified, for this is mutiny. - </dd> - <dt><em>Rob.</em></dt> - <dd>No, this is justice. I claim my rights. Give me the letter. (<em>Approaches.</em>) - </dd> - <dt><em>Rowell.</em></dt> - <dd>Take that instead! (<em>Raises arm.</em>) - </dd> - <dt><em>Crimp</em></dt> - <dd>(<em>running between, and throwing up his arm</em>). D-d-d-don't shoot! (<em>Pistol - discharged.</em>) W-w-what you 'bout? w-want to blow dis yer darky's head off? - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>runs to door</em>). Guard, guard! Quick, quick! (<em>Guard has passed out of - sight</em>, <span class='fss'>L.</span>) -<div><span class='pageno' id='Page_56'>56</span></div> - </dd> - <dt><em>Crimp</em></dt> - <dd>(<em>running to</em> <span class='sc'>Rob</span>, <em>and falling on his knees at his - side</em>, <span class='fss'>L.</span>; <em>speaks quick</em>). Massa Rob, you's made a - fo-fo ob yourself. Here's de letter right straight from Miss Gaylie. (<em>Passes letter - into his hand.</em>) - </dd> - <dt><em>Rob.</em></dt> - <dd>Who are you? - </dd> - <dt><em>Crimp.</em></dt> - <dd>Done ye know me? I'se Crimp ob de Home-Guard. (<span class='sc'>Rowell</span> - <em>returns; guard enters door: should all be done quick</em>.) - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>to guard</em>). Arrest that man. To the guard-house with him! - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>presses</em> <span class='sc'>Gaylie's</span> <em>letter to his lips</em>). At last, - at last! (<em>To</em> <span class='sc'>Rowell</span>.) Ay! to the guard-house let it be. - She has outwitted you. Here's a letter from her own dear hand. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Ah! who has done this? Away with him! (<em>Guard places his hand on his shoulder.</em>) - To the guard-house. (<em>Enter</em> <span class='sc'>Grant</span> <em>door in</em> <span - class='fss'>F.</span>, <em>writing on tablet in his hand</em>.) - </dd> - <dt><em>Grant.</em></dt> - <dd>Right. To the guard-house: orders must be obeyed. (<em>To</em> <span - class='sc'>Rob</span>.) If it comes to a trial, you may want a friend. (<em>Gives - paper.</em>) Count on me. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<span class='fss'>R.</span>). And who are you? - </dd> - <dt><em>Grant</em></dt> - <dd>(<em>takes off hat</em>). Your superior, sir. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>confused</em>). Gen. Grant? (<em>Salutes.</em>) - </dd> - <dt><em>Crimp.</em></dt> - <dd>By golly! it's de ole smoke-jack. Hi! whose pipe's out now? - </dd> - <dt><em>Tableau.</em></dt> - <dd><span class='sc'>Gen. Grant</span> <span class='fss'>C.</span> <span - class='sc'>Boxer</span> <em>at door</em>. <span class='sc'>Rowell</span> <span - class='fss'>R.</span>, <em>saluting but confused</em>. <span class='sc'>Rob</span> <span - class='fss'>L. C.</span>, <em>saluting. Guard with his hand on his shoulder.</em> <span - class='sc'>Crimp</span> <em>on his knees</em> <span class='fss'>L.</span>, <em>squeezing - himself, and laughing internally, with a show of white eyeballs and grinning teeth. Slow - curtain.</em> - </dd> - </dl> - -<p class='c012'><span class='pageno' id='Page_57'>57</span><span class='sc'>Act III.</span>—(<em>Two years later.</em>) <em>Parlor in</em> <span class='sc'>Gaylie Gifford's</span> -<em>house. Door in flat</em>, <span class='fss'>C.</span>, <em>windows each side -of it, with drapery curtains; shrubbery outside. -Table</em>, <span class='fss'>R. C.</span>, <em>with books, &c.; a lighted astral lamp -upon it. Lounge</em>, <span class='fss'>L.</span> <em>Arm-chair</em>, <span class='fss'>R.</span>, <em>with small table -beside it. Easy-chairs</em>, <span class='fss'>R.</span> <em>and</em> <span class='fss'>L.</span> <em>Should be handsomely -furnished; elegantly, if possible, by adding -statuettes, screens, &c.</em> <span class='sc'>Mrs. Trueworth</span> <em>discovered -in arm-chair</em>, <span class='fss'>R.</span>, <em>knitting</em>. <span class='sc'>Mattie</span> <em>sitting at table</em>, <span class='fss'>L. -C.</span>, <em>reading a newspaper</em>.</p> - - <dl class='dl_1 c002'> - <dt><em>Mattie</em></dt> - <dd>(<em>dropping paper</em>). And so at last this cruel war is over, mother. Richmond has - fallen, and our brave soldiers are already marching homeward. Only think of it! any day, - any hour, may bring back our dear Rob, after four years' absence. Oh! 'twill be a happy - return for all of us. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>For you and me, Mattie, yes. I shall see my brave boy again; you, a noble brother, whose - record in the long struggle is spotless. But how will Gaylie receive him? - </dd> - <dt><em>Mattie.</em></dt> - <dd>With open arms, mother: are they not lovers? - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>They parted as lovers: but you know two years ago Wilder Rowell resigned his command, and - returned to Grainlow; that from that time he has been a constant visitor to this house; - that he is always welcomed by its mistress; that he attends her in all her walks and - drives; that she smiles upon him, and <span class='pageno' id='Page_58'>58</span>evidently delights in his company. You - know this, and I know it, and I don't like it. There, I've dropped a stitch! - </dd> - <dt><em>Mattie.</em></dt> - <dd>Why, mother! I really believe you are jealous of Col. Rowell's attentions. Do - <em>you</em> doubt Gaylie's affection for us, her love for Brother Rob? - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Doubt her affection for us? No! Has she not been a dear daughter to me for these years? - Has she not made us members of her own household? Have I not had, every day, convincing - proofs of her affection? No, no! bless her dear heart, for Mother Trueworth has a warm - corner in it. It's only for the boy I fear. Suppose he should come home, and find our - Gaylie's heart turned from him, caught by this man whom I don't like, never did like, and - never will like. There goes another stitch! - </dd> - <dt><em>Mattie.</em></dt> - <dd>Suppose, suppose! O mother, you ought to be ashamed of yourself! Why, I should no more - doubt Gaylie's love for our Rob, than I should doubt— - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Your love for Hiram Jenks, eh, Mattie? - </dd> - <dt><em>Mattie.</em></dt> - <dd>There's another jealous one! He thinks Mr. Rowell is in love with me, or pretends he - does, and continually quarrels with me about him. But we always make up, and I really - believe that it's for the pleasure of being reconciled every day that he does it. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Ah! Hiram Jenks is a good, honest, smart, reliable young man: so you be careful, and not - quarrel too often. There may be a time when there will be no reconciliation. - </dd> - <dt><em>Mattie.</em></dt> - <dd>I'm not afraid of that, mother. He loves <span class='pageno' id='Page_59'>59</span>me dearly. But I mean to cure him of - this folly the very next time he attempts it. - </dd> - <dt><em>Crimp</em></dt> - <dd>(<em>outside</em>). Hi! whar's Missy Gaylie? whar she be? Hallelujum! (<em>Enters</em>, - <span class='fss'>C.</span>, <em>running, in a high state of excitement</em>.) Babylum am - fallen! Got a telegram down dar: de boys am coming dis yer night, got mos' home. Der - a-lighting up down dar. "Johnny am marching home" double-quick. Yaas, indeed! Whar Miss - Gaylie? Hi! lots ob fun. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Coming, Crimp, to-night? - </dd> - <dt><em>Crimp.</em></dt> - <dd>Don't I tole you? Don't I tole you? I'se jes' gwine to 'luminate dis yer mamsum from de - crown to de heel, regardless ob expense. Hi, golly! Jubilum am a-comun, and de darkies - are jes' gwine into glory. Whar's Miss Gaylie? Whar she be? Golly! I can' hole myself - still: mus' do somfum, or I shall combusticate and smash all to pieces. Whar's Miss - Gaylie? (<em>Runs off</em>, <span class='fss'>L.</span>) - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>(<em>rising</em>). Coming to-night! Dear, dear boy! I must dress myself to receive him. - Just see what a state I'm in,—this old cap and this poor dress. - </dd> - <dt><em>Mattie.</em></dt> - <dd>Why, mother, you never looked better in your life. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>It's no such thing. I'm looking shabby, and my boy's coming home. Oh! I wish I had the - regal robes of a queen, that I might receive him as he deserves. Dear, dear boy! - (<em>Hurries off</em>, <span class='fss'>L.</span>) - </dd> - <dt><em>Mattie.</em></dt> - <dd>And so Rob is really coming home: how glad somebody will be to see him! She care for - Wilder Rowell? I, for one, do not believe it. She's some reason for allowing his - attentions: what it is, I cannot <span class='pageno' id='Page_60'>60</span>find out. When I ask her, she laughs, and - breaks away singing, "Trust her not, she is fooling thee. Beware! Take care!" But I do - trust her. She is all goodness. (<em>Enter</em> <span class='sc'>Rowell</span>, <span - class='fss'>C.</span>) - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>aside</em>). Ah! only pretty Mattie Trueworth. If I hadn't higher aspirations, I - should dearly like to make love to that girl. (<em>Aloud.</em>) Good-evening, Miss Mattie. - </dd> - <dt><em>Mattie.</em></dt> - <dd>Ah! Mr. Rowell, good-evening. - </dd> - <dt><em>Rowell.</em></dt> - <dd>There seems to be a hubbub about this usually quiet mansion. What is going on? - </dd> - <dt><em>Mattie.</em></dt> - <dd>Why, don't you know our soldiers are coming home to-night? - </dd> - <dt><em>Rowell.</em></dt> - <dd>To-night! That is news. Is the war over? - </dd> - <dt><em>Mattie.</em></dt> - <dd>Why, what a man! Don't you read the papers? Don't you take any interest in the war? - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>aside</em>). Not since I resigned two years ago. (<em>Aloud.</em>) Oh, certainly! Is - Richmond taken? - </dd> - <dt><em>Mattie.</em></dt> - <dd>A week ago. Here's the whole account. (<em>Rises with paper, and comes forward.</em>) - </dd> - <dt><em>Rowell.</em></dt> - <dd>Indeed! show it to me. (<em>Puts his arm about her waist.</em> <span - class='sc'>Hiram</span> <em>appears at door</em>, <span class='fss'>C.</span>) - </dd> - <dt><em>Hiram.</em></dt> - <dd>Ahem! a-hem! (<span class='sc'>Mattie</span> <em>starts to</em> <span - class='fss'>L.</span> <span class='sc'>Rowell</span>, <em>with paper in his hand</em>, - <em>starts</em> <span class='fss'>R.</span>) - </dd> - <dt><em>Hiram</em></dt> - <dd>(<em>with bombastic fury</em>). Oh, yes, oh, yes! it is all true, all true. - </dd> - <dt><em>Rowell.</em></dt> - <dd>What! is the news confirmed? - </dd> - <dt><em>Hiram</em></dt> - <dd>(<em>contemptuously</em>). Confirmed! my <em>suspicions</em> are confirmed. (<em>To</em> - <span class='sc'>Mattie</span>.) Oh, you cruel, deceitful, perfidious, ungenerous, - ungrateful, unkind, unjust, un—un—unsociable young woman! what have you done? -<div><span class='pageno' id='Page_61'>61</span></div> - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>aside</em>). Hallo! this fellow's in his jealous humor again. (<em>Aloud.</em>) Miss - Mattie, as you have company, I'll take the paper, and find the news myself. -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Exit</em> <span class='fss'>L.</span></div> - </div> - </div> -</div> - - </dd> - <dt><em>Mattie.</em></dt> - <dd>Mr. Hiram Jenks, what's the matter? - </dd> - <dt><em>Hiram.</em></dt> - <dd>What's the matter? You ask <em>me</em>? Matter, what's the mattie? I mean Wattie, matts - the water? Oh, pshaw! I can't speak. My tongue is paralyzed. False woman! you have - shattered the shrine of affection in this bosom. Young lady, you have burst the bonds of - devotion. Young maiden, you have lacerated my heart, crushed my soul, blasted my hopes, - destroyed my—my—Go, deceitful maid! After my long devotion, oh! this is too much, after - all I have done for you. Oh! (<em>Tears hair.</em>) - </dd> - <dt><em>Mattie.</em></dt> - <dd>Well, what have you done for me? - </dd> - <dt><em>Hiram.</em></dt> - <dd>Eh! well, what I was going to do for you,—marry you. To see you fondly reclining upon the - bosom of another, another's arm about your waist,—oh, this is torture! madness! - (<em>Tears his hair, and rushes about stage.</em>) Mattie Trueworth, you are a cartless - hoquette; no, a— - </dd> - <dt><em>Mattie.</em></dt> - <dd>You got the cart before the horse that time, Hiram. How silly you are! It's all a mistake. - </dd> - <dt><em>Hiram</em></dt> - <dd>(<em>coolly</em>). Oh! it's a mistake: I'm glad of that; so let's kiss and make up. - (<em>Approaching her.</em>) - </dd> - <dt><em>Mattie.</em></dt> - <dd>Stop! you have opened my eyes. You saw his arm about my waist. Then he loves me. Oh, joy! - rapture! bliss! - </dd> - <dt><em>Hiram.</em></dt> - <dd>Why, Mattie! you don't mean, you can't mean, you can't be so mean as to say you love Col. - Rowell. -<div><span class='pageno' id='Page_62'>62</span></div> - </dd> - <dt><em>Mattie.</em></dt> - <dd>Why not? he's rich; he is the owner of Trueworth Farm; and I, I might be again its - mistress. - </dd> - <dt><em>Hiram.</em></dt> - <dd>Yes: but, Mattie, wh-wh-what's to become of me? - </dd> - <dt><em>Mattie.</em></dt> - <dd>You? why, you unjustly suspected me; but then you opened my eyes. You have my thanks: all - else is at an end between us. - </dd> - <dt><em>Hiram.</em></dt> - <dd>Good gracious! I don't want your thanks. I wouldn't thank you for your thanks. I want - <em>you</em>, Mattie. Come, let's make up (<em>coaxingly</em>). Now, do, Mattie, now, do. - You ain't a-going to throw me over for that man? - </dd> - <dt><em>Mattie.</em></dt> - <dd>Why, he owns Trueworth Farm. - </dd> - <dt><em>Hiram</em></dt> - <dd>(<em>aside</em>). Confound it! she means it. (<em>Aloud.</em>) Hang Trueworth Farm! - what's that to a heart filled with devotion! No, don't be hard on a feller. You know I - love you. Come, let's make up. Do, now, do. - </dd> - <dt><em>Mattie</em></dt> - <dd>(<em>drawing herself up to her full length</em>). No, sir! You have trifled with me, and - we must part. Seek another mate: be happy if you can. (<em>Imitating</em> <span - class='sc'>Hiram's</span> <em>coaxing</em>.) Do, now, do. I wish you well: particularly, - <em>fare</em>-well. (<em>Courtesies, and goes off</em>, <span class='fss'>L.</span>) - </dd> - <dt><em>Hiram</em></dt> - <dd>(<em>looks after her</em>). Why! she's gone. She means it! Jealous of her? why, it's - absurd! She might have known it. I only wanted to tease her into a reconciliation: these - make-ups are so jolly! But she don't tease well; and now I've set her to setting her cap - for Rowell. Pshaw! Humbug! the jealous game is all up. (<em>Enter</em> <span - class='sc'>Crimp</span>, <span class='fss'>L.</span>) - </dd> - <dt><em>Crimp.</em></dt> - <dd>Hallo, Hi-<em>ram</em>! am dat you? Jes' you <span class='pageno' id='Page_63'>63</span>come down to de barn wid me. I'll - show you, free gratis, for nuffin, no extra charge, and no postfonemet, de greatest - dissemblage ob sky—sky—sky—what dat man call 'em? <em>skyrotechnicks</em>, golly! - rickets, fourteen pounders, and—and Rum-and-candles, and—and Bungola lights, and squabs, - and bombs—golly! Jes' busters; de take de roof right off; yaas, indeed! Come down, do, - Hi-<em>ram</em>: gwine to let 'em shoot slam bang, when de boys come home. - </dd> - <dt><em>Hiram.</em></dt> - <dd>That's right, Crimp: give them a welcome. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Yaas, indeed, Hi-<em>ram</em>! gwine to make 'em smell brimstone. I tole you. Serve 'em - right: wish we could get up a yearthquake: wouldn't be a bit too good for 'em. Come on, - Hi. I say, Hi-<em>ram</em>, am you any relation to ole Jim? he was de highest old ram - eber I see. Yah, yah, yah! (<em>Exit</em>, <span class='fss'>C.</span>, <em>laughing, - followed by</em> <span class='sc'>Hiram</span>. <em>Enter from</em> <span - class='fss'>L.</span>, <span class='sc'>Rowell</span>.) - </dd> - <dt><em>Rowell.</em></dt> - <dd>And so the war is over, and the boys are marching home, and with them comes, of course, - Mr. Rob Trueworth. Hang the luck! I fear that fellow's appearance. Two years ago I - resigned my command in the army for two reasons. First, an unfortunate - <i><span lang="fr" xml:lang="fr">rencontre</span></i> with Trueworth, whom I kept in the ranks after he had been several - times honorably mentioned, awakened the suspicions of Grant, and a court-martial was - threatened; second, a very pressing invitation from Gaylie to return, the pretext being - business which required my assistance, but the real motive, an evident desire for my - society. Of the first reason, I took good care to let her know nothing; and having the - postmaster, Hosea Jenks, well under my thumb, I am sure she <span class='pageno' id='Page_64'>64</span>has received no hint - from Trueworth. She has evidently repented of her folly, and takes kindly to my presence. - Never a word about Rob Trueworth. Yet I seem no nearer the attainment of my heart's - desire, than when I returned. I have assiduously courted her: we walk, ride, and sail - together. I am attentive, devoted, and she enjoys every thing. But, when I speak of love, - she evades it, or talks of her freedom, or we are interrupted. I will speak plainly: she - must be bound to me ere he returns, or I fear my two-years' campaign will be wasted. Ah! - here she is. (<em>Enter</em> <span class='sc'>Gaylie</span>, <span class='fss'>L.</span>) - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Oh, isn't it glorious! the war is over. (<em>Sees</em> <span class='sc'>Rowell</span>.) - Why, colonel, is that you? Have you been waiting long? I'm so sorry. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>taking her hand</em>). Yes: I have been waiting long, two years, Gaylie, to give you - full assurance that I love you. Is my love returned? - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<em>excitedly</em>). Returned! O colonel! have you heard the news? Our brave soldiers - have returned; that is, they are coming home to-night, crowned with victory. Oh, I'm so - happy! ain't you? - </dd> - <dt><em>Rowell.</em></dt> - <dd>Gaylie, I am miserable. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Because they are coming home? Oh, fie! colonel. And you a soldier? - </dd> - <dt><em>Rowell.</em></dt> - <dd>Gaylie, you must listen to me. You evade a question of the utmost importance to my - welfare. I asked you, Do you love me? - </dd> - <dt><em>Gaylie.</em></dt> - <dd>As you have asked me a dozen times in the last fortnight; and I answer you as I have - before, Wait until the war is over. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Ah, but the war is over: there is no reason for delay. Gaylie, will you be my wife? -<div><span class='pageno' id='Page_65'>65</span></div> - </dd> - <dt><em>Gaylie.</em></dt> - <dd>That's a serious question, colonel. I'll consider it. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Gaylie, you'll drive me mad. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Then I won't consider it: will that suit you? O colonel! do you suppose there have been - any changes in the regiment? - </dd> - <dt><em>Rowell.</em></dt> - <dd>Will you answer my question, Gaylie? - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Will you answer mine, colonel? - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>biting his lips</em>). I don't know; I don't care. Boxer, who took my place, has - been made a brigadier-general; but, for the rest, I know nothing. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>I wonder if Rob Trueworth is still a private. Perhaps he's a captain, or a sergeant. I do - hope he has risen. - </dd> - <dt><em>Rowell.</em></dt> - <dd>You still have an interest in that fellow? - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Of course. Isn't he my brother? - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>aside</em>). That's good. She ignores the other tie. (<em>Aloud.</em>) Now, Gaylie, - speak. (<em>Takes her hand.</em>) Surely my devotion deserves a recompense. Will you? - (<em>Enter</em> <span class='sc'>Crimp</span>, <span class='fss'>L.</span>, <em>with a - lighted candle in each hand</em>.) - </dd> - <dt><em>Crimp</em></dt> - <dd>(<em>speaking as he enters</em>). Hi! Miss Gaylie, de hole <em>circumbendence</em> ob de - exterior ob de house up stairs am in a blaze ob glory; lights into all de windows, an' - greeze all ober de glass and de carpets. Took sum pains up dar, I tole you. Shall I light - dese yer windows, Miss Gaylie? - </dd> - <dt><em>Gaylie.</em></dt> - <dd>No, Crimp, I will attend to this. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Yaas, indeed! I'm obleeged to you. Jes' put your bright eyes into de windows, and de - illumination <span class='pageno' id='Page_66'>66</span>up stairs won't be no circumstance. I'll jes' stick 'em into de bay - window, out yunder. -<div class='c013'>[<em>Exit</em> <span class='fss'>R.</span></div> - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>runs to</em> <span class='sc'>Gaylie</span>, <em>and puts his arm about her waist; - takes her hand</em>). Gaylie, am I never to get an answer? Speak before we are again - interrupted. (<span class='sc'>Mrs. Trueworth</span> <em>appears</em>, <span - class='fss'>L.</span>) - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>goes</em> <span class='fss'>L.</span>). Confusion! Will this never end? - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Come in, mother. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>No: when two young people are so closely interested in conversation, an old woman's - presence is unpleasant. I'm not blind, Gaylie Gifford; and I'm not likely to hold my - tongue, when I see injustice done one I love; so I'll go away. O Gaylie! Gaylie! have I - been deceived in you? (<em>Going.</em>) - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<em>running to her</em>). No, mother, no! Believe me, trust me. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>I try to, Gaylie; but it is so hard, so hard! -<div class='c013'>[<em>Exit</em> <span class='fss'>L.</span></div> - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<em>comes down</em> <span class='fss'>R.</span> <em>at table</em>). Have I wounded her - dear heart? Am I doing right? - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>approaching</em>). Gaylie— - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Silence, sir! Speak to me now, and I shall hate you. (<span class='sc'>Rowell</span> - <em>returns</em> <span class='fss'>L.</span> <em>Enter</em> <span class='fss'>C.</span> - <span class='sc'>Hosea Jenks</span>, <em>followed by</em> <span class='sc'>Hiram</span>. - <span class='sc'>Mattie</span> <em>enters</em> <span class='fss'>L.</span> <span - class='sc'>Hosea</span> <em>comes down</em>. <span class='sc'>Hiram</span> <em>stops up - stage, and tries to make up with</em> <span class='sc'>Mattie</span>; <em>she snubs - him</em>.) - </dd> - <dt><em>Hosea.</em></dt> - <dd>I—I—really, really, I beg pardon, colonel, if you are having a <em>tety-tety</em>; but I - thought you'd like your mail, and so I brought it. (<em>Comes down</em> <span - class='fss'>L.</span> <em>of table, and hands letters to</em> <span - class='sc'>Rowell</span>, <em>who stands</em> <span class='fss'>R.</span> <em>of table; - then goes back to</em> <span class='fss'>L. C.</span>) -<div><span class='pageno' id='Page_67'>67</span></div> - </dd> - <dt><em>Rowell.</em></dt> - <dd>Ah! thank you, Jenks. (<em>Aside.</em>) Confound his kindness! I know you'll excuse me, - Gaylie. Here's my mail. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Certainly, colonel. (<span class='sc'>Hiram</span> <em>comes down</em> <span - class='fss'>R.</span> <em>of table, where</em> <span class='sc'>Gaylie</span> <em>is - standing, and hands her a letter secretly</em>.) (<em>Aside.</em>) And here's mine. - (<em>Presses it to her lips.</em>) - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>his back to</em> <span class='sc'>Gaylie</span>). (<em>Aside.</em>) Here's one for - Gaylie, in the old familiar hand. (<em>Looks round to her: she is looking down; he turns - to</em> <span class='fss'>L.</span>, <em>and slips it into his pocket; as he does so, she - bends forward, and watches him, then shakes her head</em>.) - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Nothing for me, Mr. Jenks? (<em>She looks at</em> <span class='sc'>Jenks</span> - <em>keenly: he tries to look in her face, drops his eyes, and nervously plays with his - hat</em>.) - </dd> - <dt><em>Hosea.</em></dt> - <dd>Oh, no! Nothing for you, not a thing. Do you suppose I should have failed to bring them? - (<em>She goes up stage; he comes down</em> <span class='fss'>R.</span>) (<em>Aside.</em>) - That's a lie, a wicked lie. I can't help it. I try; but it will pop out, anywhere, - everywhere. Once I was a punster. "Alas, poor Jenks! where are your jests now, that were - wont to set the table in a roar?" All lies now. - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<em>goes up, takes</em> <span class='sc'>Hiram's</span> <em>hand</em>). - (<em>Aside.</em>) Thanks, faithful sentinel. (<em>Aloud.</em>) Come, Mattie, we'll go and - look at Crimp's preparations, and leave the colonel to his letters. (<em>Puts her arm - about</em> <span class='sc'>Mattie's</span> <em>waist, and they go off</em> <span - class='fss'>C.</span>) - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>who has opened a letter, and is reading it, seated at table</em>, <span - class='fss'>L.</span>). Confound it! another call for money, and no way to raise it. - (<span class='sc'>Jenks</span> <em>starts for door</em>; <span class='pageno' id='Page_68'>68</span><span - class='sc'>Rowell</span> <em>looks round</em>.) Yes; there's Jenks: he must help me out. - Jenks! - </dd> - <dt><em>Hosea</em></dt> - <dd>(<em>turns trembling</em>). Ye-yes, colonel. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>rising</em>). Jenks, I must have money at once. I have a pressing call, and my funds - are completely exhausted. Come, you shall give me fifteen hundred dollars, and I'll - transfer to you the Trueworth Farm. - </dd> - <dt><em>Hosea</em></dt> - <dd>(<em>aside</em>). That's cool. (<em>Aloud.</em>) But—but you see, colonel, I—I—I don't - want the Trueworth Farm. - </dd> - <dt><em>Rowell.</em><a id='Col'></a></dt> - <dd>Neither do I. But I do want money; so look round and raise it, and don't keep me waiting - long (<em>rises, and comes close to him</em>), or Grainlow will have a new postmaster. - (<em>Exit</em> <span class='fss'>C.</span> <span class='sc'>Jenks</span> <em>falls into - chair he has left</em>.) - </dd> - <dt><em>Hosea.</em></dt> - <dd>New p-p-p-postmaster! well, that's the old threat. Oh, the villain! This comes of - meddling with public affairs. When I was a private citizen, I was gay and happy, with - such a flow of humor, punning from morning till night. I never pun now; I can't; it's - sure to turn into a lie. I'm a miserable old rascal, that's ashamed to look an honest man - in the face. I'm a swindler, a cheat, a liar, and a coward. I can't help it. I sold my - birthright for a mess of pottage; no, potash, for it's all lie. O Jenks! when you parted - with honesty, you knocked down a rich estate at an awful sacrifice. I'm in daily dread of - these infernal detectives. In my office, at home, at my table, in bed, I feel the hand of - justice on my shoulder, and the voice of outraged Uncle Sam thunders in my ear. - </dd> - <dt><em>Hiram.</em></dt> - <dd>The colonel wants his money, dad. -<div><span class='pageno' id='Page_69'>69</span></div> - </dd> - <dt><em>Hosea</em></dt> - <dd>(<em>starts to his feet</em>). Yes, yes. I'm a-going for it, I'm a-going for it. - (<em>Starts up stage.</em>) - </dd> - <dt><em>Hiram.</em></dt> - <dd>Halt! 'bout face! hold up your head, turn out your toes. (<span class='sc'>Hosea</span> - <em>obeys</em>.) Now, dad, you will do no such thing! - </dd> - <dt><em>Hosea.</em></dt> - <dd>Hey! what do you mean, boy? - </dd> - <dt><em>Hiram.</em></dt> - <dd>Come, dad, straighten up; drop that. I've changed that name with you. You are the boy,—a - weak, silly, foolish boy. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Do you want to insult my gray hairs? - </dd> - <dt><em>Hiram.</em></dt> - <dd>Insult them? Tell me, dad, have <em>you</em> respected them as you should? - </dd> - <dt><em>Hosea.</em></dt> - <dd>Eh! wh-what do you mean? - </dd> - <dt><em>Hiram.</em></dt> - <dd>Why does that man order you to find money for him? Why does he treat you with such cool - contempt? - </dd> - <dt><em>Hosea</em></dt> - <dd>(<em>nervously</em>). Eh? oh! ha, ha, ha! it's only his way, you know. We are great - friends,—great friends. He got me my office; and, you know, if I can do him a favor, why, - I ought; certainty I oughter be proud to—to do him a favor: see? (<em>Aside.</em>) How he - looks at me! he knows it's a lie. I can't help it: it will pop out. - </dd> - <dt><em>Hiram.</em></dt> - <dd>That won't do, dad. You're afraid of him: you're a coward. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Coward, boy! this to me? - </dd> - <dt><em>Hiram.</em></dt> - <dd>Yes, and more. You have sold yourself to this man; you are accomplices in crime. You have - made yourself liable to a long imprisonment, for you have robbed the mail. - </dd> - <dt><em>Hosea</em></dt> - <dd>(<em>alarmed</em>). Hush! don't speak so loud, boy! <span class='pageno' id='Page_70'>70</span>Who told you this? Do you - want to see me hung? do you want—O Hiram, Hiram! pity me, pity me! I'm a poor old sinner, - a poor old sinner! (<em>Wrings his hands, falls on his knees, and hides his face.</em>) - </dd> - <dt><em>Hiram.</em></dt> - <dd>That's the truth, dad; a tool in the hands of a crafty man. O dad, you were hard on me in - the old days! You sought to crush out my ambition to be manly while yet a boy,—an - ambition which should have been encouraged, not crushed. Your example made others slight - me, and look upon me as a fool. But you were an honest man, and you made me honest; and - for that I shall always be grateful. Now you have parted with your high estate; sold - yourself, body and soul, to the—well, Col. Rowell is his name. I have kept mine, and I - mean to rescue you from the clutches of this villain. - </dd> - <dt><em>Hosea.</em></dt> - <dd>No, boy, you can't do that; I'm sold, delivered: it's too late. I see my folly. But that - man! O Hiram! he could deliver me up to justice: he could have me imprisoned. - </dd> - <dt><em>Hiram.</em></dt> - <dd>Why, dad, you forget he is your confederate; that, in sacrificing you, he must betray - himself. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Eh? I never thought of that. Of course he must. What a fool I have been! He dare not - move. I'm safe, I'm safe! - </dd> - <dt><em>Hiram.</em></dt> - <dd>But I dare, dad, and I will. For four years you have intercepted letters belonging to - Gaylie, and Rob Trueworth. I know it: I have full proof. Ah! I've watched you closer than - you watched me when I was a boy. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Yes, yes: but you can't betray me; you <span class='pageno' id='Page_71'>71</span>couldn't have the heart. Hiram, I was a - good father to you; that is, I tried to be. You won't give me up to justice? - </dd> - <dt><em>Hiram.</em></dt> - <dd>You have wronged my friends. Unless you immediately resign your office, I will give - information that shall lead to your arrest. - </dd> - <dt><em>Hosea.</em></dt> - <dd>I'll resign, I'll resign! but he won't let me. - </dd> - <dt><em>Hiram.</em></dt> - <dd>He shall not prevent you. You must also decline to furnish him with money. - </dd> - <dt><em>Hosea.</em></dt> - <dd>I'll do that, I'll do that!—any thing you ask, Hiram, only don't give me up. - </dd> - <dt><em>Hiram.</em></dt> - <dd>He's coming back. Remember, no money to that man. (<em>Goes up</em> <span - class='fss'>R.</span> <em>Enter</em> <span class='sc'>Rowell</span>, <span - class='fss'>C.</span>) - </dd> - <dt><em>Rowell.</em></dt> - <dd>Why, Jenks, what are you about? Didn't you hear? I want that money to-night,—must have - it. Why are you not after it? - </dd> - <dt><em>Hosea.</em><a id='Jenks'></a></dt> - <dd>You want fifteen hundred dollars, colonel? - </dd> - <dt><em>Rowell.</em></dt> - <dd>That's the sum I named. - </dd> - <dt><em>Hosea</em></dt> - <dd>(<em>comes close to him</em>). Don't you wish you may get it, colonel? (<em>Snaps his - fingers in his face.</em>) Do you understand that? not a dollar from me. You've been - drawing heavily on my conscience, but you can't draw on my bank-account: understand that. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Fool! do you know that I could hang you, unless— - </dd> - <dt><em>Hosea.</em></dt> - <dd>We hang together. That's good, a pun, ha, ha, ha! the first for many a day. Oh, I'm - feeling decidedly better! No, colonel, you couldn't hang me: you dare not molest me; for - we are both in the same boat. -<div><span class='pageno' id='Page_72'>72</span></div> - </dd> - <dt><em>Rowell.</em></dt> - <dd>Indeed! Well, my <em>honest</em> friend, we can find a new postmaster for Grainlow. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Do, colonel! the sooner you write to Washington, "Off with his head: so much for Jenks," - the better for said Jenks. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Do you refuse to purchase the Trueworth Farm? - </dd> - <dt><em>Hosea.</em></dt> - <dd>Decidedly I do. - </dd> - <dt><em>Hiram</em></dt> - <dd>(<em>comes down</em>). Do I understand you, colonel? You wish to dispose of Trueworth - Farm? - </dd> - <dt><em>Rowell.</em></dt> - <dd>What's that to you? - </dd> - <dt><em>Hiram.</em></dt> - <dd>If you want to sell, I'm your customer. - </dd> - <dt><em>Rowell.</em></dt> - <dd>You? - </dd> - <dt><em>Hosea.</em></dt> - <dd>You? Why, Hiram Jenks, where can you find the money? - </dd> - <dt><em>Hiram.</em></dt> - <dd>No matter, dad. Name your price, colonel. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Fifteen hundred dollars. - </dd> - <dt><em>Hiram</em></dt> - <dd>(<em>takes a wallet from his pocket, and slaps it on table</em>). There's your money. - </dd> - <dt><em>Hosea.</em></dt> - <dd>The boy's crazy. (<em>Aside to</em> H.) I say, Hiram, what are you about? You wouldn't - let me buy it, and now— - </dd> - <dt><em>Hiram.</em></dt> - <dd>I want it: you forget you are under suspicion. Uncle Sam might confiscate your property - at any moment, and the farm would go with it. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Oh, what a head, what a head! And I thought him a boy! - </dd> - <dt><em>Hiram.</em></dt> - <dd>If you want the money to-night, write a receipt, and take it. We will pass the papers in - the morning. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>goes to table</em>, <span class='fss'>R.</span>, <em>and writes</em>). Certainly. -<div><span class='pageno' id='Page_73'>73</span></div> - </dd> - <dt><em>Hiram</em></dt> - <dd>(<em>takes paper from his pocket</em>). As I have had some thoughts of making you an - offer for the property, I have drawn up an agreement. Sign that, and I am satisfied. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>takes paper, and looks at it</em>). This is satisfactory. (<em>Signs.</em>) - </dd> - <dt><em>Hiram.</em></dt> - <dd>Now, dad, if you will witness it. (<em>Takes bills from wallet.</em>) - </dd> - <dt><em>Hosea.</em></dt> - <dd>Certainly. (<em>Signs. Aside.</em>) Where could that boy have got his money? - </dd> - <dt><em>Hiram</em></dt> - <dd>(<em>taking paper, and laying down bills</em>). You'll find that all right. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>counting money</em>). All correct. I will see you at Lawyer Ware's office, to-morrow - at nine. Is that satisfactory? - </dd> - <dt><em>Hiram.</em></dt> - <dd>Perfectly. Come, dad, let's look after the office. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Yes, to the office, where I shall take the first opportunity to write to the Postmaster - General, resigning my office. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Do it at your peril! - </dd> - <dt><em>Hosea.</em></dt> - <dd>No: I shall do it at my office. Ha, ha, ha! Why, I'm getting back into my old humor, - thanks to the boy. What a head! I used to look in his face, and think I saw a fool. I was - wrong: I should have looked in a glass. - </dd> - <dt><em>Rowell.</em></dt> - <dd>I hope the farm will pay you better than it has me, Hiram. - </dd> - <dt><em>Hiram.</em></dt> - <dd>No doubt it will. (<em>Aside.</em>) If Miss Mattie Trueworth wants Trueworth Farm, she'll - have to look this way. Come, dad! -<div><span class='pageno' id='Page_74'>74</span></div> - </dd> - <dt><em>Hosea.</em></dt> - <dd>Good-by, colonel: if you want your next mail, you'll have to come for it. (<span - class='sc'>Hiram</span> <em>goes up, followed by</em> <span class='sc'>Hosea</span>; - <em>meet</em> <span class='sc'>Gaylie</span> <em>and</em> <span class='sc'>Mattie</span> - <em>coming in</em>; <span class='sc'>Mattie</span> <em>comes down</em> <span - class='fss'>R.</span>, <em>is stopped by</em> <span class='sc'>Hiram</span>; <span - class='sc'>Gaylie</span> <em>speaks with</em> <span class='sc'>Hosea</span>, <span - class='fss'>L. C.</span>) - </dd> - <dt><em>Hiram.</em></dt> - <dd>Mattie, won't you make up? - </dd> - <dt><em>Mattie.</em></dt> - <dd>No, sir: I have higher aspirations. - </dd> - <dt><em>Hiram</em></dt> - <dd>(<em>tragically</em>). I know: to the owner of Trueworth Farm! Mattie, it's hard to lose - you, but it's for the best: I see my error. I cannot win you; and so I freely give you up - to a better, a richer man,—the owner of Trueworth Farm. Farewell! (<em>Clasps her in his - arms quick, and kisses her: she screams; he runs off</em> <span class='fss'>C.</span>) - </dd> - <dt><em>Mattie.</em></dt> - <dd>Well, I never! what does he mean? He give me up? He shall do no such thing. Dear, dear! - have I lost him? Hiram, Hiram! (<em>Runs off</em> <span class='fss'>C.</span>) - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Your son has gone, Mr. Jenks. - </dd> - <dt><em>Hosea.</em></dt> - <dd>Has he? I must run after him. I can't bear to have him out of my sight: I'm so proud of - him! (<em>Aside.</em>) He might repent, and give me up. -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Exit</em> <span class='fss'>C.</span></div> - </div> - </div> -</div> - - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>as</em> <span class='sc'>Gaylie</span> <em>comes down</em>). Gaylie, may I ask a - favor of you? I have been making a sale to-night, and have here fifteen hundred dollars: - will you give me your check for it? I want to send it to-night. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Certainly! you'll find my check-book in the next room. Please bring it to me, colonel. - (<span class='sc'>Rowell</span> <em>bows, and exits</em> <span class='fss'>L.</span>; - <span class='sc'>Gaylie</span> <em>sits in chair</em> <span class='fss'>R.</span>, - <em>and looks after him</em>.) That man loves me, for two years has been my devoted - slave; and now the time has come for me to speak plainly. He tells me there is no - <span class='pageno' id='Page_75'>75</span>longer reason for delay: he is right. He thinks his long period of devotion deserves - a recompense: he shall have it. And the other, Rob Trueworth, who left here four years - ago,—does he still love me? (<em>Smiles.</em>) Can I doubt it? Yet I must speak to-night, - speak plainly. He believes that he has won me: I can see it in his proud step, the - triumphant glance of his eye. Is he right? (<em>Smiles.</em>) Can I doubt that? - (<em>Enter</em> <span class='sc'>Rowell</span> <span class='fss'>L.</span>, <em>with - check-book</em>.) I'm so sorry to trouble you, colonel! (<em>Takes book.</em>) Fifteen - hundred, you say? (<em>Writes check.</em>) - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>laying down bills</em>). Yes: you'll find the bills here. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>So you have made a sale to-night, colonel? - </dd> - <dt><em>Rowell.</em></dt> - <dd>Yes: Trueworth Farm. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Sold Trueworth Farm? And you refused to sell it to me four years ago! - </dd> - <dt><em>Rowell.</em></dt> - <dd>Yes,—yes, I remember. I didn't like to part with it now, but I wanted money— - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<em>rising</em>). Oh! I bear you no malice, colonel. (<em>Gives check.</em>) - </dd> - <dt><em>Rowell.</em></dt> - <dd>Thank you. And now, Gaylie, that we are alone, may I once more press you for an answer? - (<em>Takes her hand, and puts his arm about her waist.</em>) You know how dearly I love - you: make me happy by saying that you return that love. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>And would that really make you happy, colonel? - </dd> - <dt><em>Rowell.</em></dt> - <dd>Happy? The happiest of men! - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<em>drawing herself up</em>). Then hear me, Col. Rowell! (<em>Enter</em> <span - class='fss'>L.</span> <span class='sc'>Mrs. Trueworth</span>, <em>with shawl - and</em> <span class='pageno' id='Page_76'>76</span><em>bonnet added to her former costume, and a large band-box in her hand</em>.) - </dd> - <dt><em>Rowell.</em></dt> - <dd>Oh, speak, Gaylie! tell me you love me! - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Before you do, Gaylie, let me get out of this house. (<span class='sc'>Gaylie</span> - <em>goes</em> <span class='fss'>R.