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 1S91 
 
 AjAJlAZ. X:'^^.. 
 
Cornell University Library 
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 Delsarleanpantomim,es.with.;ecitalj^^^^^^^ 
 
Cornell University 
 Library 
 
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" And down upon the fragrant sod 
 
 Kneels, with his forehead to the South, 
 Lisping th' Eternal name of God 
 From purity's own cherub mouth." 
 
Delsartean 
 
 'It, 
 
 Pantomimes 
 
 WITH 
 
 Recital and Musical Accompaniment 
 
 DESIGNED FOR 
 
 Home, School, and Church Entertainments 
 
 BV 
 
 Mrs. J. w. shoemaker 
 
 " Association's mystic power combines, 
 Internal passions with external signs." — Lloyd. 
 
 philadelphia 
 The Penn Publishing Company 
 
 1893 
 
Copyright, 1891, by The Pknn Publishing Co. 
 
TO ALL 
 
 WHO HAVE BEEN MY PUPILS, 
 IN 
 
 grateful remembrance op their kindness and of 
 
 their enthusiasm in 
 
 that which pertains to the beautiful 
 
 Art op Expression, 
 
 THIS 
 LITTLE volume IS AFFECTIONATELY INSCRIBED. 
 
CONTENTS 
 
 FAGB 
 
 Introduction and Key to Pantomimes, ii 
 
 Diagram op Basic Positions, 13 
 
 The Pantomimes: 
 
 Paradise and the Peri, . . . Moore 20 
 
 The Diver From Schiller, by Bulwer, 41 
 
 Flag of the Rainbow, .... English 63 
 
 Song of the Mystic Ryan, 71 
 
 Paui, Revere's Ride, Longfellow 82 
 
 The Famine " 96 
 
 The Bachei<or's Sale Anon no 
 
 Queen Vashti's Lament, . . . Reade 118 
 
 The Voice of Spring Hemans 132 
 
 The Raven Poe 149 
 
 The Story of Some Bells, . . Anon., 176 
 
 Nearer, My God, to Thee, . Adams 192 
 
PREFACE 
 
 The increasing demand for novel entertainments, of 
 a character elevating and aesthetic, has led to the pre- 
 paration of this book. 
 
 A pure pantomime is that in which the action of the 
 piece or play is rendered by gesticulation only. 
 
 A musical pantomime is one wherein a musical ac- 
 companiment is connected with the visible representa- 
 tion. 
 
 The pure pantomime was a pastime among the 
 Greeks and Romans for many years, and it is recorded 
 that entire plays were performed without an uttered 
 word; while it was a matter of controversy between 
 Cicero and Roscius as to whether the former could 
 make the greater impression by his oratory, or the 
 latter by his acting. Pantomime, with musical ac- 
 companiment, has been in use among the Chinese, Per- 
 sians, and other Oriental people from the oldest times. 
 
 We believe that in our day and in our country, the 
 pantomime is best received and most enjoyed where 
 there are both recital of word.s and musical accompani- 
 ment, and with such end in view, these pantomimes 
 
 9 
 
lO PREFACE 
 
 have been thus arranged, but, if preferred, either one 
 or both can be omitted. 
 
 Believing also that " the poetry of motion and grace 
 of action" may find in the Pantomimic Art that full 
 manifestation of expression which in such form it de- 
 serves to have, and trusting that this opinion is in 
 harmony with that of the intelligent public, this little 
 work is respectfully submitted by 
 
 THK AUTHOR. 
 
 Philadelphia, July ist, 1891. 
 
INTRODUCTION AND KBY TO THK PANTO- 
 MIMES 
 
 Artistic effect and Truth in Expression constitute 
 the Pantomimic Art. 
 
 To secure these it will be necessary for the ama- 
 teur to study carefully the following explanations, and 
 give due attention to certain preliminary exercises. 
 By this method, the whole plan of execution of any of 
 these Pantomimes can be readily traced, and the re- 
 sult will be accordingly satisfactory. The explana- 
 tions are given in the briefest and plainest manner 
 in order that the mind may have the least possible to 
 remember, and a little care at the beginning will save 
 much perplexity in the end. 
 
 II 
 
DIAGRAM OF BASIC POSITIONS 
 
 LEFT 8 
 SIDE 
 
 HIGHT 
 SIDE 
 
 Note. — Some one of the above-named foot-positions is always used in the fol. 
 lowing pantomimes. 
 
 In practicing the foot-positions as indicated above, 
 first, stand centred — that is, heels parallel and near to- 
 gether, equal balance in both legs, toes outward, at 
 an angle of about sixty degrees. In making the basic 
 changes, the left foot should always be kept centred, 
 moving only off heel to toe, and inward and outward, 
 
 13 
 
14 DELSARTEAN PANTOMINES 
 
 in a pivotal way, suflScient to accommodate the 
 fluency of movement of the right foot. As the right foot 
 takes the various positions, the line of gravity^ or weight 
 of body, should shift into right leg, and this manner 
 should be observed in all the foot-action of the panto- 
 mimes, unless otherwise indicated. Again, the foot 
 should be raised only sufl&ciently to permit it escaping 
 the floor, and it should move with an easy, pendulous 
 action and not be jerked nor plunged, and the basic 
 positions, whether standing in the lengths or widths, 
 should be strong, otherwise the body manifestation will 
 lack expression. 
 
 First Exercise 
 
 Position I. Right f6ot diagonally front and beyond 
 left foot. Return to centre. 
 
 Position 2. Right foot diagonally back and beyond 
 left foot. Return to centre. 
 
 Position 3. Right foot diagonally forward — right. 
 Return to centre. 
 
 Position 4. Right foot diagonally backward — right. 
 Return to centre. 
 
 Position 5. Right foot directly forward. Return to 
 centre. 
 
 Position 6. Right foot directly backward. Return to 
 centre. 
 
 Position 7. Right foot directly to right side. Return 
 to centre. 
 
 Position 8. Right foot over left foot to left side. Re- 
 turn to centre. 
 
DELSARTEAN PANTOMIMES 
 
 Second Exercise 
 
 15 
 
 1. From centre to position i. 
 
 2. From position i direct to position 2. 
 
 3. From position 2 direct to position 3. 
 
 4. From position 3 direct to position 4. 
 
 5. From position 4 direct to position 5. 
 
 6. From position 5 direct to position 6. 
 
 7. From position 6 direct to position 7. 
 
 8. From position 7 direct to position 8. 
 
 The Arms 
 
 As another preliminary, there should be careful drill 
 in the movements of the arms ; swaying them slowly 
 in and out, and up and down, describing arcs and parts 
 of arcs with lissome, willowy motion. 
 
 All arm movements in the Pantomimes, unless other- 
 wise specified, should be long ^ndiftiH^ that is — all the 
 arm levers should be brought into action, and, unless 
 specified, the movements always executed in curves. 
 
 For convenience of description of the arm movements 
 in the Pantomimes, the word Zone has been used with 
 the following significance : Movements by which the 
 hands are carried upward, from any point above the 
 shoulder, are designated as in upper zone, those down- 
 ward, from any point below the hips, as in lower zone, 
 and those from chest outward, between shoulder and 
 hip, as in middle zone. 
 
 Again ; Arm Directions, from front to back in any 
 zone are designated as follows : 
 
l6 DELSARTEAN PANTOMIMES 
 
 Arms carried forward — Front. 
 
 Arms carried forward between front and side — Ob- 
 lique — Front, either right or left. 
 
 Arms carried out to either side — Lateral. 
 
 Arms carried backward from side — Oblique — Back, 
 either right or left. 
 
 Hand Positions 
 Hand positions are designated as follows : 
 
 Hand, palm upward — that is, away from earth — Palm 
 vSupine. 
 
 Hand, palm downward — that is, toward earth— Palm 
 Prone. 
 
 Hand, palm away from body — that is, back of hand 
 toward face — Palm Vertical. 
 
 The palm is not flatly up in supine, nor flatly 
 down in prone, but in each case on an incline of about 
 thirty degrees from the horizontal. Many other hand 
 positions occur in the pantomimes, but, as each has its 
 own special significance, they need not be mentioned 
 here. 
 
 Transitions 
 
 Transitions or changes of hand positions, through 
 arm movements are made simultaneously with Basic 
 changes, unless no basic change is designated, in which 
 case the former basic position is retained, and the arms 
 themselves, or arms with upper part of body, pass by 
 transition into the next gesture or series of gestures. 
 
delsartean pantomimes 17 
 
 Thk Face 
 
 The face must reflect promptly and truly the vary- 
 ing changes of thought and emotion, and to that end 
 there should be made a careful analysis of the selec- 
 tion, and the lines memorized and studied by both 
 pupils and instructor before any part of it is taught in 
 pantomime. If the facial expression is wanting much 
 of the effect is lost. 
 
 Number Taking Part 
 
 Any number of ladies or girls may take part in a 
 pantomime — limiting only in regard to extent of stage, 
 as each pantomimist should have the allotment of at 
 least four feet square of platform space. Care should 
 be taken to select such persons as are naturally grace- 
 ful and who will enter into the spirit of the tableaux. 
 
 The Reciter 
 
 The reciter should, if possible, be the instructor, if 
 not, then some one who possesses a well-modulated 
 voice, and who will, through spoken language, convey 
 the spirit of the sentiment to the ear of the hearer. 
 Much depends upon the reciter, for it is upon the move- 
 ments of the voice that the unanimity of the panto- 
 mimic action hangs. The reciter's place in the perform- 
 ance should be in front of the centre of the group, or 
 to one side of it. He or she should not take any part 
 in the action, and should study to sustain or hold the 
 voice where long pauses are necessary for the move- 
 
1 8 DELSARTEAN PANTOMIMES 
 
 meiits of the class, and to speak with rapidity where 
 quick changes of position occur. 
 
 The Music 
 
 The music should in all cases be sufl&ciently sub- 
 dued to permit the reciter being distinctly heard, but 
 in studying the adaptation, it will be found that some 
 parts will necessarily need to be more subdued than 
 others. The music may be selected from one or from 
 several compositions as may seem best suited to the 
 pantomime. The instrument, a piano or organ, should 
 be distant from the reciter, so that the voice may not be 
 disturbed by the notes of the instrument. Care must 
 be exercised to have the recital^ the music, and the move- 
 menis all in harmony. 
 
 The Dress 
 
 The dress may be of anj?^ soft material from cheese- 
 cloth to flexible silk, and in color, white or cream, or 
 any pleasing tint. It should be loose and flowing, 
 but without train, as the latter will interfere with the 
 placing of the feet. The Greek costume, or a modifica- 
 tion of it, is to be preferred, as it not only gives freedom, 
 but is in itself graceful and so facilitates grace of mo- 
 tion on the part of the performer. 
 
 The Lights 
 
 During the time of the performance the audience- 
 room should be darkened, so that the light may be 
 concentrated upon the stage. To heighten the ef- 
 
DELSARTEAN PANTOMIMES iq 
 
 feet, colored lights, if desired, may be thrown at in- 
 tervals upon those taking part. 
 
 Note. — Considerable practice is necessary to produce 
 good effect. Only two or three verses should be 
 practiced at each hour rehearsal, and those should be 
 gone over and over again. When the attitudes of any 
 one poem have been learned, then the entire panto- 
 mime should be practiced for harmony and artistic ef- 
 fect. No musical accompaniment should be used until 
 in the last hours of drill work. 
 
20 DELSARTEAN PANTOMIMES 
 
 PARADISE AND THE PERI 
 
 ADAPTED 
 
 The Peri are mythologically represented as descendants of fallen 
 angels, excluded from Paradise until, through some holy deed, their 
 penance is accomplished. In this instance a Peri is described as hav- 
 ing twice appeared at the Gate of Heaven, bearing the first time a drop 
 of blood from the heart of an expiring warrior ; the second time a fare- 
 well sigh from the lips of a dying lover. In each case she is refused 
 admission — the gift not being deemed sufficiently worthy — the angel 
 bids her seek again, and this time she bears to Heaven a tear of re- 
 pentance from the eye of a hardened sinner. 
 
 One morn a Peri at the gate 
 Of Eden stood, disconsolate ; 
 And as she listened to the springs 
 
 Of life within, like music flowing, 
 And caught the light upon her wings 
 
 Through the half-open portal glowing, 
 She wept to think her recreant race 
 Should e'er have lost that glorious place ! 
 
 "How happy," exclaimed this child of air, 
 "Are the holy spirits who wander there, 
 'Mid flowers that never shall fade or fall ! 
 Though mine are the gardens of earth and sea, 
 One blossom of Heaven outblooms them all !" 
 
 The glorious angel who was keeping 
 The gates of light, beheld her weeping ; 
 And, as he nearer drew and listened, 
 A tear within his eyelids glistened. — 
 
w 
 
 "W'^mgmmr 
 
 ' And as she listened to the springs 
 Of life within, like music flowing." 
 
DELSARTEAN PANTOMIMES 23 
 
 "Nymph of a fair but erring line !" 
 Gentle he said, "one hope is thine, 
 'Tis written in the book of fate, 
 
 The Peri yet may be forgiven, 
 Who brings to this eternal gate 
 
 The gift thit is most dear to Heaven ! 
 Go, seek it, and redeem thy sin ; 
 'Tis sweet to let the pardoned in !" 
 
 Rapidly as comets run 
 
 To the embraces of the sun, 
 
 Down the blue vault the Peri flies. 
 
 And, lighted earthward by a glance 
 That just then broke from the morning's eyes, 
 
 Hung hovering o'er our world's expanse. 
 
 Then over the vale of Baalbec winging 
 
 Slowly, she sees a child at play. 
 Among the rosy wild-flowers singing. 
 
 As rosy and as wild as they ; 
 Chasing with eager hands and eyes, 
 The beautiful blue damsel-flies 
 That fluttered round the jasmine stems, 
 Like winged flowers or flying gems : 
 And near the boy, who, tired with play. 
 Now nestling 'mid the roses lay. 
 She saw a wearied man dismount 
 
 From his hot steed, and on the brink 
 Of a small temple's rustic fount 
 
 Impatient fling him down to drink. 
 
24 DELSARTEAN PANTOMIMES 
 
 Then swift his haggard brow he turned 
 
 To the fair child, who fearless sat — 
 Though never yet hath day-beam burned 
 
 Upon a brow more fierce than that — 
 Sullenly fierce — a mixture dire, 
 Like thunder-clouds of gloom and fire, 
 In which the Peri's eye could read 
 Dark tales of many a ruthless deed. 
 
 Yet tranquil now that man of crime 
 (As if the balmy evening time 
 Softened his spirit) looked and lay, 
 Watching the rosy infant's play ; 
 Though still, whene'er his eye by chance 
 Fell on the boy's, its lurid glance 
 
 Met that unclouded, joyous gaze. 
 As torches that have burnt all night 
 
 Encounter morning's glorious rays. 
 
 But hark ! the vesper call to prayer, 
 As slow the orb of daylight sets, 
 
 Is rising sweetly on the air 
 
 From Syria's thousand minarets ! 
 
 The boy has started from the bed 
 
 Of flowers, where he had laid his head, 
 
 And down upon the fragrant sod 
 
 Kneels, with his forehead to the south 
 Lisping th' eternal name of God 
 
 From purity's own cherub mouth ; 
 
DELSARTEAN PANTOMIMES 
 
 And looking, while his hands and eyes 
 Are lifted to the glowing skies, 
 Like a stray babe of paradise. 
 Just lighted on that flowery plain, 
 And seeking for its home again ! 
 
 And how felt he, the wretched man 
 Reclining there — while memory ran 
 O'er many a year of guilt and strife 
 That marked the dark flood of his life. 
 Nor found one sunny resting-place, 
 Nor brought him back one branch of grace ?- 
 "There was a time," he said, in mild. 
 Heart-humbled tones, " thou blessed child! 
 When young, and haply pure as thou, 
 I looked and prayed like thee ; but now " — 
 He hung his head ; each nobler aim 
 
 And hope and feeling which had slept 
 From boyhood's hour, that instant came 
 
 Fresh o'er him, and he wept — he wept ! 
 
 And now ! behold him kneeling there. 
 By the child's side in humble prayer. 
 While the same sunbeam shines upon 
 The guilty and the guiltless one. 
 And hyms of joy proclaim through Heaven 
 The triumph of a soul forgiven ! 
 
 'Twas when the golden orb had set, 
 While on their knees they lingered yet, 
 
26 DELSARTEAN PANTOMIMES 
 
 There fell a light more lovely far 
 Than ever came from sun or star — 
 Upon the tear that, warm and meek, 
 Dewed that repentant sinner's cheek : 
 To mortal eye this light might seem 
 A northern flash or meteor beam ; 
 But well th' enraptured Peri knew 
 'Twas a bright smile the angel threw 
 From Heaven's gate, to hail that tear — 
 Her harbinger of glory near ! 
 " And see ! " she cried, " the crystal bar 
 Of Eden moves ! 
 
 Joy! joy! Forever! my task is done — 
 The gates are passed and Heaven is won !" 
 
 Thomas Moore. 
 
DELSAR'lEAN PANTOMIMES 27 
 
 THE PANTOI^IIME 
 
 ATTITUDE 
 
 " One morn a Peri at the gate 
 Of Eden stood disconsolate :" 
 
 Stand centred — body slightly depressed — ^head and 
 eyes dropped — expression mournful — hands hanging 
 at arm's length, with loosely interlocked fingers — 
 lower zone — front. 
 
 " And as she listened to the springs 
 Of life within, like music flowing," 
 
 Pos. 3. Hands crossing in front — right hand pass- 
 ing into upper zone, near ear, as in a listening attitude 
 — left hand into lower zone lateral — palm prone — eyes 
 raised and oblique forward — left — chin upward. 
 
 3 
 
 " And caught the light upon her wings 
 Through the half open portal glowing," 
 
 Weight of body on left foot, arms curving to front, 
 middle zone — then right hand passing obliquely forward 
 into" upper zone, obliqiie right, palm vertical, left hand 
 
28 DELSARTEAN PANTOMIMES 
 
 at same time into lower zone — lateral — extended, palm 
 prone — head and eyes raised. 
 
 4 
 " She wept to think her recreant race 
 
 Should e'er have lost that glorious place : 
 ' How happy,' exclaimed this child of air," 
 
 Transition — hands to lower zone — front, then clasp 
 and bring slowly to left side of neck, letting head 
 gently rest against hands, eyes drooped, expression 
 sad. 
 
 5 
 " Are the holy spirits who wander there, 
 'Mid flowers that never shall fade or fall!" 
 
 Head and eyes slowly raised. 
 
 6 
 
 " Though mine are the gardens of earth and sea." 
 
 Hands slowly unclasping and passing into upper 
 zone over head, separating, and decending into lower 
 zone, lateral, palms prone. 
 
 7 
 " One blossom of Heaven outblooms them all !" 
 
 Weight of body to right foot. Transition — hands car- 
 tied to front, middle zone, the right crossing above the 
 left, and passing to upper zone, oblique front, palm 
 supine, while the left passes to lower zone, oblique 
 back, palm prone. 
 
DELSARTEAN PANTOMIMES 29 
 
 " The glorious angel who was keeping 
 The gates of light beheld her weeping." 
 
 Retain preceding attitude. 
 
 8 
 
 " And, as he nearer drew and listened, 
 A tear within his eyelids glistened," 
 
 Pos. 2. Transition — hands to upper zone, then out- 
 ward and downward to front of waist, the right hand 
 passing to lateral, extended, middle zone, palm prone, 
 the left hand near left ear, in listening position, face 
 and eyes obliquely forward to right. 
 
 9 
 
 " ' Nymph of a fair but erring line !' 
 Gentle he said, ' One hope is thine, 
 'Tis written in the book of fate,' " 
 
 Transition — hands to middle zone, front, palms 
 supine, face sympathetic. 
 
 10 
 " ' The Peri yet may be forgiven,' 
 
 Slight waving movement of hands, in same posi- 
 tion. 
 
 II 
 
 " ' Who brings to this eternal gat? 
 
 The gift that is most dear to Heaven 1' 
 
2,0 DELSARTEAN PANTOMIMES 
 
 Right hand carried upward aud to lateral, palm 
 supine, head and eyes following. 
 
 12 
 
 " ' Go, seek it, and redeem thy sin ; 
 'Tis sweet to let the pardoned in !' " 
 
 Pos. 5. Transition of right hand downward and in- 
 ward to chest, then to front, palm supine, head and 
 eyes obliquel}^ forward to left. 
 
 " Rapidly as currents run 
 To the embraces of the sun," 
 
 Retain preceding attitude. 
 
 " Down the blue vault the Peri flies," 
 
 Transition — hands quickly carried into upper zone, 
 front, then outward, and downward, and inward in 
 lower zone, making a circle, then upward again, repeat- 
 ing the circular motion three times, each time a little 
 further outward on the words " down^'' " vault^'' and 
 ^^ flies," distinctively. Head forward on line with 
 body. 
 
 "And, lighted earthward by a glance 
 That just then broke from morning's eyes;" 
 
 Hands held in middle zone, oblique front, palms 
 prone. 
 
DELSARTEAN PANTOMIMES 31 
 
 " Hung hovering o'er the world's expanse." 
 
 Hands in same position, making three undulating 
 upper arm movements, each time carrying the hands a 
 little further outward. 
 
 16 
 
 " Then over the vale of Baalbec winging 
 Slowly, she sees a child at play," 
 
 Hands swung slowly over to oblique front, left, then 
 to oblique front, right, line of gravity shifting into left 
 foot, then again into right foot, in harmony with the 
 arm movements. On the word " sees," hands take 
 right oblique front position, palms vertical, eyes look- 
 ing forward and downward. 
 
 17 
 " Among the rosy wild-flowers singing. 
 As rosy and as wild as they," 
 
 Fore-arm movements inward, then outward, carry- 
 ing hands to same position, palms supine. 
 
 18 
 
 " Chasing with eager hands and eyes 
 The beautiful blue damsel-flies 
 That fluttered round the jasmine stems. 
 Like winged flowers or flying gems ;" 
 
 Pos, 4. Body, and face, and toes of right foot turned 
 
32 DELSARTEAN PANTOMIMES 
 
 oblique — back, right, arms reaching forward, palms 
 supine. 
 