</span>, <span class='sc'>Rowell</span> <span - class='fss'>L.</span>) - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Mother, what does this mean? - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Mother! you have no right to call me by that name: you have disgraced it. Four years ago - you plighted vows with my dear boy; he went to battle, trusting in your promise: and now - another's arms are about you, another's voice pleading to you for words which tremble on - your lips. O Gaylie! how I have loved you, you may never know; but I love my boy, and he - shall not come here to have his noble heart broken at the sight of his rival, a favored - suitor. No: I thank you for all your kindness to me, but—my boy's coming, and I'll go to - meet him: he has no one to love him now so tenderly as his old mother, bless him! 'Twill - be a hard blow after all his love and hope and faith. O Gaylie, Gaylie! you've broken my - heart! (<em>Drops her box, and staggers forward</em>; <span class='sc'>Gaylie</span> - <em>runs, and catches her in her arms</em>.) - </dd> - <dt><em>Gaylie.</em></dt> - <dd>O mother, mother! this must not be! Stay here; this is your home: here Rob will come— - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Not in that man's presence will I meet my boy. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>aside</em>). The old lady's complimentary. (<em>Aloud.</em>) I think Mrs. Trueworth - is right, Gaylie. It would certainly be unpleasant to young Trueworth to see our - happiness. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>I beg your pardon, colonel; I have not spoken yet. -<div><span class='pageno' id='Page_77'>77</span></div> - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>Let me go, Gaylie: I cannot stay here! - </dd> - <dt><em>Gaylie.</em></dt> - <dd>You must, you shall, mother! You have heard the colonel: now hear me. - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>No, no! I will go. Hark! what's that? (<em>Distant chorus; sings the chorus of "Marching - through Georgia."</em>) - </dd> - <dt><em>Gaylie.</em></dt> - <dd>At last, at last! They've come, mother, they've come. Hear me. Within myself, and to - myself, I made a vow that I would keep Col. Rowell in suspense until I heard the - victorious shouts of our returning heroes. They come, and I can speak; hear me: Col. - Rowell, you have asked me to be your wife: I answer, No; for I detest you. (<span - class='sc'>Mrs. Trueworth</span> <em>goes over to chair</em>, <span class='fss'>R.</span>) - </dd> - <dt><em>Rowell.</em></dt> - <dd>Gaylie, what is this? are you in earnest? - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Four years ago I defied you; enlisted, for the war between you and my hero, on his side, - not yours. I have kept the faith: I have battled you from that time to this, and won the - victory. - </dd> - <dt><em>Rowell.</em></dt> - <dd>Battled! victory! I do not understand you. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>You sought to keep us apart, and, to that end, intercepted our letters. - </dd> - <dt><em>Rowell.</em></dt> - <dd>No, no! you are mistaken! I—I am innocent of any such crime. (<em>Enter</em> <span - class='sc'>Hiram</span>, <span class='fss'>R.</span>) - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Here is my witness. 'Twas he who aided me in outwitting you. For the last two years our - letters have passed under cover of his name. Those you have stopped were decoys. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>aside</em>). What a fool I have been! - </dd> - <dt><em>Gaylie.</em></dt> - <dd>You sought to keep my hero in the ranks. Perhaps you will recollect the first letter - which reached <span class='pageno' id='Page_78'>78</span>him. 'Twas sent by the hands of a trusty messenger. (Enter <span - class='sc'>Crimp</span>, <span class='fss'>L.</span>) 'Twas delivered in your presence. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Yaas, colonel; d-d-don't shoot! - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>aside</em>). Oh, curse the girl! she has outwitted me. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>You sought to keep him down; and so I decoyed you here, believing that your presence, - hateful as it had become, was necessary to the exaltation of Rob Trueworth. I have used a - woman's art, coquetry; but the end justifies the means. So you see, colonel, the Home - Guard has a right to claim the victory. Home Guard, attention! fall in! (<em>She - stands</em> <span class='fss'>L.</span> <span class='sc'>Hiram</span> <em>takes his place - next her, and</em> <span class='sc'>Crimp</span> <em>next up stage</em>. <span - class='sc'>Gaylie</span> <em>then faces them</em>.) - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Comrades, your general, ahem! is proud of you; we have fought together; we have - conquered. Now let us march to meet the returning heroes. (<em>Steps back beside</em> - <span class='sc'>Hiram</span>.) Home Guard, attention! Eyes right! eyes left! Salute! - (<em>They salute. Chorus repeated outside, "Marching through Georgia," nearer. Enter</em> - <span class='sc'>Rob</span>, <em>in full uniform of a colonel</em>.) Ah! Rob, Rob! he's - come, mother, he's come! (<em>Runs into</em> <span class='sc'>Rob's</span> <em>arms</em>.) - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>(<em>springing up</em>). O Rob, boy! welcome, welcome, welcome! - </dd> - <dt><em>Rob.</em></dt> - <dd>Dear, dear mother! (<em>Enter</em> <span class='sc'>Mattie</span>, <span - class='fss'>L.</span>) - </dd> - <dt><em>Mattie.</em></dt> - <dd>Where is he? O Brother Rob! (<em>Runs into his arms.</em>) This is glorious! - </dd> - <dt><em>Rob.</em></dt> - <dd>Thanks for your hearty welcome. Ah, Hiram! (<em>Shakes hands.</em>) And Crimp! - </dd> - <dt><em>Crimp.</em></dt> - <dd>Yaas, indeed! how is yer? an' how is <span class='pageno' id='Page_79'>79</span>Boxer? an'—an' ole smoke-jack? Gay times in - ole Virginny, two years ago. I'm obleeged to you. - </dd> - <dt><em>Rob</em></dt> - <dd>(<em>comes down to</em> <span class='fss'>L.</span>, <em>where</em> <span - class='sc'>Rowell</span> <em>stands with his back to him, and his arms folded</em>). - Wilder Rowell, the regiment with which you set out for the battle-field has returned - under command of its new colonel, myself. - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>turns round</em>). You the colonel of the 10th? - </dd> - <dt><em>Rob.</em></dt> - <dd>I am happy to say I have won that distinction. Won it! do you hear? You would have kept - me in the ranks; but thanks to woman's wit, and military justice, you were removed in - time. I now return to claim my bride. (<em>Turns up stage.</em>) - </dd> - <dt><em>Rowell</em></dt> - <dd>(<em>turns away</em>). Oh, I have failed,—miserably failed! I cannot bear to see their - happiness. (<em>All are gathered about</em> <span class='sc'>Rob</span>, <em>up - stage</em>.) I was so sure of her! and she has been laughing at me all this time. I wish - I could hate her; but no, no, it's impossible. I played for her fortune, and I ended in - loving her as I can never love again. They are busy: I'll slip away. Oh! this may be - justice for them: 'tis ruin, utter ruin, for me. -<div class='c013'>[<em>Exit</em> <span class='fss'>L.</span></div> - </dd> - <dt><em>Hiram</em></dt> - <dd>(<em>leads</em> <span class='sc'>Mattie</span> <em>down</em> <span class='fss'>R.</span>) - Now, Mattie, Rob has returned, and Gaylie is true to him. Col. Rowell, of course, is in - the market. - </dd> - <dt><em>Mattie.</em></dt> - <dd>I don't care if he is: I don't want him! - </dd> - <dt><em>Hiram.</em></dt> - <dd>But you want Trueworth Farm. - </dd> - <dt><em>Mattie.</em></dt> - <dd>Not if I must take its owner. - </dd> - <dt><em>Hiram.</em></dt> - <dd>No? not when his name is Hiram Jenks? It's mine, Mattie: I bought it to-night. Come, - let's kiss and make up: do, now, do! (<em>Kiss and retire up, arm in arm.</em> <span - class='sc'>Rob</span> <em>and</em> <span class='sc'>Gaylie</span> <em>come down</em>.) -<div><span class='pageno' id='Page_80'>80</span></div> - </dd> - <dt><em>Rob.</em></dt> - <dd>Gaylie, how can I ever thank you for making me what I am? - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Nonsense, Rob! you made yourself. If I did help a little, 'twas for my own pride; for I - always wanted to be a colonel's wife. Ahem! - </dd> - <dt><em>Crimp</em></dt> - <dd>(<em>down</em> <span class='fss'>L.</span>). So did I. Yaas, yaas! I'm obleeged to you. - No, no, dat's a bifstake: dat's a bifstake. I mean—I mean—wh-w-w-what do I mean? I mean - to go an' let off dem ar squabs; make a blaze; cos de colonel's come; yaas, indeed! - </dd> - <dt><em>Hiram</em></dt> - <dd>(<span class='fss'>R.</span>). Wait, Crimp: the colonel's going to speak. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Yaas, indeed! I's waiting with both years wide open tight. I'm obleeged to you. - </dd> - <dt><em>Rob</em></dt> - <dd>(<span class='fss'>C.</span> <em>with</em> <span class='sc'>Gaylie</span>). Ladies and - gentlemen of the Home Guard, accept my thanks for your kind and valuable assistance in - the campaign just closed. Ever grateful must our country's defenders be to the strong - arms and tender hands, loving hearts and watchful eyes, that cared for the old folks at - home, when they were in the field. - </dd> - <dt><em>Gaylie</em></dt> - <dd>(<span class='fss'>C.</span>). Ahem! Colonel, in behalf of the Home Guard, I give you a - hearty welcome home. If our efforts have won your approbation, if—There, I've broken - down! O Rob, Rob! I'm so glad to get you back! we'll be a happy family now, won't we, - mother? - </dd> - <dt><em>Mrs. T.</em></dt> - <dd>(<em>comes down</em> <span class='fss'>R. C.</span>). Indeed we will, Gaylie. My own boy - back again, thank Heaven! The skies will be bright now. - </dd> - <dt><em>Rob.</em></dt> - <dd>Ay, mother! bright to herald the coming of peace, with all its blessings. We have fought - the <span class='pageno' id='Page_81'>81</span>good fight: we have conquered. Henceforth the land we love is free. - </dd> - <dt><em>Crimp.</em></dt> - <dd>Das a fac', an' I am one on 'em; I'm obleeged to you. - </dd> - <dt><em>Gaylie.</em></dt> - <dd>Yes, we have conquered; and, though "the girl you left behind you" has done but little - for the cause, she carried into it a loyal and a willing heart; and, if her hero is - satisfied, she will never regret having "enlisted for the war." - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='sc'>Hiram</span> <em>and</em> <span class='sc'>Mattie</span>, <span class='fss'>R.</span> <span class='sc'>Mrs. T., Rob, Gaylie</span>, <span class='fss'>C.</span></div> - <div><span class='sc'>Crimp</span>, <span class='fss'>L.</span> <em>Curtain.</em></div> - </div> -</div> - - </dd> - </dl> - -<div class='chapter'> - <span class='pageno' id='Page_85'>85</span> - <h2 class='c005'>NEVER SAY DIE.</h2> -</div> - -<h3 class='c014'>CHARACTERS.</h3> - -<div class='lg-container-b c003'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>Mr. Simon Graylock.</span></div> - <div class='line'><span class='sc'>Mr. Ralph Cheeny.</span></div> - <div class='line'><span class='sc'>John Bounce</span>, Mr. Graylock's coachman.</div> - <div class='line'><span class='sc'>Mrs. Graylock.</span></div> - <div class='line'><span class='sc'>Miss Alice Chase.</span></div> - <div class='line'><span class='sc'>Patty Pert</span>, Mrs. Graylock's maid.</div> - </div> - </div> -</div> - -<h3 class='c014'>COSTUMES MODERN AND APPROPRIATE.</h3> - -<p class='c015'><span class='sc'>Scene.</span>—<em>Handsome apartment in the house of</em> <span class='sc'>Mr. -Graylock</span>. <em>Table</em>, <span class='fss'>C.</span>, <em>red cloth. A study-lamp -burning. Books and papers. Lounge</em>, <span class='fss'>R.</span> <em>Arm-chair</em>, -<span class='fss'>L.</span> <em>Chairs</em> <span class='fss'>R.</span> <em>and</em> <span class='fss'>L.</span> <em>of table</em>. <span class='sc'>Patty Pert</span> -<em>seated in arm-chair with a book</em>.</p> - - <dl class='dl_1'> - <dt><em>Patty</em></dt> - <dd>(<em>reading</em>). "At the sound of that voice musically voluminous as the sighing of - the October gale in the lofty branches of mountain hemlocks, Araminta Augusta Violetta - sprang to her feet, and, dashing the embroidery-frame to the floor with a crash that - shook the ancient edifice, gave one terrific, yet ecstatic scream <span class='pageno' id='Page_86'>86</span>of joy, and - sank fainting into the arms of her own fond Felix Frederick Freelove." Oh! isn't that - splendid? Oh! why wasn't I born in those barbaric days, when knights and squires, and - milk-white steeds, and high-born ladies, pranced about, like the grand entry of a - magnificent circus? Oh! why wasn't I a barbarian? And such love-making! (<em>Reads.</em>) - "Beauteous damsel, with eyes of azure blue, hear, oh, hear the vow of your own true - knight! I will cleave yonder mountain from summit to base with one blow of my trusty - cimeter, ere one tear of grief shall find its way adown thy gently-arching nose:" oh, - beautiful, beautiful! There are no barons now. Who ever hears such language as that in - these plebeian times? Even old Mr. Graylock, fond as he is of his young wife, never - allows his ecstasy to rise above the utterance of "My dear, you're looking well, - remarkably well." And Mrs. Graylock has nothing more romantic on the end of her tongue - than, "Hubby, don't be gone long. I do get so sleepy when you're away!" Oh, the world's - degenerating! there's not the least doubt of it. There's John Bounce, who tries to make - love to me; and precious bad business he makes of it too, forever dropping his - <em>h</em>'s, and sticking them where they don't belong. I'm determined to reform him, or - he shall bounce about the world without a wife, though, as he says, his 'art <em>h</em>is - given to me <em>h</em>alone. (<em>Enter</em> <span class='sc'>Bounce</span> <span - class='fss'>R.</span>) - </dd> - <dt><em>Bounce.</em></dt> - <dd>'Illo, Patty! <em>h</em>all by yourself, 'ay? Where's the master and missus? - </dd> - <dt><em>Patty.</em></dt> - <dd>Still at table, Mr. Bounce, daintily toying with the dessert of their luxurious repast. -<div><span class='pageno' id='Page_87'>87</span></div> - </dd> - <dt><em>Bounce.</em></dt> - <dd>My <em>h</em>eyes, Patty! what <em>h</em>elegance of <em>h</em>expression! - </dd> - <dt><em>Patty.</em></dt> - <dd>It's a pity Mr. Bounce, your language is not better seasoned with polite pronunciation. - </dd> - <dt><em>Bounce.</em></dt> - <dd>My <em>h</em>eyes, Patty, 'ave you been drinking? - </dd> - <dt><em>Patty.</em></dt> - <dd>Sir! - </dd> - <dt><em>Bounce.</em></dt> - <dd>You talk just for <em>h</em>all the world like the fellows that master used to 'ave 'ere - to dine afore 'e was 'itched to the new missus. They were dreadful free <em>h</em>and - <em>h</em>easy spoken until the wine came <em>h</em>on, and then they couldn't find words - <em>h</em>expansive enough to <em>h</em>express their <em>h</em>ideas. - </dd> - <dt><em>Patty.</em></dt> - <dd>Mr. Bounce, no more of such language. It is time that you and I understood each other. I - believe you wish me, at some not very distant period, to become your bride? - </dd> - <dt><em>Bounce.</em></dt> - <dd>Yes: <em>h</em>i <em>h</em>expect to make you Mrs. Bounce. - </dd> - <dt><em>Patty.</em></dt> - <dd><em>H</em>expect? Why should you? - </dd> - <dt><em>Bounce.</em></dt> - <dd>Why, Patty? 'Aven't <em>h</em>i <em>h</em>offered you my 'art <em>h</em>and 'and? - </dd> - <dt><em>Patty.</em></dt> - <dd>And—and what? - </dd> - <dt><em>Bounce.</em></dt> - <dd>My 'art <em>h</em>and 'and. Don't you <em>h</em>understand <em>h</em>it? - </dd> - <dt><em>Patty.</em></dt> - <dd>Your art? Yes: your art is driving horses. - </dd> - <dt><em>Bounce.</em></dt> - <dd>But I ain't talking <em>h</em>about 'orses. <em>H</em>i said 'art; this 'art which 'eaves - <em>h</em>in my bosom with fond <em>h</em>aspiration. - </dd> - <dt><em>Patty.</em></dt> - <dd>Nonsense! Once for all, Mr. John Bounce, I will never marry a man who aspirates in such a - shocking manner as you do. No, sir. The man whose <span class='pageno' id='Page_88'>88</span>bride I shall become must be - capable of declaring his love in grammatical, pronounceably correct English. He must fall - gracefully upon his knees before me, and, in accents too wild to be resisted, say, - "Patty, my heart"—not <em>art</em>, Mr. Bounce; I'll have no artful man—"is at your - feet." Not <em>hat</em>. Hats are for heads, not feet, Mr. Bounce. When you can do that, - speak: till then a gulf as wide as that which once yawned between Felix Frederick - Freelove, and his Araminta Augusta Violetta, separates us. -<div class='c013'>[<em>Exit</em> <span class='fss'>R.</span></div> - </dd> - <dt><em>Bounce.</em></dt> - <dd>My <em>h</em>eyes! Who's <em>H</em>araminta <em>H</em>augusta? <em>H</em>i don't know - 'er. Well, this <em>h</em>is <em>h</em>extraordinary. <em>H</em>and <em>h</em>i thought - my language was so <em>h</em>intelligent! Well, Miss Patty, though <em>h</em>i love you - with <em>h</em>all my 'art, <em>h</em>i'm not <em>h</em>a-going to lose no flesh on your - <em>h</em>account. Well, <em>h</em>after <em>h</em>all, women <em>h</em>are a good deal - like 'orses; <em>h</em>if they find you don't notice their capers, but keep cool, they're - very <em>h</em>apt to settle down <em>h</em>into a <em>h</em>easy trot. 'Ere's master and - missus. <em>H</em>i'll make myself scarce. (<em>Exit</em> <span class='fss'>L.</span> - <em>Enter</em>, <span class='fss'>R.</span>, <span class='sc'>Mr. Graylock</span>, - <em>with a plate containing nuts and raisins balanced on each hand, followed by</em> - <span class='sc'>Mrs. Graylock</span>.) - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Now, my dear, for a refreshing season of calm and tranquil delight. Here, beneath our own - vine and fig-tree, metaphorically speaking, we will meditate, converse, and—and eat our - nuts and raisins. (<em>Sits in chair</em> <span class='fss'>L.</span> <em>of table</em>). - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>(<em>placing ottoman beside him</em>, <span class='fss'>L.</span>). Yes, indeed; what - could be more delightful? (<em>Sits. He hands her a plate. They eat.</em>) How grateful I - should be—and I am—that I have a dear husband, so fond <span class='pageno' id='Page_89'>89</span>of spending his evenings - with me, instead of leaving me for a stupid club, or the society of a billiard-room! It's - a shame, a disgrace to married life, the manner in which some husbands conduct themselves. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Ah, my dear, you were a wise young woman, when from the multitude of your admirers, - young, giddy fellows, you turned to make choice of a staid, middle-aged, experienced - individual to guide your youthful steps. Ah, my dear, yours was a wise choice. Do I not - worship you? Do I not dote upon you? Is not every wish of your heart gratified? - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Yes, indeed. No: there's one wish yet ungratified. Alice— - </dd> - <dt><em>Mr. G.</em></dt> - <dd>What! you're not going to bring up that troublesome subject again? - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Again and again, until you give your consent to her marriage with Mr. Cheeny. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Now, my dear, how are we to enjoy a season of calm and tranquil delight if you insist - upon boring me with a subject upon which we can never agree? Let's change the subject. My - dear, I am seriously thinking of dyeing— - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>O Simon, don't talk so! Do you want to frighten me to death? - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Yes, of dyeing—my hair and beard. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>You cannot mean it. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Yes, I do. Watkins tells me he has a wonderful preparation, one application of which will - instantly turn white, gray, red, or yellow hair to a beautiful black. Think of it, - Susannah! In imagination behold your husband entering the room, transformed <span class='pageno' id='Page_90'>90</span>by - "The Magic Dyer" into a youthful specimen of the genus <em>homo</em>. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>I couldn't imagine it, and I won't. I am perfectly satisfied with your appearance. And - you would look horrid with your hair and beard in mourning. I should never forgive you if - you did such a dreadful thing. Never say dye to me again. Now let's change that subject. - Alice and Mr. Cheeny— - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Sue! Susan! Susannah! pause. If you do not instantly pause, I shall dye—my hair and beard. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Oh, no, you won't! Why are you so determined to keep Alice single? (<em>Enter</em> <span - class='sc'>Alice</span> <span class='fss'>R.</span>) - </dd> - <dt><em>Alice.</em></dt> - <dd>Yes, uncle, why am I to be deprived of my natural rights? - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Oh, bother! You here? Now, how is a man to enjoy a season of— - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Oh, don't say that again! Answer my question. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Certainty, my dear. I have three reasons: the first of which is, she is too young to - marry. - </dd> - <dt> </dt> - <dd><em>Mrs. G. and Alice</em> (<em>together</em>). Too young to marry! - </dd> - <dt><em>Mr. G.</em></dt> - <dd>(<em>aside</em>). Grand chorus of indignant females. (<em>Aloud.</em>) I repeat it: too - young to marry. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Nonsense! She's as old as I am. If that is your opinion, why did you allow me to marry? - </dd> - <dt><em>Mr. G.</em></dt> - <dd>(<em>aside</em>). Stuck my foot in it. (<em>Aloud.</em>) You didn't allow me to finish. - Too young to marry a young man. - </dd> - <dt><em>Alice.</em></dt> - <dd>Indeed! Well, I'll never marry an old one, <span class='pageno' id='Page_91'>91</span>if I live to be as old as my - grandmother. I do detest old men, and middle-aged men too. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>(<em>aside</em>). Stuck my foot in it again. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>So much for your first reason. What is your second? - </dd> - <dt><em>Mr. G.</em></dt> - <dd>My second is, Alice can do better than to marry at all. Look at that head. How - beautifully the reasoning bumps are developed! A phrenologist would go wild with ecstasy - with his hands upon that head. - </dd> - <dt><em>Alice.</em></dt> - <dd>Would he? He'd get them well scratched for his assurance. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>(<em>Rising, placing plate on table, and speaking with bombastic enthusiasm.</em>) Alice, - 'tis the era of progress. Woman's rights will soon be fully recognized, and woman take - her place among the gifted and the learned. They will be called to the bar, the pulpit. - Think of that time, and prepare to take your place,—to rule, and not be ruled. Married - life for you! Preposterous! 'Twould be a galling chain 'gainst which your noble intellect - would chafe and worry. - </dd> - <dt><em>Alice.</em></dt> - <dd>Uncle, are you crazy? - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Poor Simon, has second childhood come so soon to you? - </dd> - <dt><em>Mr. G.</em></dt> - <dd>My dear, let's change the subject. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Certainly; to the third and last reason. What is that? - </dd> - <dt><em>Mr. G.</em></dt> - <dd>The third and last? That I refuse to make public. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>What! you have another reason? - </dd> - <dt><em>Mr. G.</em></dt> - <dd>I have, and it's a clincher; but I positively refuse to give it. -<div><span class='pageno' id='Page_92'>92</span></div> - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>To your own lawful wife? to her from whom you have often said you have no secrets? Simon - Graylock, I'm ashamed of you. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>But, my dear Susan— - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Don't dear me, Mr. Graylock. You are a very ungrateful man. Do I deserve this treatment? - Have I not sacrificed my young and ardent admirers for your sake? Have I not crushed out - the brightness and gayety of my young life to settle down, and become the slave of a man - old enough to be my father? For what? To have your confidence withheld from me— - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Sue— - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Silence, Mr. Graylock! When I fondly hoped, in making our Alice happy, to brighten our - home with the presence of gay, lively company— - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Susan— - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Silence, sir! I must be content with your company; not even allowed to share your - confidence. You ought to be ashamed of yourself. I wonder your iron-gray locks do not - turn white with shame. They look streaked enough. You want to dye them. You'd better. - Disguise yourself somehow. Keep out of my sight, for I'm thoroughly ashamed of you. Come, - Alice, I'll not waste my time with such a wretch. - </dd> - <dt><em>Alice.</em></dt> - <dd>But, Aunt Susy, my marriage— - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Must wait till my lord and master concludes to give his third reason. O Simon, Simon! - you've broken my heart. (<em>Weeps.</em>) You—you—you've br-br-br-oken my heart. -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Exit</em>, <span class='fss'>R.</span>, <em>followed by</em> <span class='sc'>Alice</span>.</div> - </div> - </div> -</div> - -<div><span class='pageno' id='Page_93'>93</span></div> - </dd> - <dt><em>Mr. G.</em></dt> - <dd>(<em>looks off</em> <span class='fss'>R.</span>, <em>then speaks slowly</em>). Well, I - never! Bless my soul! Goodness gracious! Heavens and earth! Here's a tornado, an - earthquake, a hurricane! The wife of my bosom, the partner of my joys, in the enjoyment - of a season of calm and tranquil delight, gets up, and—Well, well, here's blighted - hearthstones, blasted happiness, and for what? For an untold reason. Make public that - reason? disclose it to the partner of my joys? Never! distinctly, emphatically, and - unequivocally, never! Tell her that I oppose my niece's marriage because upon that - marriage I, her lawful guardian, must pay into her hands the sum of ten thousand dollars, - left in my hands by my deceased brother, her father, to be so paid on the occurrence of - her marriage, which marriage must have my consent? Never! She would drive me from her - presence with scorn,—or any thing else that was handy. I can't part with the money now. - This unlucky, happy day must be kept far, far away. But my wife, she must be appeased. - How can I bring back her smiles? Ah, "The Magic Dye!" She would see manhood in its prime, - raven locks, and all that sort of thing, about her home. She shall. I will disguise - myself. The die is cast. She will be pleased with the change: she can't help it. The - smile will return to her rosy lips, and all be bright again. Wilkins can transform me in - five minutes. He shall. I shall dye happy, and live happy ever after. (<em>Strikes - bell.</em>) I'll make a confidant of Bounce. No, I won't. I'll mystify him - to—(<em>Enter</em> <span class='sc'>Bounce</span> <span class='fss'>L.</span>) - </dd> - <dt><em>Bounce.</em></dt> - <dd>Did you ring, sir? -<div><span class='pageno' id='Page_94'>94</span></div> - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Bounce, I am about to commit a desperate act. - </dd> - <dt><em>Bounce.</em></dt> - <dd><em>H</em>another? Why, you've only been married <em>h</em>a month! - </dd> - <dt><em>Mr. G.</em></dt> - <dd>I am about to leave this home, to go—no matter where; to do—no matter what. You are a - faithful servant. You will keep my secret. (<em>Aside.</em>) I know he won't. - </dd> - <dt><em>Bounce.</em></dt> - <dd><em>H</em>as the <em>h</em>apple of my <em>h</em>eye, when I know it. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>When your mistress asks for me, you will say—nothing; when they search for me, you will - lead them to the—well; you will lead them somewhere, anywhere, but where I am—where I go - to dye. You understand. Silence, remember. I was here, I am gone, silently, mysteriously - (<em>creeps to door</em>, <span class='fss'>R.</span>), like the expiring flame of a - candle. Puff! I'm gone. -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Exit</em> <span class='fss'>R.</span></div> - </div> - </div> -</div> - - </dd> - <dt><em>Bounce.</em></dt> - <dd>My <em>h</em>eyes! master's <em>h</em>out of 'is 'ead. 'E's gone off suiciding, - <em>h</em>as sure <em>h</em>as <em>h</em>eggs. 'Ere's <em>h</em>a situation for - <em>h</em>a 'ouse'old. What's to be done? 'E must be stopped, but 'ow? <em>H</em>i'll - call mistress. Oh, 'ere she <em>h</em>is! (<em>Enter</em> <span class='sc'>Mrs. - Graylock</span> <span class='fss'>R.</span>) - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Has your master gone out, John? - </dd> - <dt><em>Bounce.</em></dt> - <dd><em>H</em>o, mistress, <em>h</em>i'm <em>h</em>all <em>h</em>unstrung. 'E's out of 'is - 'ead, 'e <em>h</em>is. 'E's gone somewhere, <em>h</em>and 'e's going to do something - <em>h</em>awful,—put a <em>h</em>end to 'imself. <em>H</em>it's 'orrible! - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>What do you mean? - </dd> - <dt><em>Bounce.</em></dt> - <dd>'E said <em>h</em>i must lead you to the well. 'E's going to drown 'imself, - <em>h</em>only the well is dry, <em>h</em>and he <span class='pageno' id='Page_95'>95</span>can't. Perhaps 'e's going to - the stable to sacrifice 'imself <em>h</em>on the 'alter. <em>H</em>o, <em>h</em>it's - 'orrible! - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Nonsense, Bounce; he's gone out for a walk. - </dd> - <dt><em>Bounce.</em></dt> - <dd>Yes, <em>h</em>an' 'e'll walk <em>h</em>into 'is grave, <em>h</em>an' then 'e'll walk - nights, and scare us to death. <em>H</em>o, <em>h</em>it's 'orrible! - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>John Bounce, have you been drinking? - </dd> - <dt><em>Bounce.</em></dt> - <dd><em>H</em>i 'ave, <em>h</em>i 'ave; tea, green tea; Young 'yson. <em>H</em>o, you'll - never set your young <em>h</em>eyes <em>h</em>on's noble form <em>h</em>again. 'E's gone - to die. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Gone to die? I see it all: the wretch! - </dd> - <dt><em>Bounce.</em></dt> - <dd>So do <em>h</em>i, missus,—'is cold remains, <em>h</em>a long procession. Poor master! - 'is <em>h</em>own 'osses will never carry 'im <em>h</em>again! - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>John Bounce, you are a fool! Stop your snivelling, and listen to me. Your master has no - thought of taking his life. He is bound on a very foolish errand, the purport of which I - know. As he has tried to frighten us, we will endeavor to turn the tables upon him. Call - Patty. - </dd> - <dt><em>Bounce.</em></dt> - <dd>Yes, ma'am. You're sure 'e's not gone <em>h</em>insane? - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>So sure of it that I shall prevent his entrance to the house for the present. You will - lock all the doors, and fasten the windows, except one in the kitchen. When you have done - that, go to his room, get his rifle, and return here. - </dd> - <dt><em>Bounce.</em></dt> - <dd>My <em>h</em>eyes! what <em>h</em>is coming to this 'ouse? <em>H</em>o, <em>h</em>it's - 'orrible! -<div class='c013'>[<em>Exit</em> <span class='fss'>R.</span></div> - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>So my good husband, evidently vexed at <span class='pageno' id='Page_96'>96</span>my assumed anger, is about to execute his - threat of dyeing. Let me see if I cannot turn this to good account, and fix the day for - Alice's marriage. That third reason seems to be the impediment; but, if I cannot find - that out, I will at least gain his consent by stratagem. O my good Simon! if I cannot win - your confidence, I will teach you such a lesson that you will never say dye again. - (<em>Enter</em> <span class='sc'>Patty</span> <span class='fss'>R.</span>) - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Patty. - </dd> - <dt><em>Patty.</em></dt> - <dd>Yes, ma'am. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>I believe you are very fond of romantic adventures. - </dd> - <dt><em>Patty.</em></dt> - <dd>Indeed, I am, ma'am, though I never had one in my life. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>I am about to throw one in your way. Mr. Graylock will soon return to the house in - disguise; that is, he has gone to have his hair and beard dyed. I have given orders to - have the doors and windows locked. He will gain an entrance, after some difficulty, to - this room. Once here, John Bounce and you, with doors locked, must keep guard over him. - Whatever he may say or do, you must not recognize him as your master, but treat him as a - burglar. You understand? - </dd> - <dt><em>Patty.</em></dt> - <dd>Indeed I do. Trust me to treat him as a burglar. I'll pound him with the broom, and John - shall fire a few bullets into him to keep him quiet. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>No, no: there must be no violence. I rely upon your discretion. You are both old servants - of his, and will not fail to treat him respectfully. It's only a frolic of his young - wife, at which he will laugh <span class='pageno' id='Page_97'>97</span>heartily when it is over. (<em>Bell rings.</em>) - There's the bell. Should it be he, do not open the door. - </dd> - <dt><em>Patty.</em></dt> - <dd>I will remember. -<div class='c013'>[<em>Exit</em> <span class='fss'>R.</span></div> - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Now, then, to rehearse my part in the grand tragedy. (<em>Enter</em> <span - class='sc'>Patty</span> <span class='fss'>R.</span>) - </dd> - <dt><em>Patty.</em></dt> - <dd>Mr. Cheeny, ma'am. (<em>Enter</em> Mr. <span class='sc'>Cheeny</span> <span - class='fss'>R.</span>) - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Ah, Ralph; welcome! -<div class='c013'>[<em>Exit</em> <span class='sc'>Patty</span> <span class='fss'>R.</span></div> - </dd> - <dt><em>Ralph</em></dt> - <dd>(<em>shaking hands</em>). My dear Mrs. Graylock, this is jolly, to see you in such good - spirits. Am I right? You have succeeded? (<span class='sc'>Mrs. G.</span> <em>shakes her - head</em>.) No? - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>No, my dear friend; the enemy is still strongly intrenched behind the bulwarks of - obstinacy, from which neither smiles, tears, nor reproaches can drive him. - </dd> - <dt><em>Ralph.</em></dt> - <dd>And the assailing party, discomfited, is about to retire from the contest? - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Never! We have inscribed upon our banners the motto, "Never say die!" - </dd> - <dt><em>Ralph.</em></dt> - <dd>Good! You're the best friend a man ever had. But where's Alice? (<em>Enter</em> <span - class='sc'>Alice</span> <span class='fss'>L.</span>) - </dd> - <dt><em>Alice.</em></dt> - <dd>O Ralph, it's all over! He'll never give his consent. - </dd> - <dt><em>Ralph.</em></dt> - <dd>Then, my dear Alice, we will do without it. An unexpected turn in business affairs to-day - has made me as independent as a nabob. I should have liked your crusty old uncle's - blessing; but, as he won't give it, we'll see Parson Clark, say next Tuesday, be married, - take a journey to Niagara, and, on our return, settle quietly into married life. What's - to hinder? - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>The crusty old uncle's wife. -<div><span class='pageno' id='Page_98'>98</span></div> - </dd> - <dt><em>Ralph.</em></dt> - <dd>Eh, my clear Mrs. Graylock! A thousand pardons for my levity. He is crusty, you are - lovely. "In contrasts lieth love's delight," you know. You will place no bar to our union. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Stop. We have begun a battle: let's fight it out. If Alice marries without her - <em>crusty</em> old uncle's consent, where's her fortune? - </dd> - <dt><em>Ralph.</em></dt> - <dd>Her fortune? I never knew she had one. "Her face is her fortune." - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>With ten thousand dollars with which to buy mirrors to see it in if she please. - </dd> - <dt><em>Alice.</em></dt> - <dd>Why, Aunt Susy! I never heard of it. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Nor I. But it's true, for I've seen the papers. 'Twas left you by your father, to be paid - when you should marry with Mr. Graylock's consent. - </dd> - <dt><em>Ralph.</em></dt> - <dd>Why, this is charming! - </dd> - <dt><em>Alice.</em></dt> - <dd>Do you think you like me any better, Ralph? - </dd> - <dt><em>Ralph.</em></dt> - <dd>Ten thousand times! That is, you understand, I'm not mercenary; but you deserve it, - you're such a dear, sweet, nice— - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Attention, company! Business! I am going to gain his consent. Ralph, sit at that table, - and write, if you please. - </dd> - <dt><em>Ralph</em></dt> - <dd>(<em>sits at table</em>; <span class='sc'>Alice</span> <em>leans on his chair</em>; <span - class='sc'>Mrs. G.</span> <em>stands</em> <span class='fss'>L.</span> <em>of table</em>). - Yes; proceed. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>"I, Simon Graylock, being in sound mind and body"—(<em>Bell rings.</em>) Hark! that's he. - Don't mind. Write. - </dd> - <dt><em>Ralph.</em></dt> - <dd>"Sound mind and body." - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>"Hereby bequeath to my dearly-beloved friend, Ralph Cheeny"—(<em>Bell rings - violently.</em>) -<div><span class='pageno' id='Page_99'>99</span></div> - </dd> - <dt><em>Ralph.</em></dt> - <dd>"Beloved friend, Ralph Cheeny." Go on. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>"My affectionate niece, Alice Chase"—(<em>Bell rings violently.</em>) - </dd> - <dt><em>Ralph.</em></dt> - <dd>"Alice Chase:" that's you, Ally. Go on. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>"To have and to hold, as his lawful wife, from this day forth and forevermore. And to - this union I give my consent, and subscribe my name." That's all. He has stopped ringing. - (<em>Dog barks.</em>) - </dd> - <dt><em>Mr. G.</em></dt> - <dd>(<em>outside</em>). Hero, Hero, old boy, don't you know your master? (<em>Dog barks. - Shouting.</em>) - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>He's getting into the garden: he will soon be here. We must retire. - </dd> - <dt><em>Ralph.</em></dt> - <dd>But what is it all about? - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Ask no questions. Let me arrange that paper. I will turn the writing underneath, leaving - a blank space for his signature. (<em>Dog barks.</em>) - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Clear out, you brute! There goes my coat! Murder! help! - </dd> - <dt><em>Ralph.</em></dt> - <dd>Shall I run to his assistance? - </dd> - <dt><em>Mrs.<a id='Mr'></a> G.</em></dt> - <dd>Not for the world! Come this way. I will explain all. [<em>Exeunt</em> <span - class='fss'>R.</span> <em>Then enter, hurriedly</em>, <span class='fss'>L.</span>, <span - class='sc'>Mr. G.</span>, <em>his hair and beard dyed black, one coat-tail, torn off, in - his hand</em>.] - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Confound that dog! He has decidedly curtailed my enjoyment. (<em>Holds up - coat-tail.</em>) Is it possible I am so transformed as to become a terror to my own - terrier? Where is everybody? Doors locked, windows fastened, and nobody to let me into my - own house! A pretty state of affairs, truly! No matter: I have gained an entrance, and - now for a good surprise. (<em>Takes hand-mirror from table.</em>) What a - <span class='pageno' id='Page_100'>100</span>change! The Simon Graylock of twenty-five takes the place of the Simon Graylock of - fifty. Glorious! Won't I make a sensation? I can see my wife's look of astonishment and - pleasure. I can hear her rapturous "O Simon, you beauty!" Eh? what's that? (<em>Turns - to</em> <span class='fss'>L.</span>, <em>as</em> <span class='sc'>John Bounce</span> - <em>enters, locks the door, and stands with his rifle at</em> "<em>present</em>.") Well, - what's the matter? Eh! what's that? (<em>Turns</em> <span class='fss'>R.</span>, - <em>as</em> <span class='sc'>Patty</span> <em>enters, locks the door, and stands with a - broom at</em> "<em>present</em>.") What's the meaning of this? - </dd> - <dt><em>Bounce.</em></dt> - <dd>Silence! Not <em>h</em>a sound! not <em>h</em>a, step! Sh—! - </dd> - <dt><em>Patty.</em></dt> - <dd>Silence! Not a look! not a breath! Sh—! - </dd> - <dt> </dt> - <dd><em>Patty and John</em> (<em>together</em>). If you move, if you speak, you are a dead - man. Sh—! - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Why, John! Patty! you idiots! don't you know your master? - </dd> - <dt> </dt> - <dd><em>Patty and John</em> (<em>together</em>). Master! you! Ha, ha, ha! - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Now stop that duet, or out of this house you go without warning. Unlock those doors, and - call your mistress. - </dd> - <dt><em>Bounce.</em></dt> - <dd>Call the police. <em>H</em>i know you? You're <em>h</em>a burglar, <em>h</em>a thief! But - we're wide <em>h</em>awake. You're caught. - </dd> - <dt><em>Patty.</em></dt> - <dd>Yes, Mr. Jack Sheppard, your foot's in the trap. You've lost your coat-tails, but that's - nothing to the loss of your liberty: ten years in prison. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Am I awake? John Bounce, who's your master? - </dd> - <dt><em>Bounce.</em></dt> - <dd>Simon Graylock, <em>H</em>esquire, <em>h</em>a respectable, - <span class='pageno' id='Page_101'>101</span>middle-<em>h</em>aged gent, rather plain <em>h</em>in 'is <em>h</em>external - <em>h</em>appearance, but with <em>h</em>an 'art <em>h</em>as big <em>h</em>as an - <em>h</em>ox. - </dd> - <dt><em>Patty.</em></dt> - <dd>Yes, Mr. Burglar, as nice an old gentleman as you ever met. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Am not I that gentleman? - </dd> - <dt><em>Patty.</em></dt> - <dd>You! Nonsense! - </dd> - <dt><em>Bounce.</em></dt> - <dd>You! <em>H</em>absurd! Why, you look like what you <em>h</em>are,—<em>h</em>a regular - 'ousebreaker. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>I'll break your head if you call me that name again. I am master of this house; and as - such I order you instantly to unlock those doors, and call your mistress. - </dd> - <dt><em>Patty.</em></dt> - <dd>What impudence! - </dd> - <dt><em>Bounce.</em></dt> - <dd><em>H</em>and what <em>h</em>assurance! - </dd> - <dt><em>Mr. G.</em></dt> - <dd>(<em>approaching</em> <span class='sc'>Patty</span>). Young woman, out of my way! - </dd> - <dt><em>Patty</em></dt> - <dd>(<em>points broom at him</em>). Help! murder! thieves! - </dd> - <dt><em>Bounce</em></dt> - <dd>(<em>points rifle at him</em>). 'Ere, you, none er that! Lay <em>h</em>a finger - <em>h</em>on that young woman, <em>h</em>and I'll fire. (<span class='sc'>Mr. G.</span> - <em>backs up stage; they follow with their weapons pointed at him</em>.) - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Confound it! this is ridiculous! Go away. (<em>Gets up into chair.</em>) - </dd> - <dt><em>Bounce.</em></dt> - <dd>Wretched <em>h</em>outcast, would you lift your 'and <em>h</em>against <em>h</em>a woman? - Would you— - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Put down that gun. - </dd> - <dt><em>Bounce.</em></dt> - <dd>Never! You <em>h</em>ex<em>h</em>asperate the British lion; you <em>h</em>insult the - <em>h</em>object of my 'art's <em>h</em>adoration; you—you—you— - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Put down that gun. It might go off. -<div><span class='pageno' id='Page_102'>102</span></div> - </dd> - <dt><em>Bounce.</em></dt> - <dd><em>H</em>it might; but you can't.—Patty, <em>h</em>i'll put <em>h</em>an <em>h</em>end - to 'is miserable <em>h</em>existence. - </dd> - <dt><em>Patty.</em></dt> - <dd>No; leave him to the officer of justice. - </dd> - <dt><em>Bounce.</em></dt> - <dd><em>H</em>i can't. 'E 'as <em>h</em>insulted you, <em>h</em>and <em>h</em>i must 'ave - blood, blood, blood! - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Put down that gun! Here, Sue! Susan! Susannah! Help! help! help! (<em>Knock at door</em>, - <span class='fss'>L.</span>) - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>(<em>outside</em>). Open the door, Patty. (<span class='sc'>Patty</span> <em>unlocks the - door</em>, <span class='fss'>R.</span> <span class='sc'>Mrs. G.</span>, <span - class='sc'>Alice</span>, <em>and</em> <span class='sc'>Ralph</span> <em>enter, stand - huddled by the door</em>.) Have you got him? - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Got him! And she the wife of my bosom! Susy! - </dd> - <dt><em>Bounce.</em></dt> - <dd>Silence! (<em>Threatens with gun.</em>) - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Susan! - </dd> - <dt><em>Patty.</em></dt> - <dd>Silence! (<em>Flourishes broom.</em>) - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Susannah! - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Why, the wretch knows my name! - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Of course he does. 'Tis I, your own true, loving husband, Simon Graylock. - </dd> - <dt><em>Ralph.</em></dt> - <dd>Egad, the rascal has assurance! - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Did you ever? - </dd> - <dt><em>Alice.</em></dt> - <dd>No, I never. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>(<em>coming forward</em>). Oh, come! this is all nonsense, you know. You're not going to - cut me off, are you? I am your husband. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>My husband! Why, he's old enough to be your father. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>(<em>aside</em>). There's a "puff" for "The Magic Dye." (<em>Aloud.</em>) You don't know - me. Am I, then, so changed? - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>You look like a burglar. -<div><span class='pageno' id='Page_103'>103</span></div> - </dd> - <dt><em>Ralph.</em></dt> - <dd>What a thievish look there is about his mouth! - </dd> - <dt><em>Alice.</em></dt> - <dd>And such cunning eyes! Oh, do, Aunt Susy, let John call the police, and have him taken - away! - </dd> - <dt><em>Mr. G.</em></dt> - <dd>It's only the effects of the dye, you know. I've had my hair and whiskers colored. Gives - me quite a juvenile look; quite the dandy, eh? - </dd> - <dt><em>Ralph.</em></dt> - <dd>Oh! come, sir, this won't do. You have entered this house in search of plunder. Your - attempt has been foiled by the keenness of this lady, who, in the absence of her husband, - can well protect his treasures. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>John, call the police. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>John, if you do, I'll discharge you without a character.—Susannah, be reasonable. If you - don't know me, you must know these clothes. Are they not your husband's? - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>My husband's? Gracious heaven! I see it all! My husband has been murdered, cruelly - murdered! and you have stolen his clothing. Oh, wretched woman that I am!—John, call the - police. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>And I say, no. Confound it! Do you want to drive me out of my senses? - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Oh, take me away! My life's in danger. Oh, somebody take me away! - </dd> - <dt><em>Ralph.</em></dt> - <dd>Fear not, madam. I will protect you. If your husband has gone, you shall find in me a - watchful guardian and a trusty friend. Fear not: the miscreant shall not harm you. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Confound his impudence! O Susy! what can I do to make you own me? I think I am your - husband; in fact, I'm quite sure of it. -<div><span class='pageno' id='Page_104'>104</span></div> - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Can you write? - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Write? I signed a check for two hundred dollars, which you now have in your - <span lang="fr" xml:lang="fr">porte-monnaie</span>. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Can you write your name? - </dd> - <dt><em>Mr. G.</em></dt> - <dd>To be sure I can. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Then write it. I shall recognize my husband's handwriting, I think; yes, I'm quite sure - of it. Write at once: there are pen, ink, and paper. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>I'll be hanged if I do any such thing! This is absurd, ridiculous! - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>John, call the police. - </dd> - <dt><em>Bounce.</em></dt> - <dd><em>H</em>instantly, missus. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Stop! I'll write. (<em>Goes to table</em>, <span class='fss'>C.</span>) If ever I'm - caught in such a ridiculous position as this, may I be— - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>(<em>goes to table</em>). Here! write your name there. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>(<em>sits, takes up pen, then looks up at</em> <span class='sc'>Mrs. G.</span>, <em>who - stands immovable</em>). And that's the wife of my bosom, the partner of my joys! and I've - got to write my name before—No! I'll be hanged if I do! (<em>Throws down pen.</em>) - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>John, the police. - </dd> - <dt><em>Bounce.</em></dt> - <dd><em>H</em>instantly, missus. (<span class='sc'>John</span> <em>and</em> <span - class='sc'>Patty</span> <span class='fss'>L.</span>, <span class='sc'>Frank</span> - <em>and</em> <span class='sc'>Alice</span> <span class='fss'>R.</span>) - </dd> - <dt><em>Mr. G.</em></dt> - <dd>No, no: I'll sign! (<em>Writes.</em>) - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>(<em>takes up paper</em>). What do I see? 'Tis he, my husband, my Simon! (<em>Throws her - arms about his neck, and repeatedly embraces him in a frantic manner.</em>) - </dd> - <dt><em>Ralph.</em></dt> - <dd>What do I hear? 'Tis he, your uncle, my Alice! (<em>Embraces</em> <span - class='sc'>Alice</span>.) -<div><span class='pageno' id='Page_105'>105</span></div> - </dd> - <dt><em>Bounce.</em></dt> - <dd><em>H</em>it's <em>h</em>all <em>h</em>up. 'Tis 'e 'imself, Patty. (<em>Embraces</em> - <span class='sc'>Patty</span>.) - </dd> - <dt><em>Patty.</em></dt> - <dd>Let me alone, you exasperating Englishman! (<em>Releases herself.</em>) - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Confound it! Susy, don't smother me! - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>O Simon! something's burning! I smell brimstone! - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Smell fiddlesticks! It's "The Magic Dye." It makes me sick: I wish I was well rid of it. - And now be kind enough to tell me the meaning of this. I've been locked out of my house, - my clothes lacerated by my dog, been threatened with death by my servant, with the police - by my wife; and am threatened with a brain-fever, if I don't know what all this is for. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>For the third reason, Simon. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Eh? You're not going to bring up that subject again? - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Oh, no! that's all settled. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Settled? How? - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>(<em>takes paper from table, and reads</em>). "I, Simon Graylock, being in sound mind and - body, hereby bequeath to my dearly beloved friend Ralph Cheeny, my affectionate niece - Alice Chase, to have and to hold, as his lawful wife, from this day forth and - forevermore; and to this union I give my consent, and subscribe my name." Signed, "Simon - Graylock." - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Why, this is a swindle! Obtaining goods under false pretences! And you, the wife of my - bosom, the partner—Do you know what this would cost me, were it known? - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>Yes; ten thousand dollars: Alice's portion. -<div><span class='pageno' id='Page_106'>106</span></div> - </dd> - <dt><em>Ralph.</em></dt> - <dd>Of which she is in no immediate want; in fact, I think I would prefer to leave it in your - hands. - </dd> - <dt><em>Mr. G.</em></dt> - <dd>My dearly beloved, take her, and be happy. When I die, you will find I have not forgotten - you. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>As did the partner of your joys, the last time you dyed; eh, Simon? - </dd> - <dt><em>Mr. G.</em></dt> - <dd>My dear, let's change the subject. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>If we could only change the color of your hair as easily! Why, Simon, it's purple! - </dd> - <dt><em>Mr. G.</em></dt> - <dd>Is it? Then don't look at it, don't speak of it; for, if you're not pleased, I have dyed - in vain. - </dd> - <dt><em>Mrs. G.</em></dt> - <dd>No: for it has helped to make two people happy who were dying for each other, helped your - dear wife to triumph in a good cause, and helped us all to a little amusement— - </dd> - <dt><em>Mr. G.</em></dt> - <dd>At my expense. Sue, Susan, Susannah, let's change the subject. Never say die, and I never - will. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='sc'>John Bounce</span> <em>and</em> <span class='sc'>Patty</span>, <span class='fss'>R.</span> <span class='sc'>Mr.</span> <em>and</em> <span class='sc'>Mrs. G.</span>, <span class='fss'>C.</span></div> - <div><span class='sc'>Ralph</span> <em>and</em> <span class='sc'>Alice</span>, <span class='fss'>L.</span> <em>Curtain.</em></div> - </div> -</div> - - </dd> - </dl> - -<div class='figcenter id001'> -<img src='images/i109.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>THE CHAMPION OF HER SEX.</p> -</div> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_109'>109</span> - <h2 class='c005'>THE CHAMPION OF HER SEX.</h2> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c002'> - <div>(FOR FEMALE CHARACTERS ONLY.)</div> - </div> -</div> - -<h3 class='c014'>CHARACTERS.</h3> - -<table class='table1' summary=''> - <tr> - <td class='c016' colspan='2'><span class='sc'>Mrs. Duplex</span>, a widow with money and a mission.</td> - </tr> - <tr> - <td class='c016' colspan='2'><span class='sc'>Mrs. Deborah Hartshorn</span>, her mother.</td> - </tr> - <tr> - <td class='c016' colspan='2'><span class='sc'>Florence Duplex</span>, her daughter.</td> - </tr> - <tr> - <td class='c016' colspan='2'><span class='sc'>Caroline Duplex</span>, her step-daughter.</td> - </tr> - <tr> - <td class='c016'><span class='sc'>Rhoda Dendron</span>,</td> - <td class='blt c016'> her friends.</td> - </tr> - <tr> - <td class='c016'><span class='sc'>Pollie Nay</span>,</td> - <td class='blt c016'> </td> - </tr> - <tr> - <td class='c016' colspan='2'><span class='sc'>Katie O'Nail</span>, the cook.</td> - </tr> - <tr> - <td class='c016' colspan='2'><span class='sc'>Maggie Donovan</span>, the chambermaid.</td> - </tr> -</table> - -<h3 class='c014'>COSTUMES MODERN AND APPROPRIATE.</h3> - -<p class='c015'><span class='sc'>Scene.</span>—<em>Apartment in</em> <span class='sc'>Mrs. Duplex's</span> <em>house. Lounge</em>, -<span class='fss'>L.</span>; <em>two chairs</em>, <span class='fss'>R.</span>; <em>table with writing-materials, and -an easy-chair</em>, <span class='fss'>C.</span></p> - - <dl class='dl_1'> - <dt><em>Mrs. H.</em><a id='Hartshorn'></a></dt> - <dd>(<em>outside</em>, <span class='fss'>R.</span>) Don't tell me, yeou imperdent thing! - Clear out, I tell yeou! - </dd> - <dt><em>Maggie</em></dt> - <dd>(<em>outside</em>, <span class='fss'>R.</span>) Faix! not for the likes av yez, at all, - at all. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>(<em>outside</em>, <span class='fss'>R.</span>). Yeou won't, hay? We'll see - <span class='pageno' id='Page_110'>110</span>about it. (<em>Enter</em> <span class='sc'>Maggie</span>, <span - class='fss'>R.</span>, <em>followed by</em> <span class='sc'>Mrs. H.</span>, - <em>brandishing a broom</em>.) - </dd> - <dt><em>Maggie.</em></dt> - <dd>Aisy, Mrs. Hartshorn, or it's yersilf will be sent to coort for salt and bathery, sure. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Don't care! If I'm sent to prison for life, I mean to have my orders obeyed. - </dd> - <dt><em>Maggie.</em></dt> - <dd>Faix, an' it's not yersilf is the lady of the house, at all, at all. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Don't make no difference. Yeou take that broom, and sweep out my room, and be quick about - it! - </dd> - <dt><em>Maggie.</em></dt> - <dd>It's warning I'll give to onct the misthress cooms, Mrs. Hartshorn. Faix! there's a power - of work in the house, and a heap of misthresses to order about—bad luck to 'em! Niver - mind, I'll swape the room; an', if ye find any thing broke, it's not the fault av Maggie - Donovan. (<em>Aside.</em>) Only jist I'll—I'll have one good crack at her chiny vases, so - I will. -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Exit</em> <span class='fss'>L.</span></div> - </div> - </div> -</div> - - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>(<em>sits in chair</em>, <span class='fss'>C.</span>, <em>takes out her smelling-bottle, - removes stopper, places her finger over it, and applies it to her nose, snuffs it, gives - a little start, with something between a sigh and an exclamation, sounding like "Kee," - accompanying it. This should be repeated wherever the word appears in the dialogue</em>). - Well! if Hannah Merria's heouse ain't a-going to eternal smash, it's not for want er - help. Sich actions I never did see. There's that ere cook! If I stick my head into the - kitchen (kee), I'm sure to be saluted with the dishcloth; and, if I go up stairs, there's - always a broom laying round loose for me to tumble over (kee). For the <span class='pageno' id='Page_111'>111</span>land of - liberty's sake, what's the use of having a home if you don't take care of it? Neow, - here's Hannah Merria, whose husband died a year ago, leaving all his property to her, his - second wife, and who ought to be the happiest woman in the world in consequence - (kee),—not of his death, but the money,—a-prancin' round in perlitical circuses, ravin' - like a lunatic about "speers," and "rights," and "sufferings," and leaving her home to - take care of itself. She's the queerest young 'un I ever had (kee). (<em>Enter</em> <span - class='sc'>Caroline</span>, <span class='fss'>R.</span>) - </dd> - <dt><em>Caroline.</em></dt> - <dd>What's the trouble, grandmother? - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Oh, it's them hired gals, Ca'line. They've made me crazy with their shiftlessness. I do - think Hannah Merria might stay at home, and look arter them. - </dd> - <dt><em>Caroline.</em></dt> - <dd>My good step-mother has other affairs to occupy her time. You know she is one of the - leaders of the Female Reform Club. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Then she'd better bring her club home, and trounce these sassy critters into some kind of - reform (kee). - </dd> - <dt><em>Caroline.</em></dt> - <dd>She thinks she is engaged in a noble work. She is the champion of her sex. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Champion fiddlesticks! There's no sense in such carryings-on. What would my old man, - Hezekiah Hartshorn (kee)—bless his dear dead and gone memory—have thought if I'd 'a' gone - off in this fashion, a meddlin' with things that women don't know nothin' about? When he - took me for better or for wus, sez he to me, "Deborah, there's the old homestid,—a snug - house and a likely farm,—all ours. Yeou <span class='pageno' id='Page_112'>112</span>take kere of the house, and I'll take - kere of the farm. Outside I'll be master, inside you shall be mistress; and we won't - interfere." That's all the bargain we ever made, and we stuck to it. I took good care to - make his home pleasant; but meddlin' with his affairs would have ben as rediculous as it - would have ben for him to stick his nose into the churn every time I made butter. No, - indeed! Let woman do her own work, and leave man to his'n. - </dd> - <dt><em>Caroline.</em></dt> - <dd>Ah, grandmother, the world has turned over a great many times since your day. Women have - acquired larger ideas of usefulness, and have found in intellectual pursuits release from - household drudgery. Triumphs in medical practice, and success in the pulpit, have fired - them with ambition to take their place beside the sterner sex in those educational, - scientific, and political spheres, for which they feel themselves equally well fitted. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>(Kee.) Do hear that young 'un talk; and she don't believe a word of it, nuther. - </dd> - <dt><em>Caroline.</em></dt> - <dd>But my good step-mother does; and, if she can elevate her sex, she is doing a noble work. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Noble cat's foot! If she wants to elervate her sex, as she calls it, let her stay to - home, and look after things. If that Katie don't want elervating with a broomstick, then - I'm mistaken (kee). Why don't she give you a eddication, instead of keeping you drudging - about the house, when you should be at school with Florence? She's got your father's - money, and that's all she keres for (kee). - </dd> - <dt><em>Caroline.</em></dt> - <dd>I am contented, grandmother. I make no complaint. -<div><span class='pageno' id='Page_113'>113</span></div> - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>'Cause you're meek as Moses. But I'll give her a piece of my mind, you see ef I don't. - </dd> - <dt><em>Caroline.</em></dt> - <dd>Don't get angry, grandmother. To-day Florence returns after six months' absence at - school. Let her find every thing bright and pleasant. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Lor-a-massy! So she does. Well, I'm glad on it. Ef she don't upset things, then I'm - greatly mistaken. (<em>Bell rings</em>, <span class='fss'>R.</span>) She's a dear good - girl. - </dd> - <dt><em>Caroline.</em></dt> - <dd>Indeed she is, and deserves all the care and affection bestowed upon her. (<em>Enter</em> - <span class='sc'>Katie</span>, <span class='fss'>R.</span>, <em>with a scrubbing-brush in - her hand</em>.) - </dd> - <dt><em>Katie.</em></dt> - <dd>She's coom, ma'am, she's coom, as rosy and bright as a new copper tay-kettle. - </dd> - <dt><em>Caroline.</em></dt> - <dd>Who? Florence? - </dd> - <dt><em>Katie.</em></dt> - <dd>Indade, it's the truth ye's spakin'; her own swate silf, Miss Ca'line. - </dd> - <dt><em>Caroline.</em></dt> - <dd>Glorious news! I must run to her at once. Come, grandmother. -<div class='c013'>[<em>Exit</em>, <span class='fss'>R.</span></div> - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Bless the child! I must go and fix her somethin' warm. - </dd> - <dt><em>Katie.</em></dt> - <dd>Somethin' warm, is it? Faix, jist kape out av the kitchen, d'ye mind, or it's yersilf - will git somethin' warm. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Wal, I never! The airs that these critters do put on (kee)! -<div class='c013'>[<em>Exit</em>, <span class='fss'>R.</span></div> - </dd> - <dt><em>Katie.</em></dt> - <dd>Faix, the ould woman's a sore thrial, that she is. There's little chance to kape my - sisther Bridget's children in sugar and tay, wid her middlin'. (<em>Enter</em> <span - class='sc'>Maggie</span>, <span class='fss'>L.</span>, <em>with a broom</em>.) - </dd> - <dt><em>Maggie.</em></dt> - <dd>An' it's mesilf would likes to know what <span class='pageno' id='Page_114'>114</span>ye mane by demaining yersilf in this - fashion, Kate O'Nail. It's little yez know of itikate. - </dd> - <dt><em>Katie.</em></dt> - <dd>Och, be aisy wid yer spakin', Maggie Donovan. Itikate, indade! - </dd> - <dt><em>Maggie.</em></dt> - <dd>Isn't it me privilege to tend the bell, I'd like to know? - </dd> - <dt><em>Katie.</em></dt> - <dd>To be sure it is. But 'twas the darling Miss Florence rowled up to the door; and would I - be afther lavin' her on the stips, an' you in the attic? - </dd> - <dt><em>Maggie.</em></dt> - <dd>It's a desateful tongue ye have. Don't I know ye'd be afther liftin' yersilf above yer - pots and kittles to my place, to betther yer condition? - </dd> - <dt><em>Katie.</em></dt> - <dd>Betther my condition, is it? Wid what? Swapin' and dustin', and the likes? Niver, at all, - at all. When I betther my condition, 'twill be as the widded bride of Terence - McFunnigafferty. - </dd> - <dt><em>Maggie.</em></dt> - <dd>McFunnigafferty! Bad luck to him! he's only a hod-carrier. - </dd> - <dt><em>Katie.</em></dt> - <dd>He's dacent and respictable; an' it's my belafe, Maggie Donovan, ye'd be glad av me - chance. Haven't I seen ye castin' sly looks that way yersilf? - </dd> - <dt><em>Maggie.</em></dt> - <dd>Oh, murther! An', an' me own b'y, Teddy Murphy, sailin' the thrackless say— - </dd> - <dt><em>Katie.</em></dt> - <dd>Wid a swateheart in ivery port. - </dd> - <dt><em>Maggie.</em></dt> - <dd>Och! it's invious ye are, Kate O'Nail; an' it's out av place ye are above the kitchen - shtair. Away wid yez to yer pots and kittles! (<em>Threatening with broom.</em>) - </dd> - <dt><em>Katie.</em></dt> - <dd>An' its out av place ye are onywhere. Be off to yer swapin'! (<em>Threatens with brush. - Enter</em> <span class='sc'>Florence</span> <em>and</em> <span - class='sc'>Caroline</span>, <span class='fss'>R.</span>) -<div><span class='pageno' id='Page_115'>115</span></div> - </dd> - <dt><em>Florence.</em></dt> - <dd>Fie, fie, girls! You're both out of place, quarrelling. Ah, Maggie! I'm glad to meet you - again. (<em>Shakes hands with Maggie.</em>) - </dd> - <dt><em>Maggie.</em></dt> - <dd>Thank you, Miss Florence. An' it's a warm welcome home to yez; an' it's glad I am to see - yer own bright face once more. - </dd> - <dt><em>Florence.</em></dt> - <dd>And it's glad I am to be here, Maggie. Now I want you and Katie to get my trunk up - stairs. It's not very heavy, and I wish to open it at once. -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Take it up tenderly,</div> - <div class='line'>Fashioned so slenderly,</div> - <div class='line'>It's fickle and frail."</div> - </div> - </div> -</div> - - </dd> - <dt><em>Maggie.</em></dt> - <dd>Indade, Miss Florence, I'll do my best with the help of very rough company. -<div class='c013'>[<em>Exit</em>, <span class='fss'>R.</span></div> - </dd> - <dt><em>Katie.</em></dt> - <dd>Thar's a fling at me! Arrah, I'll give her one thump on the fut with the thrunk. -<div class='c013'>[<em>Exit</em>, <span class='fss'>R.</span></div> - </dd> - <dt><em>Caroline.</em></dt> - <dd>Welcome, welcome, welcome home! A thousand times welcome, Florence! Oh! we have missed - you very much. (<em>They sit on lounge</em>, <span class='fss'>L.</span>) - </dd> - <dt><em>Florence.</em></dt> - <dd>I'm glad of that, Carrie, for you will be so glad to see me now that I can have my own - way in every thing; and I'm going to spend my time advantageously. I'm going to induce - mother to send you with me when I return to school. - </dd> - <dt><em>Caroline.</em></dt> - <dd>Oh, that would be grand! But I fear you will not succeed. - </dd> - <dt><em>Florence.</em></dt> - <dd>But I will. You have as much right to the advantages of Rushly Seminary as I; and I will - no longer allow you to submit to the cruel treatment you are receiving. You go with me: - that's settled. But where's mother? -<div><span class='pageno' id='Page_116'>116</span></div> - </dd> - <dt><em>Caroline.</em></dt> - <dd>At a committee-meeting. - </dd> - <dt><em>Florence.</em></dt> - <dd>A committee-meeting at eleven o'clock in the forenoon! What important project can take - her from home at this hour? - </dd> - <dt><em>Caroline.</em></dt> - <dd>She is one of the leaders of the Female Reform Club. - </dd> - <dt><em>Florence.</em></dt> - <dd>What! my mother! You don't mean to say that she has come out for women's rights! - </dd> - <dt><em>Caroline.</em></dt> - <dd>She has, most decidedly. She gives all her time to the club. She is a very zealous member. - </dd> - <dt><em>Florence.</em></dt> - <dd>And who takes care of the house? - </dd> - <dt><em>Caroline.</em></dt> - <dd>It takes care of itself. The mistress away, it is very hard for me to govern affairs; and - grandmother does much harm by her kindly-meant interference in household matters. - </dd> - <dt><em>Florence.</em></dt> - <dd>It's too bad! Does mother speak at public meetings? - </dd> - <dt><em>Caroline.</em></dt> - <dd>She spoke for the first time last night. There's a report of her speech in the papers. - (<em>Takes paper from table.</em>) Here it is. - </dd> - <dt><em>Florence</em></dt> - <dd>(<em>reads</em>). "Mrs. Duplex, widow of the celebrated match-manufacturer, whose decease - last winter was chronicled in our paper, arose and spoke warmly of the oppression of the - female sex. She vehemently asserted their ability to achieve success in any path trodden - by man, and eloquently styled herself the champion of her sex in its endeavors to throw - off the yoke of bondage, and victoriously array itself by the side of man in his onward - march of progress." What nonsense! -<div><span class='pageno' id='Page_117'>117</span></div> - </dd> - <dt><em>Caroline.</em></dt> - <dd>Nonsense, Florence? Then you are not in sympathy with the woman movement. - </dd> - <dt><em>Florence.</em></dt> - <dd>Yes, Carrie: I am an earnest advocate for reform. Noble women are doing brave work in - <em>educating</em> our sex to a realizing sense of their power for good in many of the - walks of life heretofore kept sacred to the foot of man. But foolish women, who raise the - cry of oppression or slavery, are no better than the political demagogues of the other - sex,—loud in speech, but dumb in council. - </dd> - <dt><em>Caroline.</em></dt> - <dd>And so you think mother has made a mistake? - </dd> - <dt><em>Florence.</em></dt> - <dd>I certainly do. A woman's duty is to care for her household. From what little I have seen - since I came home, I am convinced reform is needed here. (<em>Bell rings</em>, <span - class='fss'>R.</span>) If she would elevate her sex, I'm sure she could have no better - task than to fit you—who were left penniless on her hands by a thoughtless father—for the - station to which you have a right to aspire. (<em>Enter</em> <span - class='sc'>Maggie</span>, <span class='fss'>R.</span>) - </dd> - <dt><em>Maggie.</em></dt> - <dd>If ye plase, Miss Florence, yez frinds, the Misses Nay and Dendron, are below, axin' for - yez. - </dd> - <dt><em>Florence.</em></dt> - <dd>Show them up, Maggie. (<em>Exit</em> <span class='sc'>Maggie</span>, <span - class='fss'>R.</span>) I must find some way to rid mother of her delusion. - </dd> - <dt><em>Caroline.</em></dt> - <dd>I wish you could, Floy, for it is certainly very disagreeable for us who are left at - home. (<span class='sc'>Rhoda</span> <em>and</em> <span class='sc'>Pollie</span> - <em>appear</em>, <span class='fss'>R.</span>) - </dd> - <dt><em>Rhoda.</em></dt> - <dd>May we come in? - </dd> - <dt><em>Florence</em></dt> - <dd>(<em>jumping up</em>). To be sure you may. Rhoda, you dear, dear girl! (<em>Kissing - her.</em>) Pollie, I'm glad to see you! (<em>Kissing</em> <span class='sc'>Pollie</span>.) -<div><span class='pageno' id='Page_118'>118</span></div> - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Saw you come up, and couldn't wait a minute longer; could we, Pollie? - </dd> - <dt><em>Pollie.</em></dt> - <dd>No, indeed. We just dropped every thing, and ran across. How d'ye do? - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Yes; how are ye? Tell us, quick! - </dd> - <dt><em>Pollie.</em></dt> - <dd>Had a splendid time, hey? - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Not engaged, are you? - </dd> - <dt><em>Pollie.</em></dt> - <dd>What you got new for dresses? Why, there's Carrie! (<em>Shakes hands, and kisses.</em>) - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Well, I declare, Miss Meekness! you are as still as a mouse. (<em>Shakes hands, and - kisses.</em>) - </dd> - <dt><em>Caroline.</em></dt> - <dd>She's here, girls, and just as splendid as ever. - </dd> - <dt><em>Rhoda and Pollie</em></dt> - <dd>(<em>together</em>). Splendid? Of course she is. - </dd> - <dt><em>Florence.</em></dt> - <dd>Come, come, girls; sit down and tell me the news. (<span class='sc'>Caroline</span> - <em>and</em> <span class='sc'>Rhoda</span> <em>sit on lounge</em>, <span - class='fss'>L.</span>; <span class='sc'>Pollie</span> <em>in chair</em>, <span - class='fss'>R.</span>; <span class='sc'>Florence</span> <em>in chair</em>, <span - class='fss'>C.</span>) I'm dying to know what has been going on since I left. - </dd> - <dt><em>Pollie.</em></dt> - <dd>Well, then, Tilly Dodd's really married. - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Pooh! that's an old story. She's talking about getting divorced now. - </dd> - <dt><em>Pollie.</em></dt> - <dd>Divorced! Why, she's only been married six months! - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Six months and ten days. No matter about her. Have you read your mother's speech? - </dd> - <dt><em>Florence.</em></dt> - <dd>I read a brief notice of it. - </dd> - <dt><em>Rhoda.</em></dt> - <dd>I heard it all. She's the champion of her sex. Oh, it was grand! She flourished her right - hand as majestically as any orator I ever heard; and her voice was as strong and clear as - Patrick Henry's. -<div><span class='pageno' id='Page_119'>119</span></div> - </dd> - <dt><em>Pollie.</em></dt> - <dd>Lor, Rhoda, you never heard Patrick Henry. - </dd> - <dt><em>Rhoda.</em></dt> - <dd>But I've read his speeches, and they've got the ring of his voice in them yet. Ain't you - proud of your mother, Flory? - </dd> - <dt><em>Florence.</em></dt> - <dd>Not of her last effort, Rhoda. - </dd> - <dt><em>Pollie.</em></dt> - <dd>That's where you're right, Floy. I wouldn't like to have my mother spouting in that - manner. It looks coarse and unladylike. - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Well, I don't think I should like to have my mother take to that kind of business. - </dd> - <dt><em>Florence.</em></dt> - <dd>I like it so little, girls, that I am determined to give mother a lesson, if you will - grant me your assistance. Our principal, Miss Steady, had an attack of "woman's rights" - at school last winter; and the girls took advantage of it to indulge in a little - masquerading, which so affected our honored head, that we heard no more of woman's rights - for the balance of the term. I shouldn't wonder if something of the kind would make - mother a little less zealous in the cause. - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Oh, tell us all about it! - </dd> - <dt><em>Pollie.</em></dt> - <dd>Is there any fun in it? - </dd> - <dt><em>Florence.</em></dt> - <dd>You shall see. Come to my room. Mother may return at any moment, and I do not wish her to - see us at present. - </dd> - <dt><em>Pollie.</em></dt> - <dd>There's something delightfully mysterious in your proceedings, Floy. - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Yes: there's mischief in your eyes. - </dd> - <dt><em>Florence.</em></dt> - <dd>Perhaps; time will show. Come, I want you too, Carrie. [<em>Exeunt</em>, <span - class='fss'>R.</span>, <span class='sc'>Florence</span>, <span class='sc'>Rhoda</span>, - <em>and</em> <span class='sc'>Pollie</span>.] - </dd> - <dt><em>Caroline.</em></dt> - <dd>Take me with her! I wish she could. I <span class='pageno' id='Page_120'>120</span>love Floy too well to envy her. But the - privileges she enjoys, and to which I feel I am entitled, would afford me those - opportunities for culture for which I have often sighed. (<em>Enter</em> <span - class='sc'>Mrs. Duplex</span>.) - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Caroline, I am astonished! You sitting here with your arms folded, and the house in - disorder! Is this a fitting return for my care? or have you forgotten that to me you owe - all you have in the world? - </dd> - <dt><em>Caroline.</em></dt> - <dd>You never allow me to forget that, madam. Yet I am grateful for your care. Add one favor - more, and let me go into the world, and earn my living. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Indeed! As you are anxious to earn a living, perhaps it would be as well to commence at - home. - </dd> - <dt><em>Caroline.</em></dt> - <dd>This life is distasteful— - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>There, that's quite enough. I have very important business to engage my attention. Set - the reception-room in order at once. (<em>Takes off bonnet and shawl, and sits in - easy-chair near table.</em>) - </dd> - <dt><em>Caroline.</em></dt> - <dd>Certainly, madam. -<div class='c013'>[<em>Exit</em>, <span class='fss'>R.</span></div> - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>My late lamented husband left me one useless incumbrance,—that girl. Strange some people - are so hard to manage! Now, then, to business. I've a long report to make to-night on the - "Scheme for Improving the Condition of Motherless Girls." (<em>Enter</em> <span - class='sc'>Mrs. Hartshorn</span>, <span class='fss'>R.</span>) - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Lor, sakes, Hannah Merria! You home? - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Yes, mother, and hard at work. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>(<em>sitting on lounge, and knitting</em>). Du tell! - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Yes, mother. There's a wide field of <span class='pageno' id='Page_121'>121</span>labor opening to willing hands. To raise - woman from her lowly position, is not that most noble work? - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>That depends on what she's doing, Hannah Merria. If she's scrubbing the floor (kee), the - lower the better. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>She was never meant for such ignoble toil. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Ignoble fiddlesticks! P'r'aps you want the men-folks to do that. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>It may be necessary for the triumph of woman. Did you read my speech, mother? - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>No, I didn't. I've <em>heard</em> enough on 'em to be heartily sick. A pretty champion of - your sex, you are! - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>I hope I am an earnest and an honest one. I have a mission,—to lift woman to a higher - plane of civilization; and I believe I have the power to fulfil it. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>How? By getting up and speaking out in meeting? Never heard nothin' like it since Sally - Skreecher j'ined the Millerites, and hollered so in meetin', that they thought the Angel - Gabriel was a-tootin' his horn (kee.) - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Ah, mother! you do not understand this noble movement of woman. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>I understand washin' and ironin', and that's what I call the noblest movement woman ever - took a hand in. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>There; that's quite enough: we shall never agree. Be quiet, and let me write. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>(Kee.) -<div><span class='pageno' id='Page_122'>122</span></div> - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>(<em>writes</em>). "Silently, but steadily, moves on the mighty car of progress"— - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>(Kee.) - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>"Crushing, beneath its fast revolving wheels, prejudice and wrong; upward soars the - spirit of freedom, mounting on eagles' wings." - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>(Kee.) Say goose's wings, Hannah Merria. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Mother, will you be silent? - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>And hear you talk that bosh? Why, every Fourth-of-July speaker has said them things year - after year since Cornwallis surrendered. (<em>Enter <span class='sc'>Rhoda</span>, <span - class='fss'>R.</span>, disguised; a black shawl pinned tightly across her breast; faded - black bonnet with bright flowers stuck in it; large, black cotton gloves, much too long - in the fingers, on her hands; and parasol.</em>) - </dd> - <dt><em>Rhoda</em></dt> - <dd>(<em>very extravagant in her gestures</em>). Where is she? Let me look upon her, the - deliverer of our race, the champion of our sex! Ah, she's here! the noble face, the - stately figger! 'Tis she! 'tis she! (<em>Falls at the feet of</em> <span class='sc'>Mrs. - D.</span>) - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Land er Goshen! that's Hannah Dudley! - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>My good woman, can I be of service to you? - </dd> - <dt><em>Rhoda</em></dt> - <dd>(<em>rises</em>). You can, you can. I am the mother of nine interesting children, whom I - have vainly endeavored to support for five years by the manufacture of molasses-candy. A - sweet occupation, but, alas! not profitable; for, work as I will, I can make but just - enough to satisfy the wants of my children. 'Tis all they have for food. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Well, they're a sweet set. -<div><span class='pageno' id='Page_123'>123</span></div> - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>My good woman, why do you come to me? - </dd> - <dt><em>Rhoda.</em></dt> - <dd>I come to sit at your feet; to draw into my thirsty soul the teachings of your stupendous - intellect. Glorious champion of my sex, I would wrest from proud man one of his boasted - prerogatives. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Indeed! To what sphere of usefulness do you aspire? - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>She's ravin' about paregoric. She ought to be a doctor. - </dd> - <dt><em>Rhoda.</em></dt> - <dd>I heard your glorious speech last night, and every fibre of my being thrilled beneath the - touch of your matchless eloquence. You told us we had the ability to achieve success in - any occupation where man could triumph. I want to be a butcher. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Heavens and airth! the woman's loony! - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Yes, a butcher; that I may give my children strong food, for which they hanker. Ah, the - mighty butcher! the crafty butcher! the skilful butcher! I have gazed upon him with - admiration. With what power he fells the mighty oxen and—and—things! How skilfully he - sends to "green fields and pastures new" the sportive lambs! With what grace he seizes - the portly hog, and, regardless of its piteous cries, ends its devouring life! Oh, - glorious champion of our sex, teach me to excel in this great branch of usefulness, and - fill the mouths of my babes! - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Woman, have you escaped from a lunatic asylum? - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Lor, Hannah Merria, she's 'sterricky. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>The poor woman's mad. - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Mad? Then 'tis you who have made me <span class='pageno' id='Page_124'>124</span>so. You promise, and do not fulfil. Make me - a butcher, or I will proclaim you a traitor to our cause, from the market-place, in the - council-hall, from the house-tops. Champion of the sex! Bah! Give my children beef, pork, - mutton, or "get you to a nunnery," quick. -<div class='c013'>[<em>Exit</em>, <span class='fss'>R.</span></div> - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Poor woman, poor woman! - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Nothin' but skin and bones (kee). This all comes of political circuses. O Hannah Merria! - the millinariam won't come any sooner for all yer speechifyin'. Better stay to home. Lor - sakes! who's this? (<em>Enter</em> <span class='sc'>Pollie</span>, <em>disguised. - Old-fashioned straw bonnet, bright ribbons; faded shawl of bright patterns; white cotton - gloves, very large, upon hands.</em>) - </dd> - <dt><em>Pollie.</em></dt> - <dd>W-w-where is she,—the ch-ch-champion of our s-s-s-s-sex? - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>What do you wish, good woman? - </dd> - <dt><em>Pollie.</em></dt> - <dd>'T-t-tis she: I know th-th-th-that v-v-voice! D-d-dear Mrs. D-D-Duplex, last night you - m-m-moved me with the f-f-f-force of your el-l-l-oquence. I have long b-b-blushed at our - de-p-p-p-pendent situation: I have thrown off the c-ch-chain, and stand p-p-prepared to - wrest from man one of his pr-p-proud p-p-p-p-prerogatives. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>There's an awful waste of paregoric there. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>And pray, my good woman, to what new field of labor do you aspire? - </dd> - <dt><em>Pollie.</em></dt> - <dd>B-b-before I heard your v-voice, I listened to one that charmed my f-f-f-fancy. M-m-make - me like him, and I will b-b-bless you. I would be an auc-sh-sh-shuneer. -<div><span class='pageno' id='Page_125'>125</span></div> - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>An auctioneer! do you want to insult me? - </dd> - <dt><em>Pollie.</em></dt> - <dd>Insult you, the ch-ch-champion of our s-s-s-sex? N-n-never! B-b-but an auc-sh-sh-shuneer - I must be. G-g-going, g-g-going, g-g-gone. Oh, it's splendid! How much am I offered? - St-st-stove, t-t-table, ch-chair, in one l-l-lot. H-h-how much? G-g-going, g-going— - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>(Kee.) - </dd> - <dt><em>Pollie.</em></dt> - <dd>G-g-gone! Thank you, marm. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Woman, leave this house at once! - </dd> - <dt><em>Pollie.</em></dt> - <dd>What f-f-for? Ain't you the ch-ch-champion of our s-s-sex? D-d-didn't you s-s-say we were - f-f-f-fitted to t-t-take the place of m-m-man? and ain't I g-g-going to be an - auc-sh-shuneer, hey? - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>You are fit for nothing but the workhouse. Instantly leave this room, or I will have you - driven into the street. - </dd> - <dt><em>Pollie.</em></dt> - <dd>Ch-ch-champion of our s-s-sex! P-p-pooh! You're an imp-p-postor: you d-d-deceive us with - your sp-p-peeches. If you don't make me an auc-sh-sh-shuneer, I'll d-denounce you,—yes, I - will, now, at once. I'm g-g-going, g-g-going, g-gone. -<div class='c013'>[<em>Exit</em>, <span class='fss'>R.</span></div> - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Was there ever any thing so provoking? It's the work of our enemies. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>No, 'tain't, Hannah: it's a nat'ral impediment. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Mother, shut up! - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Wal, I never! Is that the way you honor your parent? (Kee.) - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>It seems I am to be made a laughing-stock <span class='pageno' id='Page_126'>126</span>for my speech. Could I have been too - hasty? (<em>Enter</em> <span class='sc'>Florence</span>, <span class='fss'>R.</span>) - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Goodness, child! you home again? (<em>Rises.</em>) - </dd> - <dt><em>Florence</em></dt> - <dd>(<em>tragically</em>). Stop! Approach me not. Busy rumor, with its thousand tongues, - says, last night you asserted, in a crowded assembly, that woman could achieve success in - any path trodden by man. I come to you for truth. Speak, mother! did you speak those - words? is rumor true? - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>I did say so, <em>Florence.</em> - </dd> - <dt><em>Florence</em></dt> - <dd>(<em>lightly</em>). Then, my good mother, you will be delighted to hear that your - daughter has chosen the profession in which she hopes to win fame. I want to be a lawyer. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Lor sakes! - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Florence, you are trifling with a serious matter. - </dd> - <dt><em>Florence.</em></dt> - <dd>Yes, 'tis a serious matter. But I feel that in that profession I can win success. - "Gentlemen of the jury, I stand before you to plead the cause of a young girl, who needs - all your sympathy. She was the idol of fond parents; but, alas! her mother died: her - father took to his side a second bride, and she was neglected. Not content with this, on - his death-bed the father cut her off from any share of his wealth, and left to the mercy - of her step-mother." - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Florence, what means this? - </dd> - <dt><em>Florence.</em></dt> - <dd>"Gentlemen of the jury, can you ask? Beneath this roof is one who is entitled to all the - benefits of wealth and education; but she is made a drudge: while she who should rear her - tenderly sees <span class='pageno' id='Page_127'>127</span>not the oppressed in her own home, but seeks abroad that labor - for the improvement of the condition of motherless girls which should be commenced - beneath her own roof." - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Florence, are you serious, or are you crazy? - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Not a bit of it, Hannah Merria (kee). - </dd> - <dt><em>Florence.</em></dt> - <dd>Only practising, mother. (<em>Enter</em> <span class='sc'>Rhoda</span>, <span - class='fss'>R.</span>) - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Mrs. Duplex, champion of our sex, I want to be an actor! - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>An actress, you mean. - </dd> - <dt><em>Rhoda.</em></dt> - <dd>No, an actor. Richard the Third, Richelieu, Macbeth, are the characters I would play. - They are manly. If man can excel in them, so can woman. Have you not said we could win - success— - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Silence! Don't let me hear that word again. - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Yes: let me tread the boards as Macbeth. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>"Is this a dagger which I see before me?"</div> - </div> -</div> - - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>(Kee.) That young one's loony too. - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Or as Richelieu. -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"In the lexicon of youth, which Fate preserves for a bright manhood,</div> - <div class='line'>There's no such word as fail!"</div> - </div> - </div> -</div> - - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>(Kee.) Mad as a March hare! - </dd> - <dt><em>Rhoda.</em></dt> - <dd>Or as Richard. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>"Off with his head! So much for Buckingham."</div> - </div> -</div> - - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Land sakes! that would be too much for him. -<div><span class='pageno' id='Page_128'>128</span></div> - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Enough of this, Rhoda Dendron. I do not care to be made the butt of your amusement. We - can dispense with your company. (<em>Enter</em> <span class='sc'>Pollie</span>, <span - class='fss'>R.</span>) - </dd> - <dt><em>Pollie.</em></dt> - <dd>Mrs. Duplex, champion of your sex, I have chosen my profession. I will be a general in - the army. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Pollie Nay! - </dd> - <dt><em>Pollie.</em></dt> - <dd>A glorious life, at the head of a host, charging upon the foe. "Up and at them!" - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>"Charge, Chester, charge! On, Stanley, on!"</div> - </div> -</div> - - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Silence! Florence, what does all this mean? Gracious goodness! whom have we here? - (<em>Enter</em> <span class='sc'>Maggie</span>, <span class='fss'>L.</span>, <em>with a - rough pea-jacket and a tarpaulin hat added to her costume</em>.) - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Maggie, what does this mean? - </dd> - <dt><em>Maggie.</em></dt> - <dd>If ye plaze, missus, they towld me nixt door that all the women-folks was a-goin' to step - into the men's places; and so I thought I'd jist give warnin', and take mesilf to the - say, for me own Teddy is a sailor, and I might climb the sails, and pull the ropes, and - haul in a jib, till I larnt the way, if ye plaze. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Why, Maggie, I'm astounded to think you should listen to such nonsense. - </dd> - <dt><em>Maggie.</em></dt> - <dd>Sure, 'twas Bridget Daly, nixt door, that heard yez own silf talk last night, and towld - me. (<em>Enter</em> <span class='sc'>Katie</span>, <span class='fss'>R.</span>, <em>with - a large military hat on her head, a gun on her shoulder</em>.) - </dd> - <dt><em>Maggie.</em></dt> - <dd>Oh, murther! Here's Kate wid a gun! - </dd> - <dt><em>All.</em></dt> - <dd>A gun! (<span class='sc'>Katie</span> <em>comes</em>, <span class='fss'>C.</span>) - </dd> - <dt><em>Pollie</em></dt> - <dd>(<span class='fss'>R.</span>). Oh, dear! put it the other way! (<span - class='sc'>Katie</span> <em>turns to</em> <span class='fss'>R.</span>) -<div><span class='pageno' id='Page_129'>129</span></div> - </dd> - <dt><em>Rhoda.</em></dt> - <dd>(<span class='fss'>L.</span>) No, no! the other way! - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Lord-a-mercy! she'll blow all our brains out! (<em>Gets behind lounge.</em>) - </dd> - <dt><em>Florence.</em></dt> - <dd>Put down that gun, Katie. (<span class='sc'>Katie</span> <em>takes it from her - shoulder</em>.) - </dd> - <dt> </dt> - <dd>(<span class='sc'>Pollie</span> <em>and</em> <span class='sc'>Rhoda</span> <em>scream, - and jump up in chairs</em>, <span class='fss'>R.</span>; <span class='sc'>Mrs. - Duplex</span> <em>gets behind easy-chair</em>; <span class='sc'>Maggie</span> <em>jumps - upon lounge; and all cry, "Drop it!" "It's loaded!" "Take it away!" "Call - somebody!"</em>) <em>Florence</em> (<em>takes the gun, and lays it upon the floor</em>). - </dd> - <dt> </dt> - <dd>You can descend in safety, girls. (<em>All get down.</em>) - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Now, Katie, what does this mean? - </dd> - <dt><em>Katie.</em></dt> - <dd>If ye plaze, Mrs. Duplex, I thought, bein' the good time that's comin' was come, and the - women-folks was a goin' to rule, and the men-folks do the housework, I'd give warnin', if - you plaze. (<em>Stoops, and picks up the gun. All scream, and renew their old positions - on chairs, behind chair and lounge, as before; repeat cries, "Put it down" &c.</em>) - </dd> - <dt><em>Florence.</em></dt> - <dd>Don't be alarmed: it's not loaded. (<em>All quiet again.</em>) - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Well, it's about time an end was put to this nonsense. You have picked up one of my - remarks last night for the purpose of laughing at me, or— - </dd> - <dt><em>Florence.</em></dt> - <dd>Teaching a lesson, mother. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Well, I acknowledge my remarks were a little wild, and am prepared to pay the penance. - What shall it be? You seem to have been the manager of the remarkable scene. Speak. - </dd> - <dt><em>Florence.</em></dt> - <dd>Mother, I want to take Carrie back with me when I return to school. -<div><span class='pageno' id='Page_130'>130</span></div> - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Bless my soul! what do you think I found in your father's desk to-day? Something that - looks, for all the world, like a will. Here it is. (<em>Gives paper to</em> <span - class='sc'>Mrs. D.</span>) - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>A will! (<em>Opening it.</em>) And of a later date than the one in my possession. - (<em>Reads.</em>) "To be equally divided between my dear wife, and my beloved daughter - Caroline." Indeed! This must be seen to. - </dd> - <dt><em>Florence.</em></dt> - <dd>Ah! then Carrie is not penniless, after all. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Florence, how can you speak so? Never, while I live. Where is the dear child? - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Shouldn't wonder if she was sweepin' off the steps. (<em>Enter</em> <span - class='sc'>Caroline</span>, <span class='fss'>R.</span>) - </dd> - <dt><em>Caroline.</em></dt> - <dd>The reception-room is in order, madam. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Caroline, my dear child, I think your experience in house-affairs has been sufficient for - the present. You will go with my daughter to Rushly Seminary on her return. I shall look - after my house myself hereafter. - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>Lor' sakes, Hannah Merria, are you coming to your senses? - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>I hope I have never been bereft of them. - </dd> - <dt><em>Florence.</em></dt> - <dd>And the Reform Club, mother— - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>Shall still have my hearty support; but no more public speeches for the present, for my - house needs putting in order; and you have reminded me of that which I had almost - forgotten, that a woman's first duty is to her home. - </dd> - <dt><em>Katie.</em></dt> - <dd>Faith, ma'am, if there's to be a misthress, I'll sthay, if yez plaze. -<div><span class='pageno' id='Page_131'>131</span></div> - </dd> - <dt><em>Maggie.</em></dt> - <dd>An' mesilf, too, missus, by your lave. - </dd> - <dt><em>Florence.</em></dt> - <dd>There, mother, the storm's over; so let's hear no more of "woman's rights." - </dd> - <dt><em>Rhoda.</em></dt> - <dd>And I can't be a butcher! - </dd> - <dt><em>Pollie.</em></dt> - <dd>Nor I an auc-sh-sh-shuneer. It's too bad! - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>So there has been masquerading here. - </dd> - <dt><em>Florence.</em></dt> - <dd>For which I alone am to blame. Mother, we are wild girls, and good subjects for - missionary work. Set the Female Reform Club a good example by commencing its work in your - own neighborhood, and reform us. - </dd> - <dt><em>Mrs. D.</em></dt> - <dd>There is certainly a large field of labor here for me; and I shall set about the work at - once. But what will the officers of the club say? - </dd> - <dt><em>Mrs. H.</em></dt> - <dd>(Kee.) That you've backslid, Hannah Merria. - </dd> - <dt><em>Florence.</em></dt> - <dd>If they are honest and earnest, they will say that she who to the welfare of her family - first gives her heart, is a stanch friend to progress. In that realm she is queen, and - they who bend beneath her loving sway, freely acknowledge her, in that grand sphere, the - Champion of her Sex. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Situations.</em></div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line in8'><span class='sc'>Caroline.</span> <span class='sc'>Florence.</span></div> - <div class='line in6'><span class='sc'>Rhoda.</span> <span class='sc'>Mrs. D.</span></div> - <div class='line in4'><span class='sc'>Pollie.</span> <span class='sc'>Mrs. H.</span></div> - <div class='line in2'><span class='sc'>Katie.</span> <span class='sc'>Maggie.</span></div> - <div class='line'><span class='fss'>R.</span> <span class='fss'>L.</span></div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Curtain.</em></div> - </div> -</div> - - </dd> - </dl> - -<div class='chapter'> - <span class='pageno' id='Page_135'>135</span> - <h2 class='c005'>THE VISIONS OF FREEDOM.</h2> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c002'> - <div>A NATIONAL ALLEGORY.</div> - </div> -</div> - -<h3 class='c014'>CHARACTERS.</h3> - -<div class='lg-container-b c003'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>Gloria</span>, Goddess of Freedom.</div> - <div class='line'><span class='sc'>Rubina</span>, her Counsellor of War.</div> - <div class='line'><span class='sc'>Serena</span>, her Counsellor of Peace.</div> - <div class='line'><span class='sc'>Queen Mab</span> of Dreamland.</div> - <div class='line'><span class='sc'>Drowsa</span>, <span class='sc'>Oblivia</span>, <span class='sc'>Somna</span>, <span class='sc'>Sootha</span>, Dream-Spirits.</div> - <div class='line'><span class='sc'>Art</span>, <span class='sc'>Industry</span>, <span class='sc'>Music</span>, <span class='sc'>Plenty</span>, <span class='sc'>Serena's</span> Attendants.</div> - <div class='line'><span class='sc'>Revenge</span>, <span class='sc'>Discord</span>, <span class='sc'>Cruelty</span>, <span class='sc'>Hatred</span>, <span class='sc'>Rubina's</span> Attendants.</div> - </div> - </div> -</div> - -<p class='c010'><em>Action supposed to have occurred in Dreamland. -Green bank</em>, <span class='fss'>C.</span> <em>Behind this a small platform about -six inches high; chorus seated</em> <span class='fss'>R.</span> <em>and</em> <span class='fss'>L.</span> <em>of stage</em>.</p> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Opening Chorus; air, "The Quiet Night."</em></div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Slumber o'er earth is sending</div> - <div class='line in2'>Its realm of sweet repose:</div> - <div class='line'>The stream of life, rest-tending,</div> - <div class='line in2'>In peace through Dreamland flows;</div> - <div class='line'>Where waiting and caressing,</div> - <div class='line'>With varied visions blessing,</div> - <div class='line in2'>Dream spirits vigils keep;</div> - <div class='line in2'>Dream spirits vigils keep;</div> - <div class='line in2'>Their vigils keep, their vigils keep.</div> - </div> - </div> -</div> - -<p class='c011'><span class='pageno' id='Page_136'>136</span>(<em>As the chorus closes, enter</em> <span class='fss'>R.</span>, <span class='sc'>Drowsa</span> <em>and</em> <span class='sc'>Oblivia</span>; <span class='fss'>L.</span>, <span class='sc'>Somna</span> <em>and</em> <span class='sc'>Sootha</span>; <em>then</em> <span class='fss'>R.</span>, <span class='sc'>Queen Mab</span>, <em>who stands</em> <span class='fss'>C.</span>)</p> - - <dl class='dl_2'> - <dt><em>Q. Mab.</em></dt> - <dd>Spirits of Dreamland, once again we meet,<br />Our round of nightly revel to repeat.<br - />O'er earth, when locked in sleep's warm, close embrace,<br />Since time began, the - genius of our race<br />Has had the power fearlessly to sway<br />The visionary sceptre - all obey.<br />The mighty monarch, who, with tyrant frown,<br />Upholds the burden of his - weighty crown;<br />The fierce-browed warrior who relentless slays,<br />And, bathed in - blood, his vows to Moloch pays;<br />Haughty and lowly, powerful and weak,—<br />Under - mysterious spells our guidance seek.<br />Sweet sister spirits, Dreamland opens wide;<br - />Yet justice guards it well on every side.<br />Over the pure we rosy visions throw:<br - />Around the base a sea of troubles flow.<br />Ere forth you glide to ply your happy - arts,<br />Your queen would learn the secrets of your hearts;<br />Who hie to sport, with - mischievous intent,<br />And who on graver ministries are bent. - </dd> - <dt><em>Sootha.</em></dt> - <dd>I've an old miser under watchful care,<br />With sordid soul, of generous impulse - bare;<br />Who nightly feasts, with avaricious eyes,<br />Where treasured gold in rare - profusion lies;<br />Who revels o'er his fast-increasing store,<br />Chuckles with glee, - yet wistful sighs for more;<br /><span class='pageno' id='Page_137'>137</span>Starvation's image, in a den so bare,<br />It - seems a fit abode for dark despair.<br />Into his sleep I glide, disturb his rest,<br - />Rattle his treasure, till, with fear possessed,<br />As frightful visions thick and - thicker press,<br />He trembling wakes, his idol to caress. - </dd> - <dt><em>Oblivia.</em></dt> - <dd>Fair queen, a toiling student I enchain,<br />And with my art refresh his weary brain:<br - />Up wisdom's heights I lead him by the hand,<br />And show him visions of the promised - land;<br />Fair fields of learning spread before his gaze,<br />For him the realm of - science set ablaze,<br />Ope Fame's grand temple, Honor's scroll unroll,<br />And tell - the triumphs of the trusting soul,<br />Till hope re-animates the wasting fire<br />With - earnest zeal and conquering desire. - </dd> - <dt><em>Somna.</em></dt> - <dd>I guard a trusting maiden, young and fair,<br />Whom Love has tangled in his silken - snare;<br />Spread rosy dreams amid her sleeping hours,<br />And lead her captive through - a land of flowers;<br />Adorn her hero with true manly pride,<br />And of the future ope - the portal wide,<br />While smiles of pleasure o'er her sweet face creep,<br />And - blissful words betray her secret deep.<br />With rare delight her day-dreams I repeat,<br - />And make her young life's round of love complete. - </dd> - <dt><em>Drowsa.</em></dt> - <dd>Oh, I've a task, fair queen, will love secure.<br />Last night I visited with visions - pure<br />A weary mother, who, for many a day,<br />Watched o'er the cradle where her - dear babe lay<br /><span class='pageno' id='Page_138'>138</span>Wasting with fever, till the unseen Hand<br />Took it in - kindness to a better land.<br />Long has she mourned its loss, with wakeful eyes,<br - />Fast-falling tears, low, sad, and bitter cries.<br />Last night she slept; and then, in - vision's charms,<br />I crept, and laid her babe within her arms.<br />Content she - rested, with a smile so sweet,<br />I go to-night this comfort to repeat. - </dd> - <dt><em>Q. Mab.</em></dt> - <dd>Your zeal, industrious spirits, we applaud:<br />Your chosen missions meet with full - accord;<br />Yet for this night we have a task so grand,<br />Your queen would all your - energies command. - </dd> - <dt><em>Somna.</em></dt> - <dd>We wait your pleasure, - </dd> - <dt><em>Oblivia.</em></dt> - <dd>All our arts employ; - </dd> - <dt><em>Drowsa.</em></dt> - <dd>Set us what tasks you will, - </dd> - <dt><em>Sootha.</em></dt> - <dd>We'll serve with joy. - </dd> - <dt><em>Q. Mab.</em></dt> - <dd>Thanks, sisters! To our confidence draw near,<br />And list our secret with attentive - ear.<br />Freedom's fair goddess, Gloria, in doubt,<br />Her fair Republic, restless - roams about,<br />Seeking a talisman to life prolong,<br />And make her youthful charge - wax brave and strong.<br />Close at her side Rubina, crafty maid,<br />Whose fire-lit - eyes gloat over war's dread trade,<br />Plies her bold speech, unchecked by fear of - frown,<br />Counselling deeds of conquest and renown;<br />While calm Serena, long to - Peace allied,<br />Whose gentle influence stretches far and wide,<br />Recounts the - glories of a land at rest,<br />With sterling Industry's rich harvests blest.<br - /><span class='pageno' id='Page_139'>139</span>Wavering betwixt the gentle and the bold,<br />By turns rebellious, and by turns - controlled,<br />Poor Gloria wanders long, in dire distress<br />Which counsellor to - choose her realm to bless.<br />Old custom gives to us prophetic power<br />To guide by - vision in the trying hour.<br />And so to-night, o'er Gloria's doubting heart,<br />Fair - sister spirits, we will ply our art,<br />Lure her to Dreamland, and in phantom light<br - />Illume her path, and guide her to the right.<br />Stand close! she comes! the light - winds bear along<br />The martial burden of her triumph song. -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Retire, and form behind bank.</em></div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Chorus; air, "Love of Country."</em></div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Blest is the land where Freedom rears,</div> - <div class='line in2'>'Neath heaven's blue, arching dome,</div> - <div class='line'>For labor's sons of every clime,</div> - <div class='line in2'>Her proud and happy home.</div> - <div class='line'>Beyond the reach of tyrant rule,</div> - <div class='line in2'>Free are the hands we raise:</div> - <div class='line'>Onward we move, with joyous song</div> - <div class='line in2'>Of thankfulness and praise.</div> - <div class='line'>Blest is the land, &c.</div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_140'>140</span>(<em>Enter</em> <span class='fss'>L.</span>, <span class='sc'>Gloria</span>, <em>attended by</em> <span class='sc'>Rubina</span> <em>and</em> <span class='sc'>Serena</span>,</div> - <div><em>followed by</em> <span class='sc'>Attendants</span>.)</div> - </div> -</div> - -<table class='table2' summary=''> -<colgroup> -<col width='23%' /> -<col width='15%' /> -<col width='21%' /> -<col width='15%' /> -<col width='23%' /> -</colgroup> - <tr> - <td class='c017'> </td> - <td class='c007'> </td> - <td class='c017'><span class='fss'>C.</span> <span class='sc'>Gloria.</span></td> - <td class='c018'> </td> - <td class='c019'> </td> - </tr> - <tr> - <td class='c017'><span class='fss'>R.</span></td> - <td class='c007'><span class='sc'>Rubina.</span></td> - <td class='c017'> </td> - <td class='c018'><span class='sc'>Serena</span>,</td> - <td class='c019'><span class='fss'>L.</span></td> - </tr> - <tr> - <td class='c017'><span class='sc'>Attendants.</span></td> - <td class='c007'> </td> - <td class='c017'> </td> - <td class='c018'> </td> - <td class='c019'><span class='sc'>Attendants.</span></td> - </tr> -</table> - </dd> - <dt><em>Gloria.</em></dt> - <dd>Yes, mine, all mine, this bounteous land,<br />So rich in varied blessings that - command<br />Homage from all. The mighty of the earth<br />Must stoop to thee, O land of - lowly birth!<br />Thy mountains rise in majesty and pride;<br />In royal state thy - valleys open wide;<br />Thy broad, expansive waters, spreading free,<br />Embrace the - bosom of the mother sea;<br />Out of a fruitful earth thy harvests rise;<br />Out leaps - the golden ore with glad surprise;<br />Over thy broad domains, with ceaseless hum,<br - />Labor's grand armies ever conquering come;<br />While rare Invention opes its secret - heart,<br />And Genius rears its monumental art.<br />O land of promise! Gloria's inmost - prayer<br />Could ask no more than thy fair fate to share.<br />Sweet counsellors, let - Wisdom quick contrive<br />Some plan this happy state to keep alive. - </dd> - <dt><em>Rubina.</em></dt> - <dd>A nation's life, fair mistress, action craves;<br />Cold, sluggish apathy the blood - enslaves.<br /><span class='pageno' id='Page_141'>141</span>Renown's the rock on which to rear a state;<br />Rubina's - counsel is for conquest straight. - </dd> - <dt><em>Gloria.</em></dt> - <dd>Conquest, Rubina! Thine's a sorry jest.<br />We have no quarrels: friends with all we - rest. - </dd> - <dt><em>Rubina.</em></dt> - <dd>Ay: but to win renown, with fair excuse,<br />Strike at the shadow of some old abuse<br - />Among our neighbors; or, with slight parade<br />Of justice, boldly on their borders - raid.<br />Quick to revenge, their warlike hearts upspring:<br />"To arms! to arms!" they - cry. Their weapons ring;<br />On us they march, a fast-increasing band,<br />Till in the - confines of our realm they stand.<br />"Quick! to repel invasion!" then our cry;<br - />Alarming signals flash out fierce and high;<br />From east and west, from north and - south, outpour<br />The sons of Freedom, in their strength secure;<br />Drive back the - foe, in turn invade their fold,<br />Until their fate victoriously we hold. - </dd> - <dt><em>Gloria.</em></dt> - <dd>And then— - </dd> - <dt><em>Rubina.</em></dt> - <dd>And then boldly for ransom claim<br />A portion of their realm in Freedom's name. - </dd> - <dt><em>Gloria.</em></dt> - <dd>What says Serena? - </dd> - <dt><em>Serena.</em></dt> - <dd>'Tis a crafty plot,<br />And full of wickedness. I like it not.<br />Freedom's a name too - sacred to infold<br />A hungering appetite for greed and gold.<br />What conquest gains - is ne'er enriched by toil;<br />Ensanguined earth is but a sterile soil.<br />Rubina's - counsel, and her bold device,<br />Would purchase glory at a bloody price. -<div><span class='pageno' id='Page_142'>142</span></div> - </dd> - <dt><em>Rubina.</em></dt> - <dd>Serena, pause! thou hast no right to frown,<br />With thy cold-hearted words, my counsel - down.<br />No crafty plot I weave to bring disgrace,<br />But lofty plans to glorify the - race.<br />Let War once set his standard in the field,<br />With strength and valor - blazoned on his shield,<br />The roar of cannon, and the clash of steel,<br />Shall glad - the nation with triumphant peal,<br />And strong and mighty conquerers enroll<br />Heroic - deeds on her historic scroll. - </dd> - <dt><em>Serena.</em></dt> - <dd>While o'er the land the blood of her dear sons—<br />Conquest's sad recompense—in horror - runs.<br />Forbear, Rubina! Gracious mistress, might<br />Should ever wield its strong - arm for the right.<br />Let not Rubina's counsel carry weight,<br />Lest angry discord - rend your lofty state. - </dd> - <dt><em>Rubina.</em></dt> - <dd>Insult again— - </dd> - <dt><em>Gloria.</em></dt> - <dd>Nay, nay, Rubina. Pause:<br />Thou hast had ample time to urge thy cause.<br />With - patience curb a while thy fiery mood;<br />We'll ponder well thy influence for good.<br - />Speak thou, Serena. Canst thou find release<br />For our perplexity in ways of peace? - </dd> - <dt><em>Serena.</em></dt> - <dd>Ay, peace, fair mistress, is the fount of health,<br />Whence flow the streams of - happiness and wealth<br />That bless a nation. In its waters fair,<br />Drowned are the - pangs of life-corroding care;<br />Cheered and refreshed is duty's faithful heart,<br - />In labor's trials strong to take its part.<br /><span class='pageno' id='Page_143'>143</span>O happy Gloria! o'er this - blest domain,<br />With Peace thy minister, forever reign.<br />Its power can bless thy - state with bright renown,<br />And deck with radiant gems thy royal crown.<br />Let not - bold War thy quiet glades invade,<br />To ruthless revel in thy marts of trade,<br - />Affront thy people with its thundering peal,<br />And grind the harvests 'neath its - iron heel.<br />For Peace is mighty to achieve all ends,<br />And highest good with - grandest triumph blends. - </dd> - <dt><em>Rubina.</em></dt> - <dd>Ignoble Toil, Serena, grovels low,<br />And on the race no glory can bestow. - </dd> - <dt><em>Serena.</em></dt> - <dd>Toil is the power that tears the rock away,<br />And brings rare jewels to the light of - day. - </dd> - <dt><em>Rubina.</em></dt> - <dd>'Tis base! - </dd> - <dt><em>Serena.</em></dt> - <dd>'Tis noble! - </dd> - <dt><em>Gloria.</em></dt> - <dd>Silence, I entreat!<br />Counsel is vain when angry passions meet.<br />In patience we - have heard: in patience wait,<br />Till we have pondered on this strange debate,<br />And - made our choice. Anon we'll make it known.<br />Await our pleasure. We would be alone. - </dd> - <dt> </dt> - <dd>(<em>Repeat chorus, "Blest is the land," &c., and march off</em> <span - class='fss'>R.</span>, <span class='sc'>Rubina</span> <em>and</em> <span - class='sc'>Attendants</span>; <span class='fss'>L</span>., <span class='sc'>Serena</span> - <em>and</em> <span class='sc'>Attendants</span>. <span class='sc'>Gloria</span> <em>sits - on bank</em>.) - </dd> - <dt><em>Gloria.</em></dt> - <dd>O doubting heart! the battle to repeat,<br />Within thy depths Content and Conquest - meet.<br />Upon the field where Conscience sits enthroned,<br />One must be victor - crowned, and one disowned.<br /><span class='pageno' id='Page_144'>144</span>When Wisdom all its arguments hath plied,<br - />Thou, judge impartial, must the case decide.<br />Upon thy fiat hangs a nation's - fate:<br />Give me the power to make my people great. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Song; air, "Oh, come ye into the summer woods:"</em></div> - <div><span class='sc'>Queen Mab</span> <em>and</em> <span class='sc'>Dream-Spirits</span>.</div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Oh, sink you into soft slumber's arms!</div> - <div class='line in2'>There dwelleth no annoy;</div> - <div class='line'>There freely rove the Dreamland sprites,</div> - <div class='line in2'>And sweet rest is full of joy.</div> - </div> - </div> -</div> - - </dd> - <dt> </dt> - <dd><em>Gloria</em> (<em>slowly sinks to rest, speaking softly, with closed eyes</em>). - </dd> - <dt> </dt> - <dd>Soft, drowsy spirits o'er my senses creep,<br />And bear me captive to the realm of sleep. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Song continued.</em></div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>We'll spread for you, in phantom light,</div> - <div class='line in2'>That plainly you may know,</div> - <div class='line'>The woes of dreadful warfare,</div> - <div class='line in2'>The joys from peace that flow.</div> - <div class='line'>Oh! sink you, &c.</div> - </div> - </div> -</div> - - </dd> - <dt> </dt> - <dd><em><span class='sc'>Queen Mab</span> (comes front of bank, and kneels; <span - class='sc'>Somna</span> and <span class='sc'>Oblivia</span> come down <span - class='fss'>R.</span>; <span class='sc'>Drowsa</span> and <span class='sc'>Sootha</span>, - <span class='fss'>L.</span>).</em> - </dd> - <dt> </dt> - <dd>Ay, sink to sleep, fair goddess. Healthy rest<br />From weighty care shall ease thy - troubled breast;<br />Prophetic visions o'er thy senses roll,<br />To guide to just - result thy struggling soul.<br /><span class='pageno' id='Page_145'>145</span>Rubina comes with treason in her tread,<br - />To crafty acts by false ambition led. - </dd> - <dt> </dt> - <dd>(<em>Enter</em> <span class='sc'>Rubina</span>, <span class='fss'>R.</span> <em>She - passes behind bank, and stands</em> <span class='fss'>C.</span>, <em>looking down at</em> - <span class='sc'>Gloria</span>. <em>Then enter</em> <span class='fss'>R.</span>, <span - class='sc'>Cruelty</span> <em>and</em> <span class='sc'>Hatred</span>, <em>who pass - to</em> <span class='fss'>L.</span>; <span class='sc'>Discord</span> <em>and</em> <span - class='sc'>Revenge</span>, <em>who stand</em> <span class='fss'>R.</span>) -<table class='table3' summary=''> -<colgroup> -<col width='5%' /> -<col width='20%' /> -<col width='50%' /> -<col width='20%' /> -<col width='5%' /> -</colgroup> - <tr> - <td class='c007'> </td> - <td class='c007'> </td> - <td class='c017'><span class='sc'>Rubina.</span></td> - <td class='c007'> </td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'> </td> - <td class='c007'> </td> - <td class='c017'><span class='sc'>Gloria</span>, <em>on bank</em>.</td> - <td class='c007'> </td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'> </td> - <td class='c007'> </td> - <td class='c017'><span class='sc'>Queen Mab</span>, <em>kneeling</em>.</td> - <td class='c007'> </td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'><span class='fss'>R.</span></td> - <td class='c007'><span class='sc'>Discord.</span></td> - <td class='c017'> </td> - <td class='c007'><span class='sc'>Hatred.</span></td> - <td class='c008'><span class='fss'>L.</span></td> - </tr> - <tr> - <td class='c007'> </td> - <td class='c007'><span class='sc'>Somna.</span></td> - <td class='c017'> </td> - <td class='c007'><span class='sc'>Sootha.</span></td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'> </td> - <td class='c007'><span class='sc'>Revenge.</span></td> - <td class='c017'> </td> - <td class='c007'><span class='sc'>Cruelty.</span></td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'> </td> - <td class='c007'><span class='sc'>Oblivia.</span></td> - <td class='c017'> </td> - <td class='c007'><span class='sc'>Drowsa.</span></td> - <td class='c008'> </td> - </tr> -</table> - </dd> - <dt><em>Rubina.</em></dt> - <dd>In fetters bound all powerless she lies,<br />The mighty goddess who all earth defies,<br - />The slave of sleep. Relinquished the command<br />Which sways the fortune of her chosen - land.<br />The gleaming crown on her majestic brow<br />But serves as symbol of her - bondage now.<br />Should I but snatch it from her pillowed head,<br />Rubina rules, and - Freedom's host is led<br />Instant to conquest. 'Tis a glorious aim.<br />Speak, you who - wait: have I your free acclaim? - </dd> - <dt><em>Discord.</em></dt> - <dd>Quick! snatch the crown, and I will hie away<br />To boldly with the meaner passions - play;<br />Quicken your hosts with feverish desire,<br />With love of anarchy their - bosoms fire.<br /><span class='pageno' id='Page_146'>146</span>Pause not, but on the instant power assume!<br />Discord will - go before, and cry, "Make room!" - </dd> - <dt><em>Cruelty.</em></dt> - <dd>Ay, wear the crown. Let war defiant move;<br />Let me 'mid soft and tender passions - rove,<br />Crushing and slaying, turning all to steel,<br />Forged in the flame of fierce - and bitter zeal.<br />Allegiance to thee, Cruelty will give;<br />Under thy triumphs will - she grandly live. - </dd> - <dt><em>Hatred.</em></dt> - <dd>Usurp the regal state, and I am free<br />War's stanch and sturdy champion to be.<br - />Warm blood I quicken with a thirsty hate,<br />That nought but anarchy can satiate.<br - />Unto thy crown I full allegiance lend;<br />Hatred by thee will ever stand as friend. - </dd> - <dt><em>Revenge.</em></dt> - <dd>Success to treason! At thy feet I lay<br />My fond allegiance. Bid me quick array<br - />The fiercest passions. I will straightway prove<br />My bold endeavor worthy of thy - love.<br />War is my idol; at its luring call<br />Revenge is quick, and sure to conquer - all. - </dd> - <dt><em>Rubina.</em></dt> - <dd>O glorious spirits! what you free accord,<br />This grateful heart shall bless with rich - reward.<br />Success is certain: I'll no longer pause,<br />But raise aloft the standard - of our cause. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<em>Takes crown from</em> <span class='sc'>Gloria's</span> <em>head</em>.)</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>The crown is mine. Rise, War, in triumph now;<br />Gloria's rare diadem is on my brow! - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_147'>147</span><span class='sc'>Tableau.</span> <em>The crowning of War.</em></div> - </div> -</div> - -<table class='table4' summary=''> -<colgroup> -<col width='5%' /> -<col width='22%' /> -<col width='44%' /> -<col width='22%' /> -<col width='5%' /> -</colgroup> - <tr> - <td class='c007'> </td> - <td class='c017'><span class='sc'>Hatred.</span></td> - <td class='c017'><span class='sc'>Rubina.</span></td> - <td class='c017'><span class='sc'>Discord.</span></td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'> </td> - <td class='c007'> </td> - <td class='c017'><span class='sc'>Gloria</span>, <em>on bank</em>.</td> - <td class='c007'> </td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'><span class='fss'>R.</span></td> - <td class='c007'><span class='sc'>Somna.</span></td> - <td class='c017'><span class='sc'>Queen Mab.</span></td> - <td class='c007'><span class='sc'>Sootha.</span></td> - <td class='c008'><span class='fss'>L.</span></td> - </tr> - <tr> - <td class='c007'> </td> - <td class='c007'><span class='sc'>Revenge.</span></td> - <td class='c017'> </td> - <td class='c007'><span class='sc'>Cruelty.</span></td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'> </td> - <td class='c007'><span class='sc'>Oblivia.</span></td> - <td class='c017'> </td> - <td class='c007'><span class='sc'>Drowsa.</span></td> - <td class='c008'> </td> - </tr> -</table> - </dd> - <dt> </dt> - <dd><em>A chord.</em> <span class='sc'>Rubina</span> <em>places crown on her head; stands - with her hands raised to the crown</em>. <span class='sc'>Gloria</span> <em>starts up, - resting on one hand, her other hand raised to her brow, terror in her eyes</em>. <span - class='sc'>Queen Mab</span> <em>on her knees in front of bank, her hands clasped, resting - in her lap, head thrown back</em>. <span class='sc'>Somna</span>, <span - class='fss'>R.</span>, <em>and</em> <span class='sc'>Sootha</span>, <span - class='fss'>L.</span>, <em>in line with</em> <span class='sc'>Queen Mab</span>, - <em>crouch each with one hand on her shoulder, the other outstretched, as though warding - off danger</em>. <span class='sc'>Hatred</span> <em>and</em> <span - class='sc'>Discord</span> <em>run</em> <span class='fss'>R.</span> <em>and</em> <span - class='fss'>L.