 19 
 " And near the boy, who tired with play, 
 Now nestling 'mid the roses lay," 
 
 Hands brought somewhat lower and nearer to body. 
 
 20 
 
 " She saw a wearied man dismount 
 From his hot steed, and on the brink 
 Of a small temple's rustic fount " 
 
 Line of gravity shifted to left foot, body retreated, 
 head forward in same direction as preceding, but as if 
 in scrutiny, hands oblique front, vertical, right hand a 
 little higher than left. 
 
 " Impatient fling him down to drink ;" 
 
 Pos. I. Hands brought quickly above head, closed 
 into fists and carried strongly by straight-line arm 
 movements into lower zone, lateral, and held. Head 
 firm, face impatient and looking obliquely forward over 
 ri'^ht shoulder. 
 
 O 
 
 21 
 
 " Then swift his haggard brow he turned 
 To the fair child, who fearless sat — 
 Though never yet hath day-beam burned 
 Upon a brow more fierce than that — 
 Sullenly fierce — a mixture dire, 
 lyike thunder-clouds of gloom and fire," 
 
DELSARTEAN PANTOMIMES t^t^ 
 
 Arms firmly folded, eyes looking downward and 
 forward over right shoulder, face unhappy. 
 
 22 
 
 " In which the Peri's eye could read 
 Dark tales of many a ruthless deed." 
 
 Pos. 2. Hand transition through upper zone, then 
 downward and inward toward front of chest, then for- 
 ward, palms vertical, body somewhat retreated. 
 
 23 
 " Yet tranquil now that man of crime 
 (As if the balmy evening time 
 Softened his spirit) looked and lay, 
 Watching the rosy infant's play 
 Though still where'er his eye by chance 
 Fell on the boy's, its lurid glance " 
 
 Position centred, line of gravity in left foot, head 
 resting with chin in left palm, left elbow supported by 
 right hand, countenance softened, eyes forward and 
 downward toward oblique right. 
 
 24 
 " Met that unclouded joyous gaze, 
 As torches that have burned all night 
 Encounter morning's glorious rays." 
 
 Head more drooping and slowly moved toward ob- 
 lique left, eyes downward ; on last line, carry hands 
 into upper zone, front, then, with slow descent, oblique 
 front to lower zone. 
 
34 DELSARTEAN PANTOMIMES 
 
 25 
 " But hark ! the vesper call to prayer, 
 As slow the orb of daylight sets,'' 
 
 Pos. 5. (Narrow) — Hands loosely clasping in lower 
 zone, front, and close to body, head inclined a litfle for- 
 ward and downward toward left, eyes looking forward 
 and upward toward oblique right. 
 
 26 
 " Is rising sweetly on the air 
 From Syria's thousand minarets !" 
 
 Hands rising, palms downward, into upper zone, 
 front, and curving over into oblique front, palms su- 
 pine, on second line. 
 
 27 
 
 " The boy has started from the bed 
 Of flowers, where he had laid his head, 
 And down upon the fragrant sod " 
 
 Hand transition inward, then outward in upper zone, 
 on second line, then floating downward into lower zone, 
 on third line ; as the hands are descending, slowly sink 
 downward upon left knee. 
 
 28 
 " Kneels with his forehead to the south. 
 Lisping the eternal name of God 
 From purity's own cherub mouth ;" 
 
 Hands crossed upon chest, head bowed, whole man- 
 ner reverent. 
 
DELSARTEAN PANTOMIMES 35 
 
 29 
 " And looking while his hands and eyes 
 Are lifted to the glowing skies, 
 Like a stray babe of paradise." 
 Hands slowly unfolding and passing into upper zone, 
 front, palms supine, head and eyes raised, whole 
 manner devotional. 
 
 30 
 "Just lighted on that flowery plain. 
 And seeking for its home again." 
 
 Hands curving outward and slowly descending, 
 palms prone, at the same time body slowly rising, re- 
 cover position, placing line of gravity in left foot. 
 
 , 31 
 " And how felt he, the wretched man 
 Reclining there — while memory ran 
 O'er many a year of guilt and strife 
 That marked the dark flood of his life, 
 Nor found one sunny resting place. 
 Nor brought him back one branch of grace ! — 
 ' There was a time,' he said, in mild, 
 Heart-humbled tones, ' thou blessed child 
 When young, and haply pure as thou, 
 Head down, oblique left, face dejected, hands tightly 
 clasping each other in lower zone, front. 
 
 32 
 " ' I looked and prayed like thee ; but now ' — 
 
 Hands still clasped but carried up on chest, elbows 
 
36 DELSARTEAN PANTOMIMES 
 
 thrown outward and upward, face expressive of strong 
 emotion, head and eyes raised. 
 
 33 
 " He hung his head ; each nobler aim 
 And hope and feeling which had slept 
 From boyhood's hour, that instant came 
 Fresh o'er him, and he wept — he wept !" 
 
 lyine of gravity in right foot, hands still clasped but 
 carried a few inches from chest, head dropped with fore- 
 head resting upon clasped hands, elbows well out. 
 
 34 
 " And now ! behold him kneeling there, 
 By the child's side in humble prayer," 
 
 Hand transition to upper zone, front, outward and 
 downward, in toward chest, then forward to oblique 
 front, right, palms vertical, eyes oblique right, forward 
 and downward, whole manner interested. 
 
 35 
 " While the same sunbeam shines upon 
 The guilty and the guiltless one," 
 
 Hand transition from middle zone, front, left hand 
 passing to lower zone, lateral, extended, palm prone, 
 right hand to upper zone, oblique front, palm vertical 
 then slowly descending into lower zone, on the words 
 " shines upon," etc. 
 
DELS ARTE AN PANTOMIMES t^j 
 
 36 
 " And hymns of joy proclaim through Heaven " 
 
 Hand transition from lower zone, front, into upper 
 zone, oblique front, palms supine. 
 
 37 
 " The triumph of a soul forgiven !" 
 
 Pos. I. Body strongly up, hand transition, upper 
 zone, front, left hand carried directly above head, finger- 
 tips upward, right hand passing outward to lower zone, 
 lateral, palm prone. 
 
 38 
 
 "'Twas when the golden orb had set, 
 While on their knees they lingered yet," 
 
 Pos. 6. (Narrow) — Hand transition from upper zone, 
 outward and into lower zone, front, then coming up in 
 front of chest and placed palm to palm, finger-tips up- 
 ward, elbows outward, at same time sink slowly to 
 floor upon right knee, face and eyes raised, as in adora- 
 tion, retain this attitude through following lines : 
 
 " There fell a light more lovely far 
 Than ever came from sun or star 
 Upon the tear that, warm and meek, 
 Dewed that repentant sinner's cheek ; 
 To mortal eye its light might seem 
 A northern flash or meteor beam." 
 
3S DELS ARTE AN PANTOMIMES 
 
 39 
 " But well til' enraptured Peri knew 
 'Twas a bright smile the angel threw 
 From Heaven's gate, to hail that tear — ■ 
 Her harbinger of glory near!". 
 
 Rise to Pos. 5, at same time hands carried quickly 
 
 to upper zone, front, then outward, downward, inAvard, 
 
 then crossed upon chest, head and eyes upward, face 
 
 radiant. 
 
 40 
 
 " ' And see,' she cried, ' the crystal bar 
 Of Eden moves !'" 
 
 Pos. 6. Hands thrown into upper zone over head, 
 palms well open, facing front. 
 
 41 
 " 'Joy ' joy forever! My task is done — 
 
 The gates are passed and Heaven is won !'" 
 
 Pos. 5. Body raised to utmost, hand transition outr 
 ward, downward and upward, making two complete 
 circles on the woi'ds "joy ! joy forever!" tlren outward 
 in upper zone, lateral, palms vertical on the words 
 " the gates are passed," then downward, and again 
 circling into upper zone, front, and held to end of lines, 
 palm of right hand upward, palm of left hand down- 
 ward, finger-tips of one hand. nearly touching those of 
 the othei. 
 
f 
 
 i i 
 
 " Ah ! father, my father, wh.-.t more can there rest? 
 Enough of this sport with the pitiless ocean — 
 lie has served you as none woukl, thyself hast confessed." 
 
DELSARTEAN PANTOMIMES ^j 
 
 THE DIVER 
 
 FROM THE GERMAN OF SCHILLER BY BULWER 
 ABRIDGED 
 
 " Oh ! where is the knight or the squire so bold 
 As to dive to the howling Charybdis below ? — 
 
 I cast in the whirlpool a goblet of gold, 
 And o'er it already'- the dark waters flow ; 
 
 Whoever to me may the gablet bring, 
 
 Shall have for his guerdon that gift of his king." 
 
 He spoke, and the cup from the terrible steep, 
 That, rugged and hoary, hung over the verge 
 
 Of the endless and measureless world of the deep. 
 Twirled into the maelstrom that maddened the surge. 
 
 " And where is the diver so stout to go — 
 
 I ask ye again — to the deep below ?" 
 
 And the knights and the squires that gathered around, 
 Stood silent — and fixed on the ocean their eyes ; 
 
 They looked on the dismal and savage Profound, 
 And the peril chilled back every thought of the prize. 
 
 And thrice spoke the monarch — " The cup to win, 
 
 Is there never a wight who will venture in ?" 
 
 And all', as before, heard in silence the king. 
 
 Till a youth with an aspect unfearing but gentle, 
 'Mid the tremulous squires — stepped out from the ring. 
 
42 DELSARTEAN PANTOMIMES 
 
 Unbuckling his girdle, and doffing liis mantle ; 
 And the murmuring crowd, as they parted asunder, 
 On the stately boy cast their looks of wonder. 
 
 As he strode to the marge of the summit, and gave 
 One glance on the gulf of that merciless main, 
 
 Lo ! the wave that forever devours the wave. 
 Casts roaringly up the Charybdis again ; 
 
 And, as with the swell of the far thunder-boom. 
 
 Rushes foamingly forth from the heart of the gloom. 
 
 The youth gave his trust to his Maker ! Before 
 That path through the riven abyss closed again, 
 
 Hark ! a shriek from the gazers that circle the shore — 
 And, behold ! he is whirled in the grasp of the main ! 
 
 And o'er him the breakers mysteriously rolled. 
 
 And the giant mouth closed on the swimmer so bold. 
 
 All was still on the height, save the murmur that went 
 From the grave of the deep, sounding hollow and fell, 
 
 Or save when the tremulous sighing lament 
 
 Thrilled from lip unto lip, — " Gallant youth, fare thee 
 well !" 
 
 More hollow and more wails the deep on the ear — 
 
 More dread and more dread grows suspense in its fear. 
 
 And, lo ! from the heart of that far-floating gloom, 
 Like the wing of the cygnet — what gleams on the 
 sea ? 
 
 Lo ! an arm and a neck glancing up from the tomb ! 
 Steering stalwart and shoreward. O joy, it is he! 
 
DELSARTEAN PANTOMIMES 4, 
 
 The left hand is lifted in triumph ; behold, 
 It waves as a trophy the goblet of gold ! 
 
 And he comes, with the crowd in their clsnior and glee; 
 
 And the goblet his daring has won from the water, 
 He lifts to the king as he sinks on his knee — 
 
 And the king froili her maidens has beckoned his 
 daughter. 
 She pours to the boy the bright wine which they bring. 
 And thus spoke the Diver-^" Long life to the King ! 
 
 " Happy they whom the rose-hues of daylight rejoice, 
 The air and the sky that to mortals are given ! 
 
 May the horror below never more find a voice — 
 
 Nor man stretch too far the wide mercy of Heaven ! 
 
 Nevermore, nevermore may he lift from the sight 
 
 The veil which is woven with terror and night ! 
 
 " Quick brightening like lightning, the ocean rushed 
 o'er me. 
 Wild floating, borne down fathom-deep from the day ; 
 Till a torrent rushed out on the torrents that bore me, 
 
 And doubled the tempest that whirled me away. 
 Vain, vain was my struggle — the circle had won me. 
 Round and round in its dance the mad element spun 
 me. 
 
 " From the deep, then I called upon God, and He beard 
 me. 
 In the dread of my need. He vouchsafed to mine eye 
 A rock jutting out from the grave that interred me; 
 
4 , DELS ARTE AN PANTOMIMES^ 
 
 I Sprung there, I clung there, and death passed me by, 
 And, lo ! where the goblet gleamed through the abyss, 
 By a coi-al reef saved from the far Fathomless. 
 
 " Below, at the foot of that precipice drear. 
 
 Spread the gloomy, and purple, and pathless Obscure ! 
 
 A silence of horror that slept on the ear, 
 
 That the eye more appalled might the horror endure ! 
 
 Salamander, snake, dragon^ — vast reptiles that dwell 
 
 In the deep — coiled about the grim jaws of their hell. 
 
 '' Methought, as I gazed through the darkness, that now 
 I saw a dread hundred-limbed creature — its prey ! — 
 
 And darted, devouring ; I sprang from the bough 
 Of the coral, and swept on the horrible way ; 
 
 And the whirl of the mighty wave seized me once more. 
 
 It seized me to save me, and dash to the shore." 
 
 On the youth gazed the monarch, and marvelled : quoth 
 he, _ 
 
 " Bold diver, the goblet I promised is thine ; 
 And this ring I will give, a fresh guerdon to thee — 
 
 Never jewels more precious shone up from the inine — 
 If thou'lt bring me fresh tidings, and venture again. 
 To say what lies hid in the innermost main !" 
 
 Then out spake the daughter in tender emotion — 
 " Ah ! father, my fatlier, Avhat more can there rest ? 
 
 Enough of this sport with the pitiless ocean — 
 
 He has served thee as none would, thyself hast con- 
 fessed. 
 
DRLSARTEAN PANTOMIMES 4^ 
 
 If nothing can sl-ake thy wild thirst of desire, 
 
 Let thy knights put to shame the exploit of the squire !" 
 
 The king seized the goblet, he swung it on high. 
 And whirling, it fell in the roar of the tide : 
 
 " But bring back that goblet again to my eye, 
 
 And I'll hold thee the dearest that rides by my side ; 
 
 And thine arms shall embrace, as thy bride, I decree, 
 
 The maiden whose pity now pleadeth for thee." 
 
 And heaven, as he listened, spoke out from the space, 
 And the hope that makes heroes shot flame from his 
 eyes ; 
 
 He gazed on the blush in that beautiful face — 
 It pales — at the feet of her father she lies ! 
 
 How priceless the guerdon ! a moment — a breath. — 
 
 And headlong he plunges to life and to death ! 
 
 They hear the loud siirges sweep back in their swell ; 
 
 Their coming the thunder-sound heralds along ! 
 Fond eyes yet are tracking the spot where he fell — 
 
 They come the wild waters in tumult and throng. 
 Rearing up to the cliff, roaring back as before ; 
 But no wave ever brought the lost youth to the shore. 
 
,5 DELSARTEAN PANTOMIMES 
 
 THE PANTOMIME 
 
 ATTITUDE 
 
 I 
 
 '"Oh ! where is the knight or the squire so bold 
 As to dive to the howling Charybdis below ?" 
 Pos I. Right hand in middle zone, front, palm su- 
 pine, left hand down near side, eyes looking toward 
 oblique front, left. 
 
 2 
 
 " ' I cast in the whirlpool a goblet of gold, 
 And o'er it already the dark waters flow ;' 
 Right hand passing in toward chest, then to upper 
 zone, over head, palm upward. 
 
 3 
 " 'Whoever to me may the goblet bring. 
 
 Shall have for his guerdon that gift of his king.' " 
 Hand position same as in first attitude. 
 
 4 
 " He spoke, and the cup from the terrible steep, 
 That, rugged and hoary, hung over the verge 
 Of the endless and measureless world of the deep," 
 Pos. 5. Right hand to same position as in attitude 
 second, but higher and stronger. 
 
 5 
 " Twirled into the maelstrom that- maddened the surge." 
 
DELSARTEAN PANTOMIMES .- 
 
 Right haud descending to middle zone, front, tlieu 
 describing three inward circling wrist-motions on 
 "twirled into the maelstrom," then held with palm' 
 prone on remainder of the line. 
 
 6 
 
 " ' And where is the diver so stout to go — 
 I ask ye again — to the deep below ?' " 
 
 Line of gravity to left foot. Transition — hands 
 pass to middle zone front, right crossing above left, 
 then both to obliqtie front, palms supine, eyes again to 
 oblique left. 
 
 7 
 "And the knights and the squires that gathered around, 
 
 Stood silent — and fixed on the ocean their eyes ; 
 They looked on the dismal and savage Profound, 
 
 And the peril chilled back every thought of the 
 prize. 
 And thrice spoke the monarch — ' The cup to win, 
 Is there never a wight who will venture in ?' 
 And all, as before, heard in silence the king. 
 
 Till a youth with an aspect unfearing but gentle," 
 
 Pos. 6. (Narrow) Transition — hands passing into 
 upper zone, then floating outward and downward, and 
 inward, then arms folded, eyes looking forward and 
 downward, face thoughtful. 
 
 S 
 
 " 'Mid the tremulous squires stepped out from the ring." 
 
48 DELSARTEAN PANTOMIMES 
 
 Pos. 5. Face front. 
 
 9 
 
 " Unbuckling liis girdle and doffing his mantle ;" 
 Transition — hands passing into upper zone, then out- 
 ward and downward, and inward to front of waist on 
 " Unbuckling," and quickly up to shoulders on 
 " Doffing,'' then floating outward and downward. 
 
 10 
 
 "And the murmuring crowd, as they parted asunder, 
 On the stately boy cast their looks of wonder, 
 As he strode to the marge of the summit, and gave 
 One glance on the gulf of that merciless main." 
 
 Line of gravity to left foot. Transition — ^hands curv- 
 ing inward from preceding descending motion, to middle 
 zone front, and outward to oblique front, palms vertical, 
 and retained. Eyes anxious, but interested. 
 
 II 
 
 " Lo ! the wave that forever devours the wave. 
 Casts roaringly up the Charybdis again ;" 
 
 Line of gravity to right foot. Transition — hands 
 passing inward toward each other, then outward and 
 into upper zone, oblique front, palms vertical and re- 
 tained. 
 
 12 
 
 " And, as with the swell of the far thunder-boom. 
 Rushes foamingly forth from the heart of the gloom." 
 
DELSARTEAN PANTOMIMES .q 
 
 Hands swept downward and over to left lateral, 
 middle zone on " Swell," then curving over to oblique 
 front, right, on " Rushes foamingly forth." 
 
 13 
 " The youth gave his trust to his Maker !" 
 
 Hands slowly passing down to side, eyes raised. 
 
 " Before that path through the riven abyss closed again," 
 
 Right hand carried near chest, palm vertical, eyes 
 looking forward and downward. 
 
 ^5 
 " Hark ! A shriek from the gazers that circle the 
 shore — " 
 
 Line of gravity to left foot, body slightly retreated, 
 left hand carried to upper zone a few inches from left 
 ear, and right hand into upper zone in front and above 
 head, palm vertical, elbows well out. 
 
 16 
 " And, behold ! he is whirled in the grasp of the main!" 
 
 Line of gravity to right foot. Transition — hands to 
 lower zone front, then to upper zone, oblique front, 
 palms vertical on " Behold," and retained. 
 
 17 
 " And o'er him the breakers mysteriously rolled, 
 And the giant mouth closed on the swimmer so bold. 
 
,Q DELSARTEAN PANTOMIMRS 
 
 All was still on the height, save the murmur that went 
 From the grave of the deep, sounding hollow and 
 fell," 
 
 Hands slowly descending on first line, then curving 
 inward and outward, and downward on " Closed." 
 
 " Or save when the tremulous sighing lament. 
 
 Thrilled from lip unto lip — ' Gallant youth, fare thee 
 well !' " 
 
 Hands carried very slowly to front of chest and 
 clasped, elbows well out, face sympathetic. 
 
 19 
 " More hollow and more wails the deep on the ear, 
 More dread and more dread grows suspense in its fear. 
 And, lo ! from the heart of that far-floating gloom. 
 
 Like the wing of a cygnet — what gleams on the sea ? 
 Lo ! an arm and a neck glancing up from the tomb ! 
 
 Steering stalwart and shoreward." 
 
 Pos. 3. Transition — hands unclasping and rising into 
 upper zone, then outward and downward into middle 
 zone, the right coming inward and held over brow on 
 third line, left hand at same time descending into lower 
 zone, near side, eyes looking anxiously forward, oblique 
 right. 
 
 20 
 
 "O joy, it is he!" 
 
DELSARTEAN PANTOMIMES ci 
 
 Line of gravity to left foot, liauds waved above head, 
 expression joyous. 
 
 21 
 
 " The left hand is lifted in triuiiiph ; behold," 
 
 Line of gravity to right foot. Transition — hands 
 passing outward and downward into middle zone, tlien 
 in near waist, right curving above left, and carried 
 at full arm's length over head, palm facing front, left at 
 same time passing downward to left near side, face front 
 and exultant. 
 
 22 
 
 " It waves as a trophy the goblet of gold !" 
 
 Right hand describing three inward waving motions 
 over head. 
 
 23 
 " And he comes, with the crowd in their clamor and glee. 
 And the goblet his daring has won from the water," 
 
 Line of gravity to left foot. Transition — hands pass- 
 ing to middle zone front, one crossing above the other, 
 then both to oblique front, palms supine. 
 
 24 
 " He lifts to the king as he sinks on his knee. 
 And the king from her maidens has beckoned his 
 
 daughter. 
 And she pours to the boy the bright wine which they 
 
 bring, 
 And thus spoke the Diver : 
 
r2 DELSARTEAN PANTOM/MES 
 
 Sink to floor on left knee. Transition — hands pass- 
 ing inward near front of cliest, right crossing above left 
 and moving to extended front, somewhat in upper zone, 
 palm supine, left passing inward and placed upon chest, 
 face upward. 
 
 25 
 " 'Long life to the King !' 
 
 Rise to feet, line of gravity in left foot, right hand 
 passing in near lips, then forward, and outward, and 
 downward to side. 
 
 26 
 " ' Happy they whom the rose-hues of daylight rejoice, 
 The air and the sky that to mortals are given ! ' 
 
 Eyes raised. 
 