</span> <em>of</em> <span class='sc'>Rubina</span>; <em>each has hand on - her waist, the other raised in triumph</em>. <span class='sc'>Drowsa</span> <em>falls at - the feet of</em> <span class='sc'>Cruelty</span>, <span class='fss'>L.</span>, <em>her - back to audience, her hands raised and clasped</em>. <span class='sc'>Cruelty</span> - <em>looks down at her with right hand raised and clenched, as though about to - strike</em>. <span class='sc'>Oblivia</span> <em>falls at the feet of</em> <span - class='sc'>Revenge</span>, <span class='fss'>R.</span>, <em>with outstretched arms, - facing audience</em>; <span class='sc'>Revenge</span> <em>seizes her hands, bends her - back, and looks into her face. Expressions of terror on the faces of</em> <span - class='sc'>Dream-Spirits</span> <em>and</em> <span class='sc'>Gloria</span>; <em>triumph - in those of</em> <span class='sc'>Rubina</span> <em>and her</em> <span - class='sc'>Attendants</span>. <em>Soft music until the attention of the audience is - fastened on the picture, then</em>,— - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Chorus; air, "Soldier's Chorus."</em></div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Glory and fame for the free and bold!<br />War's red banner let heroes unfold,<br - /><span class='pageno' id='Page_148'>148</span>Boldly advancing to win renown,<br />Ay, eager to fight, and ready to guard - Rubina's crown. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Semi-chorus.</em></div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Who lack courage to dare in the front of fight,<br />With conquest before, and the foe in - sight? - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Semi-chorus.</em></div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Who would falter or turn when glory and fame<br />Their bright laurels press, and with - victory bless,<br />In War's mighty name? - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Chorus.</em></div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Glory and fame, &c. - </dd> - <dt><em>Rubina.</em></dt> - <dd>Up and away! the tocsin sounds afar;<br />The land of freedom is the realm of war. - </dd> - <dt> </dt> - <dd>(<em>Repeat chorus, "Glory and Fame," &c., and exit</em> <span class='fss'>R.</span>, - <span class='sc'>Rubina</span>, <em>followed by</em> <span class='sc'>Revenge</span>, - <span class='sc'>Hatred</span>, <span class='sc'>Discord</span>, <em>and</em> <span - class='sc'>Cruelty</span>. <em>As the music ceases</em>, <span class='sc'>Queen - Mab</span> <em>and the</em> <span class='sc'>Dream-Spirits</span> <em>resume their places - at back of bank</em>.) - </dd> - <dt><em>Gloria.</em></dt> - <dd>Rubina false, and I, by sleep possessed,<br />Powerless to rise my rightful crown to - wrest! - </dd> - <dt><em>Queen Mab.</em></dt> - <dd>Now, fair Serena, let thy loyal heart,<br />The treasures of its secret depths impart.<br - />Sisters, the spell prolong with slumber's chain;<br />Bind the fair goddess to her - dreams again. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_149'>149</span><em>Song</em>: <span class='sc'>Queen Mab</span> <em>and</em> <span class='sc'>Dream-Spirits</span>; <em>air, "The</em></div> - <div><em>Image of the Rose."</em></div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line in4'>Come, Sleep, on drowsy pinions flying,</div> - <div class='line in6'>Fair Gloria lull to sweet repose.</div> - <div class='line in4'>The land of dreams around her lying,</div> - <div class='line in6'>To charm her senses, brightly glows.</div> - <div class='line in4'>There peaceful visions, soft, entrancing,</div> - <div class='line in6'>In changeful measures sport and play.</div> - <div class='line in4'>Sleep, by thy magic power advancing,</div> - <div class='line in6'>Within thy arms bear her away.</div> - <div class='line'>Magical sleep, bear her, bear her, oh, bear her away!</div> - </div> - </div> -</div> - - </dd> - <dt> </dt> - <dd><em>As the song proceeds, the</em> <span class='sc'>Dream-Spirits</span> <em>and</em> - <span class='sc'>Queen Mab</span> <em>slowly exeunt</em>, <span class='fss'>R.</span> - <span class='sc'>Serena</span>, <em>and</em> <span class='sc'>Attendants</span>, <span - class='sc'>Music</span>, <em>with a lyre</em>; <span class='sc'>Industry</span>, <em>with - a distaff</em>; <span class='sc'>Plenty</span>, <em>with a horn of plenty; and</em> <span - class='sc'>Art</span>, <em>with a palette and brushes,—appear</em>, <span - class='fss'>L.</span>, <em>when the music ceases</em>. <span class='sc'>Serena</span> - <em>stands</em> <span class='fss'>C.</span>, <em>looking down at</em> <span - class='sc'>Gloria</span>; <em>her</em> <span class='sc'>Attendants</span> <span - class='fss'>L.</span> <em>The implements carried by the</em> <span - class='sc'>Attendants</span> <em>should be made of flowers, if possible</em>. -<table class='table5' summary=''> -<colgroup> -<col width='9%' /> -<col width='0%' /> -<col width='31%' /> -<col width='9%' /> -<col width='50%' /> -</colgroup> - <tr> - <td class='c007'> </td> - <td class='c007'> </td> - <td class='c017'><em>Bank.</em></td> - <td class='c007'> </td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'> </td> - <td class='c007'> </td> - <td class='c017'><span class='sc'>Serena.</span></td> - <td class='c007'> </td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'><span class='fss'>R.</span></td> - <td class='c007'> </td> - <td class='c017'> </td> - <td class='c007'><span class='fss'>L.</span></td> - <td class='c008'><span class='sc'>Attendants.</span></td> - </tr> -</table> - </dd> - <dt><em>Serena.</em></dt> - <dd>Genius of Freedom, in thy visions bless<br />Serena's faithful heart with warm caress.<br - />Let not vain Conquest flatter and deceive:<br />Bid restful Peace at once thy doubts - relieve.<br />Bending in homage to thy royal sway,<br />Strong to achieve, and zealous to - obey,<br /><span class='pageno' id='Page_150'>150</span>She sues for favor: bid her journey wide,<br />Prosperity to sow on - every side.<br />She pleads in love: receive her earnest prayer,<br />And of thy love - bestow a generous share. - </dd> - <dt><em>Industry.</em></dt> - <dd>Hear her, great goddess: ready to inthrall<br />True-hearted worth, I wait her cheery - call.<br />With brain and muscle ceaselessly I play,<br />Opening new harvests to the - light of day.<br />Contentment, life's warm, sweet, and better part,<br />Industry - thrones in Labor's thrifty heart. - </dd> - <dt><em>Plenty.</em></dt> - <dd>List to her prayer, O Gloria! All elate<br />To fill the treasure-house of wealth I - wait;<br />At her command, the harvest shall outpour,<br />To deck thy chosen land from - shore to shore.<br />Warmed in the love-light of her peaceful eyes,<br />Plenty, - fruit-freighted, shall luxurious rise. - </dd> - <dt><em>Art.</em></dt> - <dd>Grant her fond wish, fair goddess, and I twine<br />Into thy reign, with rare and grand - design,<br />All that pen, brush, and chisel can achieve,<br />Thy weighty cares to - lighten and relieve.<br />Gigantic Genius bends a willing knee,<br />When Art, by Peace, - to triumph is set free. - </dd> - <dt><em>Music.</em></dt> - <dd>Hear her, fair goddess, and I joyous soar,<br />Pæans of thankfulness and praise to - pour<br />In bounteous song. Thy proud and happy reign<br />Shall be the burden of my - glad refrain.<br />Religion's anthems swell with large increase<br />When Music rises at - the call of Peace. - </dd> - <dt><em>Serena.</em></dt> - <dd>Dost hear, my mistress? All the Graces meet<br />In my behalf, thy favor to - entreat.<br /><span class='pageno' id='Page_151'>151</span>Grant me thy love, and beautiful and grand<br />Shall be the - labors of this gifted band. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<em>Enter</em> <span class='sc'>Rubina</span>, <span class='fss'>R.</span>, <em>and her</em> <span class='sc'>Attendants</span>.)</div> - </div> -</div> - - </dd> - <dt><em>Rubina.</em></dt> - <dd>Thou suest for love, Serena, all too late:<br />Gloria has parted with her high - estate.<br />I sued for power, defied the royal frown,<br />Played with bold hand, and - won the regal crown. - </dd> - <dt><em>Serena.</em></dt> - <dd>The crown upon thy head! Oh, bitter woe<br />O'er a fair land relentlessly shall flow!<br - />Must I relinquish all my dreams of bliss?<br />Do I deserve such recompense as this? - </dd> - <dt><em>Rubina.</em></dt> - <dd>Check thy bold speech, Serena. Get thee hence!<br />Thy piteous pleading is a rash - offence<br />Against our state. - </dd> - <dt><em>Serena.</em></dt> - <dd>Rash Rubina, hold!<br />Peace by thy sway can never be controlled.<br />Thou hast usurped - the guidance of a race<br />Who shrink in terror from thy brazen face.<br />Thou hast - with treachery obtained a crown;<br />Serena quails not at a wicked frown.<br />Traitress— - </dd> - <dt><em>Rubina.</em></dt> - <dd>Defied by thee! At once away!<br />Rubina rules, and can relentless slay.<br />Thy power - is crushed: Serena now must cease<br />The fickle glow of enervating peace.<br />With all - the sprites that compass thee about,<br />From Freedom's realms I boldly drive thee - out.<br />War's mighty reign begins— - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_152'>152</span>(<span class='sc'>Gloria</span> <em>rises quickly, steps between, and snatches the</em></div> - <div><em>crown from</em> <span class='sc'>Rubina's</span> <em>head</em>.)</div> - </div> -</div> - - </dd> - <dt><em>Gloria.</em></dt> - <dd>False one, 'tis o'er!<br />Flaunt thy fierce mien in our domain no more.<br />Thy rude - assaults of recklessness and pride,<br />Fame, glory, and renown, in scorn deride.<br - />Thou hast no charms the noble to inthrall;<br />No knightly hearts obey thy martial - call<br />When Conquest beckons. Here, within the realm,<br />Be thou content to treason - overwhelm<br />With mighty force. Fate binds thee to our side;<br />Henceforth thou - watchful guard, and we will guide. - </dd> - <dt> </dt> - <dd>(<em>Waves her hand</em>; <span class='sc'>Rubina</span> <em>and her</em> <span - class='sc'>Attendants</span> <em>retire to back of stage</em>, <span - class='fss'>L.</span>; <span class='sc'>Gloria</span> <em>passes behind bank, and - stands</em>.) - </dd> - <dt> </dt> - <dd>By vision hath our sleep been girt about,<br />And happy wake we, free from anxious - doubt.<br />Our choice 'twixt War and Peace we here reveal,<br />And stamp the fiat with - our royal seal.<br />Approach, Serena! Love thou dost desire. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<span class='sc'>Serena</span> <em>stands near</em> <span class='fss'>C.</span>)</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Thou hast all charms affection to inspire,—<br />Heart warm with honesty and generous - zeal;<br />Brain strong to contrive, and mighty to reveal;<br />Soul full of teeming - virtues. All outflow,<br />Blessings of peace and love to free bestow.<br />Henceforth to - guide us by thy loving arts,<br />We crown thee sovereign in our heart of hearts. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_153'>153</span><em><span class='sc'>Tableau.</span> The crowning of Peace.</em></div> - </div> -</div> - -<table class='table4' summary=''> -<colgroup> -<col width='5%' /> -<col width='38%' /> -<col width='19%' /> -<col width='30%' /> -<col width='5%' /> -</colgroup> - <tr> - <td class='c007'> </td> - <td class='c007'><span class='sc'>Dream-Spirits.</span></td> - <td class='c017'> </td> - <td class='c017'><span class='sc'>Attendants.</span></td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'> </td> - <td class='c007'><span class='sc'>Queen Mab.</span></td> - <td class='c017'> </td> - <td class='c017'><span class='sc'>Rubina.</span></td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'> </td> - <td class='c007'> </td> - <td class='c017'><span class='sc'>Gloria.</span></td> - <td class='c017'> </td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'> </td> - <td class='c007'> </td> - <td class='c017'><em>Bank.</em></td> - <td class='c017'> </td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'> </td> - <td class='c007'><span class='sc'>Industry.</span></td> - <td class='c017'><span class='sc'>Serena.</span></td> - <td class='c017'><span class='sc'>Art.</span></td> - <td class='c008'> </td> - </tr> - <tr> - <td class='c007'><span class='fss'>R.</span></td> - <td class='c007'><span class='sc'>Plenty.</span></td> - <td class='c017'> </td> - <td class='c017'><span class='sc'>Music</span>,</td> - <td class='c008'><span class='fss'>L.</span></td> - </tr> -</table> - </dd> - <dt> </dt> - <dd><span class='sc'>Serena</span> <em>sits on bank</em>, <span class='fss'>C.</span>, - <em>facing audience, hands folded across her breast</em>. <span class='sc'>Gloria</span> - <em>stands behind her, placing the crown upon her head</em>; <span - class='sc'>Industry</span> <span class='fss'>R.</span> <em>of</em> <span - class='sc'>Serena</span>, <em>seated on bank, facing</em> <span class='fss'>R.</span>, - <em>distaff in her left hand resting against shoulder</em>; <span class='sc'>Art</span> - <em>in the same position</em> <span class='fss'>L.</span> <em>of</em> <span - class='sc'>Serena</span>, <em>facing</em> <span class='fss'>L.</span>, <em>with palette - in her left hand</em>; <span class='sc'>Music</span> <em>kneeling in front of</em> <span - class='sc'>Art</span>, <em>facing audience, playing upon lyre</em>; <span - class='sc'>Plenty</span> <em>kneeling on right knee, front of</em> <span - class='sc'>Industry</span>, <em>outpouring her horn of plenty</em>; <span - class='sc'>Rubina</span> <span class='fss'>L.</span>, <em>back, with her</em> <span - class='sc'>Attendants</span> <em>grouped behind her</em>. <span class='sc'>Queen - Mab</span> <em>enters</em> <span class='fss'>R.</span>, <em>with her</em> <span - class='sc'>Dream-Spirits</span>, <em>and group</em> <span class='fss'>R.</span>, - <em>back. Appropriate music: then chorus; air, Eichberg's "National Hymn."</em> -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>On thee, O Freedom, grand and great!</div> - <div class='line in2'>In confidence we lean,</div> - <div class='line'>Our land to bless, with fond caress</div> - <div class='line in2'>Of happiness serene.</div> - <div class='line'>To hail thy crowning, gentle Peace,</div> - <div class='line in2'>Let music joyous soar;</div> - <div class='line'>While harvests wave, and blessings lave</div> - <div class='line in2'>Thy realm from shore to shore.</div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Repeat.</em> <em>Curtain.</em></div> - </div> -</div> - - </dd> - <dt> </dt> - <dd><span class='pageno' id='Page_154'>154</span><span class='sc'>Note.</span>—All the tunes used in this allegory, with the - single<br />exception of Eichberg's "National Hymn" (which is published<br />in - sheet-form), are from "The Grammar School Chorus," which<br />furnished the tunes for - "The Revolt of the Bees," "The War<br />of the Roses," and "Lightheart's Pilgrimage," by - the same<br />author. Published by O. Ditson & Co., and sold by Lee &<br />Shepard, - Boston. Price $1.00. - </dd> - </dl> - -<div class='chapter'> - <span class='pageno' id='Page_157'>157</span> - <h2 class='c005'>THE MERRY CHRISTMAS<br /> OF THE<br /> OLD WOMAN WHO LIVED IN A SHOE.</h2> -</div> - -<h3 class='c014'>CHARACTERS.</h3> - -<div class='lg-container-b c003'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>The Old Woman</span> who lived in a Shoe.</div> - <div class='line'><span class='sc'>Santa Claus</span>, disguised as a Beggar.</div> - <div class='line'>Ten or twelve <span class='sc'>Children</span>, Boys and Girls of various ages.</div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='sc'>Scene.</span>—<em>The exterior of "Copper Toe Shoe House,"</em></div> - <div><em>which is set at back of platform.</em></div> - <div class='c003'><em>Chorus (invisible); air, "Revolutionary Tea"</em> (p. <a href='#Page_194'>194</a>,</div> - <div>"Golden Wreath").</div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>There was an old woman who lived in a shoe;</div> - <div class='line in2'>Of children she had a score:</div> - <div class='line'>So many had she, to know what to do</div> - <div class='line in2'>Was a question which puzzled her sore.</div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<em>Head of</em> <span class='sc'>Child</span> <em>appears at 1</em>.)</div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>To some she gave broth without any bread;</div> - <div class='line in2'>But never contented were they,</div> - <div class='line'>Till she whipped them all soundly, and put them to bed,</div> - </div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line in2'><span class='pageno' id='Page_158'>158</span>And then very happy were they,</div> - <div class='line in2'>And then very happy were they.</div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<em>Head appears at 2.</em>)</div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Now, mother, dear mother," the young ones would cry,</div> - <div class='line in2'>As they dropped off with a nod,</div> - <div class='line'>"To train up a child in the way to go,</div> - <div class='line in2'>O mother, dear, ne'er spare the rod.</div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<span class='sc'>Child's</span> <em>head appears at 3</em>.)</div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>For broth without bread is a watery waste;</div> - <div class='line in2'>And never contented are we,</div> - <div class='line'>Till with your good stick it is thickened to taste;</div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<em>Three heads appear at 4.</em>)</div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line in2'>And then, oh, how happy are we!</div> - <div class='line in2'>And then, oh, how happy are we!"</div> - </div> - </div> -</div> - -<p class='c011'><em>Enter</em> <span class='sc'>Old Woman</span>, <span class='fss'>R.</span> <em>Her costume, bodice, quilted petticoat, sugar-loaf hat, high-heeled shoes, and cane.</em></p> - - <dl class='dl_2'> - <dt><em>O. W.</em></dt> - <dd>Aha! (<em>Heads disappear quick.</em>)<br />Good gracious! can't I leave the house a - minute,<br />But what a head's at every window in it?<br />Don't let me see the tip of a - single nose;<br />For, if you do, we'll surely come to blows.<br />Poor dears! they want - the air. Well, that is cheap<br />And strengthening; for they live on air and sleep.<br - />Food is so high, and work is so unstiddy,<br />Life's really wearing on this poor old - widdy. -<div class='figcenter id001'> -<span class='pageno' id='Page_159'>159</span> -<img src='images/i159.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>FRONT VIEW OF COPPER TOE SHOE HOUSE.</p> -</div> -</div> -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>1. Split in the Heel.</div> - <div class='line'>2. Patch on the best Corn.</div> - <div class='line'>3. Copper Toe.</div> - <div class='line'>4. Lookout, or Observatory at top of House.</div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_160'>160</span>(<em>Heads appear, one after the other, as before.</em>)</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Ah me! here's good old Christmas come again.<br />How can I join in the triumphant - strain<br />Which moves all hearts? I am so old and poor,<br />With none to aid me from - their generous store. - </dd> - <dt><span class='sc'>Child</span></dt> - <dd><em>at 1</em>. Mother, I want a drum. - </dd> - <dt><span class='sc'>Child</span></dt> - <dd><em>at 2</em>. I want a doll! - </dd> - <dt><span class='sc'>Child</span></dt> - <dd><em>at 3</em>. Gimme a sword! - </dd> - <dt><em>Three</em></dt> - <dd><span class='sc'>Children</span> <em>at 4</em>. Got presents for us all? - </dd> - <dt><em>O. W.</em></dt> - <dd>Aha! (<em>Heads disappear quick.</em>)<br />Poor dears! if with the will I had the - power,<br />The choicest Christmas gifts should on them shower. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Song</em>: <span class='sc'>Old Woman</span>; <em>air, "Comin' through the Rye."</em></div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>If a widdy's with her biddies,</div> - <div class='line in4'>Living in a shoe,</div> - <div class='line'>If a widdy's work unstiddies,</div> - <div class='line in4'>What'll widdy do?</div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<em>Heads appear as before.</em>)</div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Every mother loves her biddies;</div> - <div class='line in4'>Many a one have I;</div> - <div class='line in4'>But where get gifts to fill their fists,</div> - <div class='line'>When I've no gold to buy?</div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>Aha! (<em>Heads disappear quick.</em>)</div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>There is a sprite oft comes this night,</div> - <div class='line in4'>Whom children love full well;</div> - <div class='line'>But what's his name, and where's his hame,</div> - <div class='line in4'>He does not always tell.</div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_161'>161</span>(<em>Heads appear as before.</em>)</div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Lads and lassies know good Santa,</div> - <div class='line in4'>With presents not a few;</div> - <div class='line'>Would he were here, my chicks to cheer,</div> - <div class='line in4'>Living in a shoe!</div> - </div> - </div> -</div> - - </dd> - <dt> </dt> - <dd> Aha! (<em>Heads disappear.</em>)<br />Well, I'll get in, and make the children warm.<br - />Tucked in their beds, they're always safe from harm.<br />And in their dreams, perhaps, - such gifts will rise<br />As wakeful, wretched poverty denies. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<em>Disappears behind shoe.</em>)</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd><em>Enter cautiously</em>, <span class='fss'>R.</span>, <span class='sc'>Santa - Claus</span>; <em>his fabled dress is hidden by a long domino, or "waterproof;" he has, - swung about his neck, a tin kitchen, on which he grinds an imaginary accompaniment to his - song</em>. - </dd> - <dt><em>Santa.</em></dt> - <dd>"You'd scarce expect one of my age"—<br />For gray hair is the symbol of the sage—<br - />To play at "hide-and-seek," to your surprise.<br />Here's honest Santa Claus, in rough - disguise.<br />But 'tis all right, as I will quick explain,<br />For I've a mystic - project "on the brain."<br />I've dropped down chimneys all this blessed night,<br - />Where warmth and comfort join to give delight;<br />I've filled the stockings of the - merry elves,<br />Who, to fond parents, are rich gifts themselves;<br />And now I've - come, resolved to make a show<br />In that old mansion with the copper toe,<br />Where - dwells a dame, with children great and small,<br />Enough to stock a school, or crowd a - hall.<br /><span class='pageno' id='Page_162'>162</span>If they are worthy of our kind regard,<br />Christmas shall bring to - them a rich reward.<br />So I have donned for once a meaner dress,<br />To personate a - beggar in distress.<br />If to my wants they lend a listening ear,<br />The rough old - shoe shall glow with Christmas cheer:<br />If they are rude, and turn me from the - door,<br />Presto! I vanish, and return no more. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Song</em>: <span class='sc'>Santa Claus</span>; <em>air</em>, "<em>Them blessed Roomatics.</em>"</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>My name's Johnny Schmoker, and I am no joker;<br />I don't in my pockets no greenbacks - perceive.<br />For, what with high dressing in fashions distressing,<br />I can't with a - morsel my hunger relieve.<br />My stomach so tender, that aches there engender;<br />The - whole blessed day I am crying out, "Oh!"<br />Drat these grand fashions! they wakens my - passions,<br />A-nippin' and gnawin' my poor stomach so! - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<em>Heads appear as before.</em>)</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>I've had the lumbager, dyspepsy, and ager,<br />With tight-fitting veskits and pantaloons - too;<br />Highsterics and swimins, delirious trimins,<br />St. Vestris's dance, and the - tick dolly-oo.<br />But not the whole gettin', one's body tight fits in,<br />Is noffin' - to this, which is drefful. Oh, oh!<br />Drat these grand fashions! they wakens my - passions,<br />A-nippin' and gnawin' my poor stomach so! - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_163'>163</span>(<em>Heads disappear.</em>)</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Now, there's a touching song to move the heart,<br />Hark! what's that? I thought I heard - them start. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Song</em>: <span class='sc'>Children</span>, <em>outside; air, "Oh, dear, what can</em></div> - <div><em>the matter be?"</em></div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line in6'>Oh, dear, what can the matter be?</div> - <div class='line in6'>Dear, dear, what can the matter be?</div> - <div class='line in6'>Oh, dear, what can the matter be?</div> - <div class='line in8'>Somebody's groaning out there!</div> - <div class='line'>A hungry old beggar has come here to tease us,</div> - <div class='line'>By grinding an organ he knows will not please us.</div> - <div class='line'>He hopes it may bring him a handful of pennies,</div> - <div class='line in4'>To buy him a loaf of brown bread.</div> - </div> - </div> -</div> - - </dd> - <dt> </dt> - <dd><em>Enter</em> <span class='sc'>Old Woman</span>, <em>with</em> <span - class='sc'>Children</span>, <span class='fss'>L.</span>, <em>from behind shoe. The - largest hangs on to her skirts, the next in size to the largest, until they dwindle to - the smallest; repeat song as they enter slowly, turn to</em> <span class='fss'>R.</span>, - <em>march across stage; turn to</em> <span class='fss'>L.</span>, <em>march across again; - turn to</em> <span class='fss'>R.</span>, <em>and form across stage.</em> - </dd> - <dt><em>O. W.</em></dt> - <dd>Now go away, old man. 'Tis very queer<br />That you should seek to waste your sweetness - here;<br />For we've no money, not a cent, to pay<br />For music; so you'd better up and - move away. - </dd> - <dt><em>Santa.</em></dt> - <dd>Alas, alas! and can you be unkind<br />To one who's been by Fortune left behind;<br />Who - has no friend, no money, and no clo'es;<br />The hunted victim of unnumbered - woes?<br /><span class='pageno' id='Page_164'>164</span>Good dame, I ask not money: if you please,<br />A simple crust my - hunger to appease. - </dd> - <dt><em>O. W.</em></dt> - <dd>Good gracious! Starving! Children, do you hear?<br />The old man's hungry: quickly - disappear! - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<span class='sc'>Children</span> <em>scamper behind shoe</em>.)</div> - </div> -</div> - - </dd> - <dt><em>Santa.</em></dt> - <dd>She drives them in. To me 'tis very clear<br />Old Santa fails to find a welcome here. - </dd> - <dt><em>O. W.</em></dt> - <dd>We're very poor, have fasted many a day,<br />Yet from our door ne'er drove the poor away. - </dd> - <dt> </dt> - <dd><em>Song; air, "Balm of Gilead," by the</em> <span class='sc'>Children</span>, <em>who - march in as before, carrying sticks, on which are stuck apples, potatoes, crusts of - bread, turnip, carrot, "beat," &c. They move around the stage, singing as they pass</em> - <span class='sc'>Santa</span>; <em>the last time, pitch their potatoes, &c., into his tin - kitchen. He stands</em> <span class='fss'>L.</span> <em>of stage</em>; <span - class='sc'>Old Woman</span>, <span class='fss'>R.</span> -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Oh, you sha'n't be hungry now,</div> - <div class='line'>Oh, you sha'n't be hungry now,</div> - <div class='line'>Oh, you sha'n't be hungry now,</div> - <div class='line in2'>Down at Copper Toe Shoe.</div> - <div class='line'>Cold potato—tato,</div> - <div class='line'>Cold potato—tato,</div> - <div class='line'>Cold pota—to,</div> - <div class='line in2'>Down at Copper Toe Shoe.</div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_165'>165</span>(<em>No interlude.</em>)</div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Oh, you sha'n't be hungry now,</div> - <div class='line'>Oh, you sha'n't be hungry now,</div> - <div class='line'>Oh, you sha'n't be hungry now,</div> - <div class='line in2'>Down at Copper Toe Shoe.</div> - <div class='line'>Crusts for breakfast—breakfast,</div> - <div class='line'>Crusts for breakfast—breakfast,</div> - <div class='line'>Crusts for break—fast,</div> - <div class='line in2'>Down at Copper Toe Shoe.</div> - </div> - <div class='group'> - <div class='line'>Oh, you sha'n't be hungry now,</div> - <div class='line'>Oh, you sha'n't be hungry now,</div> - <div class='line'>Oh, you sha'n't be hungry now,</div> - <div class='line in2'>Down at Copper Toe Shoe.</div> - <div class='line'>Broth for supper—supper,</div> - <div class='line'>Broth for supper—supper,</div> - <div class='line'>Broth for sup—per,</div> - <div class='line in2'>Down at Copper Toe Shoe.</div> - </div> - <div class='group'> - <div class='line'>Oh, you sha'n't, &c.</div> - </div> - </div> -</div> - - </dd> - <dt><em>Santa.</em></dt> - <dd>Well, well, I'm puzzled! Here's a grand surprise.<br />Bless me, the tears are dropping - from my eyes!<br />Thank you, my children. This is quite bewitchin';<br />With eatables - you've nearly filled my kitchen.<br />Ah, little ones! you've learned the better part.<br - />They are the poor who lack the kindly heart;<br />And they the rich, the noble, and the - high,<br />Who never willing pass the sufferer by.<br />Now comes my triumph. Children, - speak up bright:<br /><span class='pageno' id='Page_166'>166</span>What day is this? - </dd> - <dt><em>All.</em></dt> - <dd>Christmas. - </dd> - <dt><em>Little Girl.</em></dt> - <dd>No; 'tis Christmas night! - </dd> - <dt><em>Santa.</em></dt> - <dd>That's true. Now tell me who, against the laws,<br />Drops down the chimneys? - </dd> - <dt><em>All.</em></dt> - <dd>Why, old Santa Claus! - </dd> - <dt><em>Santa.</em></dt> - <dd>Bless me! how bright and nice these children are!<br />Each eye doth sparkle like the - evening star.<br />Now, then, suppose I were that ancient sprite,<br />What would you - ask, to give you most delight? - </dd> - <dt><em>Child 1.</em></dt> - <dd>I'd have a sled. - </dd> - <dt><em>Child 2.</em></dt> - <dd>A doll. - </dd> - <dt><em>Child 3.</em></dt> - <dd>A kite for me. - </dd> - <dt><em>Child 4.</em></dt> - <dd>Something still better. - </dd> - <dt><em>Santa.</em></dt> - <dd>What? - </dd> - <dt><em>Child 4.</em></dt> - <dd>A Christmas tree! - </dd> - <dt><em>All Children.</em></dt> - <dd>Oh, my! Good gracious! Wouldn't that be grand? - </dd> - <dt><em>O. W.</em></dt> - <dd>Too grand, my chicks, for you to understand.<br />Why, such a tree within our old shoe - spread,<br />Would from their fastenings tear out every thread;<br />Make every peg to - start from out its socket,<br />And send the buckle flying like a rocket. - </dd> - <dt><em>Santa.</em></dt> - <dd>Good, good! there's fun beneath that wrinkled phiz.<br />At playing Santa Claus, let's - make a biz.<br />Suppose me Santa Claus. I bless you all:<br />Then from my waistcoat let - this oven fall, - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_167'>167</span>(<em>Takes off kitchen.</em>)</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Throw off this mantle with a sudden jerk, - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<em>Throws off disguise, and appears as</em> <span class='sc'>Santa Claus</span>.)</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>And in an instant set myself to work. - </dd> - <dt><em>Children.</em></dt> - <dd>'Tis Santa Claus! - </dd> - <dt><em>Santa.</em></dt> - <dd>You're right. I am the man,<br />Yours to command. I'll serve you if I can;<br />For I - have found, good dame, that honest worth<br />Can burrow in the lowliest spot on - earth;<br />That sweet compassion's ne'er so poorly fed,<br />But what she finds an extra - crust of bread.<br />Now, to reward your generous hearts, my chicks,<br />Into the earth - these magic seeds I sticks;<br />These cabalistic words in Hebrew mutter,—<br />"Ene, - mene, moni, suti, sutter;"<br />Presto! appear! and, glittering bright and free,<br - />Beams on your sight the mystic Christmas tree. - </dd> - </dl> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<em>Shoe divides, and disappears</em> <span class='fss'>R.</span> <em>and</em> <span class='fss'>L.</span> <em>Curtains at</em></div> - <div><em>back open, disclosing tree.</em>)</div> - </div> -</div> - -<p class='c010'><em>Song: "We'll gather round the Christmas Tree."</em> <span class='sc'>Santa Claus</span> <em>and</em> <span class='sc'>Old Woman</span> <em>distribute presents to the company. Curtain falls.</em></p> - -<div class='figcenter id001'> -<span class='pageno' id='Page_168'>168</span> -<img src='images/i168.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>REAR VIEW OF COPPER TOE SHOE HOUSE.</p> -</div> -</div> - -<p class='c011'><span class='pageno' id='Page_169'>169</span><span class='sc'>Note.</span>—This entertainment was prepared for a Sunday -school's Christmas Eve, and was arranged as follows: A stage, -fourteen feet square, was fitted with a "roll-up" curtain in front. -Drapery was hung at the sides and back; a Christmas tree, -filled with presents, was placed well back on the stage, and -hidden by curtains arranged to separate in the middle. In front -of these was placed "Copper Toe Shoe House." The rear view -represents the frame made of wood, in two pieces, to separate in -the middle, of the following dimensions: ten feet from toe to -heel, five feet and one half from heel to top, four feet and one -half across top, heel about twenty inches long, eight inches high. -Cover front, in two separate sections, with black cambric; for -toe, copper tinsel paper; for sole and patch, brown cambric; -for buckle, silver tinsel paper; the patch fastened only at bottom. -A curtain, of same material or color as back stage, should -be hung in rear of shank, that children standing behind may not -be seen. A settee is placed behind it, on which the children in -the dwelling stand. 1, 2, and 3 lie upon the stage, and stick -their heads out when required. The characters can pass between -the curtains at back, to their places. When the tree is disclosed, -all the characters are in front, the settee is removed, the braces -unfastened, and, at a signal, two boys run off the shoe, and -others draw the curtains.</p> - -<div class='figcenter id001'> -<img src='images/i173.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>THE TOURNAMENT OF IDYLCOURT.</p> -</div> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_173'>173</span> - <h2 class='c005'>THE<br /> TOURNAMENT OF IDYLCOURT.</h2> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c002'> - <div>AN ALLEGORY.</div> - </div> -</div> - -<h3 class='c014'>CHARACTERS.</h3> - -<div class='lg-container-b c003'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>Justicia</span>, Genius of Idylcourt.</div> - <div class='line'><span class='sc'>Primeva</span>, Goddess of Nature.</div> - <div class='line'><span class='sc'>Majesta</span>, Guardian of the Mountains.</div> - <div class='line'><span class='sc'>Loftie</span>, <span class='sc'>Aerie</span>, Mountain-Spirits.</div> - <div class='line'><span class='sc'>Flora</span>, Guardian of the Fields.</div> - <div class='line'><span class='sc'>Pomona</span>, <span class='sc'>Agria</span>, Field-Spirits.</div> - <div class='line'><span class='sc'>Oceana</span>, Guardian of the Sea.</div> - <div class='line'><span class='sc'>Shellie</span>, <span class='sc'>Wava</span>, Sea-Spirits.</div> - <div class='line'><span class='sc'>Genia</span>, Goddess of Art.</div> - <div class='line'><span class='sc'>Blenda</span>, Genius of Painting.</div> - <div class='line'><span class='sc'>Classica</span>, Genius of Sculpture.</div> - <div class='line'><span class='sc'>Harmonia</span>, Genius of Music.</div> - <div class='line'><span class='sc'>Faith</span>, <span class='sc'>Hope</span>, <span class='sc'>Charity</span>, Classica's Models.</div> - <div class='line'><span class='sc'>Religion</span>, <span class='sc'>Prayer</span>, <span class='sc'>Sorrow</span>, <span class='sc'>Joy</span>, Blenda's Picture.</div> - <div class='line'><span class='sc'>Poesie</span>, a wandering Maiden.</div> - </div> - </div> -</div> - -<p class='c010'><span class='sc'>Scene.</span>—<em>Idylcourt. For a school exhibition, the chorus -should be seated right and left of an open -space in the centre of the platform, for the speakers. -There should be a raised platform, six or eight inches -high, at the rear of this, with a dark background -for the more effective display of tableaux.</em></p> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_174'>174</span><em>Opening Chorus; air, "Shady Groves."</em></div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Idylcourt, in fame and beauty</div> - <div class='line in2'>Glorious, bright thy realms appear;</div> - <div class='line'>Idylcourt, in love and duty</div> - <div class='line in2'>Willing hearts to thee draw near,</div> - <div class='line in2'>Wise Justicia's words to hear,</div> - <div class='line in2'>Wise Justicia's words to hear.</div> - <div class='line'>Court of genius, home of beauty,</div> - <div class='line'>Court of genius, home of beauty,</div> - <div class='line'>Court of genius, home of beauty,</div> - <div class='line in2'>Willing hearts to thee draw near;</div> - <div class='line'>Court of genius, home of beauty,</div> - <div class='line'>Court of genius, home of beauty,</div> - <div class='line'>Court of genius, home of beauty,</div> - <div class='line in2'>Willing hearts to thee draw near;</div> - <div class='line'>Court of genius, love and duty</div> - <div class='line'>Render homage to thy beauty,</div> - <div class='line in4'>Render to thy beauty,</div> - <div class='line'>Court of genius, love and duty.</div> - </div> - </div> -</div> - -<p class='c010'><em>During the singing of the Chorus, enter</em>, <span class='fss'>R.</span>, <span class='sc'>Primeva</span>, -<span class='sc'>Majesta</span>, <span class='sc'>Flora</span>, <em>and</em> <span class='sc'>Oceana</span>. <em>Enter</em> <span class='fss'>L.</span>, <span class='sc'>Genia</span>, -<span class='sc'>Classica</span>, <span class='sc'>Blenda</span>, <span class='sc'>Harmonia</span>. <em>At the conclusion, -enter</em> <span class='sc'>Justicia</span> <span class='fss'>R.</span>, <em>and stands</em> <span class='fss'>C.</span> <em>Positions are -indicated by the following diagram</em>:—</p> - -<div class='figcenter id001'> -<img src='images/i181.jpg' alt='' class='ig001' /> -</div> - - <dl class='dl_2'> - <dt><em>Justicia.</em><span class='pageno' id='Page_175'>175</span></dt> - <dd>Welcome, fair sisters, to our regal court;<br />Your tuneful measures breathe of good - report;<br />Twin guardian spirits of the fruitful earth,<br />To glad mankind creation - gave you birth.<br />To you, Primeva, Nature bends in awe;<br />From you, fair Genia, Art - receives its law.<br />Your free acclaim, upon this regal seat,<br />Justicia placed, all - arguments to meet<br />With ear impartial; bade her voice decide,<br />That blissful - harmony might here abide.<br />Your graceful homage, to our royal ear<br />Is but the - foretaste of more welcome cheer.<br />You need our aid: unto our grateful heart<br />Your - mission's import quickly now impart. - </dd> - <dt><em>Primeva.</em></dt> - <dd>Fair genius— - </dd> - <dt><em>Genia.</em></dt> - <dd>Sweet Justicia— - </dd> - <dt><em>Justicia.</em></dt> - <dd>Our decree,<br />By courtly rule, admits no double plea.<br />Be gracious, sisters. - </dd> - <dt><em>Genia.</em></dt> - <dd>I was wanting grace,<br />And humbly bend to give Primeva place. - </dd> - <dt><em>Primeva.</em></dt> - <dd>Justicia, yonder proud and haughty sprite<br />Usurps a name Primeva claims by right.<br - />I would have justice! - </dd> - <dt><em>Justicia.</em></dt> - <dd>Art thou just to her?<br />Genia usurper! 'tis a cruel slur.<br />Brave, truthful speech - bears no envenomed sting,<br />But, like good metal, has an honest ring. - </dd> - <dt><em>Primeva.</em></dt> - <dd>It was an honest truth, I dare repeat;<br />I may be rough in speech, but scorn deceit. -<div><span class='pageno' id='Page_176'>176</span></div> - </dd> - <dt><em>Genia.</em></dt> - <dd>'Tis true, Justicia, in a friendly way,<br />I chanced to cross Primeva's path to-day,<br - />And held some converse with my sister sprite,<br />Whose bold, free speech is often my - delight.<br />Our theme was conquest; and, in pleasant strife,<br />Each boasted of her - power o'er human life;<br />And, half in jest, this boast I gayly hurled,—<br />"I, - Genia, am the empress of the world." - </dd> - <dt><em>Primeva.</em></dt> - <dd>'Tis false. It was no jest. - </dd> - <dt><em>Justicia.</em></dt> - <dd>Primeva, cease!<br />Your angry humor doth disturb our peace. - </dd> - <dt><em>Genia.</em></dt> - <dd>Primeva met my jest with frowning brow,<br />And angry words, so bitter in their flow,<br - />My jesting humor fled. We argued long<br />To whom, by right, that title should - belong;<br />Leaving all else but this great truth behind,—<br />She is the greatest who - best serves mankind. - </dd> - <dt><em>Justicia.</em></dt> - <dd>Who won the battle? - </dd> - <dt><em>Genia.</em></dt> - <dd>That you must decide.<br />By your impartial fiat we abide. - </dd> - <dt><em>Primeva.</em></dt> - <dd>On this we are agreed. Justicia, hear,<br />And let your judgment be both wise and - clear.<br />Nature's own goddess, crowned and sceptred, I<br />Stand forth all meaner - powers to defy.<br />I rule the field, the mount, the sky, the sea:<br />Who shall - presume in power to rival me?<br />I wave my hand; and, o'er the barren waste,<br - />Upspringing flowers to meet my coming haste.<br />I smile: the trees, o'erburdened with - their fruit,<br />Bend low, with blushing cheeks, for my salute.<br /><span class='pageno' id='Page_177'>177</span>I speak: - the bristling hillocks, far and near,<br />Present in homage many an opening ear;<br - />The grand old mountains, stately and serene,<br />Welcome my coming, own me as their - queen;<br />Adown their sides I loose the mimic streams,<br />To sport and revel in the - sun's warm beams.<br />I rule the mighty sea by wave and tide;<br />I deck with starry - gems the heavens wide;<br />I hurl the storm upon the maddening sea;<br />The shifting - winds, obedient, follow me;<br />I bind the waters in an icy band,<br />And spread a - snowy pall o'er all the land;<br />With all the elements I sport at will,<br />And, fast - or loose, all my commands fulfil.<br />Fair genius, 'tis but just, that, so renowned,<br - />As empress of the world I should be crowned. - </dd> - <dt><em>Justicia.</em></dt> - <dd>There's anger in thy speech, pride in thine eye;<br />Ambition's soaring pinions lift - thee high.<br />What says your rival to this weighty claim?<br />Can aught be found to - heighten Genia's fame? - </dd> - <dt><em>Genia.</em></dt> - <dd>Justicia, I a mightier sceptre sway,<br />And make Primeva's realms but pave the way<br - />To grand achievements. Through her flowery field<br />I drive the plough, and bounteous - harvests yield;<br />With skilful husbandry I trim and train,<br />And bursting garners - from wild growth obtain;<br />Tunnel her mountains with resistless force,<br />And make a - pathway for the iron horse;<br />Gird up her waters to obey my will,<br />And move the - strong arm of the whirring mill.<br /><span class='pageno' id='Page_178'>178</span>Across her broad expanse, the mighty - sea,<br />My white-winged messengers move swift and free;<br />From out their earthen - graves I pluck the gems<br />That warm and shape, or glow in diadems.<br />In - <span lang="fr" xml:lang="fr">aërial</span> flights I wander through her sphere,<br />Or with rare science draw her - planets near,<br />With touch electric feel the farthest clime,<br />And count the - storm-specks on the wings of time.<br />She empress of the world! it cannot be;<br />All - her possessions minister to me.<br />Rough and ill-shaped the treasure she displays;<br - />I mould and carve, and make the jewel blaze.<br />I claim the crown. Justicia, be thou - true;<br />She must be greatest who can all subdue. - </dd> - <dt><em>Justicia.</em></dt> - <dd>Unto this haughty speech, and fulsome praise,<br />We've listened, Genia, in a wild - amaze.<br />Hast thou forgot, self-laudatory boast<br />Was ne'er the leader of a - conquering host?<br />But that to sober justice we're allied,<br />We should be merry at - such foolish pride. - </dd> - <dt><em>Genia.</em></dt> - <dd>We wait your verdict. - </dd> - <dt><em>Primeva.</em></dt> - <dd>'Twill give me the crown. - </dd> - <dt><em>Genia.</em></dt> - <dd>Primeva, cease. - </dd> - <dt><em>Primeva.</em></dt> - <dd>I care not for your frown.<br />Betwixt the false and true she <em>must</em> decide:<br - />Mine is the wise, and yours the foolish pride. - </dd> - <dt><em>Justicia.</em></dt> - <dd>This idle skirmish doth our court defame;<br />A silly quarrel for an empty name. - </dd> - <dt><em>Primeva.</em></dt> - <dd>A silly quarrel! Is Justicia fair,<br />To shun a verdict by excuse so bare? -<div><span class='pageno' id='Page_179'>179</span></div> - </dd> - <dt><em>Genia.</em></dt> - <dd>She's bound to rule whene'er we make appeal:<br />Be wise, Justicia, and your choice - reveal. - </dd> - <dt><em>Justicia.</em></dt> - <dd>Hear, then, the judgment which we now proclaim:—<br />As each has sought to blazon her - own fame,<br />The key to right in this one truth we find,—<br />She is the greatest who - best serves mankind.<br />On this you are agreed. Here rest your case,<br />And leave the - verdict to the human race.<br />Ofttimes, in Idylcourt, you've chanced to meet<br />An - earthly maid, who favors our retreat,<br />With curious, watchful eyes, as though she - sought<br />Food for the nourishment of new-born thought,—<br />A goodly type of fair, - ingenuous youth,<br />About whom floats an atmosphere of truth.<br />Woo her, fair - sisters, with all fair device,<br />Which should in honest rivalry suffice;<br />In - peaceful tourney meet to win the maid;<br />And on the victor shall our hand be laid<br - />In benediction of so wise a choice;<br />Then harmony prevails, and all rejoice. - </dd> - <dt><em>Primeva.</em></dt> - <dd>An admirable plan. - </dd> - <dt><em>Genia.</em></dt> - <dd>Justicia's right. - </dd> - <dt><em>Justicia.</em></dt> - <dd>Prepare your forces for the bloodless fight.<br />Be earnest in the strife, but loyal - ever,<br />And some success <em>must</em> crown a right endeavor. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Chorus; air, "New-mown Hay."</em></div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Then gayly to the tourney hie,</div> - <div class='line in2'>And struggle for the crown;</div> - <div class='line'><span class='pageno' id='Page_180'>180</span>The strong in right shall all defy,</div> - <div class='line in2'>The wrong in shame go down.</div> - <div class='line'>In peaceful contest meeting,</div> - <div class='line'>All courteous be the greeting.</div> - <div class='line'>We arm, the contest to begin:</div> - <div class='line in2'>Hurrah! the right shall win!</div> - </div> - </div> -</div> - - </dd> - <dt> </dt> - <dd><em>At the words, "All courteous"</em> <span class='sc'>Justicia</span> <em>extends her - right hand</em>; <span class='sc'>Primeva</span> <em>lays her left hand upon it</em>; - <span class='sc'>Genia</span> <em>lays her right. They stand thus until the chorus ends. - Then repeat the chorus.</em> <span class='sc'>Justicia</span> <em>steps back, and - exit</em> <span class='fss'>R.</span>; <span class='sc'>Primeva</span> <em>and</em> <span - class='sc'>Genia</span> <em>with their attendants countermarch, and exeunt</em> <span - class='fss'>R.</span> <em>and</em> <span class='fss'>L.</span> <em>As the song ceases, - enter from</em> <span class='fss'>R.</span>, <span class='sc'>Poesie</span>. - </dd> - <dt> </dt> - <dd><em>Poesie</em>. Vanquished again! Was ever mortal maid<br />By wild, illusive phantoms - so betrayed?<br />Taught by a wise old seer that Idylcourt<br />Of guiding genii is the - famed resort,<br />I've wandered in and out for weary hours,<br />Seeking the leaders of - those mighty powers<br />That robe the earth in beauty, seasons guide,<br />Hang out the - stars, and shift the changing tide,<br />Endow with action all the sons of earth,<br - />And to the good and beautiful give birth.<br />Alas! my search is vain. About me - glide<br />Tormenting shadows, that my calls deride.<br />I feel their presence in the - fragrant breeze;<br />I touch their fingers in the fruited trees;<br />I spy their images - in mirrored fount;<br />I hear their music in the echoing mount.<br /><span class='pageno' id='Page_181'>181</span>I know - that at their touch fair cities rise;<br />That at their call delighted progress - flies;<br />That at their smiles e'en towering genius soars<br />To loftier heights, and - richer spoil secures.<br />And yet far off they stand. I cannot meet<br />The love-light - of their eyes, or at their feet<br />Drink in the wisdom of inspiring speech.<br />The - springs of power rise far beyond my reach.<br />Hear me, ye spirits, wonderful and - grand!<br />Upon your <span lang="fr" xml:lang="fr">charmèd</span> ground I fearless stand.<br />Come ye in frightful - shapes, or forms of grace,<br />I challenge you to meet me face to face. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Chorus: "The Fairy's Revel."</em></div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>The mountains are sending their forces in might;<br />The fields are upspringing, and - girding for fight;<br />The sea is outpouring, the air is alive,<br />For thee, fair - Primeva, in tourney to strive. - </dd> - <dt> </dt> - <dd><em>During which, enter</em>, <span class='fss'>R.</span>, <span - class='sc'>Primeva</span>; <span class='sc'>Flora</span>, <em>bearing flowers</em>; <span - class='sc'>Pomona</span>, <em>bearing basket of fruit</em>; <span - class='sc'>Agria</span>, <em>with a bundle of dried grass, hay, and grain</em>; <span - class='sc'>Oceana</span>, <span class='sc'>Shellie</span>, <span class='sc'>Wava</span>, - <span class='sc'>Majesta</span>, <span class='sc'>Loftie</span>, <span - class='sc'>Aerie</span>, <em>and take positions according to following diagram</em>:— -<div class='figcenter id001'> -<img src='images/i188.jpg' alt='' class='ig001' /> -</div> -<div><span class='pageno' id='Page_182'>182</span></div> - </dd> - <dt><em>Poesie.</em></dt> - <dd>Conquered at last; and yet with strange affright<br />I am possessed at this most - dazzling sight.<br />Fair spirits, at my call you've kindly met.<br />I'm little skilled - in your court etiquette:<br />Accept the homage of a grateful heart,<br />That long will - cherish what you may impart. - </dd> - <dt><em>Primeva.</em></dt> - <dd>A suitor for that heart behold in me,—<br />Primeva, Nature's goddess, strong and - free.<br />Follow my footsteps, and the path of life<br />Shall be with beauty and - instruction rife.<br />Nature's grand empire all inviting opes,<br />To crown with joy - and bliss thy youthful hopes.<br />The realm of matter owns my sovereign sway;<br />All - working forces my commands obey.<br />But give to me thy heart, and onward press,<br - />For I've the power to beautify and bless.<br />Come thou, fair Flora, guardian of my - fields,<br />Display the charms thy rich dominion yields. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<span class='sc'>Flora</span> <em>steps upon platform at</em> <span class='fss'>L.</span> <em>of</em> <span class='sc'>Poesie</span>. <span class='sc'>Pomona</span></div> - <div><em>and</em> <span class='sc'>Agria</span> <em>step behind them</em>.)</div> - </div> -</div> - - </dd> - <dt><em>Flora.</em></dt> - <dd>Broad and bright, in beauty and in worth,<br />The realms I govern stretch about the - earth:<br />In pastures where the meek-eyed cattle graze,<br />In clustering woodlands, - musical with praise,<br />In mighty forests where the untamed rove,<br />O'er rich - plantations, through the tropic grove,<br />O'er plain and prairie, noiseless to the - tread,<br />My regal green luxuriously is spread.<br /><span class='pageno' id='Page_183'>183</span>Out of my thrifty soil - mankind's supplies,<br />At lusty labor's call, obedient rise.<br />With fancy's touch I - skilfully combine<br />Grove, hill, and river in a rare design,<br />And spread for - Genius, rich, attractive views<br />She fails to catch, yet hopefully pursues.<br />Come - to my realms, fair maid! Primeva's heart<br />With warmest love shall purest joys impart. - </dd> - <dt><em>Agria.</em></dt> - <dd>Haste, gentle maid, into our fair retreat:<br />Agria will lay her treasures at thy feet. - </dd> - <dt><em>Pomona.</em></dt> - <dd>And in thy lap, from her abundant store,<br />Pomona will her choicest treasures pour. - </dd> - <dt><em>Flora.</em></dt> - <dd>Thou shalt be welcomed with a matchless song,<br />Our heaven-taught singers joyously - prolong;<br />On mossy beds recline for happy hours,<br />Charmed by rich perfumes, - decked with lovely flowers. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Tableau: "Flora's Tribute." Music.</em></div> - </div> -</div> - - </dd> - <dt> </dt> - <dd><span class='sc'>Poesie</span> <em>sinks on one knee, making a "lap" of her dress with - her hand</em>. <span class='sc'>Flora</span> <em>steps behind, holding flowers over her - head</em>. <span class='sc'>Agria</span> <em>at</em> <span class='fss'>R.</span>, - <em>kneeling, in the act of laying her treasures at her feet</em>. <span - class='sc'>Pomona</span>, <span class='fss'>L.</span>, <em>bending forward, about to pour - her fruits into her lap</em>. <span class='sc'>Oceana</span> <em>with her arms about</em> - <span class='sc'>Wava</span> <em>and</em> <span class='sc'>Shellie</span>, <span - class='fss'>R.</span> <em>and</em> <span class='fss'>L.</span>, <em>kneel</em>. <span - class='sc'>Majesta</span>, <span class='sc'>Loftie</span>, <em>and</em> <span - class='sc'>Aerie</span> <em>form a standing group, with arms thrown about each - other</em>. <span class='sc'>Pomona</span> <em>passes to back</em>, <span - class='fss'>L.</span> <em>corner</em>. <span class='sc'>Flora</span> <em>looks down - at</em> <span class='sc'>Poesie</span>. <span class='sc'>Poesie</span> <em>has her head - thrown back, looking up at</em> <span class='sc'>Flora</span>. <em>All the others look - at</em> <span class='sc'>Poesie</span>. <em>Music continues until the group is well - settled in position, then</em>,— - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_184'>184</span><em>Chorus; air, "The First Violets."</em></div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Come with gentle Flora, fair fields to rove.<br />She can deck with beauty, she will - share with love.<br />Bathed by the sunlight, and fed by the dew,<br />Her bright and - verdant regions are opening to you. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Poesie</em> (<em>springing to her feet; others retiring to their</em></div> - <div><em>first positions</em>).</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Sweet, gentle Flora, take me to your heart;<br />In all your joys I long to bear a part. - </dd> - <dt><em>Primeva.</em></dt> - <dd>Nay, not so fast, fair maiden. List again.<br />Majesta burns your homage to obtain;<br - />She is the guardian of the mountains high,<br />Whose peaks in grandeur pierce the - arching sky. - </dd> - <dt><em>Majesta.</em></dt> - <dd>Where the fierce eagle builds her dizzy nest,<br />Amid the clouds, I take my regal - rest.<br />The sun on me his morning kiss bestows,<br />And nightly wraps me in his - farewell glows.<br />The storm-king grimly musters round my throne,<br />And sends his - chariots to the farthest zone.<br />My realms stretch far and wide o'er all the land,<br - />And monuments of awe-inspiring grandeur stand.<br />Within my treasure-caverns locked - secure,<br />Are precious stones, and veins of gleaming ore;<br />Marbles and - granites—sleeping giants—lie,<br />Long to escape the crafty builder's eye.<br />Come to - my realm, fair maid, and thou shalt find<br />The golden talisman that lures mankind.<br - />From towering summits watch the creeping world;<br />See beauty's colors gloriously - unfurled;<br /><span class='pageno' id='Page_185'>185</span>Heap the weird echoes bound from steep to steep;<br />And see - the lightning take his earthward leap.<br />Primeva's fortress shall thy guardian be:<br - />Give me thy hand, and upward mount with me. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Tableau: "The Listeners." Music.</em></div> - </div> -</div> - - </dd> - <dt> </dt> - <dd><span class='sc'>Majesta</span> <em>stands</em> <span class='fss'>C.</span>, <em>with - left hand pointing up over audience</em>. <span class='sc'>Poesie</span>, - <em>kneeling</em> <span class='fss'>R.</span>, <em>places her left hand in</em> <span - class='sc'>Majesta's</span> <em>left, and bends forward, intently gazing in the direction - in which she points, her right hand behind her ear</em>. <span class='sc'>Loftie</span> - <em>passes to</em> <span class='fss'>L.</span> <em>of</em> <span - class='sc'>Majesta</span>, <em>and kneels with her hand on the waist of</em> <span - class='sc'>Majesta</span>. <span class='sc'>Aerie</span> <em>in same position</em>, <span - class='fss'>R.</span> <em>of</em> <span class='sc'>Poesie</span>. <span - class='sc'>Oceana</span> <em>and her sprites form a standing group</em>, <span - class='fss'>R.</span>, <em>back</em>. <span class='sc'>Primeva</span> <em>steps back of - all; and</em> <span class='sc'>Flora</span> <em>and her sprites form standing group</em>, - <span class='fss'>L.</span>, <em>back. Music continues until all arranged, then</em>,— -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><em>Chorus; air, "The Herd-Bells."</em></div> - </div> - <div class='group'> - <div class='line'>Amid the mountains fleeting,</div> - <div class='line in2'>The echoes linger long,</div> - <div class='line'>Earth's song of praise repeating,</div> - <div class='line in2'>In chorus rich and strong.</div> - <div class='line'>The grand old mountains proudly</div> - <div class='line in2'>Their heads in beauty raise,</div> - <div class='line'>And, bathed in blushing glory,</div> - <div class='line in2'>Accept the song of praise.</div> - </div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>[<em>The effect could be heightened by concealing a chorus at the farther end of the - hall, and introducing an echo refrain in the song.</em>] - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_186'>186</span><em>Poesie</em> (<em>springing up; the others resuming their former</em></div> - <div><em>positions</em>).</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Upward, Majesta, guide my willing feet;<br />I long to share the joys of your retreat. - </dd> - <dt><em>Primeva.</em></dt> - <dd>Curb your impatience once again, I crave.<br />Speak, Oceana, guardian of the wave. - </dd> - <dt><em>Oceana.</em></dt> - <dd>Know me, fair maid, as guardian of the sea,<br />The wealth of waters stretching far and - free,<br />Deep basined in the world; in peace as mild,<br />As bright and beauteous, as - a sportive child;<br />Dancing in sunlight up and down the sand;<br />Leaping, with - white-capped waves, the rocky strand;<br />Creeping to shady nooks on pebbly bed;<br - />Sleeping in moonlight 'neath a silvery spread.<br />Over her rolling roads, in strength - and pride,<br />The floating treasure-chests of nations glide;<br />In emerald pastures - deep beneath her crest,<br />The fin-clad wanderers from their gambols rest.<br />At - mankind's call she hastes to do her part,<br />And from her herds bestows with generous - heart.<br />Far, far below, fair cities rear their walls<br />With jewelled keeps, and - coral-caverned halls.<br />Come to my realms, fair maid, and float with me<br />Upon the - bosom of the swelling sea.<br />Hark to the song of Naiads far below;<br />See in the - sunlight yonder billows glow. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_187'>187</span><em>Tableau: "The Gazers." Music.</em></div> - </div> -</div> - - </dd> - <dt> </dt> - <dd><span class='sc'>Oceana</span> <em>kneels on one knee</em> <span class='fss'>R.</span> - <em>of</em> <span class='sc'>Poesie</span>, <em>pointing off</em> <span - class='fss'>R.</span> <span class='sc'>Poesie</span> <em>places her left hand on</em> - <span class='sc'>Oceana's</span> <em>shoulder, leans forward, shades her eyes with right - hand, and looks in the direction of pointed hand</em>. <span class='sc'>Shellie</span> - <em>comes</em> <span class='fss'>L.</span> <em>of</em> <span class='sc'>Poesie</span>, - <em>a little behind her, and kneels quickly, holding a shell in her hand</em>. <span - class='sc'>Wava</span> <em>kneels in front of all, with her finger to her lip, and her - hand waving silence to</em> <span class='sc'>Primeva</span>, <em>who stands</em> <span - class='fss'>L.</span> <span class='sc'>Aerie</span> <em>and her sprites form a standing - group</em>, <span class='fss'>L.</span>, <em>back, and</em> <span - class='sc'>Majesta</span> <em>and her sprites the same</em>, <span class='fss'>R.</span>, - <em>back; all looking in the direction in which</em> <span class='sc'>Oceana</span> - <em>points. Music continues until the picture is complete, then</em>,— - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Chorus; air, "Boating Song."</em></div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Gayly, ye billows, among you we play;<br />Take us up gently, and bear us away;<br - />Light on the surface of ocean we glide;<br />Deep in her bosom we fearless abide.<br - />Roving at pleasure, joyous and free,<br />Rocked in the arms of the murmuring sea. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Poesie</em> (<em>starting up; others resume former positions</em>).</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Among thy happy scenes I long to roam;<br />Bright Oceana, take me to thy home. - </dd> - <dt><em>Primeva.</em></dt> - <dd>Thou shalt be free to roam field, mount, and sea,<br />If thou but give thy gentle heart - to me.<br />These sisters three, my ministers of state,<br />My edicts to enforce, - obedient wait;<br /><span class='pageno' id='Page_188'>188</span>And I, submissive to a heavenly will,<br />With mighty - powers its commands fulfil.<br />I own no earthly rule, no rival fear;<br />Beauty and - grandeur at my voice appear;<br />What title, Poesie, will you here bestow<br />On one in - whom such rare endowments glow? - </dd> - <dt><em>Poesie.</em></dt> - <dd>Thy glorious visions wrap me in amaze;<br />Speech were too poor, in eloquence of - praise,<br />To frame a title that would fitly stand<br />To mark a power so wonderful - and grand.<br />What title can I give? I pray thee tell. - </dd> - <dt><em>Primeva.</em></dt> - <dd>The empress of the world would suit me well. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Enter</em> <span class='sc'>Justicia</span>, <span class='fss'>R.</span></div> - </div> -</div> - - </dd> - <dt><em>Justicia.</em></dt> - <dd>Hold, rash Primeva! not to gain applause<br />Should wild ambition overstep our laws.—<br - />What thou hast heard, fair mortal, ponder long,<br />For hasty action often strengthens - wrong;<br />Another suitor comes; give willing ear;<br />Weigh well all doubts; then let - the truth appear. -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Exit</em>, <span class='fss'>R.</span></div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Chorus</em>: "<em>The Fairy's Revel.</em>"</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>The armies of Genius outpour in their might,<br />Fair Science is marching her clans to - the fight.<br />At the call of its mistress Art's realms are alive,<br />For thee, lovely - Genia, in tourney to strive. - </dd> - <dt> </dt> - <dd>(<em>During the chorus, all upon the platform move round back of</em> <span - class='sc'>Poesie</span>, <em>and form in line</em>. <em>Enter</em> <span - class='fss'>L.</span> <span class='sc'>Genia</span>, <span class='sc'>Blenda</span>, - <em>and</em> <span class='sc'>Classica</span>.) -<div><span class='pageno' id='Page_189'>189</span></div> - </dd> - <dt><em>Poesie.</em></dt> - <dd>Another brilliant throng, so fair and bright,<br />My spirit quickens with a new - delight.<br />Welcome, sweet friends: if me you come to greet,<br />Such glowing honors - lay me at your feet. - </dd> - <dt><em>Genia.</em></dt> - <dd>Kneel not to me; I come to win thy heart.<br />The suitor here should choose the lowly - part.<br />Fair mortal, listen. Genia is my name:<br />Art's chosen goddess, mighty is my - fame.<br />Thou art the offspring of that sovereign Thought,<br />Under whose sway the - universe is brought;<br />And I, the guiding genius of mankind,<br />In bonds submissive, - Nature's realms to bind.<br />Before my birth, the world was filled with strife,<br />And - all the squalor of barbaric life;<br />The human race in ignorance sunk deep,<br - />Content to live and die in sloth and sleep.<br />But, with my coming, energy awoke,<br - />And reason through the deadening chaos broke;<br />Awakened Thought, in wonder, sought - by lore<br />Creation's mystic riddle to explore;<br />And, as she strove, the world's - great change was wrought,<br />With purer joys from deeper delvings brought.<br />Beneath - my sway, all's wonderful and grand<br />Where taste and culture deck what Nature - planned.<br />Give me thy heart, and with all-conquering might<br />I'll guide thy steps - through life to realms of light.<br />I bring three sisters in my regal train,<br />Who - high in Art's supreme dominion reign.—<br />Blenda, approach. Thy skill to Poesie - show,<br />And let rare colors on thy canvas glow. -<div><span class='pageno' id='Page_190'>190</span></div> - </dd> - <dt><em>Blenda.</em></dt> - <dd>In Nature's studio, Blenda's models rise<br />In various shapes to gladden and - surprise.<br />The shadows of their beauties to secure,<br />Leads genius many trials to - endure.<br />But what a triumph waits the earnest heart,<br />Who on the canvas sees her - trophies start<br />To life and action, adding, age on age,<br />To history many a - bright, illumined page!<br />Portraying vice with rarely gifted hand,<br />She sees a - warning light 'gainst passion stand.<br />Depicting virtue in her pure attire,<br />She - warms all hearts to worship and aspire.<br />Inwrapping sense and soul with pleasure - high,<br />To homage leads the world's applauding cry.<br />Look on the picture I will - now display,—<br />Religion standing in the heavenly way,<br />Her finger pointing in the - Book of truth,<br />Instruction pouring in the ears of youth. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Tableau: "The Heavenly Way" Music.</em></div> - </div> -</div> - - </dd> - <dt> </dt> - <dd><span class='sc'>Blenda</span> <em>takes</em> <span class='sc'>Poesie's</span> <em>hand, - and leads her</em> <span class='fss'>R.</span>, t<em>hen turns, and points to</em> <span - class='fss'>C.</span> <span class='sc'>Poesie</span> <em>falls upon her knees with - clasped hands</em>. <span class='sc'>Primeva</span> <em>and her sprites, who are in a - line, back, separate</em> <span class='fss'>R.</span> <em>and</em> <span - class='fss'>L.</span>, <em>disclosing group</em>. <span class='sc'>Religion</span>, - <em>standing</em> <span class='fss'>C.</span>, <em>an open Bible supported on her left - hand, rests upon her arm, the open pages towards audience; her right hand rests on the - page, with one finger pointing. At her right hand, kneels</em> <span - class='sc'>Joy</span>, <em>pointing with her left hand to</em> <span - class='sc'>Religion</span>, <em>her right on the shoulder of</em> <span - class='sc'>Sorrow</span>, <em>who is crouching before her, with her face buried in her - hands. Left of</em> <span class='sc'>Religion</span>, <span class='sc'>Prayer</span> - <em>kneels, joining the hands of a little child who is in front of her: she is looking up - at</em> <span class='sc'>Religion</span>. <em>Music soft and low, until the group is - formed, then</em>,— - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_191'>191</span><em>Chorus</em>: "<em>How gently, how calmly.</em>"</div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>So gently, so calmly descending,</div> - <div class='line'>Religion glides over the earth,</div> - <div class='line in6'>So pure, so bright,</div> - <div class='line'>She decks the earth with heavenly light,</div> - <div class='line'>That charms to calm and sweet repose.</div> - <div class='line in6'>Oh, lovely spirit!</div> - <div class='line'>Genia in triumph shall soon arise;</div> - <div class='line'>Blenda calls beauty from out the skies;</div> - <div class='line'>She shall be honored evermore;</div> - <div class='line'>Goddess of Art, your crown is secure.</div> - <div class='line in6'>Joyous are we, &c.</div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<em>Music continues until all change to their old positions.</em>)</div> - </div> -</div> - - </dd> - <dt><em>Poesie.</em></dt> - <dd>I am enraptured with your beauteous art;<br />Sweet Blenda, let me henceforth share your - heart. - </dd> - <dt><em>Genia.</em></dt> - <dd>Classica waits, fair maid: we hold her dear;<br />With words of counsel let her now draw - near. - </dd> - <dt><em>Classica.</em></dt> - <dd>Dull, senseless stone, I train to living grace,<br />Trace beauty's lines upon the pallid - face;<br />From sullen marble draw the prisoned heart,<br />And strength and sense to - meaner clay impart.<br />Over the earth I rear the grandest homes,<br />With towering - pinnacles, and stately domes;<br /><span class='pageno' id='Page_192'>192</span>While tombs and pyramids for ages stand,<br - />To mark the workings of my gifted hand.<br />Who follows me must labor hard and - long,<br />Be brave in trial, and in patience strong.<br />The tasks I spread, by perils - oft beset,<br />The sculptor strengthen, when courageous met;<br />Through me, - life-studies he must ponder o'er,<br />And dive deep down in streams of classic lore;<br - />And, if he fails to reach his ideal plan,<br />Out of his struggles he has carved—a - man.<br />But, if he triumphs, grand is his renown;<br />Fame can bestow no more enduring - crown.<br />Upon my marbles, maiden, look with me;<br />Faith, Hope, and Charity,—the - peerless three. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Tableau: "The Peerless Three" Music.</em></div> - </div> -</div> - - </dd> - <dt> </dt> - <dd><span class='sc'>Classica</span> <em>takes</em> <span class='sc'>Poesie's</span> - <em>hand, and leads her</em> <span class='fss'>R.</span>, <em>then turns, and points</em> - <span class='fss'>C.</span> <span class='sc'>Poesie</span> <em>falls upon her knees. The - characters at back separate, showing group</em>: <span class='sc'>Charity</span>, <em>a - tall figure</em>, <span class='fss'>C.</span>, <em>her left hand upon the left shoulder - of a child, who stands nearly in front of her, half turned towards her, with outstretched - hand, into which</em> <span class='sc'>Charity</span> <em>is in the act of dropping a - coin, with her right hand. At</em> <span class='fss'>R.</span> <em>of</em> <span - class='sc'>Charity</span> <em>stands</em> <span class='sc'>Hope</span>, <em>leaning upon - an anchor, looking at</em> <span class='sc'>Charity</span>. <em>On her</em> <span - class='fss'>L.</span> <em>stands</em> <span class='sc'>Faith</span>, <em>with her arms - folded about a large cross, which rests upon the platform, and reaches above her - shoulder</em>. <span class='sc'>Faith</span> <em>and</em> <span class='sc'>Hope</span> - s<em>hould be a little shorter than</em> <span class='sc'>Charity</span>. <em>All the - figures in plain white, no colors; the cross and the anchor should be white. Music soft - and low until all is arranged, then</em>,— - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_193'>193</span><em>Chorus</em>; <em>air, "How gently, how calmly."</em></div> - </div> -</div> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>How calmly, how sweetly relieving,</div> - <div class='line'>Moves Charity over the earth,</div> - <div class='line in6'>With Faith and Hope!</div> - <div class='line'>They deck the earth with heavenly light,</div> - <div class='line'>That charms to calm and sweet belief.</div> - <div class='line in6'>Oh, lovely spirits!</div> - <div class='line'>Genia in triumph shall now arise;</div> - <div class='line'>Classica calls from out the skies;</div> - <div class='line'>Her works for ages shall endure;</div> - <div class='line'>Goddess of Art, your crown is secure.</div> - <div class='line in6'>Joyous are we, &c.</div> - </div> - </div> -</div> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Poesie</em> (<em>starting up; line at back changing as</em></div> - <div><em>before</em>).</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Classica, thy sculptured forms are all divine.<br />Has Art another realm can equal thine? - </dd> - <dt><em>Genia.</em></dt> - <dd>Thou shalt be judge, fair maid; within my train,<br />Is one who can the wildest heart - enchain;<br />She rules the realm of song, melodious moves,<br />Gathering the warbled - sweets of woodland groves;<br />And thence distilling soul-entrancing lays,<br />That - fill the earth with peace, the heavens with praise.<br />Spirit of music, sweet Harmonia, - wake:<br />Of thy rich gifts bid Poesie partake. - </dd> - <dt> </dt> - <dd><em>Music. Characters at back separate.</em> <span class='sc'>Harmonia</span> - <em>discovered</em>, <span class='fss'>C.</span>, <em>standing erect, a lyre in her left - hand, the fingers of her right upon the strings</em>. <span class='sc'>Poesie</span> - <em>moves up, and kneels at her feet, looking up at her with clasped hands. The - characters group themselves in sitting and reclining positions about her.</em> <span - class='sc'>Primeva</span> <em>and</em> <span class='sc'>Genia</span> <em>stand at - extreme</em> <span class='fss'>R.</span> <em>and</em> <span class='fss'>L.</span>, - <em>back</em>. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_194'>194</span><em>Solo and chorus</em>: "<em>So merrily over the Ocean</em></div> - <div><em>Spray.</em>"</div> - <div class='c003'><span class='sc'>Harmonia</span> <em>sings the three solos, then full chorus</em>.</div> - </div> -</div> - - </dd> - <dt><em>Solo.</em></dt> - <dd>I am queen of the realm of song,<br /> My home the harmonious sea,<br />Where the - spirits of music prolong<br /> Unceasing a welcome for me.<br />From the song wave they - merrily brave,<br /> Melodious voices glide;<br />Oh, sweet is their song as it floateth - along<br /> The crest of the tremulous tide! - </dd> - <dt><em>Chorus.</em></dt> - <dd>So merrily over the sea of song,<br />Rising and falling we float along;<br />So merrily - over the sea of song,<br /> Gayly we float along.<br /> Gayly over the sea,<br /> - Harmonia's spirits free,<br /> Singing, singing,<br /> Happy, happy are we.<br />As - merrily over the sea of song,<br />Rising and falling we float along;<br />So merrily - over the sea of song,<br /> Over the sea of song,<br /> Gayly we float along,<br /> - Gayly we float along. - </dd> - <dt> </dt> - <dd><span class='pageno' id='Page_195'>195</span>(<em>When the song is ended, all keep their places</em>, <span - class='sc'>Poesie</span> <em>kneeling, with her eyes fixed upon</em> <span - class='sc'>Harmonia</span>. <em>A pause; then</em> <span class='sc'>Genia</span> - <em>steps to the side of</em> <span class='sc'>Poesie</span>.) - </dd> - <dt><em>Genia.</em></dt> - <dd>Silent, fair Poesie? What! no words of praise<br />As tribute to Harmonia's matchless - lays? - </dd> - <dt><em>Poesie.</em></dt> - <dd>Can words pay fitting homage to her art?<br />My tribute's here, in this high-swelling - heart,<br />Which, filled with rapture, checks the flow of speech<br />That would aspire - to praise it cannot reach. - </dd> - <dt><em>Genia.</em></dt> - <dd>And so I triumph. Maiden, unto me<br />This soaring spirit bends the humble knee;<br />Is - but a slave to work my sovereign will,<br />And with her sisters my commands fulfil.<br - />Over the earth unnumbered spirits bind,<br />At smile from me, rich blessings for - mankind;<br />What title can she claim who thus displays<br />All that can bless and - strengthen and amaze? - </dd> - <dt><em>Poesie.</em></dt> - <dd>What title can she claim? You ask me this,<br />Whose soul is filled with one rich - draught of bliss,—<br />Harmonia's mistress? - </dd> - <dt><em>Genia.</em></dt> - <dd>I that spirit claim. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Primeva</em> (<em>comes down</em> <span class='fss'>L.</span> <span class='sc'>Poesie</span> <em>rises</em>).</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>'Tis false! 'Twas I, Primeva, gave her fame.<br />From heaven she came, to purify and - bless;<br />And Nature nurtured her with warm caress. - </dd> - <dt><em>Genia.</em></dt> - <dd>'Twas Art's rich culture trained her infant voice<br />In grand, majestic numbers to - rejoice. - </dd> - <dt><em>Primeva.</em></dt> - <dd>Genia, no more; let Poesie decide<br />Upon our claims. Her judgment we abide. - </dd> - <dt><em>Genia.</em></dt> - <dd>I am content. -<div><span class='pageno' id='Page_196'>196</span></div> - </dd> - <dt><em>Poesie.</em></dt> - <dd>Of me, ye judgment seek?<br />You, strong and mighty, I but poor and weak. - </dd> - <dt><em>Primeva.</em></dt> - <dd>To save a sovereign title of command,<br />Nature and Art in strife before you stand.<br - />In full accord our forces are combined<br />For this great task,—to serve and bless - mankind.<br />Who is the greatest? Fearlessly proclaim.<br />We ask your verdict in - Justicia's name.<br />Both have our powers skilfully unfurled;<br />Who shall be crowned - as empress of the world? - </dd> - <dt><em>Poesie.</em></dt> - <dd>O spirits regal, beautiful, and wise!<br />In unity supreme your glory lies;<br />Can - frail mortality presume to call<br />Her judgment forth, to make you rise or fall?<br - />Fair Genia, through your realms of thought and light,<br />I wander in a maze of grand - delight;<br />Behold mankind upspring in strength and grace,<br />And sturdy tasks - courageously embrace.<br />As through your realms, Primeva, free I rove,<br />My spirit - glows with reverence and love.<br />I see your earth, so wonderful and vast,<br />Which - proud man conquers, conquer him at last;<br />And in both Art and Nature see the hand<br - />Which wields the sceptre of supreme command,<br />Where each within my heart holds - equal place,<br />I could not elevate, would not abase. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<em>Joins their hands.</em>)</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Together reign, and teach mankind the way<br />To that grand realm, and that one - sovereign sway. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_197'>197</span><em>Enter</em> <span class='sc'>Justicia</span>, <span class='fss'>C.</span></div> - </div> -</div> - - </dd> - <dt><em>Justicia.</em></dt> - <dd>A righteous verdict, which we joyous seal.<br />Our tourney's ended: let the chorus peal. - </dd> - </dl> - -<p class='c010'><em>Tableau</em>: <span class='sc'>Justicia</span> <em>on platform, with her hands raised in benediction over</em> <span class='sc'>Poesie</span>, <em>who stands before her, joining the hands of</em> <span class='sc'>Genia</span>, <span class='fss'>L.</span>, <em>and</em> <span class='sc'>Primeva</span>, <span class='fss'>R.</span>; <span class='sc'>Genia's</span> <em>followers on her</em> <span class='fss'>L.</span>, <span class='sc'>Primeva's</span> <em>followers on her</em> <span class='fss'>R.</span></p> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Chorus, same as opening chorus.</em></div> - <div class='c003'>Idylcourt, in love and beauty, &c.</div> - <div class='c003'>(<em>Curtain.</em>)</div> - </div> -</div> - -<p class='c011'><span class='sc'>Note.</span>—The airs, "Shady Groves," and "Boatman's Song," -can be found in "The Grammar School Chorus." The other -airs are from the new "Fourth Music Reader," published by -Ginn Brothers. Price, $1.50. Furnished by Lee and Shepard, -Boston.</p> - -<div class='chapter'> - <span class='pageno' id='Page_201'>201</span> - <h2 class='c005'>A THORN AMONG THE ROSES.</h2> -</div> - -<h3 class='c014'>CHARACTERS.</h3> - -<table class='table6' summary=''> -<colgroup> -<col width='25%' /> -<col width='74%' /> -</colgroup> - <tr> - <td class='c020' colspan='2'><span class='sc'>Mrs. Candor</span>, Principal of Rosebush Institute.</td> - </tr> - <tr> - <td class='c020' colspan='2'><span class='sc'>Patience Plunkett</span>, the oldest of her pupils, age thirty-five.</td> - </tr> - <tr> - <td class='c020'><span class='sc'>Lucy Woods</span>,</td> - <td class='blt c016'> </td> - </tr> - <tr> - <td class='c020'><span class='sc'>Bessie Travers</span>,</td> - <td class='blt c016'> </td> - </tr> - <tr> - <td class='c020'><span class='sc'>Jane Turner</span>,</td> - <td class='blt c016'>Pupils.</td> - </tr> - <tr> - <td class='c020'><span class='sc'>Augusta Stephens</span>,</td> - <td class='blt c016'> </td> - </tr> - <tr> - <td class='c020'><span class='sc'>Maria Mellish</span>,</td> - <td class='blt c016'> </td> - </tr> - <tr> - <td class='c020' colspan='2'><span class='sc'>Bridget Mahony</span>, the cook, age fifty.</td> - </tr> - <tr> - <td class='c020' colspan='2'><span class='sc'>Tom Candor</span>, <span class='sc'>Mrs. Candor's</span> nephew, a homesick youth of nineteen.</td> - </tr> - <tr> - <td class='c020' colspan='2'><span class='sc'>Job Seedling</span>, lad-of-all-work, age twenty.</td> - </tr> -</table> - -<h3 class='c014'>COSTUMES.</h3> - -<p class='c015'><span class='sc'>Patience Plunkett.</span> A very girlish attire, with an old face -strongly marked; red hair, with corkscrew ringlets.</p> - -<p class='c010'><span class='sc'>Job Seedling.</span> Dark pants, rather short, white jacket, apron, -stockings and shoes.</p> - -<p class='c010'>Other characters appropriately dressed.</p> - -<p class='c010'><span class='sc'>Scene.</span>—<em>Music-room at Rosebush Institute; piano, -back</em>, <span class='fss'>C.</span>; <em>lounge or sofa</em>, <span class='fss'>L.</span>; <em>arm-chair</em>, <span class='fss'>R.</span>; <em>two or -three chairs</em>, <span class='fss'>R.</span> <em>and</em> <span class='fss'>L.</span> <em>Entrance from</em> <span class='fss'>R.</span></p> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><span class='pageno' id='Page_202'>202</span>(<em>Enter</em> <span class='sc'>Bessie Travers</span> <em>and</em> <span class='sc'>Lucy Woods</span>.)</div> - </div> -</div> - - <dl class='dl_1'> - <dt><em>Bessie.</em></dt> - <dd>Madam Solfa has really gone off in a pet? - </dd> - <dt><em>Lucy.