 27 
 
 " ' May the horror below nevermore find a voice ' — 
 
 Head downward and moved negatively on " never- 
 more." 
 
 28 
 
 " 'Nor man stretch too far the wide mercy of Heaven 1' 
 
 Transition — hands passing into upper zone, front, 
 then outward and downward to middle zone, lateral, 
 palms prone, head up. 
 
 29 
 
 '■ ' Nevermore, nevermore may he lift from the sight 
 The veil which is woven with terror and night !' 
 
DELSARTEAN PANTOMIMES r. 
 
 Transition — hands passing inward from lateral to 
 front, the right to upper zone, front, palm vertical, 
 and left to lower zone, near side, palm prone, face and 
 eyes turned toward oblique back, left. 
 
 30 
 " ' Quick brightening like lightning, the ocean rushed 
 
 Transition — hands moving into upper zone, then out- 
 ward and downward and crossing each other near 
 waist, then outward to front, palms prone on " ocean 
 rushed o'er me," face toward oblique left. 
 
 31 
 " 'Wild floating, borne down fathom-deep from the day ; 
 
 Hands moving inward, then forward to lower zone, 
 front, palms facing each other. 
 
 32 
 " 'Till a torrent rushed out on the torrents that bore me,' 
 
 Hands moving inward and upward to oblique front, 
 upper zone, palms vertical. 
 
 33 
 " ' And doubled the tempest that whirled me away. 
 Vain, vain was my struggle — the circle had won me,' 
 
 Line of gravity to right foot, transition — both hands 
 passing to middle zone, lateral, right, and strongly ex- 
 tended, palms prone, head in same direction as hands. 
 
.. DELSARTEAN PANTOMIMES 
 
 34 
 " 'Round and round in its dance the mad element spun 
 me.' 
 
 Transition — hands passing to middle zone, front, then 
 describing three full circles by inward, and upward, and 
 outward movements on the utterance of the line. 
 
 35 
 " 'From the deep, then I called upon God, and He heard 
 me, 
 In the dread of my need, He vouchsafed to mine eye ' 
 
 Liue of gravity to left foot. Transition — hands de- 
 scending low in middle zone, oblique front, palms prone, 
 eyes raised. 
 
 36 
 " ' A rock jutting out from the grave that interred me,' 
 
 Line of gravity to right foot. Transition — hands 
 moving to front, right crossing above left, then out to 
 oblique front, right, on " rock," index finger leading, 
 left hand at same time moving to lower zone near side, 
 palm prone. 
 
 37 
 " ' I sprung there, I clung there, and death passed me by,' 
 
 Transition — hands passed quickly into middle zone, 
 left, lateral, then quickly forward to upper zone, ob- 
 lique front, right, palms vertical, head and body in 
 same liue. 
 
DELSARTEAN PANTOMIMES rr 
 
 38 
 " 'And, lo ! where the goblet gleamed through the abyss, 
 By a coral reef saved from the far Fathomless.' 
 
 Transition — hands pass to middle zone, front, right 
 crossing above left to oblique front, and low in middle 
 zone, index finger pointing, the left hand at the same 
 time passes out to lateral, high in lower zone, palm 
 prone, head and eyes turned to oblique front, right. 
 
 39 
 " ' Below, at the foot of that precipice drear. 
 Spread the gloomy, and purple, and pathless Obscure ! 
 A silence of horror that slept on the ear. 
 That the eye more appalled might the horror endure ! 
 Salamander, snake, dragon — vast reptiles that dwell 
 In the deep — coiled about the grim jaws of their hell. 
 Methought, as I gazed through the darkness, that 
 now' 
 
 Transition — hands passing inward toward chest, then 
 outward to oblique front, right, right arm most ex- 
 tended, palms nearly prone, eyes looking downward 
 and forward, oblique right, body slightly retreated, re- 
 tain position to end of lines. 
 
 40 
 
 " ' I saw a dread hundred-limbed creature — its prey ! 
 And darted, devouring !' 
 
 Line of gravity to left foot, body retreated, hands into 
 
rg DELSARTEAN PANTOMIMES 
 
 upper zone, over h3ad, palms vertical, elbows outward, 
 face expressive of terror; looking forward and down- 
 ward, oblique right. 
 
 41 
 " ' I sprang from the bough. 
 
 Of the coral, and swept on the horrible way !' 
 
 Transition — hands carried over to right side and then 
 swept to left side, well extended, middle zone, palms 
 prone, eyes in same direction. 
 
 42 
 
 " ' And the whirl of the mighty wave seized me once 
 more. 
 It seized me to save me, and dash to the shore.' 
 
 Body easily erect. Transition — hands carried to 
 upper zone over head and slowly descending to side, 
 eyes looking front. 
 
 43 
 " On the youth gazed the monarch, and marveled : quoth 
 
 he, 
 ' Bold diver, the goblet T promised is thine.' 
 
 Line of gravity to left foot, body turned slightly to 
 oblique left, arms folded, right above left, face inter- 
 ested. 
 
 44 
 " 'And this ring I will give, a fresh guerdon to thee — 
 Never jewels more precious shone up from the mine — 
 
DELS ARTE AN PANTOMIMES ry 
 
 If thou'lt bring me fresh tidings, and venture again, 
 To say what lies hid in the innermost main !' " 
 
 Right hand rises a few inches above left elbow and 
 remains not far from left chest, thumbs and index 
 finger appearing to hold a ring, palm facing chest. 
 
 45 
 " Then out spake the daughter in tender emotion — 
 ' Ah ! father, my father, what more c^n there rest ? 
 Enough of this sport with the pitiless ocean — 
 He has served thee as none would, thyself hast con- 
 fessed. 
 If nothing can slack thy wild thirst of desire. 
 Let thy knights put to shame the exploit of the 
 squire ! ' ' 
 
 On first line pass to Pos. 2, hands rising into upper 
 zone, then passing outward and downward and inward 
 to chest and clasped on second line — at same time 
 sink to floor on right knee, body tiirned directly 
 toward right, hands remaining clasped but carried to 
 arm's length forward, and held low, in upper zone, head 
 and eyes raised. 
 
 46 
 " The king seized the goblet," 
 
 Rise quickly to Pos. 7, hands at same time passing 
 over head, making transition by crossing in front of 
 chest, the right rising to utmost above head, the left to 
 
eg DELSARTEAN PANTOMIMES 
 
 lower zone near side, face front, whole manner ani- 
 mated. 
 
 47 
 " He swung it on high," 
 
 Describe two inward circles with right hand over 
 head. 
 
 48 
 
 "And whirling, it fell in the roar of the tide :" 
 
 Right hand vigorously descending to lower zone, 
 oblique front on " Fell," eyes following. 
 
 49 
 " ' But bring back that goblet again to my eye,' 
 
 Line of gravity to left foot. Transition — right hand 
 toward left shoulder, then to oblique front, right, lower 
 zone, palm supine, face turned oblique left. 
 
 50 
 " 'And I'll hold thee the dearest that rides by my side,' 
 
 Right hand carried round toward left, index finger 
 pointing toward left side. 
 
 " 'And thine arms shall embrace as thy bride, I decree, 
 The maiden whose pity now pleadeth for thee.' " 
 
 Pes. 6. Right hand carried oblique back, right, lower 
 
DELSARTEAN PANTOMIMES rg 
 
 zone, palm supine, eyes in same direction and down- 
 ward on " Maiden." 
 
 52 
 " And heaven, as he listened, spoke out from the space," 
 
 Transition — hands passing to lower zone front, near 
 body, and strongly clasped, eyes raised. 
 
 53 
 "And the hope that makes heroes shot flame from his 
 eyes." 
 
 Byes looking front, body well drawn up. 
 
 54 
 " He gazed on the blush in that beautiful face, 
 It pales — at the feet of her father she lies !" 
 
 Head turned oblique — back, right, eyes looking down- 
 ward. 
 
 55 
 " How priceless the guerdon ! a moment — a breath — " 
 
 Transition — hands to upper zone, then outward, and 
 downward and inward toward chest on " A moment — a 
 breath." 
 
 56 
 " And headlong he plunges to life and to death." 
 
 Pos. 3. Hands to upper zone, oblique, right, forward, 
 palms vertical. 
 
6o DELSARTEAN PANTOMIMES 
 
 57 
 " They hear the loud surges sweep back in their swell ; 
 Their coming the thunder-sound heralds along," 
 
 Line of gravity to left foot. Transition — hands pass- 
 ing inward, then over a£id above head, eyes oblique 
 right, looking forward and downward. 
 
 58 
 " Fond eyes yet are tracking the spot where he fell — 
 They come, the wild waters, in tumult and throng," 
 
 Line of gravity to right foot. Right hand carried to 
 upper zone, oblique right, above head, palm vertical, 
 left out at left side, palm prone. 
 
 59 
 " Rearing up to the cliff, roaring back as before," 
 
 Transition — hands carried by long curving sweep to 
 left on " Rearing," then to right on " Roaring." 
 
 60 
 
 " But no wave ever brought the lost youth to the shore." 
 
 Line of gravity to left foot. Transition — hands 
 slowly passing up over head, then outward and down- 
 ward to side, head and eyes looking downward, front. 
 
" While but a man is alive to defend it." 
 Flag of the Rainbow and Banner of Stars.' 
 
DELSARTEAN PANTOMIMES g. 
 
 FLAG OP THE RAINBOW 
 
 Flag of the rainbow, and banner of stars, 
 Fuiblem of light, and ^ield of the lowly, 
 
 Never to droop while onr soldiers and tars 
 Rally to guard it from outrage unholy. 
 
 Never may shame or misfortune attend it. 
 
 Enmity sully, or treachery rend it, 
 
 While but a man is alive to defend it : 
 
 Flag of the rainbow, and banner of stars. 
 
 Flag of a land where the people are free. 
 
 Ever the breezes salute and caress it ; 
 Planted on earth, or afloat on the sea. 
 
 Gallant men guard it, and fair women bless it. 
 Fling out its folds o'er a country united. 
 Warmed by the fires that our forefathers lighted, 
 Refuge where down-trodden man is invited : 
 Flag of the rainbow, and banner of .stars. 
 
 Flag that our sires gave in trust to their sons. 
 
 Symbol and sign of a liberty glorious, 
 While the grass grows and the clear water runs, 
 
 Ever invincible, ever victorious. 
 Long may it 'waken our pride and devotion, 
 Rippling its colors in musical motion, 
 First on the land, and supreme on the ocean : 
 Flag of the rainbow, and banner of stars. 
 
 Thomas Dunn English 
 
64 
 
 DELSARTEAN PANTOMIMES 
 
 THE PANTOMIME 
 
 If desired, the dress may in some manner display the 
 colors of the country. 
 
 Music — patriotic, but subdued. 
 
 ATTITUDE 
 I 
 
 " Flag of the rainbow, and banner of stars. 
 Emblem of light, and shield of the lowly, 
 Never to droop while our soldiers and tars " 
 
 Pos. 3. (Narrow.) Line of gravity in left foot, arms 
 folded, eyes looking forward and upward, chin raised. 
 
 2 
 
 " Rally to guard it from outrage iinholy. 
 Never may shame or misfortune attend it," 
 
 Pos. 6. Transition — both hands rising into upper 
 zone, then outward and downward, right hand passing 
 to left side as if grasping the hilt of a sword, left hand 
 clinched and lateral, extended in lower zone, expression 
 earnest. 
 
 3 
 " Enmity sully, or treachery rend it," 
 
 Transition — hands carried to upper zone, then to mid- 
 dle zone, oblique front, palms prone on " enmity sully," 
 then both inward toward chest, then outward to lower 
 
DELSARTEAN PANTOMIMES 65 
 
 zone, lateral, straight line movement, hands closed in 
 fist, muscles well tensioned. 
 
 4 
 " While but a man is alive to defend it :" 
 
 Pos. 5. Transition — right hand in fist to left side, 
 then, by straight line movement, to upper zone, 
 oblique front, right, thumb part of hand upward as if 
 holding a sword, left hand clinched in lower zone, out at 
 side, face strong, whole manner earnest and enthu- 
 siastic. 
 
 5 
 " Flag of the rainbow, and banner of stars." 
 
 Transition — hands to front, middle zone, right hand 
 crossing above left, then to upper zone, front, palm su- 
 pine, left hand to lower zone, lateral, palm prone. 
 
 6 
 
 " Flag of a land where the people are free. 
 Ever the breezes salute and caress it ;" 
 
 Retain same attitude on first line. Transition — on 
 second line, hands pass inward near chest and cross 
 one above the other, then both to upper zone, oblique 
 front, palms vertical, waved inward then outward on 
 "salute " and " caress," then held. 
 
 -■) 
 
 7 
 " Planted on earth, or afloat on the sea," 
 
66 DELSARTEAN PANTOMIMES 
 
 Transition — right hand carried forward and down- 
 ward by straight line movement, palm supine and 
 strong, on " planted on earth," left hand at same 
 time downward to side — on " afloat on the sea," 
 right hand carried inward to left shoulder, then out- 
 ward, middle zone to right, lateral, palm prone. 
 
 " Gallant men guard it, and fair women bless it." 
 
 Transition — hands inward toward chest, crossing 
 one above the other, then to upper zone, oblique front, 
 palms supine, chin up, eyes raised. 
 
 " Fling out its folds " 
 
 Transition — hands coming inward toward forehead, 
 then outward, high in upper zone, oblique front, palms 
 vertical. 
 
 lO 
 
 " O'er a country united, 
 Warmed by the fires that our forefathers lighted. 
 Refuge where down-trodden man is invited : 
 Flag of the rainbow, andbanner of stars." 
 
 Transition — hands downward to middle zone, cross- 
 ing in front, then to lateral, and each clasping the hand 
 on each side of the person next, those standing on the 
 extreme ends, raising the outer hand as in exultation — 
 retain attitude to end of stanza. 
 
DELSARTEAN PANTOMIMES g^ 
 
 II 
 
 " Flag that our sires gave in trust to their sons, 
 Symbol and sign of a liberty glorious, . 
 While the grass grows and the clear water runs," 
 
 Transition — hands inward, front, middle zone, cross- 
 ing one above the other, then to oblique front, supine 
 on the word " gave," and held, eyes front. 
 
 13 
 
 " Ever invincible," 
 
 Body strongly drawn up. Transition — hands in- 
 ward, front, right hand crossing above left, then to 
 upper zone, high over head, index finger straight, 
 palm facing front, left hand downward, close to side, 
 face confident. 
 
 13 
 
 " Ever victorious !" 
 
 Transition — right hand waved strongly twice over 
 head, eyes upward. 
 
 14 *. 
 
 " Long may it 'waken our pride and devotion, 
 Rippling its colors in musical motion,'' 
 
 Transition — hands placed one upon the other high on 
 chest on '' pride and devotion," then passing into upper 
 zone, front, and gently moving inward and outward by 
 wrist motion on " musical motion." 
 
68 DELSARTEAN PANTOMIMES 
 
 " First on the land, and supreme on the ocean :" 
 
 Transition — right hand to middle zone, front, palm 
 supine, left down at side on " first on the land," then 
 right hand carried to upper zone, lateral, on " siipreme," 
 palm facing front. 
 
 16 
 
 " Flag of the rainbow, and banner of stars." 
 
 Transition — hands toward front of chest, then to 
 upper zone, oblique front, palms supine and held to 
 end of line. 
 
" And I have seen Thoughts in the valley, 
 ' Ah ! me, how my spirit was stirred !' 
 And they wear holy veils on their faces, 
 Their footstens can scarcelv be hpmrl," 
 
DELSARTEAN PANTOMIMES 
 
 71 
 
 SONG OF THE MYSTIC. 
 
 I walk down the Valley of Silence — 
 Down the dim, voiceless valley — alone ! 
 
 And I hear not the fall of a footstep 
 Around me, save God's and my own ; 
 
 And the hush of my heart is as holy 
 As hovers where angels have flown 1 
 
 Long ago was I weary of voices 
 
 Whose music my heart could not win ; 
 
 Long ago was I weary of noises 
 
 That fretted my soul with their din ; 
 
 I/ong ago was I weary of places 
 
 Where I met but the human — and sin. 
 
 I walked in the world with the worldly ; 
 
 I craved what the world never gave ; 
 And I said : " In the world each Ideal, 
 
 That shines like a star on life's wave, 
 Is wrecked on the shores of the Real, 
 
 And sleeps like a dream in a grave." 
 
 And still did I pine for the Perfect, 
 
 And still found the False with the True 
 
 I sought 'mid the Human for Heaven, 
 But caught a mere glimpse of its Blue ; 
 
72 
 
 DELSARTEAN PANTOMIMES 
 
 And I wept when the clouds of the Mortal 
 Veiled even that glimpse from ni}^ view 
 
 And I toiled on, heart-tired of the Hunian ; 
 
 And I moaned 'mid the mazes of men ; 
 Till I knelt, long ago, at an altar 
 
 And I heard a voice call me — since then 
 I walk down the Valley of Silence 
 
 That lies far beyond mortal ken. 
 
 Do you ask what I found in the Valley ? 
 
 'Tis my Trysting Place with the Divine. 
 And I fell at the feet of the Holy, 
 
 And above me a voice said : " Be mine." 
 And there rose from the depths of my spirit 
 
 An echo—" My heart shall be Thine." 
 
 Do you ask how I live in the Valley ? 
 
 I weep — and I dream — and I pray. 
 But my tears are as sweet as the dewdrops 
 
 That fall on the roses in May ; 
 And my prayer like a perfume from Censers, 
 
 Ascendeth to God night and day 
 
 But far on the deep there are billows 
 That never shall break on the beach ; 
 
 And I have heard songs in the Silence, 
 That never shall float into speech ; 
 
 And I hkve had dreams in the Valley, 
 Too lofty for language to reach. 
 
DELSARTEAN PANTOMIMES 
 
 And I have seen Thoughts in the Valley — 
 Ah ! me, how my spirit was stirred ! 
 
 And they wear holy veils on their faces, 
 Their footsteps can scarcely be heard ; 
 
 They pass through the Valley like Virgins, 
 Too pure for the touch of a word ! 
 
 Do you ask me the place of the Valley, 
 Ye hearts that are harrowed by Care ? 
 
 It lieth afar between mountains, 
 And God and His angels are there ; 
 
 And one is the dark mount of Sorrow, 
 And one the bright mountain of Prayer ! 
 
 Father Ryan 
 
 73 
 
„. DELSARIEAN PANTOMIMES 
 
 THE PANTOMIME 
 
 All movements slow, soft, and rhythmical. 
 
 ATTITUDE 
 
 I 
 
 " I walk down the Valley of Silence — " 
 
 Pos. 5 — (Narrow.) Hands at side. 
 
 2 
 " Down tlie dim, voiceless valley — alone !" 
 
 Transition — right hand rising and moving in toward 
 left chest, then outward to' oblique front, right, palm 
 supine. 
 
 3 
 " And I hear not the fall of a footstep '' 
 
 Transition — left hand rising to middle zone, lateral, 
 right hand to same on right, then both coming inward 
 toward chest. 
 
 4 
 " Around me, save God's and my ov/n ;" 
 
 Transition — both hands moving. outward from preced- 
 ing, to lateral, palms vertical, chin up, eyes raised. 
 
 5 
 " And the hush of my heart is as holy 
 -As hovers where angels have flown." 
 
DELSARTE AN PANTOMIMES nc 
 
 Transition — hands passing downward, then inward 
 front and placed upon heart, attitude retained. 
 
 6 
 " Long ago was I wearj?^ of voices 
 
 Whose music my heart could not win ;" 
 
 Pos. 6 — (Narrow.) Transition — hands passing to 
 upper zone front, then floating downward to sides, palms 
 prone. 
 
 7 
 " Long ago was I weary of noises 
 
 That fretted my soul with their din ;" 
 
 Transition — right hand passing to front, middle zone, 
 then outward to lateral, palm prone, eyes following. 
 
 8- 
 " Long ago was I weary of places 
 
 Where I met but the human — and sin." 
 
 Repeat same on left side, only a little stronger. 
 
 9 
 
 " I walked in the world with the worldly;" 
 
 Pos. 5. Transition — hands passing in toward chest, 
 then outward to oblique front, palms supine. 
 
 10 
 " I craved what the world never gave ; 
 And I said : ' In the world each Ideal,' 
 
 Repeat same gesture on first line, with palms prone. 
 
76 
 
 DELSARTEAN PANTOMIMES 
 
 II 
 " ' That shines like a star on life's wave,' 
 
 Transition — right hand passing in toward chest, then 
 upward and downward to preceding position. 
 
 12 
 
 " ' Is wrecked on the shores of the Real, 
 And sleeps like a dream in a grave.' 
 Aiid still did I pine for the Perfect, 
 
 And still found the False with the True ;" 
 
 Transition — both hands in toward chest, then slightly 
 upward andoutward to lower zone, lateral, palms prone, 
 hold position to end of stanza. 
 
 " I sought 'mid the Human for Heaven," 
 
 Transition — both hands passing to front of chest, 
 crossing one above the other, then to oblique front, 
 palms supine. 
 
 " But caught a mere glimpse of its Blue ;" 
 
 Transition — hands crossing near chest, right hand 
 moving to front, palm vertical and slightly moved on 
 expression " mere glimpse," left hand floating down- 
 ward to side. 
 
DELSARTEAN PANTOMIMES yy 
 
 " And I wept when the clouds of the Mortal 
 Veiled even that glimpse from my view." 
 
 Transition — hands passing in toward chest, then into 
 upper zone, oblique front, palms vertical, eyes raised. 
 
 16 
 " And I toiled on, heart-tired of the Human ; 
 And I moaned 'mid the mazes of men ;" 
 
 Pos. 6 — (Narrow.) Transition — hands curving inward 
 from front oblique, then outward and floating down to 
 side. 
 
 17 
 
 " Till I knelt, long ago, at an altar 
 And I heard a voice call me — " 
 
 Pos. 5 — (Narrow.) Transition — right hand passing to 
 left chest, then to lower zone, front, palm prone, eyes 
 following. 
 
 18 
 
 " Since then 
 I walk down the Valley of Silence 
 That lies far beyond mortal ken." 
 
 Transition — right hand coming in toward chest, then 
 floating outward to middle zone, lateral, palm prone 
 " on far beyond," then downward at side. 
 
 19 
 " Do you ask what I found in the Valley ? 
 'Tis my Trysting Place with the Divine." 
 
^8 DELSARTEAN PANTOMIMES 
 
 Transition — hands to middle zone, front, crossir.g- one 
 above the other, then moving to oblique front, palms 
 supine — on second line head and eyes raised. 
 
 20 
 " And I fell at the feet of the Holy, 
 
 And above me a voice said : ' Be mine.' " 
 
 Transition — hands passing outward and downward, 
 then clasping each other in lower zone, front, near body, 
 head bowed, appearance reverent. 
 
 i 21 
 
 ~ " And there rose from the depths of my spirit 
 An echo—' My heart shall be Thine.' " 
 
 « 
 
 Body drawn upward, head slowly rising and eyes 
 looking upward, Jiands placed one upon the other on 
 chest. 
 
 2'2' 
 
 " Do you ask how I live in the Valley ? 
 I weep — and I dream — and I pray." 
 
 Transitions-hands passing from chest and floating 
 outward to. oblique front, palms supine. 
 
 23 
 " But my tears are as sweet as the dewdrops 
 
 That fall on the roses in May ;" : 
 
 Slight repetition of preceding gesture. ; ^, 
 
 24 
 "And my prayer like a perfume from Censers, 
 Ascendeth to God night and day." 
 
DELSARTEAN PANTOMIMES yg 
 
 Transition — hands coming toward chest, right hand 
 crossing above left, then moving to upper zone, front, 
 palm supine, left hand floating down to side. 
 
 25 
 " But far on the deep there are billows 
 That never shall break on the beach ;" 
 
 Pos. 7 — (Narrow.) Transition — right hand passing 
 downward toward left shoulder, then to middle zone, 
 lateral right, palm prone. 
 
 26 
 
 " And I have heard songs in the Silence, 
 That never shall float into speech;" 
 
 Line of gravity to left foot, head inclined to left, 
 right hand curving inward, then toward right ear as if 
 listening, eyes toward oblique left and upward. 
 
 27 
 
 " And I have had dreams in the Valley, 
 Too lofty for language to reach." 
 
 Transition — right hand passing outward and in to- 
 ward chest, then front, index finger raised as if calling 
 attention. 
 
 28 
 
 " And I have seen Thoughts in the Valley — 
 Ah ! me, how my spirit was stirred !" 
 
go DELSARTEAN PANTOMIMES 
 
 Pos. 6— (Narrow.) Transition — hands passing toward 
 chest, then outward to oblique front, palms vertical on 
 first line, then inward, placing palm to palm in front of 
 chest, elbows well out, head somewhat downward, ejres 
 drooped. 
 
 29 
 
 " And they wear holy veils on their faces, 
 Their footsteps can scarcely be heard ;" 
 
 Transition — hands passing front, palms vertical, 
 then moving a little to left, then to right, and on last 
 line hands curving inward, then floating to lower zone, 
 oblique front, palms prone. 
 
 30 
 " They pass through the Valley like Virgins, 
 Too pure for the touch of a word !" 
 
 Transition — hands rising to middle zone, left oblique 
 front, then pasising in front of chest over to right 
 lateral, palms vertical, eyes following. 
 
 31 
 Do you ask me the place of the Valley, 
 Ye hearts that are harrowed by Care ?" 
 
 Pos. 5. Transition — hands inward toward chest, then 
 to oblique front, palms supine, eyes front. 
 
 32 
 " It lieth afar between mountains. 
 
 And God and His angels are there;" 
 
DELSARTEAN^ PANTOMIMES gl 
 
 Transition — hands crossing in front, near chest, right 
 passing to upper zone and almost directly over head, 
 palm facing front, left hand at same time floating 
 slowly down to side, palm prone and held through 
 second line. 
 
 33 
 " And one is the dark mount of Sorrow," 
 
 Right hand passing inward, above head, then to ob- 
 lique front, palm prone. 
 
 34 
 " And one the bright mountain of Prayer ! " 
 
 Transition — left hand passing to front, near chest, 
 then to upper zone, oblique front, palm supine, head 
 and eyes raised. 
 
DELSARTEAN PANTOMIMES 
 
 (In the two following pantomimes there are noted lines i, 2, 3, etc. — 
 these correspond to the individual lines of the poems, and any one 
 possessing a copy of the poems, by numbering the lines thereof, will 
 have no difl&culty in following the explanations.) 
 
 PAUL RBVERE'S RIDE— Longfellow 
 THE PANTOMIME 
 
 ATTITUDE 
 
 I 
 Lines I, 2, 3, 4, 5, 6, 7, 8, and 9 : 
 
 Stand centred— fingers loosely interlocked behind 
 back, eyes front, face cheerful, on third line look toward 
 oblique left, and upward as if in thought ; then eyes 
 again to front, on eighth and ninth lines, look toward 
 oblique right and upward. 
 
 2 
 Line 10 : 
 
 Right hand passing to middle zone, front, index finger 
 prominent for the word " one," then passing to right 
 oblique, front, palm supine on " two," left hand hanging 
 easily at left side, eyes front. 
 
 3 
 Line II : 
 
 Right hand passing across chest on line with shoulder 
 and pointing directly to left, eyes and head toward left. 
 
' A cry of defiance, and not of fear." 
 
DELSARTEAN PANTOMIMES g^ 
 
 4 
 Lines 12 and 13 : 
 
 On first line head turning again to front, on second 
 line hands crossing one above the other in front of 
 waist, then to lateral, palms supine. 
 
 5 
 Line 14 : 
 
 Pos. 6. Transition — hands again to front, the right 
 crossing above left, then passing into upper zone at full 
 arm's length above head, palm facing front, left hand 
 at same time passing into lower zone, near side, palm 
 prone. 
 
 6 
 
 Lines 15 and 16 : 
 
 Transition — right hand passing front, shoulder- 
 high, then in to forehead on " Good-night," and out- 
 ward and downward to side. 
 
 7 
 Line 17 : 
 
 Pos. 5. Left hand rising on line with shoulder, 
 lateral, palm prone, face toward left. 
 
 8 
 Lines 18 and 19 : 
 
 Left hand moving inward toward chest, then outward 
 again to same position, finger tips slightly upward. 
 
86 DELSARTEAN PANTOMIMES 
 
 9 
 
 Lines 20 and 21 : 
 
 On first part of first line riglit hand carried over to 
 left side, in same direction as left hand, palms of both 
 vertical, body retreated somewhat to right; on remainder 
 of lines retain same attitude, except that hands are 
 carried higher. 
 
 10 
 
 Lines 22 and 23 : 
 
 Retain preceding attitude, except that hands are lower 
 and body inclined toward left. 
 
 II 
 Lines 24, 25, 26, 27, 28, and 29: 
 
 Pos. 2. Right knee bent, head forward. Transition 
 — hands carried to upper zone, then outward and down- 
 ward into middle zone, then the right, near ear as if 
 listening, the left to lower zone, lateral, palm prone, 
 eyes wandering 
 
 12 
 Line 30 : 
 
 Position centred. Transition — hands rising up- 
 ward, then slowly descending to side, eyes front. 
 
 13 
 Lines 31, 32, and 33 : 
 
 Pos. 3. Transition — right hand to upper zone, oblique 
 
DELSARTEAN PANTOMIMES 87 
 
 front, finger tips upward, palm facing front, left to 
 lower zone, oblique back, palm prone, eyes in same 
 direction as right hand. 
 
 Ivines 34, 35, and 36 : 
 
 Line of gravity shifted to left foot. Transition — 
 hands to upper zone front, then outward to lateral, 
 palms vertical on " Startled," then hands curving in- 
 ward front and out again to lateral on " Round," same 
 repetition on " Masses " and on " Shapes of shade," 
 making three distinct circles, then descending to lower 
 zone, lateral. 
 
 15 
 Lines 37 and 38 : 
 
 Line of gravity to right foot. Transition — hands to 
 lower zone, front, then right hand passing high into 
 upper zone, oblique front, index finger leading, left 
 hand to lower zone near side. 
 
 16 
 Lines 39, 40, and 41 : 
 
 Body well forward and eyes looking downward, right 
 forearm carried directly before and within a few inches 
 of forehead, palm of hand facing front. 
 
 Lines 42, 43, and 44 : 
 
 Transition — both hands from upper zone downward 
 and inward to middle zone, front, palms prone. 
 
83 DELSARTEAN PANTOMIMES 
 
 l8 
 
 Lines 45j 46, 47, and 48 : 
 
 Transition — both hands pass from front over toward 
 left, then toward right, then to front, on '' Seeming," 
 then separating and moving to lateral and down to 
 side. 
 
 19 
 
 Lines 49, 50, and 51 : 
 
 Pos. 6. (Narrow) — head slightly drawn in to shoulders, 
 one hand enclosing the other as if in dread, eyes mov- 
 ing. 
 
 20 
 Lines 52 and 53 : 
 
 ^Pos. I. Head and eyes in same direction as body, 
 whole manner alive, hands to middle zone, oblique 
 front, palms vertical. 
 
 21 
 
 Line 54 : 
 
 Transition — hands moving in toward chest, crossing 
 one above the other, then outward again as in preceding 
 attitude, except somewhat broader. 
 
 22 
 
 Lines 55 and 56 : 
 
 Transition — hands move in toward each other, then 
 make three or four undulating movements outward, 
 and float slowly down to side. 
 
DELSARTEAN PANTOMIMES 89 
 
 23 
 I^ines 57, 58, and 59 : 
 Pos. 7. Face front. 
 
 24 
 Line 60 : 
 
 Bring hands npward from side, to middle zone, 
 oblique — front, right, left hand supine, right hand 
 prone with gentle hiotion as if caressing. 
 
 Line 61 : 
 
 Body thrown a little forward to oblique — right, eyes 
 looking distantly in same direction, right hand over 
 brows as if shielding eyes, left hand down and out at 
 side, -palm prone, whole manner interested. 
 
 26 
 Lines 62 and 63 : 
 
 Pos. centred. Stamp right foot strongly on word 
 " stamped," at same time quickly bring hands in fists 
 from upper zone, front, down close to side. 
 
 27 
 Lines 64, 65, 66, and 67 : 
 
 Pos. 3 — but line of gravity in left foot, arms folded, 
 head somewhat raised, eyes looking to oblique — right 
 and upward. 
 
 28 
 i Line 68 : 
 
 Arms unfold, and carry hands to upper zone, oblique 
 -^ front, right, palms vertical. 
 
go DELSARIEAN PANTOMIMES 
 
 29 
 
 Line 69 : 
 
 Hands in same position as preceding, with tremu- 
 lous movement on " Glimmer," and qviick upward 
 motion on " Gleam." 
 
 Line 70 : 
 
 Pos. 8 — Quickl}^^ with whole body turned away from 
 front, hands in fists brought by straight-line arm 
 movement, in front of and near waist, left hand a little 
 lower than right. 
 
 31 
 Line 71 : 
 
 Attitude same as preceding, except looking outward 
 and upward over right shoulder. 
 
 32 
 Line 72 : 
 
 ^Pos. 3 — Quickly — right hand direct to upper zone, 
 oblique front, right, index finger strong, left at same 
 time to lower zone, lateral, palm prone. 
 
 33 
 Lines 73, 74, and 75 : 
 
 Transition— hands to middle zone front, palms prone, 
 eyes looking front, whole manner animated, 
 
 34 
 Line "j^i : 
 
 Hands passing with energy by straight-line arm 
 
DELSARTEAN PANTOMIMES QI 
 
 movement to lower zone lateral, index fingers strong 
 on " Struck out." 
 
 35 
 
 Lines 77 and 78 : 
 
 Transition — hands to middle zone front, palms su- 
 pine on " That was all," then right hand to upper 
 zone, palm vertical, left at same time to lower zone 
 lateral, palm prone. 
 
 36 
 
 Lines 79 and 80 : 
 
 Transition — hands passing to middle zone, front, 
 one crossing above the other, then to oblique front, 
 palms supine. 
 
 Omit lines 81, 82, 83, 84, 85, and 86. 
 
 37 
 
 Lines 87 and 88 : 
 
 Line of gravity to left foot, and base narrowed. 
 Transition — right hand passing to middle zone, front, 
 palm supine, left at same time down at side. 
 
 38 
 
 Lines 89, 90, 91, and 92 : 
 
 Transition — hands to lower zone front, and clasped 
 near body for first two lines, then still clasped, to middle 
 zone front, with shoulders shrugged, eyes and ears as 
 if listening ; hands passing outward and descending to 
 side at close of lines. 
 
Q2 DELSARTEAN PANTOMIMES 
 
 39 
 
 Lines 93, 94, 95, and 96 : 
 
 Transition — left hand to upper zone, oblique front, 
 palm vertical, on " Gilded weathercock," then inward 
 toward front, and out again to oblique front on next 
 line, eyes in same direction. 
 
 40 
 
 Lines 97, 98, 99, and 100 : 
 
 Pos. 4. Body somewhat retreated. Transition — right 
 hand passing high into middle zone, front, and left into 
 upper zone, oblique front, left, palms of both vertical, 
 then both outward and down to side on last line. 
 
 41 
 Lines 'lot and 102 : 
 
 Pos. 5. (Narrow.) Right hand passing to middle 
 zone, front, palm supine. 
 
 42 
 
 Lines 103 and 104. 
 
 Transition — both hands into upper zone, oblique 
 front, palms vertical, finger tips more strongly upward 
 on second line. 
 
 43 
 
 Lines 105 and 106 : 
 
 Transition — hands downward and inward to middle 
 zone, then outward to oblique front, palms prone, and 
 downward to side on last line. 
 
DELSARTEAN PANTOMIMES 93 
 
 44 
 Lines 107 and 108 : 
 
 Transition — rigEt hand to middle zone, front, palm 
 supine on " One." 
 
 45 
 
 lyines 109 and no : 
 
 Transition — left hand to middle zone, front, then both 
 hands rising and then passing downward into lower 
 zone, front, palms prone, face and eyes downward. 
 
 46 
 
 Lines III and 112 : 
 
 Transition — hands to middle zone, front, palms su- 
 pine on first line, then quickly into upper zone, 
 palms vertical on " Fired," then both directly to left on 
 " Fled." 
 
 47 
 Lines 113 and 114 : 
 
 Transition — hands to right oblique, forward, palms 
 supine, eyes following. 
 
 48 
 Line 115 : 
 
 Line of gravity to left foot. Transition — hands to 
 left, palms vertical, eyes following. 
 
 49 
 ' Lines 116, 117, and 118: 
 
 Transition — hands curving inward toward front of 
 
□4 DELSARTEAN PANTOMIMES 
 
 chest and crossing one above the other, palms outward, 
 then slowly floating down to side, face front. 
 
 Lines 119, 120, and 121 : 
 
 Line of gravity to right foot on first word and posi- 
 tion retained. 
 
 51 
 
 Line 122 : 
 
 Pos. 6. Transition — left hand in fist at right 
 shoulder, left elbow high and on line with chin, right 
 hand in fist, lower zone, oblique back, and well extended, 
 whole expression firm. 
 
 52 
 
 Line 123 : 
 
 Pos. 5. Transition — right hand to middle zone, 
 oblique front and moved as if in the act of knocking, on 
 the words " A knock at the door," left at same time to 
 lower zone, lateral, palm prone. 
 
 53 
 Line 124 : 
 Transition — right hand to lateral, palm supine. 
 
 54 
 Line 125 : 
 
 Pos. 4. Transition — right hand to oblique back, palm 
 supine. 
 
DELSARTEAN PANTOMIMES 95 
 
 55 
 Lines 126 and 127 : 
 
 Pos. 5. Transition — both hands to middle zone, 
 front, palms supine. 
 
 56 
 Line 128: 
 
 Transition — hands a little above middle zone, palms 
 vertical, eyes raised oblique front, right. 
 
 57 
 Lines 129 and 130 : 
 
 Transition — hands moving in toward head then out- 
 ward and slowly dropping to side, face front. 
 
96 DELSARTEAN PANTOMIMES 
 
 THB I^ AMINE 
 
 FROM " HIAWATHA," LONGFELI.OW 
 
 THE PANTOMIME 
 
 ATTITUDE 
 
 I 
 Lines I and 2 : 
 
 Position 6. (Narrow.) Arms hanging downward in 
 front of body, hands elapsed, eyes looking front. 
 
 2 
 
 Lines 3 and 4 : 
 
 Transition — hands passing upward front, to height 
 of shoulder, then to oblique front, palms prone, de- 
 scending and moving outward a little more on each 
 repetition of " Thicker." 
 
 3 
 Lines 5 and 6 : 
 
 Transition — as before, only somewhat higher, both 
 hands descending well into lower zone, and each then 
 slightly rising on each repetition of " Deeper," — ^hold 
 position through second line. 
 
 4 
 Line 7 : 
 
 Transition — same as before but still higher, then de- 
 scending into middle zone, lateral. 
 
' With both hands his face he covered ; 
 Seven long days and nights he sat there !" 
 
DELSARTEAN PANTOMIMES ng 
 
 Line 8 : 
 
 Pos, 7. Transition — hands passing to middle zone, 
 front, then right hand to lateral, palm supine, on 
 " Through the forest," left floating down to side, then 
 left hand to front, middle zone and out to lateral, palm 
 vertical and right hand descending to side, on re- 
 mainder of line, eyes in each case following. 
 
 6 
 
 Lines 9 and 10 : 
 
 Pos. 5. Transition — hands near chest, palms verti- 
 cal, finger tips upward, then thrust forward in middle 
 zone, front on " Force." 
 
 7 
 
 Line II : 
 
 Transition — hands curving inward, then front, palms 
 supine on first part, repeated with hands lower on 
 second part. 
 
 8 
 Line 12 : 
 
 Line of gravity to left foot. Hands enclosing each 
 other, at arm's length behind back and close to body. 
 
 9 
 Line 13 : 
 
 Look upward and around on first part of line, and 
 downward and around on second part of line. 
 
lOO DELSARTEAN PANTOMIMES 
 
 lO 
 
 Lines 14 and 15 : 
 
 Transitions — for first line, right hand curved inward 
 toward left chest, then to lower zone, oblique front, 
 index finger leading. On second line repeat same arm 
 movement, hand position prone. 
 
 II 
 
 Lines 16 and 17 : 
 
 Transition — hands carried to upper zone front, then 
 outward and downward, descending to side as if life- 
 less. 
 
 12 
 
 Line 18 : 
 
 Transition — hands crossing middle zone, front, then 
 carried to lower zone, front, palms supine. 
 
 Omit lines 19, 20, 21, 22, 23, 24, 25, 26, 27, and 28. 
 
 13 
 
 Lines 29, 30, and 31 : 
 
 Pos. 2. Transition — hands over head, then down- 
 ward into middle zone, front, palms vertical, eyes 
 looking in same direction. 
 
 Lines 32 and 33 : 
 
 Transition — hands moving toward oblique front, left, 
 eyes following. 
 
DELSARTEAN PANTOMIMES loi 
 
 Lines 34 and 35 : 
 
 Hands held strongly in same position. 
 
 16 
 Lines 36 and 37 : 
 
 Hands raised somewhat higher, body slightly more 
 retreated, face strongly expressive. 
 
 17 
 
 Lines 38 and 39 : 
 
 Pos. 3. With stealthy movement. Transition — 
 hands moving inward toward chest, then returning to 
 former position, fingers croolced and spread, appearance 
 weak and trembling, face haggard. 
 
 18 
 
 Lines 40 and 41 : 
 
 Line of gravity to left foot. Transition- — hands in 
 toward chest, then high above head, fingers somewhat 
 separated, palms vertical, whole manner aggressive, 
 eyes looking downward and forward, oblique front, 
 right. 
 
 19 
 Lines 42, 43, and 44 : 
 
 Same attitude as preceding, except hands pass slowly 
 outward and downward into lower zone front. 
 
 20 
 Lines 45, 46, and 47 : 
 Pos. 8. Transition — hands from lower zone front. 
 
I02 DELSARTEAN PANTOMIMES 
 
 Upward and outward, tlien inward on face, covering 
 temples with palms and forefingers, head drooped. 
 
 21 
 
 Lines 48 and 49 : 
 
 Transition — hands rising from face, palms upward, 
 head turned oblique, front, right, eyes looking forward 
 and upward, expression terrified. 
 
 22 
 
 Lines 50 and 51 : 
 
 Pos I. Body strongly forward. Transition — hands 
 downward into lower zone, then upward and inward to- 
 ward chest and forward, by straight-line movement, 
 palms prone, left hand slightly in advance of right. 
 
 23 
 
 Lines 52, 53, 54, and 55 : 
 
 Transition — hands to upper zone, front, then out- 
 ward and downward, the right passing inward and 
 placed on heart, the left at same time descending near 
 side and clinched, face sad but firm. On third line the 
 left rises and is placed with palm strongly on forehead, 
 head slightly thrown back, eyes looking forward and 
 somewhat upward. 
 
 24 
 
 Lines 56 and 57 : 
 
 Pos. centred. Transition — (through first line) hands 
 to upper zone, then descending ; then on second line 
 right hand passing over toward left shoulder, then 
 
DELSARTEAN PANTOMIMES 103 
 
 again to upper zone, right, and at full arm's length 
 directly above head, index finger pointing upward, left 
 hand at right shoulder, index finger pointing to right 
 arm, eyes looking upward at right hand, as if estima- 
 ting length of bow. 
 
 25 
 
 Line 58 : 
 
 Attitude same as preceding, except that right hand 
 descends and passes to left shoulder, index finger 
 pointing backward, eyes front. 
 
 26 
 Lines 59, 60, and 61 : 
 
 Transition — hands passing to upper zone, then down- 
 ward to middle zone, front, palms supine. 
 
 27 
 
 Lines 62, 63, 64; 65, and 66 : 
 
 Pos. 5. Transition — hands quickly to upper zone, 
 front, then outward and downward, and inward in mid- 
 dle zone, and applied palnr to palm near chest, finger 
 tips upward, elbows outward, head and eyes raised, 
 whole manner fervent. 
 