</em></dt> - <dd>Yes: because poor me could not run up the musical scale with celerity,—in fact, stuck - fast at the bottom,—her highness complained to Mrs. Candor; and Mrs. Candor—bless - her!—took my part. "If the poor child cannot sing, let her alone."—"But se most be made - to seeng," says madam; "and se weel steek to 'do,' and go no furzer."—"Well, let her - stick there, if she likes. Her father's a baker, and she has a perfect right to stick to - dough, if she likes it." So madam, shocked at the levity of our delightful preceptress, - put on her bonnet and shawl, and vanished in a blaze of fury. - </dd> - <dt><em>Bessie.</em></dt> - <dd>O Lucy, you have driven the poor lady away! - </dd> - <dt><em>Lucy.</em></dt> - <dd>But she won't be gone long, depend upon it; for she left her baggage behind, and there's - a quarter's salary due her. - </dd> - <dt><em>Bessie.</em></dt> - <dd>And we must go without our lesson to-day. - </dd> - <dt><em>Lucy.</em></dt> - <dd>I'm glad of it. There's no music in my soul. I must be "fit for treason and conspiracies." - </dd> - <dt><em>Bessie.</em></dt> - <dd>You are the smartest girl in the school, Lucy, with this <em>inharmonious</em> exception. - </dd> - <dt><em>Lucy.</em></dt> - <dd>I the smartest? You flatter me; and you forget our aged schoolmate, Patience Plunkett. - </dd> - <dt><em>Bessie.</em></dt> - <dd>Aged! Why, Lucy, what could have possessed that mature—to speak mildly—female to class - herself with young girls like us? - </dd> - <dt><em>Lucy.</em></dt> - <dd>I'm sure I don't know; but Maria Mellish, <span class='pageno' id='Page_203'>203</span>who is always fishing out mysteries, - told me her father, a farmer, has recently made a mint of money; and Patience has a - foolish idea that she can procure an education, even at her age, and so entered Rosebush - Institute as a pupil. - </dd> - <dt><em>Bessie.</em></dt> - <dd>Poor thing! she is the laughing-stock of the school, and cannot be made to see it. - </dd> - <dt><em>Lucy.</em></dt> - <dd>She has one devoted admirer, Job Seedling. The silly gander is evidently in love, and - takes no pains to conceal it. At the table he forgets his occupation, and stands staring - at her. - </dd> - <dt><em>Bessie.</em></dt> - <dd>She certainly receives a great deal of attention, and all the tidbits, there. - (<em>Enter</em> <span class='sc'>Maria Mellish</span>, <span class='fss'>R.</span>) - </dd> - <dt><em>Maria.</em></dt> - <dd>O girls! I have found it out at last. Only think of it! a romance in Rosebush Institute! - Yes: now, don't speak of this,—Job Seedling, the meek, patient Job, is a prince in - disguise. - </dd> - <dt><em>Bessie.</em></dt> - <dd>A prince? Nonsense. - </dd> - <dt><em>Maria.</em></dt> - <dd>Well, not exactly a prince; but Hopps the milkman told me that Johnson the butcher told - him that Bates the expressman told him that Patience Plunkett belongs in Razorly, and - that his agent there told him that Job Seedling was the son of a rich farmer; that he got - desperately enamoured of Patience, and followed her here, taking a menial situation that - he might be near the object of his love. Isn't it splendid? - </dd> - <dt><em>Lucy.</em></dt> - <dd>Splendid. If Mrs. Candor should hear of this, I fear that Job would have to give up his - menial situation for a meaner. -<div><span class='pageno' id='Page_204'>204</span></div> - </dd> - <dt><em>Maria.</em></dt> - <dd>But nobody shall tell her. I mean to watch them. It will be such fun to hear Job sigh as - he passes the butter, see him roll his eyes as he lifts the rolls. Oh, it's just jolly! - (<em>Enter</em> <span class='sc'>Jane Turner</span> <em>and</em> <span class='sc'>Augusta - Stephens</span>.) - </dd> - <dt><em>Jane.</em></dt> - <dd>O girls! have you heard the news? Tom— - </dd> - <dt><em>Augusta.</em></dt> - <dd>Candor has just arrived. - </dd> - <dt><em>Jane.</em></dt> - <dd>Sick. Only think of it! Come here to be nursed. And he looks awfully. - </dd> - <dt><em>Augusta.</em></dt> - <dd>Mrs. Candor hurried him off to bed at once, ordered hot jugs for his feet, hot - ginger-tea, and a cold towel for his head. - </dd> - <dt><em>Maria.</em></dt> - <dd>Dear me! and I never heard a word of it! - </dd> - <dt><em>Lucy.</em></dt> - <dd>He ought to have a holiday, and go home. - </dd> - <dt><em>Maria.</em></dt> - <dd>Oh, wouldn't that be fun! Poor fellow! I'm so sorry for him! But then, he can have jam, - and jellies, and all the consolations of sickness. I think it's rather pleasant to be - sick—a little. (<em>Enter</em> <span class='sc'>Mrs. Candor</span>, <em>equipped for - going out</em>.) - </dd> - <dt><em>Mrs. Candor.</em></dt> - <dd>Girls, I must run down and see Dr. Bruce. -<table class='table7' summary=''> -<colgroup> -<col width='21%' /> -<col width='22%' /> -<col width='56%' /> -</colgroup> - <tr> - <td class='c016'><em>Augusta.</em></td> - <td class='blt c021'> </td> - <td class='blt c016'> Is he very sick?</td> - </tr> - <tr> - <td class='c016'><em>Maria.</em></td> - <td class='blt c021'>(<em>Together.</em>)</td> - <td class='blt c016'> Is he going to die?</td> - </tr> - <tr> - <td class='c016'><em>Lucy.</em></td> - <td class='blt c021'> </td> - <td class='blt c016'> Is he dangerous?</td> - </tr> -</table> - </dd> - <dt><em>Mrs. Candor.</em></dt> - <dd>I hope not. -<table class='table7' summary=''> -<colgroup> -<col width='21%' /> -<col width='22%' /> -<col width='56%' /> -</colgroup> - <tr> - <td class='c016'><em>Augusta.</em></td> - <td class='blt c021'> </td> - <td class='blt c016'> Will school close?</td> - </tr> - <tr> - <td class='c016'><em>Maria.</em></td> - <td class='blt c021'>(<em>Together.</em>)</td> - <td class='blt c016'> Shall we have a holiday?</td> - </tr> - <tr> - <td class='c016'><em>Lucy.</em></td> - <td class='blt c021'> </td> - <td class='blt c016'> Will you send us home?</td> - </tr> -</table> - </dd> - <dt><em>Mrs. Candor.</em></dt> - <dd>Dear me, what talkers! Keep quiet, girls. I'll run down and tell the doctor his symptoms. - </dd> - <dt><em>Bessie.</em></dt> - <dd>Let me go for him, Mrs. Candor. -<div><span class='pageno' id='Page_205'>205</span></div> - </dd> - <dt><em>Other girls</em></dt> - <dd>(<em>in chorus</em>). Let me! I'll go! We'll all go! Do let us go! - </dd> - <dt><em>Mrs. Candor.</em></dt> - <dd>No: I don't want to have him come unless it is necessary. He can determine that when I - tell him the symptoms. So keep quiet. There will be no music-lesson, and you can amuse - yourselves until my return—under the rules, remember. Dear me! what could have sent that - boy home sick? -<div class='c013'>[<em>Exit.</em></div> - </dd> - <dt><em>Maria.</em></dt> - <dd>Amuse ourselves! Oh, isn't that nice? Let's have a game of tag! - </dd> - <dt><em>Augusta.</em></dt> - <dd>Nonsense! With that poor sick youth over our heads? - </dd> - <dt><em>Maria.</em></dt> - <dd>That's so! We must be quiet. (<em>Enter</em> <span class='sc'>Bridget</span>.) - </dd> - <dt><em>Bridget.</em></dt> - <dd>If yez plase, ma'am, what'll I do? Shure, the misthress is nowhere at all, at all. - </dd> - <dt><em>Bessie.</em></dt> - <dd>No, Bridget: she's gone to the doctor's. - </dd> - <dt><em>Bridget.</em></dt> - <dd>To the doctor's, is it? 'Pon my sowl, there's throuble be comin' to the place. Didn't I - say a windin'-sheet in the flame av me candle last night? Shure, that's a sign av - disolation. - </dd> - <dt><em>Bessie.</em></dt> - <dd>It's a sign the candle wanted snuffing, Bridget. - </dd> - <dt><em>Bridget.</em></dt> - <dd>Oh, be dacent, Miss Bessie! Don't make light av the signs. Shure, I seed it in a candle - onct whin me brither Pathrick was ailin' wid the masles, and jist fourteen months and six - days from that very night he died. - </dd> - <dt><em>Maria.</em></dt> - <dd>Of the measles? - </dd> - <dt><em>Bridget.</em></dt> - <dd>Go long wid yez! Didn't he fall into a well, and break his neck wid drowning? -<div><span class='pageno' id='Page_206'>206</span></div> - </dd> - <dt><em>Augusta.</em></dt> - <dd>Now, Bridget, Mrs. Candor told us we might amuse ourselves while she is gone. Do you know - what would <em>most</em> amuse us? - </dd> - <dt><em>Bridget.</em></dt> - <dd>Troth, I don't. - </dd> - <dt><em>Augusta.</em></dt> - <dd>A nice mince-pie. - </dd> - <dt><em>Maria.</em></dt> - <dd>Oh, yes; and some cold tongue! - </dd> - <dt><em>Jane.</em></dt> - <dd>And a pickle. Don't forget a pickle. - </dd> - <dt><em>Bridget.</em></dt> - <dd>I'll forgit mesilf if I git any sich dili<em>cases</em>. No, no: I'll not be afther - givin' yez ony sich divarshun. - </dd> - <dt><em>Maria.</em></dt> - <dd>O Bridget! you know me. I've got an elegant breastpin, that will look well— - </dd> - <dt><em>Augusta.</em></dt> - <dd>Fastened to a pretty green necktie that I've no use for. - </dd> - <dt><em>Jane.</em></dt> - <dd>And they will match a nice pair of earrings that mother has promised to send me for - somebody—you know, Bridget. - </dd> - <dt><em>Bridget.</em></dt> - <dd>Och, the darlints! It's the foine wheedlin' way yez have, onyhow. Well, well, it's mesilf - will look into the panthry; an' if there's a deli<em>cate</em> morsel, that's in danger - av shpoiling, mayhap it moight find its way up here. But I'll make no promises. -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Exit.</em></div> - </div> - </div> -</div> - - </dd> - <dt><em>Maria.</em></dt> - <dd>Now let's have a dance. - </dd> - <dt><em>Augusta.</em></dt> - <dd>Oh, that's splendid! (<em>Enter</em> <span class='sc'>Patience</span>.) - </dd> - <dt><em>Patience.</em></dt> - <dd>A dance! A dance in the halls of learning! Horrible! Girls, it must not be! You shock me. - <em>I</em> came here to cultivate my understanding. - </dd> - <dt><em>Maria.</em></dt> - <dd>And dancing will do it, Patience: it's just the thing for the understanding. - </dd> - <dt><em>Patience.</em></dt> - <dd>Maria Mellish, I'm ashamed of you. You want polish. -<div><span class='pageno' id='Page_207'>207</span></div> - </dd> - <dt><em>Maria.</em></dt> - <dd>A polished floor is delightful, but not necessary to the poetry of motion. Come, girls, a - dance, a dance! - </dd> - <dt><em>Patience.</em></dt> - <dd>Not in my presence. I will be no spec<em>takor</em> of such priv-priv—nonsense. No: we - are here for a higher purpose; to enlarge our ca-ca—talents, to store our minds with the - in-in—things which the great minds of all ages have con-con—got together for good. - </dd> - <dt><em>Maria</em></dt> - <dd>(<em>aside to</em> <span class='sc'>Augusta</span>). Poor Patience! how she trips at the - hard words! - </dd> - <dt><em>Patience.</em></dt> - <dd>If there is any dancing here, I shall feel under ob-ob—I shall tell Mrs. Candor. - </dd> - <dt><em>Maria.</em></dt> - <dd>Well, Miss Tattler, you shall be under no ob-ob to do any such thing, for we won't dance. - </dd> - <dt><em>Patience.</em></dt> - <dd>If we have a leisure hour, it cannot be better employed than in the per-per—reading of a - useful book. - </dd> - <dt><em>Maria.</em></dt> - <dd>That's so. (<em>Goes to</em> <span class='fss'>R.</span>, <em>and calls</em>.) Here, Job, - bring Miss Patience the dictionary. Come, girls, let's have a sing. - </dd> - <dt><em>Augusta</em></dt> - <dd>(<em>aside to</em> <span class='sc'>Maria</span>). Hateful old thing! - </dd> - <dt><em>Bessie.</em></dt> - <dd>Let us look over the music; perhaps we can find something sweet and soft, that will not - disturb the invalid. - </dd> - <dt><em>Jane.</em></dt> - <dd>Good! "Mulligan Guards," or, "Gentle Spring." (<em>They go to the piano, which should be - placed with back to audience.</em> <span class='sc'>Bessie</span> <em>opens a musicbook; - and they gather about her, turning over the leaves</em>. <span class='sc'>Patience</span> - <em>sits on lounge</em>, <span class='fss'>L.</span>) - </dd> - <dt><em>Patience.</em></dt> - <dd>Thoughtless girls! they lack the wisdom <span class='pageno' id='Page_208'>208</span>and ripe ex-ex—Dear me! it's so hard to - remember these words!—experience of my ma-ma—older years. But I, in what the poet calls - "the fresh bloom of womanhood," can curb their flightiness. Ah, this life is so - con-con-gealing to my ambitious spirit! I am so rapidly mastering the ru-ru—first steps - of learning! I feel that I shall de-de-velop a gi-gi-<em>antic</em> mind, and burst upon - the rude boors of Razorly like some glorious starry con-con-consternation. - </dd> - <dt> </dt> - <dd>(<em>Enter</em> <span class='sc'>Job</span>, <span class='fss'>R.</span>, <em>with a - large quarto dictionary in his arms. He stops at entrance; sees</em> <span - class='sc'>Patience</span>, <em>clasps the dictionary to his breast, and heaves a - sigh</em>.) - </dd> - <dt><em>Maria</em></dt> - <dd>(<em>at piano</em>). Hush! there's Job. Now watch the pair. - </dd> - <dt><em>Job.</em></dt> - <dd>There she is, "a-sittin' on the style, Mary," the stylish lounge. Oh, would I were the - plush upon that lounge, that I might clasp that form! That's Romeo, altered for the - occasion. Oh, I'm chock full of these frenzied ideas! I do nothing but read Shakspeare - and them other poet-chaps—when I ain't handling plates, or scouring knives; for I'm in - love, oh, so bad! with Patience Plunkett. Oh that name! it runs in my head. It is so - musical, so full of poetry! -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>With fair, bewitching Patience Plunkett</div> - <div class='line'>I'm in love. Who would have thunk it?</div> - </div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>There's poetry, all out of my own head too. (<em>Comes down.</em>) Miss Patience! dear - Patience! - </dd> - <dt><em>Patience.</em></dt> - <dd>Why, Job, is that you? How you startled me! I was rume-rume— -<div><span class='pageno' id='Page_209'>209</span></div> - </dd> - <dt><em>Job.</em></dt> - <dd>Not rheumatic. Oh, don't say that you are suffering, beloved Patience! - </dd> - <dt><em>Patience.</em></dt> - <dd>I was ruminating upon some lines in Homer's <em>Ilyd</em>, the original Greek. You are - not acquainted with Greek, Job? - </dd> - <dt><em>Job.</em></dt> - <dd>Well, Patience, I'm not acquainted with many on 'em. There was old Pat Haggerty, in - Razorly: they used to call him an Original Greek— - </dd> - <dt><em>Patience.</em></dt> - <dd>O Job! I have no patience with you. How can you expect me to stoop from my high speer to - mate with you, unless you cultivate your head more ass-ass-iduously? - </dd> - <dt><em>Job.</em></dt> - <dd>Well, I've had it cut and shampooed three times since I've been here. If that ain't - cultivating it, I'll have it ploughed next time. Here's your dictionary, Patience. - </dd> - <dt><em>Patience.</em></dt> - <dd>Thank you: I do not require it. - </dd> - <dt><em>Job.</em></dt> - <dd>Then, why did you send for it? - </dd> - <dt><em>Augusta</em></dt> - <dd>(<em>at piano, reading music-titles as they turn the leaves</em>). "Wouldn't you like to - know?" - </dd> - <dt><em>Job</em></dt> - <dd>(<em>turning round</em>). Eh? Why, there's the whole lot of 'em! - </dd> - <dt><em>Maria.</em></dt> - <dd>No: that won't do. That's too sentimental. - </dd> - <dt><em>Patience.</em></dt> - <dd>They sent for it, not I. You can take it back. - </dd> - <dt><em>Job.</em></dt> - <dd>O Patience! why are you so cold to one who loves you to distraction? Why— - </dd> - <dt><em>Maria</em></dt> - <dd>(<em>reading title</em>). "Lubly Cynthia." That's good. - </dd> - <dt><em>Job</em></dt> - <dd>(<em>turning round</em>). Plague take those girls! <span class='pageno' id='Page_210'>210</span>You know that for love of - you I've left my home, Patience, and have donned the apron of a waiter, and become a - patient waiter for you, Patience. Oh! when shall my love be rewarded with the possession - of that plump white hand? - </dd> - <dt><em>Jane.</em></dt> - <dd>"When Johnny comes marching home." That's lovely. - </dd> - <dt><em>Job</em></dt> - <dd>(<em>turning round</em>). Eh? Oh, bother them girls! - </dd> - <dt><em>Patience.</em></dt> - <dd>Don't mind them, Job. They do not dream of our attachment. They do not dream you are my— - </dd> - <dt><em>Maria.</em></dt> - <dd>"Curly little bow-wow." - </dd> - <dt><em>Job</em></dt> - <dd>(<em>turning round</em>). There, now! What's the use of trying to talk where them girls - are? Patience, dear Patience, meet me, meet me— - </dd> - <dt><em>Augusta.</em></dt> - <dd>"Meet me by moonlight alone." - </dd> - <dt><em>Job.</em></dt> - <dd>Oh them girls! Meet me after tea in the woodshed, while I am cleaning knives. We can - commune: we can exchange vows: we can— - </dd> - <dt><em>Maria.</em></dt> - <dd>"Root hog or die." - </dd> - <dt><em>Patience.</em></dt> - <dd>Yes, Job, I will be there. But be secret. If our attachment is discovered, Mrs. Candor - will instantly dismiss you. And it's so romantic to have a lover in disguise! I know you - love me, Job. Have patience. - </dd> - <dt><em>Job.</em></dt> - <dd>I mean to have her. Don't I love you better than all else in the world? better than— - </dd> - <dt><em>Augusta.</em></dt> - <dd>"My old Aunt Sally." - </dd> - <dt><em>Job.</em></dt> - <dd>Eh? (<em>Aside.</em>) I believe they are doing that on purpose. (<em>Aloud.</em>) - Farewell, Patience! I must tear myself away from your beloved presence. My heart— -<div><span class='pageno' id='Page_211'>211</span></div> - </dd> - <dt><em>Maria.</em></dt> - <dd>"Oh! my heart goes pit-a-pat." - </dd> - <dt><em>Augusta.</em></dt> - <dd>"Somebody's coming, I'll not tell who." - </dd> - <dt><em>Jane.</em></dt> - <dd>"Let me kiss him for his mother." - </dd> - <dt><em>Lucy.</em></dt> - <dd>"Single gentleman, how do you do?" - </dd> - <dt><em>Job.</em></dt> - <dd>Eh? Oh, I'm pretty well. - </dd> - <dt><em>Maria.</em></dt> - <dd>Oh! nobody's talking to you, Job. Go about your business. - </dd> - <dt><em>Job.</em></dt> - <dd>Thank you. I don't hanker for your society, do I? A parcel of harum-scarum girls, who are - no more to be compared to— - </dd> - <dt><em>Lucy</em></dt> - <dd>(<em>reads</em>). "The girl I left behind me." - </dd> - <dt><em>Job.</em></dt> - <dd>Oh, gracious! can they suspect? (<em>Starts off</em> <span class='fss'>R.</span>, - <em>drops the dictionary, and stumbles over it; then picks it up, and exit</em> <span - class='fss'>R.</span>) - </dd> - <dt><em>Maria.</em></dt> - <dd>He's stumbled over the hard words too. - </dd> - <dt><em>Bessie.</em></dt> - <dd>There's nothing here we can sing. - </dd> - <dt><em>Maria.</em></dt> - <dd>Oh! here's one: "Upidee." - </dd> - <dt><em>Lucy.</em></dt> - <dd>Oh, that's nice! (<em>One of the girls strikes the piano, and all join in chorus of - "Upidee." At the conclusion, three loud thumps are heard outside.</em>) - </dd> - <dt><em>Maria.</em></dt> - <dd>Oh, dear! That's Tom. We have disturbed him. - </dd> - <dt><em>Lucy.</em></dt> - <dd>No matter: let's try it again, softer. (<em>Chorus repeated. At its conclusion, - enter</em> <span class='sc'>Tom</span>, <span class='fss'>R.</span>, <em>with a blanket - wrapped about him, and a wet towel tied about his head. The girls scream, and run - down</em> <span class='fss'>R.</span> <em>and</em> <span class='fss'>L.</span>, - <em>leaving him in</em> <span class='fss'>C.</span>) - </dd> - <dt><em>Tom.</em></dt> - <dd>Oh, dear! how can you reasonably suppose that a young man can be comfortably sick with - such a racket going on down here? Oh, my head, my head! my poor, poor head! -<div><span class='pageno' id='Page_212'>212</span></div> - </dd> - <dt><em>Bessie.</em></dt> - <dd>Oh, Tom, we're so sorry we disturbed you! - </dd> - <dt><em>All</em></dt> - <dd>(<em>in chorus</em>). Yes, indeed; awful! - </dd> - <dt><em>Lucy.</em></dt> - <dd>Wouldn't have done it for the world, had we known you didn't like it. - </dd> - <dt><em>All</em></dt> - <dd>(<em>in chorus</em>). No, indeed, we wouldn't! - </dd> - <dt><em>Tom.</em></dt> - <dd>Oh, yes! that's all very well, now the mischief's done. Why, you might drive me into a - fever. - </dd> - <dt><em>All</em></dt> - <dd>(<em>in chorus</em>). Oh, that would be dreadful! - </dd> - <dt><em>Tom.</em></dt> - <dd>You might—you might bring on convulsions, spasms, with such outrageous squalling. I'll - complain of you! Where's my aunt? Where is my fond, affectionate relative? - </dd> - <dt><em>Bessie.</em></dt> - <dd>She's gone out, Tom: gone to the doctor's. - </dd> - <dt><em>Tom.</em></dt> - <dd>Eh? Gone out? Good! (<em>Throws off blanket, and tears towel from his head.</em>) Thomas - is himself again! - </dd> - <dt><em>All</em></dt> - <dd>(<em>in chorus</em>). Why, Tom! - </dd> - <dt><em>Tom.</em></dt> - <dd>Because Tom is only homesick, girls. My good aunt would not give me time to explain that - I was tired of school, eager to have a frolic, and so got leave of absence, and came home - for a day. No: she caught the "sickness," and bundled me off to bed. I humored the joke, - and laughed under the bedquilt. But no sooner was she out of the room, but I was out of - bed, dressed myself, and here I am, ready for any thing in the way of sport you have to - offer. How long will she be gone? - </dd> - <dt><em>Bessie.</em></dt> - <dd>Perhaps half an hour. - </dd> - <dt><em>Tom.</em></dt> - <dd>Then for half an hour we will enjoy ourselves. Come, girls, what shall it be? - </dd> - <dt><em>Maria.</em></dt> - <dd>Oh! isn't this jolly? -<div><span class='pageno' id='Page_213'>213</span></div> - </dd> - <dt><em>Augusta.</em></dt> - <dd>Real nice! - </dd> - <dt><em>Jane</em></dt> - <dd>(<em>and others</em>). Splendid! Beautiful! - </dd> - <dt><em>Augusta.</em></dt> - <dd>Let's play "Hide the Slipper." - </dd> - <dt><em>Maria.</em></dt> - <dd>No: "Copenhagen." - </dd> - <dt><em>Tom.</em></dt> - <dd>Any thing—every thing. The noisier the better. - </dd> - <dt><em>Patience</em></dt> - <dd>(<em>rising</em>). Stop! Young ladies, are you aware of the rules of this ed-ed-ucational - institute? We have been sent here from our happy homes, to be se-se-quest<em>rated</em> - from contact with the ruder sex; and now you propose to indulge in games, childish games, - for your amusement and ame-ame-amelioration. I am ashamed of you! I blush for you! - </dd> - <dt><em>Tom</em></dt> - <dd>(<em>aside to</em> <span class='sc'>Maria</span>). Oh! that's one of the teachers. - </dd> - <dt><em>Maria.</em></dt> - <dd>Hush! It's one of the girls. - </dd> - <dt><em>Tom.</em></dt> - <dd>One of the girls? Why, she's old enough to be your mother! - </dd> - <dt><em>Patience.</em></dt> - <dd>I shall not submit to the in-in-trusion of a young man upon our privacy. He must - instantly leave the room. - </dd> - <dt><em>Tom.</em></dt> - <dd>I beg your pardon, Mrs.—Excuse me, miss: a slip of the tongue. But you look so much like - my Aunt Matilda! But then, she's forty-five; and you can't be over thirty— - </dd> - <dt><em>Patience.</em></dt> - <dd>Sir! - </dd> - <dt><em>Tom.</em></dt> - <dd>Not quite, miss. I'm still very young, and not entitled to that address. But I couldn't - think of infringing upon the rules; oh, no! I should have been pleased to spend half an - hour in such agreeable society; but, as you object, I will go. -<div><span class='pageno' id='Page_214'>214</span></div> - </dd> - <dt><em>Girls</em></dt> - <dd>(<em>in chorus</em>). Oh, no; don't go; stay! - </dd> - <dt><em>Patience.</em></dt> - <dd>I insist upon his immediately quitting the room. I did not come here to flirt and frolic - with young men, but to improve my mind, to store it— - </dd> - <dt><em>Maria.</em></dt> - <dd>Oh, bosh, Patience! I've no patience with you. - </dd> - <dt><em>Tom.</em></dt> - <dd>"Let Patience have her perfect work." - </dd> - <dt><em>Maria</em></dt> - <dd>(<em>aside</em>). She's a humbug, Tom. Our Job is in love with her, and she with him; and - they are billing and cooing every chance they can get. - </dd> - <dt><em>Tom</em></dt> - <dd>(<em>aside</em>). Maria, you're a jewel. You have enlightened my understanding. You shall - see some fun. (<em>Aloud.</em>) Miss Patience, you are right: I was wrong to disturb your - peaceful meditation. Forgive me. I will go, and in the quiet of my chamber - contemplate—the basin of gruel which my fond aunt has left me for consolation.—Sorry, - girls; but the rules must be obeyed. -<div class='c013'>[<em>Exit</em>, <span class='fss'>R.</span></div> - </dd> - <dt><em>Maria.</em></dt> - <dd>Patience Plunkett, you're a hateful old thing! - </dd> - <dt><em>Augusta.</em></dt> - <dd>Yes; just as mean as you can be. - </dd> - <dt><em>Jane.</em></dt> - <dd>If you are so fond of seclusion, why don't you go to your own room? - </dd> - <dt><em>Maria.</em></dt> - <dd>Yes; and study the Book of Job. - </dd> - <dt><em>Bessie.</em></dt> - <dd>Hush, Maria! - </dd> - <dt><em>Patience.</em></dt> - <dd>You know I am right; and I am not at all stu-stu-pefied by your ob-ob-jackulations. I am - a few years older than you—only a few; and I have wisdom to guide— - </dd> - <dt><em>Maria.</em></dt> - <dd>Oh, fiddlesticks! We have all the preaching we want, and don't believe in yours. -<div><span class='pageno' id='Page_215'>215</span></div> - </dd> - <dt><em>Tom</em></dt> - <dd>(<em>outside</em>). Oh, oh! My hand! my hand! - </dd> - <dt><em>Bessie.</em></dt> - <dd>Tom has hurt himself. - </dd> - <dt><em>Tom</em></dt> - <dd>(<em>outside</em>). Oh! gracious goodness, how it smarts! (<em>Enters</em> <span - class='fss'>R.</span> <em>hurriedly, his left hand concealed in a large piece of white - cloth. He should also have in his hand apiece of wood, under the cloth; a string in his - right hand.</em>) O girls! I've done it now! That hand I was so proud of, oh! so white - and delicate, oh! - </dd> - <dt><em>Bessie.</em></dt> - <dd>What is it, Tom? Have you cut it? - </dd> - <dt><em>Lucy.</em></dt> - <dd>Burnt it? - </dd> - <dt><em>All</em></dt> - <dd>(<em>in chorus</em>). Oh! what is the matter? (<em>They gather about him.</em>) - </dd> - <dt><em>Tom.</em></dt> - <dd>Oh! don't come near me. The slightest touch is agony, agony, agony! I went up stairs—oh! - to my basin of gruel—oh! Beside the gruel—oh! there was a knife—oh! I took it up—oh! - and—and—and oh, oh, oh! - </dd> - <dt><em>Jane.</em></dt> - <dd>I've got some Russia salve in my room. - </dd> - <dt><em>Maria.</em></dt> - <dd>Let me run for it. - </dd> - <dt><em>Tom.</em></dt> - <dd>No. I've spread on the salve an inch thick. Oh! it's all right. It will soon be well. If - I only had some one to tie it up for me! - </dd> - <dt><em>All</em></dt> - <dd>(<em>in chorus</em>). Let me. Let me. I'll tie it. (<em>They crowd around him.</em>) - </dd> - <dt><em>Tom.</em></dt> - <dd>Oh, quit! Keep off! Do you want to kill me. The least touch causes an indescribable - sensation to quiver and shoot to the roots of my hair. Oh! I want a gentle hand, a - skilful hand, a matronly hand. Miss Patience, you have much skill, tact. Will you - condescend to—to tie up my paw? -<div><span class='pageno' id='Page_216'>216</span></div> - </dd> - <dt><em>Girls</em></dt> - <dd>(<em>in chorus</em>). Poor Tom! - </dd> - <dt><em>Patience</em></dt> - <dd>(<em>approaching him</em>). Certainty, if I can relieve your suffering. - </dd> - <dt><em>Tom.</em></dt> - <dd>You can, you can! Oh! (<em>Gives her string, and extends his hand. She stands</em> <span - class='fss'>L.</span> <em>of him</em>. <span class='sc'>Girls</span> <em>fall back</em> - <span class='fss'>R.</span> <em>and</em> <span class='fss'>L.</span> <em>She winds the - string about hand.</em>) - </dd> - <dt><em>Tom.</em></dt> - <dd>Gently, gently! Oh! how soft and tender! It seems as though my mother was hovering about - me. Take care, take care! Gently! (<em>She ties the string.</em>) Be very careful. - </dd> - <dt><em>Patience.</em></dt> - <dd>I think that is tied tight. - </dd> - <dt><em>Tom.</em></dt> - <dd>You think so? But you must be sure. - </dd> - <dt><em>Patience</em></dt> - <dd>(<em>taking his hand, and looking at string</em>). Yes, it's all right. - </dd> - <dt><em>Tom</em></dt> - <dd>(<em>slipping his hand out of cloth, leaving it in her hands</em>). Then you keep it, - Patience, as a slight token of regard. "I'd offer thee this hand of mine, if I could love - thee less." Keep it, Patience, and "wipe your weeping eyes," when I am far away. -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<em>Runs off</em> <span class='fss'>R.</span></div> - </div> - </div> -</div> - - </dd> - <dt><em>Patience</em></dt> - <dd>(<em>throws the wrapper after him</em>; <span class='sc'>Girls</span> <em>laugh</em>). - Was there ever such an insulting young puppy! Oh, his aunt shall know of this! I'll not - go to my slumbers until I have told my story. Now laugh. (<span class='sc'>Girls</span> - <em>shout with laughter</em>.) You ought to be ashamed of yourselves. - </dd> - <dt><em>Maria.</em></dt> - <dd>You told us to laugh. Seems to me you cannot be suited any way. - </dd> - <dt><em>Patience</em></dt> - <dd>(<em>sits on lounge</em>). That scamp shall go out of this house, or I will. The idea of - his daring to play such a trick upon me! Thought his mother was hovering about him! - </dd> - <dt> </dt> - <dd><span class='pageno' id='Page_217'>217</span>(<em>Enter</em> <span class='sc'>Tom</span> <span class='fss'>R.</span>, - <em>enveloped in a large cloak or "waterproof," straw bonnet on his head, with a green - veil down</em>.) - </dd> - <dt><em>Tom</em></dt> - <dd>(<em>at</em> <span class='fss'>R.</span>). Ef yez plaise, young ladies, I'm a poor ould - widdy-woman, wid a husband in Californy; and the door was open, and I made bould, ef yez - plaise, to walk in, and beg a chrust of bread. It's nine days jist, since a morsel of - bread, or a sup of tay, has passed me lips. - </dd> - <dt><em>Bessie.</em></dt> - <dd>Poor old lady! - </dd> - <dt><em>Chorus.</em></dt> - <dd>Oh! do come in! (<span class='sc'>Bessie</span> <em>sets a chair</em> <span - class='fss'>C.</span>, <em>and the others crowd about</em> <span class='sc'>Tom</span>, - <em>and lead him to chair</em>.) - </dd> - <dt><em>Tom.</em></dt> - <dd>Oh! it's the kind hearts yez have, ony way. I'm wairy wid the walkin', and faint wid the - hunger; and I've corns on my fute, and chilblain on my fingers, an' siven childer at home. - </dd> - <dt><em>Maria.</em></dt> - <dd>Somebody give her something to eat. - </dd> - <dt><em>Jane.</em></dt> - <dd>Here's Job with the tray. - </dd> - <dt><em>Augusta.</em></dt> - <dd>And our lunch. (<em>Enter</em> <span class='sc'>Job</span> <em>with tray</em>.) - </dd> - <dt><em>Job.</em></dt> - <dd>Hallo! Who's this? - </dd> - <dt><em>Jane.</em></dt> - <dd>A poor old woman, nearly starving. Quick! Give me the tray. (<em>Takes it, and places it - in</em> <span class='sc'>Tom's</span> <em>lap</em>.) Here, old woman, help yourself. - </dd> - <dt><em>Tom</em></dt> - <dd>(<em>aside</em>). My eyes! Here's luck; and I've had nothing but gruel. (<em>Eats - voraciously.</em>) It's the kind hearts ye have. - </dd> - <dt><em>Jane.</em></dt> - <dd>Poor thing. Hasn't eaten any thing for nine days! - </dd> - <dt><em>Job.</em></dt> - <dd>I should say nine months,—the way she puts it away. -<div><span class='pageno' id='Page_218'>218</span></div> - </dd> - <dt><em>Maria.</em></dt> - <dd>Oh, there's Bridget! Here, Bridget! (<em>Enter</em> <span class='sc'>Bridget</span>, - <span class='fss'>R.</span>) Here's a countrywoman of yours. - </dd> - <dt><em>Bridget.</em></dt> - <dd>Indade! An' what be she doin' up-stairs, I dunno? - </dd> - <dt><em>Bessie.</em></dt> - <dd>She's very hungry, and we gave her our lunch. - </dd> - <dt><em>Bridget.</em></dt> - <dd>Oh, murther! An' me company mince-pies goin' down her throat! Oh! it's wastin' yez are. A - cowld pratie would be good enough for her. - </dd> - <dt><em>Maria.</em></dt> - <dd>Speak to her, Bridget; the tongue of her native land might please her. - </dd> - <dt><em>Bridget.</em></dt> - <dd>Faith, it's my belief that the Yankee tongue she's stowin' away is far more to her - liking. Whist, avourneen! - </dd> - <dt><em>Tom</em></dt> - <dd>(<em>aside</em>). That's Irish. (<em>Aloud.</em>) To be sure! Yis, siscon. Fag-a-Balah. - Erin-go-bragh. I'm obleeged to yez. - </dd> - <dt><em>Bridget.</em></dt> - <dd>Were yez long from the owld country? - </dd> - <dt><em>Tom.</em></dt> - <dd>Siventeen years come nixt Candlemas. - </dd> - <dt><em>Bridget.</em></dt> - <dd>County Tipperary, I dunno? - </dd> - <dt><em>Tom</em></dt> - <dd>(<em>aside</em>). Nor I either. (<em>Aloud.</em>) County Coberdowelgowen. D'ye mind that? - </dd> - <dt><em>Bridget.</em></dt> - <dd>'Pon my sowl, I niver heard of it. D'ye know Larry McFinley at all, at all? - </dd> - <dt><em>Tom.</em></dt> - <dd>Him as lived at Doublin? - </dd> - <dt><em>Bridget.</em></dt> - <dd>Thrue for yez. - </dd> - <dt><em>Tom.</em></dt> - <dd>'Pon me sowl, I niver hard his name before or since. My memory's failin', since I took to - fortin'-tellin'. - </dd> - <dt><em>Girls</em></dt> - <dd>(<em>in chorus</em>). Oh! a fortune-teller. Isn't that grand! -<div><span class='pageno' id='Page_219'>219</span></div> - </dd> - <dt><em>Job.</em></dt> - <dd>Well, old lady, if you're done with that waiter, I'll take it. - </dd> - <dt><em>Tom</em></dt> - <dd>(<em>giving waiter</em>). It's little appetite I have, any way. - </dd> - <dt><em>Job.</em></dt> - <dd>Little! She <em>has</em> done with it. There's nothing left. - </dd> - <dt><em>Tom.</em></dt> - <dd>Yis. I'm a bit of a fortin'-teller; and, in return for yer kindness, I'll be after - tellin' yez a bit. - </dd> - <dt><em>Maria.</em></dt> - <dd>Tell me mine first. - </dd> - <dt><em>Other girls.</em></dt> - <dd>No, no! Mine, mine! - </dd> - <dt><em>Tom.</em></dt> - <dd>Ah, be aisy. The wisest and the wittiest afore the youngest and the prettiest, that's my - way. - </dd> - <dt><em>Job.</em></dt> - <dd>Well, 'sposin' you commence with me, old lady. I calculate I can see through a grindstone - when there's a hole in it. - </dd> - <dt><em>Tom.</em></dt> - <dd>Ah! but they don't make the holes large enough for your observation nowadays, my foine - fellow. But I know you. I can say through yez. Yez not yerself at all. Lave me alone for - seein' through a body. You're in love. Ah! don't blush, man: it's rid enough yez are, - onyhow. Yer fortune's made,—why would I be tellin' yez? - </dd> - <dt><em>Job</em></dt> - <dd>(<em>aside</em>). She's a keen one. - </dd> - <dt><em>Bridget.</em></dt> - <dd>If yez plaise, will yez tell me? - </dd> - <dt><em>Tom.</em></dt> - <dd>Oh! go way wid yez. Don't demane yerself before the foine folk! - </dd> - <dt><em>Bridget</em></dt> - <dd>(<em>angrily</em>). Will, I'd loike to know. - </dd> - <dt><em>Tom.</em></dt> - <dd>Will, yez won't. It's ignorant yez are. The lady of the house would like to know where - the sugar goes! D'ye mind? - </dd> - <dt><em>Bridget.</em></dt> - <dd>Oh! it's a witch she is, onyhow. I'll not cross her. -<div><span class='pageno' id='Page_220'>220</span></div> - </dd> - <dt><em>Jane.</em></dt> - <dd>Now, my good woman, please tell me my fortune. - </dd> - <dt><em>Other Girls.</em></dt> - <dd>No. Mine, mine! - </dd> - <dt><em>Tom.</em></dt> - <dd>Be aisy. Don't I tell you? There's the foine lady on the sate beyant. Would she be after - having her fortune towld, I dunno? - </dd> - <dt><em>Patience.</em></dt> - <dd>No. I do not believe in such negrominstrelsy. - </dd> - <dt><em>Maria.</em></dt> - <dd>Necromancy. Oh! what a mistake! - </dd> - <dt><em>Tom.</em></dt> - <dd>Well, I don't know. The fates p'int that way. Onless I can tell her fate, I'll not be - permitted to oblige yez. - </dd> - <dt><em>Maria.</em></dt> - <dd>Oh, do, Patience! - </dd> - <dt><em>Other Girls.</em></dt> - <dd>Yes, Patience, do! - </dd> - <dt><em>Job.</em></dt> - <dd>Yes, do, dear—I mean, Miss Patience. - </dd> - <dt><em>Patience.</em></dt> - <dd>Well, if it will please you, I will condescend to the examination. (<em>Approaches</em> - <span class='sc'>Tom</span>, <em>and offers her hand. He takes it. The</em> <span - class='sc'>Girls</span> <em>crowd about him</em>.) - </dd> - <dt><em>Tom.</em></dt> - <dd>Faith, that's a good hand,—a foine large hand; and yez a fortune. You've gowld and - galore. (<em>Enter</em> <span class='sc'>Mrs. Candor</span>, <em>unperceived, at back, - with her hat and shawl; she stands by piano</em>.) Ah! but what's this? Ah! Yis, it's the - way of the wourld. There's a young man close by. - </dd> - <dt><em>Patience</em></dt> - <dd>(<em>trying to release her hand</em>). It's no such thing. Let me go! - </dd> - <dt><em>Tom.</em></dt> - <dd>It's the truth I'm tellin'. - </dd> - <dt><em>Job.</em></dt> - <dd>She's a-goin' to let the cat out of the bag. - </dd> - <dt><em>Patience.</em></dt> - <dd>I don't want to hear any more. - </dd> - <dt><em>Tom.</em></dt> - <dd>Aisy, aisy! It's the fates wills it! He loves <span class='pageno' id='Page_221'>221</span>yez, honey, and you love him; and - what will love not do, honey? He drops from his high estate, puts on the waiter's apron, - and follows you,—his heart all the time cryin', "Have Patience!" Owld Job, him as had the - cutaneous irruptions, had patience, and so shall Job Seedling have Patience. - </dd> - <dt><em>Girls</em></dt> - <dd>(<em>in chorus</em>). Oh, my! Our Job? - </dd> - <dt><em>Patience.</em></dt> - <dd>No: not your Job, but my Job. I'm not ashamed to own him! - </dd> - <dt><em>Mrs. Candor</em></dt> - <dd>(<em>coming forward</em>). I'm very glad to hear it. (<span class='sc'>Girls</span> - <em>start to</em> <span class='fss'>R.</span> <em>and</em> <span class='fss'>L.</span>) - </dd> - <dt><em>Girls</em></dt> - <dd>(<em>in chorus</em>). Mrs. Candor! - </dd> - <dt><em>Tom</em></dt> - <dd>(<em>aside</em>). My aunt! Oh, here's a pickle. (<em>Hides his head.</em>) - </dd> - <dt><em>Job</em></dt> - <dd>(<em>aside</em>). There'll be a nice row now! - </dd> - <dt><em>Mrs. Candor</em></dt> - <dd>(<em>to</em> <span class='sc'>Patience</span>). So, young lady, contrary to all rules, - you are carrying on a flirtation under my very nose. - </dd> - <dt><em>Girls</em></dt> - <dd>(<em>in chorus</em>). It's awful! wicked! O Patience! - </dd> - <dt><em>Patience.</em></dt> - <dd>Well, what is a poor girl to do? Job loves me, and I love Job; and—and (<em>sobbing</em>) - you couldn't be so wicked as to part two-wo-wo young lovers! - </dd> - <dt><em>Job.</em></dt> - <dd>Yes; born for each other,— - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>"Two roses on one stalk!"</div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>Them's us, Patience and Job. - </dd> - <dt><em>Mrs. Candor.</em></dt> - <dd>You, Master Job, will be wanted here no more; and as for you, Miss Patience, a word with - you. (<em>They go</em> <span class='fss'>L.</span>, <em>and talk in dumb show</em>.) -<div><span class='pageno' id='Page_222'>222</span></div> - </dd> - <dt><em>Bridget.</em></dt> - <dd>Faith, I'll git the owld woman out of the way. (<em>To</em> <span class='sc'>Tom</span>.) - Whist, come away! (<em>Takes hold of him, and shakes him.</em>) The misthress will be the - death of yez. Coome! - </dd> - <dt><em>Tom</em></dt> - <dd>(<em>aside</em>). Away wid yez! - </dd> - <dt><em>Bridget.</em></dt> - <dd>Away wid yerself, or there'll be throuble whin the misthress claps her eye onto yez. - Coome, coome! (<em>Pulling her.</em>) - </dd> - <dt><em>Mrs. Candor.</em></dt> - <dd>Yes, Patience, I think it best you should close your connection with the school at once. - (<em>Turns to</em> <span class='sc'>Tom</span>.) But who is this? - </dd> - <dt><em>Bridget.</em></dt> - <dd>If yez plaise, she's a cousin of mine from County Cob-Cob—something; and, if yez plaise, - she's a fortune-teller. - </dd> - <dt><em>Tom.</em></dt> - <dd>Af yez plaise, would I tell yez fate, misthress? - </dd> - <dt><em>Mrs. Candor.</em></dt> - <dd>No: let me tell yours. Boys that deceive their elders will never come to good. - </dd> - <dt><em>Tom</em></dt> - <dd>(<em>jumps up, and throws off cloak and bonnet</em>). Discovered! - </dd> - <dt><em>Girls</em></dt> - <dd>(<em>in chorus</em>). It's Tom! Oh, it's Tom! - </dd> - <dt><em>Bridget.</em></dt> - <dd>Well, I niver! 'Pon my sowl! I dhouted the accint of his muther-tongue. County Cob-Cob! - Oh, yez a gay desaver! - </dd> - <dt><em>Tom.</em></dt> - <dd>It was the gruel, aunt. It flew to my head. - </dd> - <dt><em>Mrs. Candor.</em></dt> - <dd>Oh, you scamp! Pack up your bag, and off to school at once: you have made a fine - disturbance here. - </dd> - <dt><em>Tom.</em></dt> - <dd>I meant no harm, aunt. I was anxious to come home to taste your mince-pies; eh, Bridget? - </dd> - <dt><em>Bridget.</em></dt> - <dd>It's a greedy epicae yez are, anyhow. -<div><span class='pageno' id='Page_223'>223</span></div> - </dd> - <dt><em>Tom.</em></dt> - <dd>Your tongue and pickles. You wouldn't give me time to explain, and I was so homesick! Let - me stay my time out. - </dd> - <dt><em>Girls</em></dt> - <dd>(<em>in chorus</em>). Oh, do, Mrs. Candor, do! - </dd> - <dt><em>Mrs. Candor.</em></dt> - <dd>No: back you go. You've given me a fright, made me travel a mile to the doctor's, and set - my school in commotion. No, sir; back you go. I'll have no thorns among my roses. - </dd> - <dt><em>Tom.</em></dt> - <dd>Ah! but I removed the thorns, aunt. I think I'll get back, though. 'Twill be such an item - for the papers!—"Romantic episode at Rosebush Institute." - </dd> - <dt><em>Mrs. Candor.</em></dt> - <dd>Would you ruin me? - </dd> - <dt><em>Tom.</em></dt> - <dd>Then don't send me away hungry. Stuff me with mince-pies, so that I can't utter a word, - and the world shall never know how a homesick youth proved that love, in the halls of - learning, is but a Thorn among the Roses. - -<div class='nf-center-c1'> - <div class='nf-center'> - <div><em>Curtain.</em></div> - </div> -</div> - - </dd> - </dl> - -<div class='chapter'> - <span class='pageno' id='Page_227'>227</span> - <h2 class='c005'>A CHRISTMAS CAROL.