 28 
 Lines 67, 68, 69, 70, 71, 72, 73, 74, and 75 : 
 With interlocked fingers, bring hands close to chest, 
 
 elbows high, whole manner intense, retain attitude to 
 
 end of lines. 
 
 Omit lines 76 to 88 inclusive. 
 
I04 DELSARTEAN PANTOMIMES 
 
 29 
 
 Lines 89, 90, 91, 92, and 93 : 
 
 Pos. 3. Transition — hands to upper zone, front, then 
 outward and downward, and inward in lower zone, then 
 forward to oblique front, right, palms prone, face in 
 same direction, countenance sad, eyes looking forward 
 and downward. 
 
 30 
 
 Lines 94, 95, 96, and 97 : 
 
 Line of gravity to left foot, body inclining to left side, 
 left hand near left ear as if listening, right hand down 
 and out at right side, palm prone, eyes looking forward 
 and upward, oblique front, right. 
 
 31 
 Lines 98 and 99 : 
 
 Line of gravity to right foot, body inclined forward 
 and slightly downward. Transition — hands to upper 
 zone, then through oblique front to lower zone, then 
 inward and forward to oblique front, right, palms prone, 
 face sympathetic, eyes lookRig downward. 
 
 32 
 
 Lines 100, loi, 102, and 103 : 
 
 Pos. 7. Transition — hands to upper zone, then left 
 hand outward and downw^ard to left side, palm prone, 
 right hand at same time passing to right lateral, index 
 finger leading, hand position a little above shoulder; 
 on third line slightly beckon twice with right hand, eyes 
 looking distantly forward to right, face wistful and sad. 
 
DELSARTEAN PANTOMIMES 105 
 
 33 
 
 I/iues 104 and 105 : 
 
 Attitude same as in No. 31, except somewhat 
 stronger and more sympathetic. 
 
 34 
 
 Lines 106 and 107 : 
 
 Pos. 2. Body strongly retreated. Transition — hands 
 to upper zone front, then outward and inward and up- 
 ward, and held over head, fingers separated, palms 
 vertical, elbows outward, whole manner terrified. 
 
 35 
 lyines 108 and 109 : 
 
 Attitude same as preceding, except hands tightly 
 close on beginning of second line. 
 
 36 
 
 Line no : 
 
 Head thrown backward, hands clasping same as if 
 in anguish, elbows upward and outward, face indicative 
 of death. 
 
 37 
 Lines III, 112, 113, 114, 115, 116, and 117: 
 Pos. 5. Transition — hands to upper zone, front, then 
 downward and inward, the right then passing to lower 
 zone, lateral, palm prone, the left in toward chest, 
 then to oblique front, left, index finger leading, eyes 
 looking in same direction. 
 
Io6 DELSARTEAN PANTOMIMES 
 
 Lines 118, 119, and 120: 
 
 Pos. 6. Transition — hands crossing one above the 
 other in middle zone front, then outward and down- 
 ward into lower zone, oblique front, palms prone, on 
 first line, then to upper zone, oblique front, on second 
 line, palms vertical and held to end of lines, eyes 
 looking upward. 
 
 39 
 Line 121 : 
 Hands dropped to side, head and eyes downward. 
 
 40. 
 
 Lines 122, 123, and 124: 
 
 Body and head inclined slightly to right, right hand 
 carried toward right ear as if listening, left in lower 
 zone, out at side, palm prone, eyes raised oblique front, 
 left, face sad and anxious. 
 
 Omit lines 125 and 126. 
 
 Line 127 : 
 
 Pos. 3. Body strongly forward. Transition — hands 
 to middle zone, front, near waist, then with straight line 
 movement to oblique front, right, palms supine, eyes 
 looking in same direction, expression eager and anxious. 
 
 Omit lines 128 and 129. 
 
DELSARTEAN PANTOMIMES iq? 
 
 42 
 
 Lines 130 and 131 : 
 
 Pos. 2. Knees bent, hands thrown above head, arms 
 slightly relaxed at elbows, palms vertical, face oblique 
 front, right, and expressive of anguish. 
 
 43 
 Lines 132 and 133 : 
 
 Transition — hands outward and descending into 
 middle zone, then inward and placed one upon the 
 other in the region of the heart. 
 
 44 
 Lines 134, 135, and 136 : 
 
 Knees firm. Transition — hands passing to upper 
 zone, oblique front, palms supine, on first line, then 
 carried inward, palms vertical on " Stars," then out- 
 ward to oblique front on " Shook " and held to end of 
 line. 
 
 45 
 
 Lines 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 
 147, 148, and 149 : 
 
 Retain pos. 2 and kneel to floor' on right knee. 
 Movement very slow and dejected, face buried in palms, 
 with hands resting on left knee. 
 
 Omit 150 to 155 inclusive. 
 
 46 
 Lines 156, 157, 158, 159, 160, 161, and 162: 
 Retain preceding attitude for first four lines, then 
 
lo8 DELSARTEAN PANTOMIMES 
 
 turn palms of hands down, one upon the other upon 
 left knee, at same time slowly bringing up head and 
 body without raising right knee from floor, shoulders 
 drooped, face sad. eyes looking obliquely forward, right. 
 
 47 
 
 Lines 163, 164, 165, 166, and 167: 
 
 Retaining hands on knee rise slowly to position 3, 
 line of gravity in left foot : having risen, tightly clasp 
 hands at arm's length in lower zone and close to body, 
 face and eyes oblique front, right, whole manner 
 mournful. 
 
 48 
 
 Lines 168 and 169 : 
 
 Line of gravity very slowly to right foot, left hand 
 at same time passing to lower zone, lateral, palm prone, 
 right hand in toward left shoulder, then well forward 
 to oblique front, right, palm supine, eyes looking 
 distantly in same direction. 
 
 49 
 Lines 170, 171, 172, 173, 174, 175, and 176: 
 Transition — hands slowly moving inward and placed 
 
 upon heart, elbows well out, retain this attitude to end 
 
 of lines. 
 
 Lines 177 and 178 : 
 
 Transition — right hand slowly passing outward to 
 oblique front, right, palm supine, face wistful. 
 
DELSARTEAN PANTOMIMES 109 
 
 Line 179 : 
 
 Line of gravity to left foot, right hand at same time 
 passing upward and inward until almost directly over- 
 head, index finger leading, eyes looking upward in 
 direction indicated by finger. 
 
 52 
 
 Line 180 : 
 
 Transition — left hand passing from heart to upper 
 zone front, then both passing outward and downward, 
 then inward toward chest, then to upper zone oblique 
 front, palms supine, and held to close, head and eyes 
 raised. 
 
no DELSAR7EAN PANTOMIMES 
 
 THE BACHElvOR'S SAI.B 
 
 I dreamed a dream, in the. midst of my slumbers, 
 And as fast as I dreamed it was coined into numbers ; 
 My thoughts ran along in such beautiful meter 
 I'm sure I ne'er saw any poetry sweeter. 
 
 It seemed that a law had been recently made, 
 That a tax on old bachelors' pates should be laid, 
 And, in order to make them all willing to marry, 
 The tax was as large as a man could well carry. 
 
 The bachelors grumbled and said 'twas " no use," 
 
 'Twas " cruel injustice " and " horrid abuse ;" 
 
 And declared that to keep their own heart's blood from 
 
 spilling 
 Of such a vile tax they would pay ne'er a shilling. 
 
 But the rulers determined their scheme to pursue. 
 Set all the old bachelors up at vendu, 
 And a crier was sent through the town, to and fro, 
 To rattle his bell and his trumpet to blow. 
 
 And to call out to all he might m.eet on the way 
 " Ho ! forty old bachelors for sale here to-day." 
 And presently all the old maids in the town, 
 Each one in her very best bonnet and gown, 
 
" Each lugged an old bachelor home on her shoulder." 
 
DELSARTEAN PANTOMIMES 1 13 
 
 From thirty to sixty, fair, plump, red, and pale, 
 Of every description all flocked to the sale. 
 
 The auctioneer then in his labors began. 
 
 And called out aloud as they held up a man, 
 
 " How much for this bachelor ? who wants to buy ?" 
 
 In a twink every maiden responded " I," " I." 
 
 In short, at a hugely extravagant price, 
 The bachelors were all sold off in a trice ; 
 And forty maidens, some younger, some older. 
 Each lugged an old bachelor home on her shoulder. 
 
11^ DELS ARTE AN PANTOMIMES 
 
 THH BACHELOR'S SALE 
 
 ATTITUDE 
 
 " I dreamed a dream, iu the midst of my slumbers, 
 And as fast as I dreamed it was coined into numbers ; 
 My thoughts ran along in such beautiful meter 
 I'm sure I ne'er saw any poetry sweeter." 
 
 Pos. 3. (Narrow.) Line of gravity in left foot, fingers 
 loosely interlocked in lower zone, front and close to 
 body, eyes looking forward, amused expression. 
 
 " It seemed that a law had been recently made. 
 
 That a tax on old bachelors' pates should be laid," / 
 
 Transition — right hand in toward left chest, then to 
 middle zone, front, palm supine on " Law," left passing 
 down to side ; on second line right hand passes inward 
 again to left, then forward to same position as before 
 on " Pates," except that palm should be prone. 
 
 " And, in order to make them all willing to marry, 
 The tax was as large as a man could well carry." y~ 
 
DELSARTEAN PANTOMIMES 115 
 
 Transition — hands crossing one above the other in 
 middle zone, front, then passing outward to oblique 
 front, palms supine. 
 
 4 
 " The bachelors grumbled and said 'twas ' no use,' 
 'Twas ' cruel injustice ' and ' horrid abuse ;' " 
 
 Hands behind back, whole manner decided, head in 
 very emphatic nod on "Cruel injustice," and also on 
 " horrid abuse." 
 
 5 
 " And declared that to keep their own heart's blood from 
 
 spilling 
 Of such a vile tax they would pay ne'er a shilling." / 
 
 Body drawn up firmly, right hand raised decidedly, 
 high over head on first line, then brought in fist into 
 lower zone, front, on " Vile tax " and held to end of 
 stanza, expression very firm. 
 
 6 
 
 " But the rulers determined their scheme to pursue, 
 Set all the bachelors up at vendu," S^^ ^ 
 
 Transition— hands passing to middle zone front, one 
 crossing above the other, then to oblique front, palms 
 supine. 
 
 7 
 " And a crier was sent through the town, to and fro, 
 To rattle his bell and his trumpet to blow." 
 
Il6 DELSARTEAN PANTOMIMES 
 
 Transition — on first line hands move inward and 
 cross one above the other and outward toward lateral, 
 the left then passing down near side and the right 
 moved strongly toward left, then toward right and held 
 on " To rattle his bell." 
 
 " And to call out to all he might meet on the way " 
 
 Transition — hands inward to middle zone, front, then 
 to oblique front, palms supine. ' \ 
 
 9 
 
 " ' Ho ! forty old bachelors for sale here to-day.' " 
 
 Transition — right hand to mouth as if shouting, left 
 hand on left hip, head slightly raised and turned to- 
 ward oblique front, left. 
 
 lo 
 
 -" And presently all the old maids of the town. 
 Each one in her very best bonnet and gown, 
 From thirty to sixty, fair, plump, red, and pale. 
 Of every description all flocked to the sale." 
 
 Retain preceding attitude on first three lines, then 
 hands transition by middle zone, front, to oblique front, 
 palms supine for last line, eyes front. 
 
 II 
 
 " The auctioneer then in his labors began. 
 
 And called out aloud as they held up a man 
 
 ' How much for this bachelor ? who wants to buy ?' " 
 
DELSARTEAN PANTOMIMES 
 
 117 
 
 Retain preceding attitude on first line, then to Pos. 4 
 on second line. Transition — hands moving into upper 
 zone and downward to oblique front, left, palms supine, 
 left hand higher than right, eyes also to oblique left. 
 
 12 
 
 " In a twink every maiden responded ' I,' ' I.' " 
 
 Pos. 3. Body inclined forward. Transition — hands 
 passing into upper zone, then outward and downward, 
 the right placed near mouth as if calling, and the left 
 moving to lower zone, lateral, palm prone, eyes and face 
 oblique forward to right, mouth open as if shouting. 
 
 " In short, at a hugely extravagant price. 
 
 The bachelors were all sold off in a trice ; 
 
 And forty old maidens, some younger, some older, 
 
 Each lugged an old bachelor home on her shoulder." 
 
 Retain preceding attitude on first two lines ; on third 
 line, the line of gravity should be slowly shifted to left 
 foot, the hands at same time passing to lower zone, front, 
 then into upper zone, then outward and downward and 
 in close upon left shoulder for last line, face turned 
 oblique front, left, and somewhat raised, eyes toward 
 oblique left backward, expression mirthful. 
 
Il8 DELSARTEAN PANTOMIMES 
 
 QUEEN VASHTI'S LAMENT 
 
 ABRIDGED 
 
 " And after these things, when the wrath of King 
 Ahasuerus was appeased, he remembered Vashti and 
 what, she had done, and what was decreed against her." 
 — Esther ii, i. 
 
 Is this all the love that he bore me, my husband, to 
 
 publish my face 
 To the nobles of Media and Persia, whose hearts are 
 
 besotted and base ? 
 Did he think me a slave, me, Vashti, the Beautiful, me. 
 
 Queen of queens, 
 To summon me thus for a show to the midst of his 
 
 bacchanal scenes ? 
 
 I stand like an image of brass, I, Vashti, in sight of 
 
 such men ! 
 No, sooner, a thousand times sooner, the mouth of the 
 
 lioness' den. 
 
 Did he love me, or is he, too, though the King, but a 
 
 brute like the rest ! 
 I have seen him in wine, and I fancied 'twas then that 
 
 he loved me the best ; 
 
■ And the king shall love his Vashti ; his Beautiful, his own.' 
 
• 1 
 
DELSARTEAN PANTOMIMES 121 
 
 ■But ever before, in his wine, toward me he showed 
 
 honor and grace.; 
 He was King, I was Queen, and those nobles, he made 
 
 them remember their place. 
 But now all is changed ; I aiji vile, they are honored, 
 
 they push me aside, 
 A butt foi Memucan and Shethar and Meres, gone mad 
 
 in their pride ! 
 
 Shall I faint, shall I pine, shall I sicken and die for the 
 
 loss of his love ? 
 Not I ; I am queen of myself, though the stars ' fall 
 
 from heaven above. 
 The stars ! ha ! the torment is there, for my light is put 
 
 out by a star. 
 That has dazzled the eyes of the King and his court 
 
 and his captains of war. 
 
 He was lonely, they say, and he looked like a ghost, as 
 
 he sat at his wine. 
 On the couch, where, of yore, by his side, his Beautiful 
 
 used to recline ; 
 But the King is a slave to his pride, to his oath and the 
 
 laws of the Medes, 
 And he cannot call Vashti again, though his poor heart 
 
 is wounded and bleeds. 
 
 Sj they sought through the land for a wife, while the 
 King thought of me all the while — 
 
 I can see him, this moment, with eyes that are lost for 
 the loss of a smile, 
 
122 DELSARTEAN PANTOMIMES 
 
 Gazing dreamily on while each maiden is temptingly- 
 passed in review, 
 
 While the love in his heart is awake with the thought 
 of a face that he knew ! 
 
 Then she came, when his heart was grown weary with 
 
 loving the dream of the past ! 
 She is fair — I could curse her for that, if I thoiight that 
 
 this passion would last ! 
 But, e'en if it last, all the love is for me, and, through 
 
 good and through ill. 
 The King will remember his Vashti, will think of his 
 
 Beautiful still. 
 
 What is it ? Oft as I lie awake and my pillow is wet 
 
 with tears 
 There comes — it came to me just now — a flash, then 
 
 disappears ; 
 A flash of thought that makes this life a re-enacted 
 
 scene, 
 That makes me dream what was will be, and what is 
 
 now, has been 
 
 And I, when age on age has rolled, shall sit on the 
 
 royal throne. 
 And the King shall love his Vashti, his Beautiful, his 
 
 own. 
 And for the joy of what has been and what again will 
 
 be, 
 I'll try to bear this awful weight of lonely misery ! 
 
DELSARTEAN PANTOMIMES 123 
 
 The star ! Queen Esther ! blazing light that burns into 
 
 my soul ! 
 The star ! the star ! Oh ! flickering light of life beyond 
 
 control ! 
 O King ! remember Vashti, thy Beautiful, thy own, 
 Who loved thee and will love thee still, when Esther's 
 
 light has flown ! 
 
 John Reade 
 
124 
 
 DELSARTEAN PANTOMIMES 
 
 THE PANTOMIME 
 
 ATTITUDE 
 I 
 
 " Is this all the love that he bore me, my husband, to 
 
 publish my face 
 To the nobles of Media and Persia, whose hearts are 
 
 besotted and base ? 
 Did he think me a slave, me, Vasthi, the Beautiful, me, 
 
 Queen of queens. 
 To summon me thus for a show to the midst of liis 
 
 bacchanal scenes ?" 
 
 Pos. 6. Body well drawn up, arms folded, face 
 oblique front, right, expression indignant, eyes a little 
 above horizontal. 
 
 2 
 
 " I stand like an image of brass, I, Vashti, in sight of 
 such men!" 
 
 Pos. 5. Transition — hands unfolding, rising to upper 
 zone, front, then outward and downwai-d to middle zone, 
 oblique front, palms supine, face front. 
 
 3 
 " No, sooner, a thousand times sooner, the mouth of 
 the lioness' den." 
 
DELSARTEAN PANTOMIMES 
 
 125 
 
 Pos. 6. Transition — hands carried quickly above 
 head, then brought firmly down with straight-line arm 
 movement, near side, hands closing in fists. 
 
 4 
 
 " Did he love me, or is he, too, though the King, but a 
 
 brute like the rest ! 
 I have seen him in wine, and I fancied 'twas then that 
 
 he loved me the best ; 
 But ever before, in his wine, toward me he showed 
 
 honor and grace ;" 
 
 Transition — hands clasped at arm's length, in lower 
 zone, front, near body, head drooped ; features relaxed, 
 •whole manner meditative. 
 
 5 
 " He was King, I was Queen, 
 
 Body and head well drawn u^p, eyes front. Transi- 
 tion — hands passing a little above middle zone, then 
 right hand to middle zone, oblique front, palm supine, 
 left hand downward to side, palm prone, right hand 
 moved a little further outward and upward on " Queen." 
 
 6 
 
 " And those nobles, he made them remembertheir place," 
 
 Transition — right hand passing to upper zone, then 
 to lower zone, lateral, straight-line arm movement, 
 palm prone. 
 
J 26 DEI.SARTEAN PANTOMIMES 
 
 7 
 " But now all is changed ;" 
 
 A slight shrug of shoulders, as if showing con- 
 tempt, facial expression to correspond. 
 
 8 
 
 " I am vile, they are honored," 
 
 Transition — hands to front of waist, crossing one 
 above the other and returning to lower zone, lateral, 
 palms facing front, head lowered as if in mock humility. 
 
 9 
 
 " They push me aside, 
 A butt for Memucan and Shethar and Meres, gone mad 
 in their pride !" 
 
 Pos. 7. Transition — right hand passing over to left 
 side, then both hands passing directly to right side, 
 middle zone, palms vertical (right hand furthest ex- 
 tended) on " push me aside," and held, face oblique for- 
 ward left. 
 
 10 
 
 " Shall I faint, shall I pine, shall I sicKen and die for 
 the loss of his love?" 
 Line of gravity to left foot. Transition — hands to 
 vipper zone front, then outward and downward at side. 
 
 II 
 
 " Not I ; I am queen of myself," 
 
DELSARTEAN PANTOMIMES 
 
 127 
 
 Body drawn strongly up, right hand passing upward 
 to middle zone, then brought inward with fingers touch- 
 ing chest on " queen of myself." 
 
 13 
 
 " Though the stars fall frorii heaven above.'' 
 
 Transition — right hand carried quickly at arm's 
 length above head, palm facing front, whole manner 
 firm, eyes raised. 
 
 13 
 
 " The stars ! ha ! the torment is there, for my light is 
 
 put out by a star. 
 That has dazzled the eyes of the King and his court 
 
 and his captains of war." 
 
 Right hand clasping back of head just above neck, 
 elbow well up and oblique forward, left hand well out 
 at side and clinched, head drooped. 
 
 " He was lonely, they say, and he looked like a ghost 
 
 as he sat at his wine, 
 On the couch, where, of yore, by his side, his Beautiful 
 
 used to recline ; " 
 
 Transition — right hand passing outward and down- 
 ward to lower zone front, left hand to same position 
 from lower zone, then one inclosing the other near 
 body, muscles relaxed, manner meditative. 
 
128 DELSARTEAN PANTOMIMES 
 
 " But the King is a slave to his pride, to his oath and 
 the laws of the Medes," 
 
 Head slowly rising. 
 
 16 
 
 " And he cannot call Vasthti again, though his poor 
 heart is wounded and bleeds." 
 
 Hands brought slowly upward, clasped and placed 
 upon chest, eyes slightly raised, face sad and sympa- 
 thetic. 
 
 17 
 " So they sought through the land for a wife, while the 
 King thought of me all the while — " 
 
 Hands loosely clasped, dropping again into lower 
 zone near body. 
 
 18 
 
 " I can see him, this moment, with eyes that are lost 
 
 for the loss of a smile, 
 Gazing dreamily on while each maiden is temptingly 
 
 passed in review," 
 
 Pos. 5. (Narrow.) Eyes obliquely forward, right, 
 face sad. 
 
 19 
 " While the love in his heart is awake with the thought 
 of a face that he knew !" 
 
DELSARTEAN PANTOMIMES 
 
 129 
 
 Transition — hands passing upward to middle zone, 
 front, palms supine. 
 
 20 
 
 " Then she came, when his heart was grown weary with 
 loving the dream of the past !" 
 
 Line of gravity to left foot. Transition — hands pass- 
 ing to upper zone, front then outward and downward at 
 side. 
 
 21 
 
 " She is fair — I could curse her for that, if I thought 
 that this passion would last !" 
 
 Line of gravity to right foot. Transition — hands 
 quickly passing to front of chest, then by straight-line 
 arm movement to lower zone, lateral, close to side, 
 palms prone, whole manner strong. 
 
 22 
 
 " But, e'en if it last, all the love is for me, and through 
 
 good and through ill. 
 The King will remember his Vashti, will think of 
 
 his Beautiful still." 
 
 Transition — hands moving slowly front, in lower 
 zone, fingers loosely interlocking, face obliquely for- 
 ward to right, eyes a little above middle range, ex- 
 pression sadly meditative. 
 
130 DELSARTRAN PANTOMIMES 
 
 23 
 
 " What is it ? Oft as I lie awake and my pillow is wet 
 
 with tears 
 There comes — it came to me just now — a flash, then 
 
 disappears ;" 
 
 Line of gravity to left foot. Face (on first line) 
 obliquely forward, left, then slowly toward front on 
 second line, eyes still a little above middle range. 
 Transition — hands rising to height of head on " There 
 comes," then inward, finger tips touching head, then 
 outward on " Disappears." 
 
 24 
 
 " A flash of thought that makes this life a re-enacted 
 
 scene. 
 That makes me dream what was, will be, and what is 
 
 now, has been. 
 And I, when age on age has rolled, shall sit on the royal 
 
 throne, 
 And the King shall love his Vashti, his Beautiful, his 
 
 Line of gravity to left foot. Transition — ^hands pass- 
 ing downward from "Disappears" into lower zone, front, 
 then applied palm to palm, and brought to left side of 
 neck, elbows well out and up, head resting against 
 back of right hand and thrown slightly back, eyes 
 looking somewhat upward and forward toward oblique 
 front, left, face sadly reflective but hopeful. 
 
DELSARTEAN PANTOMIMES 
 
 131 
 
 25 
 " And for the joy of what has l)een and what again will 
 
 be, 
 I'll try to bear this awful weight of lonely misery!" 
 
 Transition — hands slowly unclasping and passing to 
 upper zone, on first line, then outward to lower zone, 
 lateral, on second line, palms prone, face front, head 
 drooped. 
 
 26 
 
 " The star ! Queen Esther ! blazing light that burns 
 
 into my soul ! 
 The star ! the star ! Oh ! flickering light of life beyond 
 
 control !" 
 
 Transition — hands passing to upper zone, front, then 
 right hand brought, in fist, strongly upon chest, left in 
 fist, to lower zone, lateral, and well extended, whole 
 manner strong, head and eyes raised. 
 
 27 
 
 "O King! remember Vashti, thy Beautiful, thy own, 
 Who loved thee and will love thee still, when Esther's 
 light has flown !" 
 
 Pos. 3. (Narrow.) Transition — hands passing to 
 upper zone, front, then outward and downward, to middle 
 zone, oblique front, palms supine, face oblique forward, 
 right, expression yearning, hands clasped in front of 
 chest on last line. 
 
1.^2 DELSARTEAN PANTOMIMES 
 
 THE VOICE OF SPRING 
 
 I come, I come ! ye have called me long — 
 I come o'er the mountains with light and song ! 
 Ye may trace my step o'er the wakening earth, 
 By the winds which tell of the violet's birth, 
 By the primrose-stars in the shadowy grass, 
 By the green leaves opening as I pass. 
 
 I have breathed on the South, and the chestnut flowers 
 By thousands have burst from the forest-bowers, 
 And the ancient graves and the fallen fanes 
 Are veiled with wreaths on Italian plains ; — 
 But it is not for me, in my hour of bloom, 
 To speak of the ruin or the tomb ! 
 
 I have looked on the hills of the stormy North, 
 
 And the larch has hung all his tassels forth, 
 
 And the fisher is out o.a the sunny sea. 
 
 And the reindeer bounds o'er the pastures free, 
 
 And the pine has a fringe of softer green, 
 
 Aud the moss looks bright wdiere ray foot hath been. 
 
 I have sent through the wood-paths a glowing sigh, 
 And called out each voice of the deep blue sky ; 
 From the night-bird's lay through the starry time, 
 In the groves of the soft Hesperian clime, 
 
'1 shall find them there with their eyes of light !" 
 
DELSARTEAN PANTOMIMES 
 
 To tlie swan's wild note by the Iceland lakes, 
 When the dark fir-branch into verdure breaks. 
 
 135 
 
 From the streams and founts I have loosed the chain, 
 They are sweeping on to the silvery main, 
 They are flashing down from the mountain brows, 
 They are flinging spray o'er the forest boughs. 
 They are bursting fresh from their sparry caves, 
 And the earth resounds with the joy of waves ! 
 
 Come forth, O ye children of gladness ! come ! 
 Where the violets lie may be now your home. 
 Ye of the rose-lip and dew-bright eye, 
 And the bounding footstep to nieet me fly ! 
 With the lyre, and the wreath, and the joyous lay, 
 Come forth to the sunshine — I may not stay. 
 
 Away from the dwellings of care-worn men. 
 The waters are sparkling in grove and glen ! 
 Away from the chamber and sullen hearth, 
 The young leaves are dancing in breezy mirth ! 
 Their light stems thrill to the wild-wood strains. 
 And youth is abroad in my green domains. 
 
 But ye ! — ye are changed since ye met me last ! 
 There is something bright from your features passed ! 
 There is that come over your brow and eye 
 Which speaks of a world where the flowers must die ! 
 — Ye smile ! but your smile hath a dimness yet. 
 Oh ! what have ye looked on since last we met ? 
 
136 DELSARTEAN PANTOMIMES 
 
 Ye are changed, ye are changed — and I see not here 
 All whom I saw in the vanished year ! 
 There were graceful heads, with their ringlets bright, 
 Which tossed in the breeze with a play of light ; 
 They were eyes in whose glistening laughter lay 
 No faint remembrance of dull decay ! 
 
 There were steps that flew o'er the cowslip's head. 
 
 As if for a banquet all earth were spread ; 
 
 There were voices that rang through the sapphire sky. 
 
 And had not a sound of mortality ! 
 
 Are they gone? is their mirth from the mountains 
 
 passed ? — 
 Ye have looked on death since ye met me last ! 
 
 I know whence the shadow comes o'er you now — 
 Ye have strewn the dust on the sunny brow ! 
 Ye have given the lovely to earth's embrace — 
 She hath taken the fairest of beauty's race. 
 With their laughing eyes and their festal crown ; 
 They are gone from amongst you in silence down ! 
 
 Tliey are gone from amongst you, the young and fair, 
 Ye have lost the gleam of their shining hair ! 
 But I know of a land where there falls no blight — 
 I shall find them there, with their eyes of light ! 
 Where Death midst the blooms of the morn may dwell, 
 I tarry no longer — farewell, farewell ! 
 
DELSARTEAN PANTOMIMES j^y 
 
 THE PANTOMIME 
 
 The dress for this Pantomime will be improved if decorated with 
 sprays or wreaths of flowers. 
 
 ATTITUDE 
 
 I 
 " I come, I come ! ye have called me long — " 
 
 Pos. 2. Hands higli over head, finger tips touching, 
 palm of left supine, palm of right prone, face bright, 
 body well drawn up, movements light and airy. 
 
 2 
 " I come o'er the mountains with light and song!" 
 
 Pos. 5. Hands quickly brought outward and down- 
 ward into lower zone, front, then into upper zone as in 
 first attitude, except hand position is reversed. 
 
 3 
 " Ye may trace my steps o'er the wakening earth, 
 By the winds which tell of the violet's birth. 
 By the primrose-stars in the shadowy grass, 
 By the green leaves opening as I pass." 
 
 Hand transition outward and downward lateral, then 
 short curves inward and outward, shoulder high on 
 
IjS DELSARTEAN PANTOMIMES 
 
 " By the winds," then downward into lower zone 
 on " Violet's birth," then inward and outward, palms 
 prone, on " Primrose-stars," then upward into middle 
 realm and inward and outward on " Green leaves." 
 
 4 
 " I have breathed on the South, and the chestnut flowers 
 By thousands have burst from the forest-bowers, 
 And the ancient graves and the fallen fanes. 
 Are veiled with wreaths on Italian plains ; — " 
 
 Pos. 8. Hand transition to lower zone front and cross- 
 ing one above the other and outward to oblique front, 
 upper zone, palms vertical on " Thousands " and held 
 to end of next line, when they descend into middle 
 zone on " Veiled," palm prone. 
 
 5 
 " But it is not for me, in my hour of bloom. 
 To speak of the ruin or the tomb !" 
 
 Pos. 5 — (Narrow.) Line of gravity in left foot. 
 Transition — hands descending into lower zone front, 
 fingers loosely clasped, face looking front. 
 
 6 
 
 " I have looked on the hills of the stormy North," 
 
 Pos. 3. Transition — both hands rising iuto upper zone, 
 front, then curving outward and downward and inward 
 toward chest, then right hand forward and slightly into 
 upper zone, oblique front, palm nearly prone, left at same 
 
DELSARTEAN PANTOMIMES j^g 
 
 time descending to lower zone oblique back, palm 
 prone. 
 
 7 
 " And the larch has hung all his tassels forth," 
 
 Right hand rising slowly and well into upper zone 
 and somewhat dropped at wrist. 
 
 8 
 
 " The fisher is out on the sunny sea," 
 
 Body inclined a little more directly to right. Transi- 
 tion — hands passing in toward chest, then curving 
 outward and obliquely forward to right, right hand 
 considerably in advance of left, palms vertical. 
 
 9 
 
 " And the reindeer bounds o'er the pastures free," 
 
 Line of gravity shifted to left foot, body more drawn 
 up, right hand a little distance in front but above head, 
 left a few inches from chest, palms facing front, elbows 
 well out, face looking forward. 
 
 lO 
 
 " And the pine has a fringe of softer green," 
 
 Same as preceding, except face is looking upward. 
 
 II 
 " And the moss looks bright, where my foot hath been." 
 
 Hands and head slowly descending. 
 
I^o DELSARTEAN PAN70MIMES 
 
 12 
 " I have sent through the wood-paths a glowing sigh," 
 
 Pos. 7. Transition — hands passing from lower zone, 
 lateral, to middle zone, front, right crossing above left, 
 then passing to lateral — left at same time to lower 
 zone near side, palm slightly prone. 
 
 " And called otit each voice of the deep blue sky ;" 
 
 Right hand passing in toward left chest, then high 
 into upper zone, right side, palm partly facing front, 
 eyes' looking up. 
 
 14 
 " From the night-bird's lay through the starry time, 
 In the groves of the soft Hesperian clime," 
 
 Right hand passing gently inward in upper zone, 
 then oblique back, right, palm well up, eyes looking 
 direction of right hand. 
 
 "To the swan's wild note by the Iceland lakes," 
 
 Pos. 3. Hand transition by lower zone, front, right 
 crossing above left, then passing to upper zone, oblique 
 front, palm vertical, left at same time downward and 
 out at side, palm prone. 
 
 16 
 
 " When the dark fir-branch into verdure breaks." 
 
DELSARTEAN PANTOMIMES j^j 
 
 Right hand slowly rising higher, palm upward on 
 " Breaks." 
 
 " From the streams and founts I have loosed the chain," 
 
 Line of gravity to left foot. Transition — hands 
 crossing in front of chest, then out and to lower zone 
 oblique front, palms prone. 
 
 " They are sweeping on to the silvery main," 
 
 Pos. 7. Transition — hands carried first to left side, 
 lower zone, left hand most extended, then both swept to 
 right side, lower zone, right hand most extended, palms 
 prone. 
 
 " They are flashing dowji from the mountain brows ;" 
 
 Hands swept to left oblique front, upper zone, left 
 hand leading, palms upward. 
 
 20 
 " They are flinging spray o'er the forest boughs ;" 
 
 I/ine of gravity to left foot. Transition^hands quick- 
 ly carried inward toward forehead, then outward and 
 upward to oblique front, palms vertical. 
 
 21 
 " They are bursting fresh from their sparry caves ;" 
 
142 DELSARTEAN PANTOMIMES 
 
 Transition — hands downward and inward toward 
 chest, then outward to oblique front, palms vertical. 
 
 22 
 
 " And the earth resounds with the joy of waves !" 
 Hands slowly descending to side. 
 
 23 
 
 " Come forth, O ye children of giadness ! come ! 
 Where the violets lie may be now your home. 
 Ye of the rose-lip and dew-bright eye, 
 And the bounding footstep to meet me fly ! 
 With the lyre, and the wreath, and the joyous lay, 
 Come forth to the sunshine — I may not stay." 
 
 Pos. 5. Transition — hands to middle zone, oblique 
 front and held, palms supine ; on '' Come forth to the 
 sunshine " hands should move inward, then out to 
 same position, eyes looking front. 
 
 24 
 
 " Away from the dwellings of care-worn men, 
 The waters are sparkling in grove and glen ! 
 Away from the chamber and sullen hearth. 
 The young leaves are dancing in breezy mirth ! 
 Their light stems thrill to the wild-wood strains, 
 And youth is abroad in my green domains." 
 
 Pos. 6. Transition — hands crossing front, then right 
 hand passing to oblique right, back, middle zone, palm 
 
DELSARTEAN PANTOMIMES 143 
 
 supine, left at same time descending to lower zone 
 near side, palm prone. 
 
 25 
 " But ye ! — ye are changed since ye met me last ! 
 There is something bright from your features passed ! 
 There is that come over your brow and eye 
 Which speaks of a world where the flowers must die ! 
 — Ye smile ! but your smile hath a dimness yet." 
 
 Transition — hands slowly descending into lower zone, 
 front and held, fingers loosely interlocked, face looking 
 front. 
 
 26 
 " Oh ! what have ye looked on since last we met ?" 
 
 Pos. 5. Transition — hands outward in lower zone, then 
 iuward near chest, one crossing above the other, then 
 outward to oblique front, palms supine. 
 
 27 
 
 " Ye are changed, ye are changed — and I see not here 
 All whom I saw in the vanished year !" 
 
 Hand movement inward, then outward and retained, 
 palms vertical. 
 
 28 
 
 " There were graceful heads, with their ringlets bright. 
 Which tossed in the breeze with a play of light ;" 
 
 Transition — hands pass inward, then right hand out- 
 
144 DELSARTEAN PANTOMIMES 
 
 ward to oblique front, palm supine, left at same time 
 descending to lower zone near side, palm prone. 
 
 29 
 
 " There were eyes in wliose glistening laughter lay- 
 No faint remembrance of dull decay !" 
 
 Right hand gently moved inward, then outward to 
 previous position. 
 
 30 
 " There were steps that flew o'er the cowslip's head," 
 
 Line of gravity to left foot. Transition — hands pass 
 inward toward chest, then outward and downward into 
 lower zone, oblique front, palms prone. 
 
 31 
 " As if for a banquet all earth were spread ;'' 
 
 Transition — hands move inward, then outward to 
 lateral, palms supine. 
 
 32 
 " There were voices that rang through the sapphire sky, 
 
 And had not a sound of mortality !" 
 
 Transition — right hand passes inward toward left 
 chest, then into upper zone front, palm slightly 
 . upward, left hand down near side, palm prone. 
 
 33 
 " Are they gone ? is their mirth from the mountains 
 passed ?" 
 
DELSARTEAN PANTOMIMES 1415 
 
 Hands slowly descending to side. 
 
 34 
 " Ye have looked on death since ye met me last !" 
 " I know whence the shadow comes o'er you now — " 
 
 Line of gravity to right foot. Transition — hands 
 outward in lower zone, then upward to front of chest 
 and clasped, elbows vi^ell out, face sympathetic. 
 
 35 
 " Ye have strewn the dust on the sunny brow !" 
 
 Transition — hands pass into upper zone, then out- 
 ward and downward to oblique front, lower zone, palms 
 prone, eyes looking downward. 
 
 36 
 " Ye have given the lovely to earth's embrace — 
 She hath taken the fairest of beauty's race. 
 With their laughing eyes and their festal crown ;'-' 
 
 Transition — hands pass inward, then outward to 
 oblique front, palms front, finger-tips downward. 
 
 37 
 " They are gone from amongst you in silence down ! 
 They are gone from amongst you, the young and fair, 
 Ye have lost the gleam of their shining hair !" 
 
 Transition — right hand rising toward left chest, then 
 downward to oblique front, lower zone, left at same time 
 by shorter curve to same zone near side, palms prone. 
 
146 DELSARTEAN PANTOMIMES 
 
 " But I know of a land where there falls no blight — " 
 
 Transition — right hand toward left chest, then to di- 
 rect front, palm supine, face looking front. 
 
 39 
 " I shall find them there, with their eyes of light !" 
 
 Line of gravity to left foot, right hand pointing up- 
 ward to fullest height, elbow and wrist straight, face 
 looking tipward. 
 
 40 
 
 " Where Death midst the blooms of the morn may dwell, 
 I tarry no longer — " 
 
 Hand slowly descending to side. 
 
 " F^arewell, farewell!" 
 
 Transition — hands carried into upper zone and waved 
 upon each word as if bidding adieu, at same time body 
 retreated by taking two or three steps backward. 
 
' On this home by Horror haunted !" 
 
DELSARTEAN PANTOMIMES j^g 
 
 THE RAVEN 
 
 ABRIDGED 
 
 Once upon a midnight dreary, wliile I ponder'd, weak 
 and weary, 
 
 Over many a quaint and curious volume of forgotten 
 lore, — 
 
 While I nodded, nearly napping, suddenly there came 
 a tapping. 
 
 As of some one gently rapping, rapping at my chamber- 
 door. 
 
 " 'Tis some visitor," I muttered, "tapping at my chamber- 
 door — 
 
 Only this, and nothing more." 
 
 Ah, distinctly I remember, it was in the bleak De- 
 cember, 
 
 And each separate dying ember wrought its ghost upon 
 the floor. 
 
 Eagerly I wish'd the morrow : vainly I had sought to 
 borrow 
 
 From my books surcease of sorrow — sorrow for the lost 
 Lenore — 
 
 PW the rare and radiant maiden whom the angels name 
 Lenore — 
 
 Nameless here forevermore. 
 
150 DELSARTEAN PANTOMIMES 
 
 And the silken, sad, uncertain rustling of each purple 
 curtain, 
 
 Thrill'd me — filled me with fantastic terrors never felt 
 before ; 
 
 So that now, to still the beating of my heart, I stood 
 repeating, 
 
 " 'Tis some visitor entreating entraiice at my chamber- 
 door, — 
 
 Some late visitor entreating entrance at my chamber- 
 door ; 
 
 That it is, and nothing more." 
 
 Presently my soul grew stronger : hesitating then no 
 longer, 
 
 " Sir," said I, "or Madam, truly your forgiveness I 
 implore ; 
 
 But the fact is, I was napping, and so gently you came 
 rapping. 
 
 And so faintly you came tapping, tapping at my chamber- 
 door. 
 
 That I scarce was sure I heard you " — here I open'd wide 
 the door : 
 
 Darkness there, and nothing more. 
 
 Deep into that darkness peering, long I stood there, 
 
 wondering, fearing, 
 Doubting, dreaming dreams no mortals ever dared to 
 
 dream before ; 
 But the silence was unbroken, and the stillness gave no 
 
 token, 
 
DELSARIEAN PANTOMIMES ici 
 
 And the only word there spoken was the whisper'd word, 
 
 "Lenore!" 
 This I whisper'd, and an echo murmur'd back the word, 
 
 " Lenore !" 
 
 Merely this, and nothing more. 
 
 Back into the chamber turning, all my soul within me 
 burning, 
 
 Soon again I heard a tapping, something louder than 
 before. 
 
 " Surely," saidi, " surely that is something at my window- 
 lattice ; 
 
 Let me see then what thereat is, and this mystery 
 explore, — • 
 
 Let my heart be still a moment, and this mystery 
 explore ; — 
 
 'Tis the wind, and nothing more." 
 
 Open here I flung the shutter, when with many a flirt 
 and flutter, 
 
 In there stepp'd a stately raven of the saintly days of 
 yore. 
 
 Not the least obeisance made he ; not a minute stopp'd 
 or stay'd he ; 
 
 But, with mien of lord or lady, perch'd above my cham- 
 ber-door, — 
 
 Perch'd upon a bust of Pallas, just above my chamber- 
 door — 
 
 Perched and sat and nothing more. 
 
1^2 DELSARTEAN PANTOMIMES 
 
 Then this ebony bird beguiling my sad fancy into 
 
 smiling, 
 By the grave and stern decorum of the countenance it 
 
 wore, 
 " Though thy crest be shorn and shaven, thou," I said, 
 
 " art sure no craven ; 
 Ghastly, grim, and ancient raven, wandering from the 
 
 nightly shore, 
 Tell me what thy lordly name is on the Night's Plutonian 
 
 shore ? 
 
 Quoth the raven, " Nevermore !" 
 
 Much I marvel'd this ungainly fowl to hear discourse 
 so plainly, 
 
 Though its answer little meaning — little relevancy bore ; 
 
 For we cannot help agreeing that no living human 
 being 
 
 Bver yet was bless'd with seeing bird above his chamber- 
 door — 
 
 Bird or beast upon the sculptured bust above his cham- 
 ber-door. 
 
 With such name as " Nevermore !" 
 
 But the'raven still beguiling all my sad soul into smiling,- 
 Straight I wheel'd a cushion'd seat in front of bird, and 
 
 bust, and door. 
 Then, iipon the velvet sinking, I betook myself to 
 
 linking 
 Fancy unto 'fancy, thinking what this ominous bird of 
 
 yore — 
 
DELSARTEAN PANTOMIMES 
 
 153 
 
 What this grim, ungainly, ghastly, gaunt, and ominous 
 bird of yore 
 
 Meant in croaking "Nevermore!" 
 
 This I sat engaged in guessing, but no syllable express- 
 ing 
 
 To the fowl, whose fiery eyes now burn'd into my bosom's 
 core ; 
 
 This and more I sat divining, with my head at ease 
 reclining 
 
 On the cushion's velvet lining that the lamp-light 
 gloated o'er. 
 
 But whose velvet violet lining, with the lamp-light gloat- 
 ing o'er, 
 
 She shall press — ah \ nevermore ! 
 