</h2> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c002'> - <div>[Arranged as an entertainment from Dickens's Christmas Story.]</div> - </div> -</div> - -<h3 class='c014'>CHARACTERS.</h3> - -<div class='lg-container-b c003'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>Ebenezer Scrooge.</span></div> - <div class='line'><span class='sc'>Jacob Marley</span>, the shadow.</div> - <div class='line'><span class='sc'>Fred</span>, Scrooge's nephew.</div> - <div class='line'><span class='sc'>Bob Cratchit.</span></div> - <div class='line'><span class='sc'>Tiny Tim.</span></div> - <div class='line'><span class='sc'>Boy.</span></div> - <div class='line'><span class='sc'>The Ghost of Christmas Past.</span></div> - <div class='line'><span class='sc'>The Ghost of Christmas Present.</span></div> - <div class='line'><span class='sc'>The Ghost of Christmas To Come.</span></div> - </div> - </div> -</div> - -<h3 class='c014'>COSTUMES.</h3> - -<p class='c015'><span class='sc'>Scrooge.</span> Rusty suit of black; gray wig.</p> - -<p class='c010'><span class='sc'>Marley.</span> Blue coat with brass buttons; breeches; top-boots -with tassels; chain about his waist, with padlocks and keys -fastened upon it; at the end, a cash-box; very white face; white -wig, with hair standing up.</p> - -<p class='c010'><span class='sc'>Fred.</span> Handsome modern costume; light overcoat; red scarf -tied loosely about his neck; gloves; hat.</p> - -<p class='c010'><span class='sc'>Bob Cratchit.</span> Rusty blue coat; shabby pants; iron-gray wig; -large white comforter about his neck.</p> - -<p class='c010'><span class='sc'>Tiny Tim.</span> Roundabout jacket; comforter about his neck; crutch; -cap.</p> - -<p class='c010'><span class='pageno' id='Page_228'>228</span><span class='sc'>Boy.</span> Jacket; large cap; very red nose; large mittens; comforter -about his neck.</p> - -<p class='c010'><span class='sc'>Christmas Past.</span> A little girl; short white spangled dress; white -stockings; shoes; a wig of long white hair.</p> - -<p class='c010'><span class='sc'>Christmas Present.</span> Purple robe reaching to the floor, trimmed -with fur; long, brown, curly hair; full brown beard; on his -head "a holly-wreath, set here and there with shining icicles;" -a belt around his waist, to which is attached a scabbard.</p> - -<p class='c010'><span class='sc'>Christmas to Come.</span> Long black robe, with hood entirely concealing -his features.</p> - -<p class='c010'>These costumes can be altered or improved by reference to -Fields, Osgood, & Co.'s illustrated Christmas Carol.</p> - -<p class='c010'><span class='sc'>Arrangement.</span> This entertainment is arranged for a stage eighteen -feet wide by fourteen feet deep. A curtain, to draw up, -is required between the audience and the performers. Half -way up the stage, another curtain, to separate in the centre, -and draw aside; the front curtain should be green, the back -dark fabric. The front of the stage represents Scrooge's office, -where the dream (in this version) occurs. The back is used for -the pictures. For home representation, the same arrangement -can be easily carried out. The performer is directed as though -standing upon the stage, facing audience.</p> - -<div> - <span class='pageno' id='Page_229'>229</span> - <h3 class='c001'>STAVE I.</h3> -</div> - -<p class='c015'><span class='sc'>Scene.</span>—<span class='sc'>Scrooge's</span> <em>office</em>. <span class='fss'>L.</span>, <em>a low desk, at which sits</em> -<span class='sc'>Scrooge</span>, <em>in a large arm-chair</em>. <span class='fss'>R.</span>, <em>a high desk, -with a tall stool; candle burning upon the desk</em>. <span class='fss'>C.</span>, -<em>a low stool</em>. <span class='sc'>Bob</span> <em>standing by the desk with a poker -in his hand; one foot advanced, as though creeping -off</em> <span class='fss'>L.</span>, <em>looking at</em> <span class='sc'>Scrooge</span> <em>with an anxious expression</em>.</p> - - <dl class='dl_1 c002'> - <dt><em>Scrooge</em></dt> - <dd>(<em>looking round</em>). Here, you! don't you do it; don't you do it! Haven't I told - you, that, if you venture to waste my coals, 'twill be necessary for us to part? Haven't - I? - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<span class='sc'>Bob</span> <em>drops the poker, gets upon stool, and tries to</em></div> - <div><em>warm his hands at the candle</em>.)</div> - </div> -</div> - - </dd> - <dt><em>Fred</em></dt> - <dd>(<em>outside</em>, <span class='fss'>R.</span>). A merry Christmas, uncle! Ha, ha, ha! - (<em>Enters</em> <span class='fss'>R.</span>) A merry Christmas! God save you! - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Bah! humbug! - </dd> - <dt><em>Fred.</em></dt> - <dd>Christmas a humbug, uncle? You don't mean <em>that</em>, I'm sure. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>I do. Out upon merry Christmas! What's Christmas-time to <em>you</em> but a time for - paying bills without money,—a time for finding yourself a year older, and not an hour - richer? Bah! If I had my will, every idiot who goes about with "Merry Christmas" on his - lips should be boiled with his own pudding, and burned with a stake of holly through his - heart, he should. -<div><span class='pageno' id='Page_230'>230</span></div> - </dd> - <dt><em>Fred.</em></dt> - <dd>Uncle! - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Nephew, keep Christmas in your own way, and let me keep it in mine. - </dd> - <dt><em>Fred.</em></dt> - <dd>Keep it! But you don't keep it. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Let me leave it alone, then. Much good may it do you! Much good it has ever <em>done</em> - you. - </dd> - <dt><em>Fred.</em></dt> - <dd>There are many good things, from which I might have derived good, by which I have not - profited, I dare say Christmas among the rest. But I am sure I have always thought of - Christmas-time when it has come round, apart from the veneration due to its sacred origin - (if any thing belonging to it can be apart from that), as a good time,—a kind, forgiving, - charitable, pleasant time,—the only time I know of in the long calendar of the year when - men and women seem, by one consent, to open their shut-up hearts freely, and to think of - people below them as if they really were fellow-travellers to the grave, and not another - race of creatures, bound on other journeys. And therefore, uncle, though it has never put - a scrap of gold or silver in my pocket, I believe that it has done me good, and - <em>will</em> do me good; and I say, God bless it! (<span class='sc'>Bob</span> <em>claps - his hands heartily</em>.) - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Let me hear another sound from you, and you'll keep your Christmas by losing your - situation. (<em>To</em> <span class='sc'>Fred</span>.) You're quite a powerful speaker, - sir. I wonder you don't go into Parliament. - </dd> - <dt><em>Fred.</em></dt> - <dd>Don't be angry, uncle. Come, dine with us to-morrow. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>I'll see you—(<span class='sc'>Bob</span> <em>sneezes violently</em>.) What's the matter - with <em>you</em>? -<div><span class='pageno' id='Page_231'>231</span></div> - </dd> - <dt><em>Fred.</em></dt> - <dd>Come, uncle; say "Yes." - </dd> - <dt><em>Scrooge.</em></dt> - <dd>No. - </dd> - <dt><em>Fred.</em></dt> - <dd>But why? why? - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Why did you get married? - </dd> - <dt><em>Fred.</em></dt> - <dd>Because I fell in love. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Because you fell in love! (<em>Suddenly turns to his desk.</em>) Good afternoon. - </dd> - <dt><em>Fred.</em></dt> - <dd>Nay, uncle, you never came to see me before that happened. Why give it as a reason for - not coming now? - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Good afternoon. - </dd> - <dt><em>Fred.</em></dt> - <dd>I want nothing from you: I ask nothing from you. Why cannot we be friends? - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Good afternoon. - </dd> - <dt><em>Fred.</em></dt> - <dd>I am sorry, with all my heart, to find you so resolute. But I have made the trial, in - homage to Christmas; and I'll keep my Christmas humor to the last. So a merry Christmas, - uncle! - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Good afternoon. - </dd> - <dt><em>Fred.</em></dt> - <dd>And a happy new year! - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Good afternoon. - </dd> - <dt><em>Fred</em></dt> - <dd>(<em>turns to</em> <span class='fss'>R.</span>) Bob Cratchit, a merry Christmas! - </dd> - <dt><em>Bob</em></dt> - <dd>(<em>shakes</em> <span class='sc'>Fred's</span> <em>hand</em>). A merry Christmas, sir. - God bless it! - </dd> - <dt><em>Fred.</em></dt> - <dd>Ay, God bless it! and a happy new year. - </dd> - <dt><em>Bob.</em></dt> - <dd>And a happy new year, sir; God bless that too! - </dd> - <dt><em>Fred.</em></dt> - <dd>Ay, ay, Bob; God bless that too. -<div class='c013'>[<em>Exit</em>, <span class='fss'>R.</span></div> - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Here, you! - </dd> - <dt><em>Bob</em></dt> - <dd>(<em>jumping off stool</em>). Yes, sir. -<div><span class='pageno' id='Page_232'>232</span></div> - </dd> - <dt><em>Scrooge.</em></dt> - <dd><em>You'll</em> want all day to-morrow, I suppose? - </dd> - <dt><em>Bob.</em></dt> - <dd>If quite convenient, sir. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>It's not convenient, and it's not fair. If I was to stop half-a-crown for it, you'd think - yourself mightily ill-used, I'll be bound. - </dd> - <dt><em>Bob.</em></dt> - <dd>Yes, sir. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>And yet you don't think me ill-used, when I pay a day's wages for no work. - </dd> - <dt><em>Bob.</em></dt> - <dd>It's only once a year, sir. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>A poor excuse for picking a man's pocket every twenty-fifth day of December. Well, you - can't have it. - </dd> - <dt><em>Bob.</em></dt> - <dd>But, sir— - </dd> - <dt><em>Scrooge.</em></dt> - <dd>You can't have it. I shall expect you here earlier to-morrow. - </dd> - <dt><em>Bob.</em></dt> - <dd>But, sir— - </dd> - <dt><em>Scrooge.</em></dt> - <dd>No more. Go! (<span class='sc'>Bob</span>, <em>with a very rueful face, puts on his hat, - looks at</em> <span class='sc'>Scrooge</span>, <em>and goes slowly out</em> <span - class='fss'>R.</span>) - </dd> - <dt><em>Scrooge</em></dt> - <dd>(<em>turns his chair round to face</em> <span class='fss'>C.</span>) There's another - fellow, my clerk, with fifteen shillings a week, and a wife and family, talking about a - "merry Christmas!" I'll retire to Bedlam. I don't make merry myself at Christmas, and I - can't afford to make idle people merry. I help to support the prisons and the workhouses. - They cost enough, and those who are badly off can go there. Merry Christmas! Pooh! bah! - humbug, humbug! (<em>Bell rings</em> <span class='fss'>R.</span>, <em>bell rings</em> - <span class='fss'>L.</span>, <em>and then</em> <span class='fss'>R.</span> <em>and</em> - <span class='fss'>L.</span> <em>together</em>.) Mercy! what's that? (<em>Music, piano, - slow and solemn. Enter</em> <span class='fss'>R.</span>, <span class='sc'>Marley</span>, - <em>dragging his chain, moving slow. Stops</em> <span class='fss'>C.</span>, <em>looking - at</em> <span class='pageno' id='Page_233'>233</span><span class='sc'>Scrooge</span>; <em>a bandage of white cloth, passing - under his jaws, tied on top of his head</em>.) How now? What do you want with me? - </dd> - <dt><em>Marley.</em></dt> - <dd>Much. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Who are you? - </dd> - <dt><em>Marley.</em></dt> - <dd>Ask me who I <em>was</em>. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Who <em>were</em> you, then? - </dd> - <dt><em>Marley.</em></dt> - <dd>In life, I was your partner, Jacob Marley. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Can—can you sit down? - </dd> - <dt><em>Marley.</em></dt> - <dd>I can. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Do it, then. (<span class='sc'>Marley</span> <em>sits on stool</em>, <span - class='fss'>C.</span>, <em>facing</em> <span class='sc'>Scrooge</span>.) - </dd> - <dt><em>Marley.</em></dt> - <dd>You don't believe in me. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>I don't. - </dd> - <dt><em>Marley.</em></dt> - <dd>What evidence would you have of my reality, beyond that of your senses? - </dd> - <dt><em>Scrooge.</em></dt> - <dd>I don't know. - </dd> - <dt><em>Marley.</em></dt> - <dd>Why do you doubt your senses? - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Because a little thing affects them. A slight disorder of the stomach makes them cheats. - You may be an undigested blot of beef, a bit of mustard, a crumb of cheese, a fragment of - an underdone potato. There's more of gravy than grave about you, whatever you are. (<span - class='sc'>Marley</span> <em>takes the bandage from his head; his jaw drops</em>.) Mercy! - Dreadful apparition, why do you trouble me? Why do spirits walk the earth? and why do - they come to me? - </dd> - <dt><em>Marley.</em></dt> - <dd>It is required of every man, that the spirit within him should walk abroad among his - fellow-men, and travel far and wide; and, if that spirit goes not forth in life, it is - condemned to do so after death. My <span class='pageno' id='Page_234'>234</span>spirit never walked beyond the - counting-house. Mark me! in life my spirit never moved beyond the narrow limits of our - money-changing hole; and weary journeys lie before me. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Seven years dead, and travelling all the time! You travel fast. - </dd> - <dt><em>Marley.</em></dt> - <dd>On the wings of the wind. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>You might have got over a great quantity of ground in seven years. - </dd> - <dt><em>Marley.</em></dt> - <dd>Oh, blind man! blind man! not to know that ages of incessant labor by immortal creatures - for this earth, must pass into eternity before the good of which it is susceptible is all - developed; not to know that no space of regret can make amends for one life's - opportunities misused. Yet I was like this man. I once was like this man. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>But you were always a good man of business, Jacob. - </dd> - <dt><em>Marley.</em></dt> - <dd>Business! Mankind was my business. The common welfare was my business. Charity, mercy, - forbearance, benevolence, were all my business. Hear me; my time is nearly gone. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>I will; but don't be hard upon me. Don't be flowery, Jacob, pray. - </dd> - <dt><em>Marley.</em></dt> - <dd>I am here to-night, to warn you that you have yet a chance and hope of escaping my fate; - a chance and hope of my procuring, Ebenezer. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>You were always a good friend to me. Thank'ee. - </dd> - <dt><em>Marley</em></dt> - <dd>(<em>rising</em>). You will be haunted by three spirits. -<div><span class='pageno' id='Page_235'>235</span></div> - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Is that the chance and hope you mentioned, Jacob? I—I think I'd rather not. - </dd> - <dt><em>Marley.</em></dt> - <dd>Without their visits you cannot hope to shun the path I tread. Expect the first to-night, - when the bell tolls one. Expect the second to-morrow night at the same hour; the third - upon the next night, when the last stroke of twelve has ceased to vibrate. Look to see me - no more; and look that, for your own sake, you remember what has passed between us. - (<em>Music as before.</em> <span class='sc'>Marley</span> <em>walks backward to</em> - <span class='fss'>R.</span>, <em>followed by</em> <span class='sc'>Scrooge</span>, - <em>with the same slow step</em>. <span class='sc'>Marley</span> <em>goes off</em> <span - class='fss'>R.</span> <em>As</em> <span class='sc'>Scrooge</span> <em>reaches the</em> - <span class='fss'>R.</span>, <em>bell tolls one: he turns. At the same moment, the</em> - <span class='sc'>Spirit of Christmas Past</span> <em>appears</em>, <span - class='fss'>C.</span>, <em>entering at the opening in back curtain</em>.) - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Are you the spirit whose coming was foretold to me? - </dd> - <dt><em>Spirit.</em></dt> - <dd>I am. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Who and what are you? - </dd> - <dt><em>Spirit.</em></dt> - <dd>I am the Ghost of Christmas Past. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Long past? - </dd> - <dt><em>Spirit.</em></dt> - <dd>No: your past. The things that you will see with me are shadows of the things that have - been. They will have no consciousness of us. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>What business brought you here? - </dd> - <dt><em>Spirit.</em></dt> - <dd>Your welfare. Look! (<em>Steps</em> <span class='fss'>L.</span>, <span - class='sc'>Scrooge</span> <span class='fss'>R.</span> <em>Music. The back curtains are - drawn, showing a boy sitting at a desk</em>, <span class='fss'>R.</span>, <em>with an - open book before him</em>.) - </dd> - <dt><em>Scrooge.</em></dt> - <dd>It is myself. (<em>A man dressed as</em> <span class='sc'>Ali Baba</span>, <em>with an - axe across his shoulder, passes slowly and noiselessly across stage back of desk</em>, - <span class='fss'>R.</span> <em>to</em> <span class='fss'>L.</span>) <span class='pageno' id='Page_236'>236</span>Why, it's - Ali Baba! It's dear, old, honest Ali Baba. Yes, yes; I know. One day, Christmas-time, - when yonder solitary child was left here all alone, he <em>did</em> come here the first - time, just like that poor boy. (<span class='sc'>Robinson Crusoe</span>, <em>with a - parrot perched upon his finger, crosses from</em> <span class='fss'>R.</span> <em>to</em> - <span class='fss'>L.</span> <em>For costumes, the performers can consult the - picture-books.</em>) There's Robinson. There's the parrot,—green body and yellow tail, - with a thing like a lettuce growing out of the top of his head; there he is. Poor Robin - Crusoe, he called him, when he came home after sailing round the island. "Poor Robin - Crusoe! Where have you been, Robin Crusoe?" Ah! poor boy, poor boy! (<em>Curtain - closes.</em>) I wish (<em>puts his hand in his pocket</em>)—but it's too late now. - </dd> - <dt><em>Spirit.</em></dt> - <dd>What is the matter? - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Nothing, nothing. There was a boy singing a Christmas carol at my door last night. I - should like to have given him something. That's all. - </dd> - <dt><em>Spirit.</em></dt> - <dd>Let us see another Christmas. - </dd> - <dt> </dt> - <dd>(<em>Curtains are drawn, disclosing</em> "<span class='sc'>Fezziwig's</span> - <em>Dance</em>." <span class='fss'>R.</span>, <em>sits an old lady in cap and spectacles, - her hands raised in admiration</em>; <span class='fss'>C.</span>, <em>is</em> <span - class='sc'>Fezziwig</span>, <em>in the act of "cutting." He is a large man; white - stockings, knee-breeches, shoes with buckles, long white waistcoat, brown coat, large - white cravat, and wig. He stands upon his toes, with feet crossed, his countenance - radiant with enjoyment. Opposite him</em>, <span class='sc'>Mrs. F.</span>, <em>as though - dancing, one hand on her waist, the other above her head; bright petticoat, dress tucked - up, cap, and gray wig.</em> <span class='fss'>R.</span> <em>and</em> <span - class='fss'>L.</span> <em>of this couple, three young women and three young men; costumes - same as</em> <span class='sc'>Mr.</span> <em>and</em> <span class='sc'>Mrs. - Fezziwig</span>, <em>with the exception of the wig. They stand leaning forward, with - their hands together, as though applauding. In front of</em> <span - class='sc'>Fezziwig</span>, <em>a little boy, imitating</em> <span - class='sc'>Fezziwig</span>. <em>Behind all, a musician, standing in a chair, in the act - of fiddling; music (violin), "Sir Roger de Coverley." The characters should be all ready, - and take their places, instantly the curtain falls on the previous picture, as the time - is very short.</em>) -<div><span class='pageno' id='Page_237'>237</span></div> - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Why, it's Fezziwig,—bless his old heart!—my master Fezziwig alive again; and there's Dick - Wilkins, to be sure. He was very much attached to me, was Dick. Poor Dick! Dear, dear! - those were happy times. How grateful we were! (<em>Curtains close on picture.</em>) - </dd> - <dt><em>Spirit.</em></dt> - <dd>A small matter, to make these silly people so full of gratitude. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Small? - </dd> - <dt><em>Spirit.</em></dt> - <dd>Why, is it not? He has spent but a few pounds of your mortal money,—three or four, - perhaps. Is that so much, that he deserves this praise? - </dd> - <dt><em>Scrooge.</em></dt> - <dd>It isn't that, Spirit. He has the power to make his people happy or unhappy,—to make - their service light or burdensome, a pleasure or a toil. The happiness he gives is quite - as great as though it cost a fortune. - </dd> - <dt><em>Spirit.</em></dt> - <dd>What is the matter? - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Nothing particular. -<div><span class='pageno' id='Page_238'>238</span></div> - </dd> - <dt><em>Spirit.</em></dt> - <dd>Something, I think. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>No, no. I should like to be able to say a word or two to my clerk just now: that's all. - </dd> - <dt><em>Spirit.</em></dt> - <dd>My time grows short. Quick! - </dd> - <dt> </dt> - <dd>(<em>Curtains are drawn, disclosing a young girl sitting upon a lounge. Beside her a - young man stands, with his arms folded. She is looking away, he looking down at her. - Costumes same as in</em> "<span class='sc'>Fezziwig's</span> <em>Dance.</em>") - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Again myself. - </dd> - <dt><em>Spirit.</em></dt> - <dd>Listen. - </dd> - <dt> </dt> - <dd>(<em>The characters in the picture speak, with soft music while they are speaking.</em>) - </dd> - <dt><em>Girl.</em></dt> - <dd>It matters little—to you, very little. Another idol has displaced me; and if it can cheer - and comfort you in time to come, as I would have tried to do, I have no just cause to - grieve. - </dd> - <dt><em>Youth.</em></dt> - <dd>What idol has displaced you? - </dd> - <dt><em>Girl.</em></dt> - <dd>A golden one. You fear the world too much. I have seen your noble aspirations fall off, - one by one, until the master passion—gain—engrosses you; have I not? - </dd> - <dt><em>Youth.</em></dt> - <dd>What then? Even if I have grown so much wiser, what then? I am not changed towards you. - Have I ever sought release from our engagement? - </dd> - <dt><em>Girl.</em></dt> - <dd>In words, no. Never. - </dd> - <dt><em>Youth.</em></dt> - <dd>In what, then? -<div><span class='pageno' id='Page_239'>239</span></div> - </dd> - <dt><em>Girl.</em></dt> - <dd>In a changed nature; in an altered spirit; in another atmosphere of life, another hope as - its great end. If you were free to-day, to-morrow, yesterday, can even I believe that you - would choose a dowerless girl? or, choosing her, do I not know that your repentance and - regret would surely follow? I do; and I release you, with a full heart, for the love of - him you once were. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Spirit, remove me from this place. - </dd> - <dt><em>Spirit.</em></dt> - <dd>I told you these were shadows of the things that have been. That they are what they are, - do not blame me. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Away, I say! I cannot bear it. Leave me. Away, away! Haunt me no longer! (<em>Falls into - chair</em>, <span class='fss'>L.</span>, <em>and covers his face with his hands. The</em> - <span class='sc'>Spirit</span> <em>stands at the side of his chair, pointing at the - picture. The front curtain slowly descends.</em>) - </dd> - </dl> - -<div> - <span class='pageno' id='Page_240'>240</span> - <h3 class='c001'>STAVE TWO.</h3> -</div> - -<p class='c015'><em>Lively music. Curtain rises, showing</em> <span class='sc'>Scrooge's</span> <em>office, -as before</em>. <span class='sc'>Scrooge</span> <em>sitting in chair, looking at -back stage, the curtains of which are drawn, disclosing -the</em> <span class='sc'>Ghost of Christmas Present</span>, <em>who sits upon -a seat covered with red, his right arm leaning upon a -barrel. In his lap is a bowl of steaming punch; in -his left hand, a torch [red fire, such as is used in -tableaux, placed in a hollow at the end of a stick, -will produce the desired effect]; round him are strewn -articles, such as are given for presents. After a few -seconds</em>, <span class='sc'>Christmas Present</span> <em>rises, and comes forward. -The curtains close.</em></p> - - <dl class='dl_1 c002'> - <dt><em>Spirit.</em></dt> - <dd>Look up, look up, and know me better, man. I am the Ghost of Christmas Present. Look upon - me. (<span class='sc'>Scrooge</span> <em>slowly rises, and moves round him, looking - closely at him. Music continues. This is to give an opportunity to set the stage for the - next picture.</em>) You have never seen the like of me before? - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Never. - </dd> - <dt><em>Spirit.</em></dt> - <dd>Have never walked forth with the younger members of my family; meaning (for I am very - young) my elders born in these later years? - </dd> - <dt><em>Scrooge.</em></dt> - <dd>I don't think I have. I'm afraid I have not. Have you had many brothers, Spirit? - </dd> - <dt><em>Spirit.</em></dt> - <dd>More than eighteen hundred. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>A tremendous family to provide for. Spirit, show me what you will. Last night I learnt - a <span class='pageno' id='Page_241'>241</span>lesson which is working now. To-night, if you have aught to teach me, let me - profit by it. - </dd> - <dt><em>Spirit.</em></dt> - <dd>Look well upon the pictures I disclose. -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>[<span class='sc'>Spirit</span> <em>retires</em> <span class='fss'>R.</span>, <span class='sc'>Scrooge</span>, <span class='fss'>L.</span></div> - </div> - </div> -</div> - - </dd> - <dt> </dt> - <dd>(<em>Curtains open, disclosing</em> "<span class='sc'>Bob Cratchit's</span> - <em>Christmas</em>." <em>Table</em>, <span class='fss'>C.</span>, <em>covered with white - cloth; plates</em>. <span class='fss'>L.</span> <em>of table sits</em> <span - class='sc'>Martha</span>, <em>a young lady about eighteen; brown dress, white collar and - cuffs; hair neatly arranged. Beside her, a boy of ten; jacket, with an enormous dickey - and black cravat; his hands raised and clasped.</em> <span class='fss'>R.</span> <em>of - table, a boy, with a large ruffled collar; his fork in his mouth. Next him, a girl of - eight, with her spoon thrust into her mouth. At the farther corner of table</em>, <span - class='fss'>R.</span>, <em>sits</em> <span class='sc'>Bob Cratchit</span>, <em>with</em> - <span class='sc'>Tiny Tim</span> <em>sitting upon his knee</em>. <span class='sc'>Mrs. - Cratchit</span>, <em>dressed in plaid, stands at back of table, holding in both hands a - plate bearing a plum-pudding, rather small, with a bunch of holly stuck in the top of it, - and alcohol blazing around it. All eyes are fixed upon the pudding. Expression upon the - faces joyful and expectant. Music lively.</em>) - </dd> - <dt><em>Scrooge.</em></dt> - <dd>It's my clerk, Bob Cratchit. - </dd> - <dt><em>Spirit.</em></dt> - <dd>Ay, Bob Cratchit, who pockets on Saturdays but fifteen copies of his Christian name; and - yet the Ghost of Christmas Present blesses his four-roomed house with the sprinklings of - his torch. - </dd> - <dt><em>Bob Cratchit</em></dt> - <dd>(<em>raising a cup</em>). A merry Christmas to us all, my dears! God bless us! - </dd> - <dt><em>All</em></dt> - <dd>(<em>in picture</em>). God bless us! -<div><span class='pageno' id='Page_242'>242</span></div> - </dd> - <dt><em>Tiny Tim.</em></dt> - <dd>God bless us, every one! (<em>Curtain closes.</em>) - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Spirit, tell me if Tiny Tim will live. - </dd> - <dt><em>Spirit.</em></dt> - <dd>I see a vacant seat in the poor chimney-corner, and a crutch without an owner, carefully - preserved. If these shadows remain unaltered by the future, the child will die. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>No, no! Oh, no, kind Spirit; say he will be spared. - </dd> - <dt><em>Spirit.</em></dt> - <dd>If these shadows remain unaltered by the future, none other of my race will find him - here. What then? If he be like to die, he had better do it, and decrease the surplus - population. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>My very words, when I was asked to give a trifle for the poor! - </dd> - <dt><em>Spirit.</em></dt> - <dd>Man,—if man you be in heart, not adamant,—forbear that wretched cant until you have - discovered what the surplus is, and where it is. Will you decide what men shall live, - what men shall die? It may be, that, in the sight of Heaven, you are more worthless, and - less fit to live, than this poor man's child. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>He must live! he must live! Poor Bob! poor Bob! - </dd> - <dt><em>Spirit.</em></dt> - <dd>Come; look upon another picture. - </dd> - <dt> </dt> - <dd>(<em>Music lively. Curtain rises upon picture of "Blind Man's Buff at</em> <span - class='sc'>Nephew Fred's</span>." <em>Characters in full evening costume,—gentlemen, - white vests and white ties, black clothes; ladies, rich and tasty. In the</em> <span - class='fss'>C.</span> <em>stands a gentleman, blindfolded, leaning forward, groping with - his hands, the right hand just touching a young lady, who is half turned from him, but - who is looking back with a smile upon her face. Beside her stands a gentleman with his - finger upon his lip. Behind the blindfolded gentleman</em>, <span class='sc'>Nephew - Fred</span>, <em>with his head thrown back, his mouth open, as though laughing. On - the</em> <span class='fss'>L.</span>, <em>a young lady, leaning forward, with her fan to - her lips; next her, a gentleman, holding the blindfolded gentleman by the coat-tail, his - other hand upon his side, his head thrown back, and mouth open, as though laughing. A boy - in front of the party, on his knees, with finger pointing up to the blindfolded - gentleman.</em>) -<div><span class='pageno' id='Page_243'>243</span></div> - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Fred's house! - </dd> - <dt><em>Spirit.</em></dt> - <dd>Ay, your nephew, making merry. If you listen, you will hear him say of his Uncle Scrooge, - "He may rail at Christmas till he dies; but he can't help thinking better of it—I defy - him—if he finds me going there in good temper, year after year, and saying, 'Uncle - Scrooge, how are you?'" - </dd> - <dt><em>Scrooge.</em></dt> - <dd>And I refused his invitation,—I refused it! I couldn't do it again, if I had the chance. - O Fred, Fred! A merry Christmas, and God bless you! - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>(<em>Front curtain descends quickly.</em>)</div> - </div> -</div> - - </dd> - </dl> - -<div> - <span class='pageno' id='Page_244'>244</span> - <h3 class='c001'>STAVE THREE.</h3> -</div> - -<p class='c015'><span class='sc'>Scrooge's</span> <em>office, as before. Back curtains drawn. -The</em> <span class='sc'>Ghost of Christmas Future</span> <em>standing</em>, <span class='fss'>R.</span>, <em>pointing -down</em>; <span class='sc'>Scrooge</span> <em>beside him</em>, <span class='fss'>L.</span> <em>Mournful music.</em></p> - - <dl class='dl_1 c002'> - <dt><em>Scrooge.</em></dt> - <dd>Ghost of Christmas Yet to Come, Ghost of the Future, I fear you more than any spectre I - have seen; but as I know your purpose is to do me good, and as I hope to live to be - another man from what I was, I have borne you company, and did it with a thankful heart. - Spectre, something informs me that our parting moment is at hand. I know it, but I know - not how. Tell me who that man was with the covered face, whom we saw lying dead, of whom - the merchants in the street spoke so carelessly, at whom the vultures of the dead sneered - and jested. (<em>The</em> <span class='sc'>Spirit</span> <em>raises his hand, then points - behind him</em>.) Before I draw near to that stone to which you point, answer me one - question. Are these the shadows of the things that will be? or are they shadows of things - that <em>may</em> be, only? (<em>The</em> <span class='sc'>Spirit</span> <em>points as - before</em>.) Men's courses will foreshadow certain ends, to which, if persevered in, - they must lead; but, if the courses be departed from, the ends will change. Say it is - thus with what you show me. (<em>The</em> <span class='sc'>Spirit</span> <em>moves - to</em> <span class='fss'>R.</span>, <em>turns, and points to back, where a gravestone - leans against the wall, lettered</em> "<span class='sc'>Ebenezer Scrooge</span>." <em>The - position of the</em> <span class='sc'>Spirit</span> <em>should hide it till this</em>. - <span class='sc'>Scrooge</span> <em>staggers back till he reaches chair</em>, <span - class='fss'>L.</span>) Am I that man who lay upon the bed? No, Spirit! Oh, no, no! - Spirit, hear me! <span class='pageno' id='Page_245'>245</span>I am not the man I was. I will not be the man I must have been - but for this intercourse. Why show me this, if I am past all hope? Assure me that I yet - may change these shadows you have shown me, by an altered life. (<em>The</em> <span - class='sc'>Spirit</span> <em>slowly lets his hand drop by his side</em>.) I will honor - Christmas in my heart, and try to keep it all the year. I will live in the past, the - present, and the future. The spirits of all these shall strive within me. I will not shut - out the lessons that they teach. Oh, tell me I may sponge away the writing on this stone! - (<em>Sinks into chair. The curtains slowly close. Bells outside ringing a merry peal. - Music lively.</em> <span class='sc'>Scrooge</span> <em>starts from his chair</em>.) - What's this, my own office! (<em>Runs across stage.</em>) Hallo! what's to-day? - </dd> - <dt><em>Boy</em></dt> - <dd>(<em>outside</em>, <span class='fss'>R.</span>). Eh? - </dd> - <dt><em>Scrooge.</em></dt> - <dd>What's to-day, my fine fellow? - </dd> - <dt><em>Boy</em></dt> - <dd>(<em>outside</em>, <span class='fss'>R.</span>). To-day? Why, Christmas Day. - </dd> - <dt><em>Scrooge</em></dt> - <dd>(<em>dancing about</em>). It's Christmas Day. I haven't missed it. Hallo, my fine fellow! - </dd> - <dt><em>Boy</em></dt> - <dd>(<em>entering</em>, <span class='fss'>R.</span>). Hallo! - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Do you know the poulterer's, in the next street but one, at the corner? - </dd> - <dt><em>Boy.</em></dt> - <dd>I should hope I did. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>An intelligent boy; a remarkable boy! Do you know whether they've sold the prize turkey - that was hanging up there? Not the little prize turkey, the big one. - </dd> - <dt><em>Boy.</em></dt> - <dd>What! the one as big as me? - </dd> - <dt><em>Scrooge</em></dt> - <dd>(<em>rubbing his hands</em>). Ha, ha, ha! What a delightful boy! It's a pleasure to talk - to him. Yes, my buck. -<div><span class='pageno' id='Page_246'>246</span></div> - </dd> - <dt><em>Boy.</em></dt> - <dd>It's hanging there now. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Is it? Go and buy it. - </dd> - <dt><em>Boy</em></dt> - <dd>(<em>with finger to his nose</em>). Walk-er. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>No, no: I am in earnest. Go and buy it, and tell 'em to bring it here, that I may give - them the directions. Come back with the man, and I'll give you a shilling. Come back with - him in less than five minutes, and I'll give you half-a-crown. (<em>Exit boy in a - hurry</em>, <span class='fss'>R.</span>) What a delightful boy! See him run! I'll send - him to Bob Cratchit's. He sha'n't know who sent it. It's twice the size of Tiny Tim. Joe - Miller never made such a joke as sending it to Bob's will be. I forget he's to be here - to-day. Oh, if he'd only come late! (<em>Sits at desk</em>, <span class='fss'>L.</span>) - Here he is, sure enough! (<em>Enter</em> <span class='sc'>Bob</span>, <span - class='fss'>R.</span>, <em>looking very dejected. Takes off his hat and comforter, and - gets upon stool.</em>) (<em>Gruffly.</em>) Hallo! what do you mean by coming here at this - time of day? - </dd> - <dt><em>Bob.</em></dt> - <dd>I am very sorry, sir. I <em>am</em> behind my time. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>You are? Yes, I think you are. Step this way, if you please. - </dd> - <dt><em>Bob</em></dt> - <dd>(<em>getting down from stool</em>). I'm very sorry— - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Are you? What do you mean by coming here at this time? Now, I'll tell you what, my man; - I'm not going to stand this thing any longer; and therefore (<em>jumps up, and gives</em> - <span class='sc'>Bob</span> <em>a dig in the ribs</em>) I'm about to raise your salary. - (<span class='sc'>Bob</span> <em>runs to his desk, and gets a ruler, looking - frightened</em>.) A merry Christmas, Bob! (<em>Slaps him in the back.</em>) A merrier - Christmas, Bob, my good fellow, than I have given you for many a year. I'll raise your - salary, and <span class='pageno' id='Page_247'>247</span>endeavor to assist your struggling family; and we'll discuss your - affairs to-morrow over a Christmas bowl of sparkling bishop, Bob. Home to your family, - and have a merry Christmas, and in the morning make up the fires, and buy a second - coal-scuttle before you dot another <em>i</em>, Bob Cratchit. - </dd> - <dt><em>Fred</em></dt> - <dd>(<em>outside</em>, <span class='fss'>R.</span>). A merry Christmas! (<em>Enters</em>, - <span class='fss'>R.</span>) Here I am again, uncle. - </dd> - <dt><em>Scrooge</em></dt> - <dd>(<em>running to him, and shaking hands</em>). A merry Christmas, Fred! I'm going to dine - with you. - </dd> - <dt><em>Fred.</em></dt> - <dd>That's right, uncle. You'll find a merry company. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>You can't tell me. I know 'em all. My niece, Plumper, the fat sister. Wonderful party! - wonderful games! wonderful unanimity! wonderful happiness! - </dd> - <dt><em>Fred.</em></dt> - <dd>We'll have a merry Christmas. - </dd> - <dt><em>Scrooge.</em></dt> - <dd>Ay, that we will. Henceforth <em>I</em> will honor Christmas in my heart, and try to keep - it all the year. I will live in the past, the present, and the future. The spirits of all - three shall strive within me. (<em>Sinks to his knees.</em>) God bless us all! - </dd> - </dl> - -<table class='table7' summary=''> -<colgroup> -<col width='18%' /> -<col width='81%' /> -</colgroup> - <tr> - <td class='c016'><em>Fred</em></td> - <td class='blt c016'>(<em>sink to their knees</em>). God bless us all!</td> - </tr> - <tr> - <td class='c016'><em>Bob</em></td> - <td class='blt c016'> </td> - </tr> -</table> - -<p class='c010'>(<em>Music: curtains at back are drawn, disclosing "A -Christmas Picture." In the centre, the</em> <span class='sc'>Ghost of -Christmas Present</span>, <em>seated as before, with his torch -raised, red fire blazing in it. At his</em> <span class='fss'>L.</span>, <em>the blindfolded -gentleman, in the same position as before, with -the lady getting away from him; on his</em> <span class='fss'>L.</span>, <em>the lady -with the fan</em>; <span class='fss'>R.</span> <em>of</em> <span class='sc'>Christmas Present</span>, <span class='sc'>Mrs. -<span class='pageno' id='Page_248'>248</span>Cratchit</span>, <em>with the pudding in her hands</em>; <span class='sc'>Martha</span> -<em>at her</em> <span class='fss'>R.</span>, <em>with</em> <span class='sc'>Tiny Tim</span> <em>in her arms. Two of the -children opposite them, looking at the pudding.</em> <span class='sc'>Tiny -Tim</span> <em>speaks, when curtain is fairly drawn, "God -bless us every one!" "The Christmas Carol" [see -p. <a href='#Page_64'>64</a>] is then sung by an invisible chorus; and -the front curtain falls upon the whole picture.</em>)</p> - -<div class='tnotes'> - -<div class='chapter'> - <h2 class='c005'>TRANSCRIBER'S NOTES</h2> -</div> - <ol class='ol_1 c002'> - <li>Changed "Mrs. Trueworth" to "Mrs. T." on p. <a href='#Trueworth'>42</a> to be consistent with - other entries of the same character. - - </li> - <li>Changed "Mrs. Hartshorn" to "Mrs. H." on p. <a href='#Hartshorn'>109</a> to be consistent with - other entries of the same character. - - </li> - <li>Corrected "Col." to "Rowell" on p. <a href='#Col'>68</a>. - - </li> - <li>Corrected "Jenks" to "Hosea" on p. <a href='#Jenks'>71</a>. - - </li> - <li>Corrected "Mr. G." to "Mrs. G." on p. <a href='#Mr'>99</a>. - - </li> - <li>Silently corrected simple spelling, grammar, and typographical errors. - - </li> - <li>Retained anachronistic and non-standard spellings as printed. - - </li> - </ol> - -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Exhibition Drama, by George M Baker - -*** END OF THIS PROJECT GUTENBERG EBOOK THE EXHIBITION DRAMA *** - -***** This file should be named 52348-h.htm or 52348-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/2/3/4/52348/ - -Produced by Richard Tonsing, David Edwards and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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