 Then niethought the air grew denser, perfumed from an 
 
 unseen censer 
 Swung by seraphim, whose foot-falls tinkled on the 
 
 tufted floor. 
 " Wretch," I cried, " thy God hath lent thee — by these 
 
 angels he hath sent thee 
 Respite — respite and nepenthe from thy memories of 
 
 Lenore ! 
 QuaSF, oh, quaff this kind nepenthe, and forget this lost 
 
 Lenore !" 
 
 Quoth the raven, " Nevermore !" 
 
 " Prophet !" said I, " thing of evil ! — prophet still, if bird 
 
 or devil ! 
 Whether tempter sent, or whether tempest toss'd thee 
 
 here ashore, 
 
jr^ DELSARTEAN PANTOMIMES 
 
 Desolate, yet all undaunted, on this desert land en- 
 chanted — 
 
 On this home by Horror haunted — tell me truly, I 
 implore — 
 
 Is there — is there balm in Gilead ? — tell me — tell me, I 
 implore !" 
 
 Quoth the raven, " Nevermore !" 
 
 "Prophet!" said I, "thing of evil ! — prophet still, if 
 
 bird or devil ! 
 By that heaven that bends above us — ^by that God we 
 
 both adore. 
 Tell this soul, with sorrow laden, if, within the distant 
 
 Aidenn, 
 It shall clasp a sainted maiden, whom the angels name 
 
 Lenore ; 
 Clasp a rare and radiant maiden, whom the angels name 
 
 Lenore !" 
 
 Quoth the raven, " Nevermore !" 
 
 " Be that word our sign of parting, bird or fiend !" I 
 shriek'd, upstarting — 
 
 " Get thee back into the tempest apd the Night's Pluto- 
 nian shore ! 
 
 Leave no black plume as a token of that lie thy soul 
 hath spoken ! 
 
 Leave my loneliness unbroken ! — quit the bust above 
 my door ! 
 
 Take thy beak from out my heart, and take thy form 
 from off my door !" 
 
 Quoth the raven, " Nevermore !" 
 
DELS ARTE AN PANTOMIMES 155 
 
 And the raven, never flitting, still is sitting, still is 
 sitting 
 
 On the pallid bust of Pallas, just above my chamber- 
 door ; 
 
 And his eyes have all the seeming of a demon's that is 
 dreaming, 
 
 And the lamp-light o'er him streaming throws his 
 shadow on the floor ; 
 
 And my soul from out that shadow that lies floating on 
 the floor 
 
 Shall be lifted — NEVERMORE ! 
 
 Edgar A. Poe 
 
156 
 
 DELSARTEAN PANTOMIMES 
 
 THE PANTOMIME 
 
 ATTITUDE 
 
 I 
 
 " Once upon a midnight dreary, while I ponder'd, weak 
 and weary, 
 
 Over many a qnaint and curious volume of forgotten 
 lore, — 
 
 While I nodded, nearly napping, suddenly there came 
 a tapping. 
 
 As of some one gently rapping, rapping at my chamber- 
 door. 
 
 " 'Tis some visitor," I muttered, " tapping at my cham- 
 ber-door — 
 
 Only this, and nothing more." 
 
 Pos. 3 — (narrow.) Line of gravity in left foot, left 
 hand with fingers against left cheek, thumb under chin, 
 right hand supporting elbow of left arm, head some- 
 what dropped ; eyes looking downward ; on " Suddenly 
 there came a tapping," head slowly rising, eyes wander- 
 ing to left, then to right ; on last line both hands pass 
 outward and down to side, face front. 
 
 2 
 
 "Ah, distinctly I remember, it was in the bleak Decem- 
 ber,'-' 
 
DELSARTEAN PANTOMIMES jcj 
 
 Transition — hands to lower zone, front, near body, 
 fingers loosely interlocked, head drooped, face sad. 
 
 3 
 "And each separate dying ember wrought its ghost 
 upon the floor." 
 
 Pos. 4 — (narrow.) Transition — hands pass to upper 
 zone, front, then outward, and into middle zone, oblique 
 front, palms vertical, eyes looking toward oblique left, 
 forward and downward, bod}'- somewhat retreated. 
 
 4 
 " Eagerly I wished the morrow :" 
 
 Transition — hands pass outward and float down to 
 side. 
 
 5 
 
 " Vainly I had sought to borrow 
 From my books surcease of sorrow — " 
 
 Line of gravity to left foot. Transition — hands pass 
 inward from side to lower zone, front, then to upper 
 zone and outward and slowly downward again, making 
 one complete circle. 
 
 6 
 
 " Sorrow for the lost Lenore — 
 For the rare and radiant maiden whom the angels name 
 Lenore — " 
 
1^8 DELSARTEAN PANTOMIMES 
 
 Transition — hands from lower zone to upper zone, 
 front, palms supine on " Lost Lenore " and held until 
 last line, when the movement is repeated in upper 
 zone, and hands pass to oblique front, head and eyes 
 raised. 
 
 7 
 " Nameless here forevermore." 
 
 Line of gravity to right foot. Transition — hands 
 pass outward, palms upward, then float down to side, 
 head dropped. 
 
 8 
 
 "And the silken, sad, uncertain rustling of each purple 
 curtain, 
 
 Thrill'd me — filled me with fantastic terrors never felt 
 before ; 
 
 So that now, to still the beating of my heart, I stood 
 repeating, 
 
 ' 'Tis some visitor entreating entrance at my chamber- 
 door, — 
 
 Some late visitor entreating entrance at my chamber- 
 door ; 
 
 That it is, and nothing more.' " 
 
 Pos. 6. Transition — hands to upper zone, front, then 
 outward, downward, and inward, one wrist upon the 
 other, fingers clutching chest, shoulders drawn inward 
 as in fear, body somewhat retreated, head forward, eyes 
 anxious — hold attitude to end of stanza. 
 
DELS ARTE AN PANTOMIiMES 
 
 159 
 
 9 
 
 " Presently my soul grew stronger: hesitating then no 
 longer," 
 
 Line of gravity slowly shifted to left foot, body be- 
 coming more erect. 
 
 10 
 
 " ' Sir,' said I, ' or Madam, truly your forgiveness T im- 
 plore ;' 
 
 Pos. 2. — Body bowing low as in courtesy. Transi- 
 tion — hands pass to upper zone, then downward and in- 
 ward, crossing in front of waist, then to lower zone, 
 lateral, palms facing front. 
 
 II 
 
 " ' But the fact is, I was napping, and so gently you 
 came rapping, 
 
 And so faintly you came tapping, tapping at my cham- 
 ber-door,' 
 
 Pos. 3. Hands pass to front of waist, right hand 
 crossing above left, and then forward to right oblique 
 front, palm supine, left hand to lower zone, lateral, 
 palm prone, face looking to oblique front, right ; on 
 the word " Tapping " right hand should be changed 
 to vertical position and gently moved as in act of tap- 
 ping a door. 
 
 12 
 
 " ' That I scarce was sure I heard you — ' " 
 
l6o DELSARTEAN PANTOMIMES 
 
 Transition — hands to middle zone, front, passing to 
 oblique front, palms supine. 
 
 13 
 " Here I open'd wide the door :" 
 
 Line of gravity to left foot. Transition — hands in 
 toward chest, then right hand to lateral, palm verti- 
 cal, left hand at same time passing to lower zone, lateral, 
 palm prone. 
 
 " Darkness there, and nothing more." 
 
 Transition — hands pass into upper zone, over head, 
 then outward, palms vertical ; face expressive of 
 astonishment. 
 
 15 
 
 " Deep into that darkness peering, long I stood there, 
 
 wondering, fearing. 
 Doubting, dreaming dreams no mortals ever dared to 
 
 dream before ;" 
 
 Line of gravity to right foot, but returning to left 
 foot on " Fearing " and retained. Transition — hands 
 pass down and in toward front of waist, then higher and 
 well forward with palms vertical and fingers separated ; 
 on " Fearing," hands are brought inward toward chest, 
 then outward and downward in middle zone, oblique 
 front, palms supine on " Doubting " and held. 
 
DELSARTEAN PANTOMIMES i6i 
 
 l6 
 
 " But the silence was unbroken, and the stillness gave 
 no token," 
 
 Transition — hands to upper zone, front, crossing one 
 above the other, then outward, palms vertical, moving 
 downward to middle zone, lateral, on " Stillness," etc. 
 
 17 
 "And the only word there spoken was the whisper'd 
 word, ' Lenore !' " 
 
 I/ine of gravity slowly to right foot. Transition — 
 hands toward front of chest, then right hand slightly 
 forward, left haud to midde zone, lateral, palm of each 
 vertical. 
 
 18 
 
 " This I whisper'd, and an echo murmur'd back the 
 word, 'Lenore!' 
 
 Merely this, and nothing more." 
 
 Line of gravity slowly to left foot. Transition — 
 right hand in toward left chest, left hand lowered, palm 
 prone, then both hands to front and downward on last 
 face toward oblique front, right. 
 
 " Back into the chamber turning, all my soul withiu 
 me burning," 
 
 Pos. 4 — with head and chest turned oblique back, 
 
1 62 DELSARTEAN PANTOMIMES 
 
 right. Transition — hands passing toward front of waist, 
 then forward oblique back, right, right hand more ex- 
 tended than left, palms facing, eyes following. 
 
 20 
 
 " Soon again I heard a tapping, something louder than 
 before." 
 
 Right hand toward right ear as if listening, left hand 
 with fingers near right shoulder, palm front, head 
 graduall}'- turned to left oblique, eyes looking out over 
 left shoulder and somewhat upward. 
 
 21 
 
 " ' Surely,' said I, ' surely that is something at my win- 
 dow-lattice ;' 
 
 Pos. I — Slowly and on last part of line. Transition 
 — hands to upper zone, then outward and in to front, 
 not far from shoulders, elbows slightly bent and out- 
 ward, palms vertical, head and eyes toward left oblique 
 forward. 
 
 23 
 
 " ' Let me see then what thereat is, and this mystery 
 explore, — ' 
 
 Same as preceding, except hands pass outward toward 
 lateral. 
 
 23 
 " ' Let nxy heart be still a moment, and this mystery 
 explore ; — 
 
 Tis the wind, and nothing more.' " 
 
DELSARTEAN PANTOMIMES 163 
 
 Transition — hands downward and inward to lower 
 zone, front, then placed on heart, one above the other, 
 elbows well out, body a little more erect, eyes slowly 
 wandering. 
 
 24 
 
 " Open here I flung the shutter," 
 
 Transition — hands to front with palms vertical and 
 passing quickly to lateral. 
 
 25 
 " When with many a flirt and flutter. 
 In there stepped a stately raven of the saintly days of 
 yore." 
 
 Hands higher on first line, face showing astonish- 
 ment; for second line: Pos. 6. Transition — hands 
 crossing near front of chest, right hand to front, palm 
 supine, finger tips directed downward, left hand to 
 middle zone, lateral, palm prone, eyes to front and 
 downward. 
 
 26 
 
 " Not the least obeisance made he ; not a minute stopp'd 
 or stay'd he ; 
 
 Right hand — repeating preceding gesture on " Least 
 obeisance." 
 
 27 
 
 " But, with mien of lord or lady, perch'd above my 
 chamber-door, — " 
 
164 DELSARTEAN PANTOMIMES 
 
 Pos. 6. Transition — right hand toward left shoulder, 
 then to upper zone, right oblique forward, palm supine, 
 eyes following. 
 
 28 
 
 " Perch'd. upon a bust of Pallas, just above my cham- 
 ber-door — 
 
 Perched and sat and nothing more." 
 
 Transition — right hand inward toward chest, then 
 to preceding position, index finger strong, palm prone. 
 
 29 
 
 " Then this ebony bird beguiling my sad fancy into 
 smiling, 
 
 By the grave and stern decorum of the countenance it 
 wore, 
 
 * Though thy crest be shorn and shaven, thou,' I said, 
 ' art sure no craven ; 
 
 Ghastly, grim, and ancient raven, wandering from the 
 nightly shore. 
 
 Tell me what thy lordly name is on the Night's Pluto- 
 nian shore?' " 
 
 Line of gravity to left foot, body well drawn up, arms 
 folded, head and eyes upward, oblique front, right. 
 
 " Quoth the raven, ' Nevermore !' " 
 
 Transition — arms unfolding, hands passing to upper 
 zone front, and floating outward and downward to side, 
 face front. 
 
DELSARTEAN PANTOMIMES 
 
 165 
 
 31 
 " Much I marvel'd this ungainly fowl to hear discourse 
 
 so plainly, 
 Though its answer little meaning — little relevancy 
 
 bore ;" 
 
 Pos. 5. Transition — hands upward to middle zone, 
 front, then to oblique front, palms vertical. 
 
 32 
 
 " For we cannot help agreeing that no living human 
 being 
 
 Ever yet was blessed with seeing bird above his cham- 
 ber-door — " 
 
 Transition — hands passing inward, then outward to 
 same position, palms supine. 
 
 33 
 " Bird or beast upon the sculptured bust above his 
 chamber-door, 
 
 With such name as ' Nevermore !' " 
 
 Transition — right hand inward, then to upper zone, 
 oblique front, right, pointing with index finger, left 
 hand down to side. 
 
 34 
 " But the raven still beguiling all my sad soul into 
 smiling," 
 
 Line of gravity to left foot. Transition — hands to 
 upper zone, and slowly descending to side, face front. 
 
l66 DELSARTEAN PANTOMIMES 
 
 35 
 " Straight I wheel'd a cushion'd seat in front of bird, 
 and bust, and door." 
 
 Swing body well over on left foot on " Straight," 
 then to Pos. 3. Transition — hands to middle zone, 
 oblique back, left, then forward to oblique front, right, 
 palms prone, eyes following, looking upward on 
 " Bird," etc. 
 
 36 
 " Then, upon the .velvet sinking, I betook myself to 
 
 linking 
 Fancy unto fancy, thinking what this ominous bird of 
 
 yore — 
 What this grim, ungainly, ghastly, gaunt, and ominous 
 bird of yore 
 
 Meant in croaking ' Nevermore !' " 
 
 Transition — hands to upper zone front, then outward 
 and downward into lower zone near body, one index 
 finger linked in the other, head and eyes dropped as if 
 in deep meditation. 
 
 37 
 " This I sat engaged in guessing, but no syllable ex- 
 pressing " 
 
 Transition — right hand to upper zone, oblique front, 
 right, index finger strong, palm vertical, head and eyes 
 in same direction, left hand to lower zone lateral, palm 
 prone. 
 
DELSARTEAN PANTOMIMES jgy 
 
 " To the fowl, whose fiery eyes now burn'd into my 
 bosom's core ;" 
 
 Line of gravity to left foot. Transition — right hand 
 with index finger and thumb strongly against left side 
 of chest, face expressive of strong feeling. 
 
 39 
 " This and more I sat divining, with ni}' head at ease 
 
 reclining 
 On the cushion's velvet lining that the lamp-light 
 
 gloated o'er," 
 
 Transition — hands pass to upper zone front, then 
 outward and downward to lower zone, and loosely 
 clasped in front of dress, body, head, and eyes drooped. 
 
 40 
 
 " But whose velvet violet lining, with the lamp-light 
 gloating o'er," 
 
 Head and eyes slowly rising on last part of line. 
 
 " She shall press — ah ! nevermore !" 
 
 Hands strongly clasped and brought to chest, elbows 
 high, head back, eyes up ; hands still clasped rising 
 high into upper zone on "Ah !" then forward and down 
 into lower zone close to body, head and eyes dropped. 
 
l68 DELSARTEAN PANTOMIMES 
 
 42 
 " Then methought the air grew denser, perfumed from 
 an unseen censer" 
 
 Pos. 5 — (narrow.) Transition — hands upward to 
 front of chest, then outward to lateral, palms supine, 
 face front. 
 
 43 
 
 " Swung by seraphim, whose foot-falls tinkled , on the 
 tufted floor." 
 
 Transition — on first part of line, carry right hand 
 over to left side, then both hands swung over to right 
 side, palms prone, then on " Tinkled," etc., both hands 
 moving with light, tripping motion to front, eyes fol- 
 lowing. 
 
 44 
 " ' Wretch,' I cried, ' thy God hath lent thee — by these 
 
 angels He hath sent thee 
 Respite — respite and nepenthe ' 
 
 Transition — hands pass slightly upward, then in on 
 chest, one hand upon the other, head and eyes raised, 
 body strongly drawn up. 
 
 45 
 " ' From thy memories of Lenore !' 
 
 Transition — hands slowly passiug outward to oblique 
 front, palms supine. 
 
DELSARTEAN PANTOMIMES 169 
 
 46 
 
 " ' Quaff, oh, quaff this kind nepenthe, and forget this 
 lost Lenore !' " 
 
 Transition — hands slowly inward, then clasping 
 head, elbows well out. 
 
 47 
 " Quoth the raven, ' Nevermore !' " 
 
 Line of gravity to left foot. Transition — hands above 
 head, then outward and downward to side, head and 
 eyes lowered. 
 
 48 
 
 " ' Prophet !' said I, ' thing of evil ! — prophet still, if 
 bird or devil !' 
 
 Pos. 2 — (narrow.) Transition — right hand upward 
 and inward toward chest, then to upper zone, oblique 
 front, palm supine, head up.vard toward oblique right, 
 astonished expression. 
 
 49 
 " ' Whether tempter sent, or whether tempest toss'd 
 thee here ashore,' 
 
 Body well drawn up. Transition — right hand high 
 above head, then by straight line arm movement to 
 lower zone near body, index finger pointing down- 
 ward, left hand still in lower zone, palm prone ; on 
 " Tempest tossed," etc., right hand toward left hip, 
 
lyo DELSARTEAN PANTOMIMES 
 
 then both hands oblique front, right, a little above 
 middle zone, palms prone. 
 
 50 
 " ' Desolate, yet all undaunted, on this desert land en- 
 chanted — ' 
 
 Transition — hands to upper zone, front, then outward 
 and downward, lateral, palms prone on " Desolate," 
 hands in fists on " Undaunted," body drawn up, then 
 opening hands and relaxing body on rest of line. 
 
 51 
 " ' On this home by Horror haunted — ' 
 
 Body drawn backward. Transition — right hand 
 near forehead, palm front, elbow well out, left hand 
 in lower zone, lateral and clinched. 
 
 " ' Tell me truly, I implore — ' 
 
 Pos. 3. Transition — hands passing near waist, then 
 right hand to upper zone, right oblique, front, palm 
 supine, left to lower zone, oblique back, left, palm 
 prone. 
 
 53 
 " ' Is there — is there balm in Gilead ?—' 
 
 Transition— right hand in toward left shoulder, theti 
 high into upper zone, index finger strong. 
 
DELSARTEAN PANTOMIMES 
 
 171 
 
 54 
 " ' Tell me— tell me, I implore !' " 
 
 Transition — right hand downward and outward, then 
 inward, meeting left hand near chest, then both to upper 
 zone, oblique right, strougl}'^ forward and clasped. 
 
 55 
 " Quoth the raven, ' Nevermore !' " 
 
 Line of gravity to left foot. Transition — hands out- 
 ward, descending to side, face front, head downward. 
 
 56 
 
 " ' Prophet,' said I, ' thing of evil ! — prophet still, if 
 bird or devil !' 
 
 Line of gravity to right foot. Transition — hands to 
 middle zone, front, then right hand passing to oblique 
 front, palm vertical, left hand to lower zone, lateral, 
 well extended, palm prone, head and eyes upward, ob- 
 lique front, right. 
 
 57 
 " ' By that heaven that bends above us — by that God 
 we both adore,' 
 
 Transition — hands pass to front of waist, then iuto 
 upper zone over head, separating and descending on 
 first part of line, then upward through middle zone, front, 
 to upper zone, front, palms supine, on last clause. 
 
172 
 
 DELSARTEAN PANTOMIMES 
 
 58 
 
 " ' Tell this soul, with sorrow laden, if, within the dis- 
 tant Aidenn, 
 
 It shall clasp a sainted maiden, whom the angels name 
 Lenore ;' 
 
 Transition — hands outward and downward, then 
 crossed at wrists over chest, eyes and head strongly- 
 raised, whole manner imploring. 
 
 59 
 " ' Clasp a rare and radiant maiden,' 
 
 Transition — arms still crossed at wrists, but hands 
 slowly rising from chest. ». 
 
 60 
 
 " ' Whom the angels name Lenore !' 
 Quoth the raven, ' Nevermore !' " 
 
 Transition — hands to upper zone, oblique front, palms 
 supine on first line, then outward and downward to side 
 on second line. 
 
 61 
 
 '' ' Be that word our sign of parting, bird or fiend !' I 
 shrielc'd, upstarting — " 
 
 Pos. 2. Transition — hands quickly to upper zone 
 front, palms vertical, fingers somewhat separated, face 
 indicative of horror. 
 
DELSARTEAN PANTOMIMES 173 
 
 62 
 
 " ' Get thee back into the tempest and the Night's Plu- 
 tonian shore !' 
 
 Body firm. Transition — hands in fists by straight-line 
 arm movement, to lower zone, lateral. 
 
 63 
 
 " ' Leave no black plume as a token of that lie thy soul 
 hath spoken !' 
 
 Pos. 3. Transition — right hand carried high over 
 head, then by straight-line arm movement to lower 
 zone, oblique right, palm supine, and firmly held. 
 
 64 
 " ' Leave my loneliness unbroken ! — ' 
 
 Body and head inclined slightly to left and relaxed, 
 palms prone, hands slowly falling. 
 
 65 
 " ' Quit the bust above my door !' 
 
 Body strongly drawn up. Transition — hands to mid- 
 dle zone, front, right crossing above left and passing by 
 strong straight-line arm movement to upper zone, 
 oblique front, index finger very straight, palm vertical, 
 left at same time to lower zone, oblique back, hand iu 
 fist. 
 
174 DELSARTEAN PANTOMIMES 
 
 66 
 " ' Take tliy beak from out my heart,' 
 
 Line of gravity to left foot. Transition — hands 
 to middle zone, front, and in toward heart, fingers 
 spread and contracted, palms vertical, elbows well out, 
 countenance that of horrified determination. 
 
 67 
 
 " 'And take thy form off my door !' " 
 
 Hands in fists rise convulsively over head, palm part 
 upward, elbows outward. 
 
 68 
 
 " Quoth the raven, ' Nevermore !' " 
 
 "And the raven, never flitting, still is sitting, still is 
 sitting 
 
 On the pallid bust of Pallas, just above my chamber- 
 door ;" 
 
 Body relaxed. Transition — hands very slowly mov- 
 ing higher, then floating outward and downward to side, 
 head drooping. 
 
 69 
 
 "And his eyes have all the seeming of a demon's that 
 is dreaming," 
 
 • Body drawn toward oblique back, left. Transition — 
 hands from lower zone, in toward chest, then right hand 
 
DELSARTEAN PANTOMIMES 
 
 1/5 
 
 to oblique front, riglit, above line of shoulder, elbow 
 slightly outward and backward, left hand in front of 
 right shoulder, palms of both vertical, head turned to- 
 ward oblique left, eyes toward oblique right, face, 
 strongly expressive. 
 
 70 
 
 "And the lamp-light o'er him streaming throws his 
 shadow on the floor ;" 
 
 Pos. 5 — (narrow.) Transition — hands to upper zone, 
 front, then outward, descending to middle zone, front, 
 palms prone on first part of line, then inward and out- 
 ward and downward on remainder of line, head up on 
 first part, downward on last. 
 
 71 
 ''And my soul from out that shadow that lies floating 
 on the floor " 
 
 Transition — hands to lower zone, front, palms prone. 
 
 72 
 " Shall be lifted — NEVERMORE." 
 
 Transition — hands from lower zone, front, to r.pper 
 zone, front, on first part of line, head also rising, then 
 descending to lower zone, head drooped, expression that 
 of despair. 
 
176 DELSARTEAN PANTOMIMES 
 
 THE STORY OF SOME BELLS 
 
 Note. — Music, especially written for this selection, is published by Edgar S. 
 Werner, New York. 
 
 Long years agone a Southern artisan, 
 
 Dowered with, the tender genius of his clime, 
 A dreamy-eyed, devout, and sad-voiced man. 
 
 Cast, with rare skill, a wondrous, tuneful chime, 
 Whose very sound might draw the Pagan Turk 
 
 To bow in rapture on the minster floor ; 
 
 And, it is said, this founder seemed to pour 
 His deep, Italian soul into his work 
 
 Like molten music, and when first high huiig, 
 
 A triumph peal the bells harmonious rung. 
 He stood with clasped hands and brow all bare, 
 And murmured liquid syllables of prayer. 
 
 Against the cliff, beneath the convent tower. 
 He built the rude nest of his peasant home ; 
 
 No wandering sail, nor hope of gain, had power 
 To tempt him from the spot blest by his bells to roam. 
 At last there came to curse that lovely land 
 
 The woe and waste of war ; the legend tells 
 How one wild night a sacrilegious band 
 
 Despoiled the convent even of its bells. 
 The founder, seizing his rude arms, in vain 
 
 Strove that fierce tide of blood and fire to stay ; 
 He saw his home in flames, his brave sons slain, 
 
 And then a dungeon's walls shut out the day. 
 Long years wore on ! At last the artisan, 
 
' Before full many an English town 
 He stood and vainly listened." 
 
DELSARTEAN PANTOMIMES 170 
 
 A weary, bowed, gray-haired and lonely man, 
 Joyless again beheld the sea, the sky, 
 And pined to hear his bells once more — then die. 
 Somewhere, he knew, those bells at morn and even 
 Made sweetest music in the ear of Heaven ; , 
 
 Voiced human worship, called to praise and prayer, 
 Censers of sound, high swinging in the air. 
 The legend telleth how, from town to town. 
 
 Where'er a minster cross stood up to bless 
 God's praying souls, where'er a spire looked down, 
 
 He, through strange lands and weary ways, did press 
 
 His mournful pilgrimage, companionless. 
 The Norman carillons, so sweet and clear. 
 
 The chimes of Amsterdam and gray old Ghent, 
 But alien music rang they to his ear; 
 
 No faintest thrill of joy to his sad heart they sent ; 
 Before full many an English tower he stood 
 And vainly listened, then his quest pursued. 
 Soft shades foretold the coming of the night. 
 
 Yet goldenly on Shannon's emerald shores. 
 As charmed or fallen asleep, the sunset light 
 
 Still lingered — or as thei"e sweet Day 
 Had dropped her mantle ere she took her flight. 
 Up Shannon's tide a boat slow held its way ; 
 
 All silent bent the boatmen to their oars. 
 For at their feet a dying stranger lay. 
 In broken accents of a foreign tongue 
 
 He breathed fond names and whispered words of 
 prayer, 
 And yearningly his wasted arms outflung, 
 
 Grasped viewless hands, and kissed the empty air. 
 
l8o DELSARTEAN PANTOMIMES 
 
 vSudden upon the breeze came floating down, 
 The sound of vesper bells from Limerick town, 
 So sweet, 'twould seem that holiest of chimes 
 Stored up new notes amid its silent times. 
 Some wandering melody from heavenly climes, 
 Or gathered music from the summer hours, 
 As bees draw sweets from tributary flowers. 
 Peal followed peal, 'till all the air around 
 Trembled in waves of undulating sound. 
 The dying stranger, where he gasping lay, 
 
 Heard the sweet chime and knew it ringing nigh ; 
 Quick from his side the phantoms fled away. 
 
 And the last soul-light kindled in his eye ! 
 His cold hands reaching toward the shado-wy shore : 
 " Madonna, thanks !" he cried, " I hear my bells once 
 
 more !" 
 Nearer they drew to lyimerick, where the bells 
 
 Were raining music from the church-tower high ; 
 The pilgrim listened till their latest swells 
 
 Shook from his heart the faintest echoing sigh ; 
 With their sweet ceasing, ceased his mortal breath. 
 So, like a conqueror, to the better land 
 Passed the worn artisan — such music grand 
 Uprolled before him on the heavenly path ! 
 From the west heavens went out the sunset gold, 
 And Hesperus his silver lamp uphung ; 
 To countless pious souls those bells had rung 
 The vesper chime. that summons souls to pray ; 
 But to that stranger, weary, lone and old, 
 They pealed the matins of immortal day. 
 
DELSARTEAN PANTOMIMES jgi 
 
 THE PANTOMIME 
 
 ATTITUDE 
 
 " Long years agone a Southern artisan, 
 
 Dowered with the tender genius of his clime, 
 A dreamy-eyed, devout, and sad voiced man, 
 
 Cast with rare skill a wondrous tuneful chime, 
 Whose very sound might draw the Pagan Turk 
 
 To bow in rapture on the minster floor ; 
 
 And, it is said, this founder seemed to pour 
 His deep Italian soul into his work 
 Like molten music." 
 
 Position. Centred — fingers loosely intertwined in 
 lower zone front — eyes looking forward. 
 
 2 
 
 " And when first high hung," 
 
 Left hand rising into upper zone, above head — eyes 
 cast upward. 
 
 3 
 
 " A triumph peal the bells harmonious rung," 
 
 Left hand waved inward and then outward, over head. 
 
1 82 DELSARTEAN PANTOMIMES 
 
 4 
 " He stood with clasped hands and brow all bare, 
 And murmured liquid syllables of prayer." 
 
 Pos. 5. Hands clasped and close to chest — elbows 
 well out — eyes raised. 
 
 5 
 " Against the cliif, beneath the convent tower, 
 He built the rude nest of his peasant home ; " 
 
 Line of gravity to left foot. Hands unclasping, de- 
 scribing one short circle in front of chest — the left pass- 
 ing to left — palm vertical — right moving down to 
 side. On " Built " change left-hand position to supine 
 — eyes to left. 
 
 6 
 
 " No wandering sail, nor hope of gain, had power 
 To tempt him from the spot blest by his bells to 
 roam." 
 
 Hands passing inward to middle zone front, then out- 
 Avard and descending down to side — eyes front. 
 
 7 
 " At last there came to curse that lovely land 
 The woe and waste of war ; the legend tells " 
 
 Hands rising to middle zone front, then quickly de- 
 scending to lower zone — lateral— by straight-line move- 
 ment of arms — palms prone. 
 
DELSARTEAN PANTOMIMES 
 
 183 
 
 8 
 
 " How one wild night a sacrilegious band 
 Despoiled the convent even of its bells." 
 
 Pos. I. Hands in upper zone, oblique front — palms 
 vertical. 
 
 9 
 " The founder, seizing his rude arms, in vain 
 Strove that fierce tide of blood and fire to stay ;" 
 
 Hands in front of chest in fists, right a little in ad- 
 vance of left. 
 
 10 
 
 " He saw his home in flames, his brave sons slain," 
 
 Pos. 4. Body somewhat retreated, head averted 
 slightly to right. Hands rising into upper zone, then 
 outward and downward and inward into middle zone, 
 then out to oblique front, palms vertical on " Home in 
 flames," then rising still higher on " Brave sons," etc. 
 
 II 
 " And then a dungeon's walls shut out the day." 
 
 Hands passing outward and downward and inward, 
 then clasped in lower zone near^body — head down — 
 whole manner depressed. 
 
 12 
 
 " Long years wore on ! At last the artisan, 
 A weary, bowed, gray-haired and lonely man. 
 
l84 DELSARTEAN PANTOMIMES 
 
 Joyless again beheld the sea, the sky, 
 
 And pined to hear his bells once more — then die." 
 
 Pos. 6. Hands as in preceding attitude — head and 
 eyes slowly rising on " And sky." 
 
 13 
 " Somewhere, he knew, those bells at morn and oven 
 Made sweetest music in the ear of Heaven ; " 
 
 Attitude same as preceding, except eyes to front. 
 
 14 
 " Voiced human worship, called to praise and prayer," 
 
 Hands passing to middle zone, oblique front — palms 
 supine. 
 
 15 
 " Censers of sound, high swinging in the air." 
 
 Hands passing to upper zone and waved inward, then 
 outward — palms upward — eyes upward. 
 
 16 
 
 " The legend telleth how, from town to town, 
 Where'er a minster cross stood up to bless 
 God's praying souls." 
 
 Pos. 2. Hands passing to middle zone, front, right 
 crossing above left, then passing high into upper zone, 
 index finger leading — left at same time moving down 
 near side, palm prone. 
 
DELSARTEAN PANTOMIMES 185 
 
 " Where'er a spire looked down," 
 
 Attitude same as preceding, except right hand 
 slightly dropped at wrists 
 
 " He, through strange lands and weary ways, did press 
 His mournful pilgrimage, companionless." 
 
 Hands passing in toward front, then outward and 
 forward — palms vertical. 
 
 19 
 " The Norman carillons, so sweet and clear," 
 
 Right hand to upper zone, oblique right — palm 
 supine — left hand at same time passing to lower zone 
 near side. 
 
 20 
 
 " The chimes of Amsterdam and gray old Ghent," 
 
 Right-hand gesture repeated on "Amsterdam" and 
 " Ghent," but each time hand passing nearer to oblique 
 back. 
 
 21 
 
 " But alien music rang they to his ear ; 
 No faintest thrill of joy to his sad heart they sent." 
 
 Right hand in same zone, but palm vertical, and 
 head turned to left. 
 
1 86 DELSARTEAN PANTOMIMES 
 
 22 
 
 Before full many an Englisli tower he stood 
 And vainly listened," 
 
 Head dropped toward oblique left — fight ear turned 
 slightly upward, as if listening, hands loosely inter- 
 locked in lower zone, front — face sad and dejected. 
 
 "Then his quest pursued." 
 
 Pos. 3. Right hand to middle zone, oblique front, 
 right and left to lower zone near side — palms prone. 
 
 24 
 
 " Soft shades foretold the coming of the night," 
 
 Right hand inward toward left shoulder, then forward 
 into upper zone front, then descending into middle zone 
 front, on " Night " — eyes upward. 
 
 25 
 
 " Yet goldenly on Shannon's emerald shores. 
 As charmed or fallen asleep, the sunset light 
 Still lingered — " 
 
 Right hand oblique front, right — palm prone — eyes 
 in same direction. 
 
 26 
 
 " Or as there sweet Day 
 Had dropped her mantle ere she took her flight." 
 
DELSARTEAN PANTOMIMES jgy 
 
 On first line hands to upper zone, front, then out- 
 ward and downward on second line — eyes front. 
 
 27 
 
 " Up Shannon's tide a boat slow held its way ;" 
 
 Hands passing to middle zone front — then right 
 hand to oblique front — right palm prone, and left 
 downward to left side, body inclined to oblique right 
 forward — eyes looking in direction of right hand. 
 
 28 
 
 " All silent bent the boatmen to their oars," 
 
 Hands passing to middle zone front — then to oblique 
 front, right — palms supine. 
 
 29 
 " For at their feet a dying stranger lay." 
 Line of gravity to left foot — hands to vertical position. 
 
 " In broken accents of a foreign tongue 
 
 He breathed fond names and whispered words of prayer," 
 
 Hands passing to upper zone, then outward and down- 
 ward and inward on chest, one placed upon the other 
 at wrist — eyes raised. 
 
 31 
 " And yearningly his wasted arms outflung," 
 Hands rising to oblique front, palms supine. 
 
l88 DELSARTEAN PANTOMIMES 
 
 32 
 " Grasped viewless hands," 
 
 One hand inclosing the other, upper zone front and 
 extended. 
 
 33' 
 "And kissed the empty air." 
 
 Right hand curved inward toward lips, then slowly- 
 passing outward — left inward toward left shoulder — 
 palm vertical. 
 
 34 
 
 " Sudden upon the breeze came floating down, 
 The sound of vesper bells from Limerick town, 
 So sweet, 'twould seem that holiest of chimes 
 Stored up new notes amid its silent times, 
 Some wandering melodies from heavenly climes, 
 Or gathered music from the summer hours. 
 As bees draw sweets from tributary flowers. 
 Peal followed peal," 
 
 Pos. 3. Hands passing to front and crossing, right 
 above left, then right hand passing outward, near right 
 ear, as if in act of listening — left at same time mov- 
 ing to lower zone, near side, palm prone — eyes raised 
 looking obliquely forward — left. 
 
 35 
 " Till all the air around " 
 
 ' Hands passing to middle zone, front and crossings 
 
DELSARTEAN PANTOMIMES 189 
 
 then out to upper zone, lateral, palms supine, eyes 
 upward, front. 
 
 36 
 " Trembled in waves of undulating sound." 
 
 Hands waved inward, then outward in upper zone 
 with circular motion. 
 
 37 
 " The dying- stranger, where he gasping lay. 
 
 Heard the sweet chime and knew it ringing nigh ; 
 Quick from his side the phantoms fled away, 
 
 And the last soul-light kindled in his eye!" 
 
 Hands slowly passing outward and descending into 
 middle zone, then both carried quickly to right, and 
 then as quickly to left on " Fled " — palms vertical. 
 
 38 
 " His cold hands reaching toward the shadowy shore." 
 
 Hands from former position to middle zone, front — 
 then to upper zone, oblique front ; palms supine — face 
 upward. 
 
 39 
 " ' Madonna, thanks !' he cried ; ' I hear my bells once 
 more !' " 
 
 Hands applied near chest ; whole manner fervent 
 and ecstatic. 
 
 40 
 
 " Nearer they drew to Limerick, where the bells 
 Were raining music from the church tower high : 
 
igo-. DELSAR7EAN PANTOMIMES 
 
 The pilgrim listened till their latest swells 
 
 Shook from his heart the faintest echoing sigh ; 
 With their sweet ceasing, ceased his mortal breath. 
 So, like a conqueror, to the better land 
 Passed the worn artisan — such music grand 
 Upr oiled before him on the heavenly path !" 
 
 Retain preceding attitude throughout this stanza, 
 except on " Such music grand," etc., when the hands 
 rise into upper zone, oblique front — palms supine — 
 eyes upward. 
 
 " From the west heavens went out the sunset gold," 
 
 Line of gravity to left foot. Hands passing to middle 
 zone front — left above right — t he left moving to oblique 
 back, palm prone, and right outward and downward 
 near side — eyes following. 
 
 42 
 " And Hesperus his silver lamp up hung ;" 
 
 Line of gravity to right foot. Right hand rising to 
 oblique front, palm vertical — left at same time descend- 
 ing near side — palm prone — eyes following. 
 
 43 
 "To countless pious hearts those bells had rung 
 The vesper chime that summons souls to pray ; 
 But to that stranger weary, lone and old," 
 
 Right hand in toward left chest — then to upper zone 
 
DELSARTEAN PANTOMIMES jgi 
 
 oblique front — palm supine on " Those bells, etc." — 
 face upward. 
 
 44 
 " They pealed the matins of immortal day." 
 
 Right hand carried high in upper zone — index finger 
 pointing upward. 
 
192 
 
 DELSARTEAN PANTOMIMES 
 
 NEARER, MY GOD, TO THEE. 
 
 Nearer, my God, to Thee, 
 
 Nearer to Thee ; 
 E'en though it be a cross 
 
 That raiseth me ; 
 Still all my song shall be, 
 Nearer, my God, to Thee ; 
 Nearer, my God, to Thee, 
 
 Nearer to Thee. 
 
 Though like the wanderer, 
 
 The sun gone down, 
 Darkness be over me, 
 
 My rest a stone ; 
 Yet in my dreams I'd be 
 Nearer, my God, to Thee, 
 
 Nearer, to Thee. 
 
 There let the way appear 
 
 Steps unto Heaven ; 
 All that Thou sendest me, 
 
 In mercy given ; 
 Angels to beckon me 
 Nearer, my God, to Thee, 
 
 Nearer to Thee. 
 
 Then with my waking thoughts 
 Bright with Thy praise, 
 
" Nearer, my God, to Thee, 
 Kearer to Thee." 
 
DELSARTEAN PANTOMIMES 
 
 Out of my stony griefs 
 
 Bethel I'll raise ; 
 So by ray woes to be 
 Nearer, my God, to Thee, 
 
 Nearer to Thee. 
 
 Or if on joyful wing. 
 
 Cleaving the sky, 
 Sun, moon and stars forgot. 
 
 Upward I fly ; 
 Still all my song shall be. 
 Nearer, my God, to Thee, 
 
 Nearer to Thee. 
 
 Sarah F. Adams. 
 
 195 
 
1^6 DELSARTEAN PANTOMIMES 
 
 THE PANTOMIME 
 
 Ivines to be sung by one person, with or without 
 piano accompaniment, or they may be rendered by a 
 concealed choir. 
 
 Basic Position No. 6 for entire pantomime. 
 
 ATTITUDE 
 
 I 
 
 " Nearer, my God, to Thee, 
 Nearer to Thee." 
 
 lyine of gravity in right foot. Hands applied — that 
 is, palm to palm, and close to chest, elbows outward, 
 head bowed. 
 
 2 
 
 " E'en tho' it be a cross 
 That raiseth me," 
 
 Head more strongly bowed than in preceding attitude. 
 
 3 
 " Still all my song shall be " 
 
 Line of gravity slowly to left foot — elbows and head 
 at same time slowly rising, face fervent and expressive. 
 
 4 
 " Nearer, my God, to Thee," 
 
DELSARTEAN PANTOMIMES 
 
 197 
 
 Hands clasped and extended higli into upper zone, 
 front, head well back, chin and eyes up. 
 
 5 
 " Nearer to Thee." 
 
 Line of gravity to right foot — hands still clasped, 
 slowly descending into lower zone, front, and held 
 close to body, head at same time descending, with chin 
 near chest. 
 
 6 
 
 " Though like the wanderer, 
 The sun gone down, 
 Darkness be over me, 
 My rest a stone ;" 
 
 On first line, bring clasped hands upward near chest, 
 bow forehead on knuckles and hold position through 
 remaining three lines. 
 
 7 
 " Yet in my dreams I'd be " 
 
 I/ine of gravity to left foot — hands unclasp and pass 
 to upper zone, oblique front — palms supine, head 
 raised as before, whole manner fervent. 
 
 ■ 
 
 8 
 
 " Nearer, ray God, to Thee, 
 Nearer to Thee." 
 
 Hands pass outward and downward to middle zone, 
 
igS DELSARTEAN PANTOMIMES 
 
 then inward to chest, crossed one over the other at 
 wrists, head again bowed. 
 
 9 
 
 " There let the way appear " 
 
 Head slowly rising — hands at same time changing 
 position on chest to palms outward and separating. 
 
 lO 
 
 " Steps unto Heaven :" 
 
 Face strongly upward — right hand moving slowly 
 upward, oblique front, to height of eye, left at same 
 time, moving downward, oblique left, to same distance 
 as right moves upward. 
 
 II 
 
 " All that Thou sendest me, 
 In mercy given :" 
 
 Hands outward to lateral, and slowly descending 
 into lower zone, front and then clasped — head and eyes 
 again downward. 
 
 12 
 
 " Angels to beckon me 
 Nearer, my God, to Thee. 
 Nearer to Thee." 
 
 Raise hands, still clasped to front, and bring them 
 in to chest — elbows very high — at same time carry 
 
DELSARTEAN PANTOMIMES igg 
 
 head back — face strongly upward, body raised to full 
 height. 
 
 13 
 " Then with my waking thoughts " 
 
 Hands outward to lateral and descending to almost 
 shoulder-high. 
 
 " Bright with Thy praise," 
 
 Line of gravity to right foot — right hand at same 
 time carried inward toward head, and left descending to 
 lower zone, lateral — palm prone. 
 
 15 
 
 " Out of my stony griefs 
 
 Bethel I'll raise ; 
 
 So by my woes to be 
 
 Nearer, my God, to Thee, 
 
 Nearer to Thee." 
 
 Right hand upon top of head near forehead, head 
 turned to right and bowed in front of right shoulder, 
 left in preceding position. 
 
 16 
 
 " Or if on joyful wing. 
 Cleaving the sky, 
 Sun, moon and stars forgot, 
 Upward I fly," 
 
 Line of gravity to left foot — right hand at same time 
 
200 DELSARTEAN PANTOMIMES 
 
 passing outward to lateral slioulder-lii-gli (head at same 
 time rising), then inward toward left chest, and then 
 high into upper zone overhead, and held with palm 
 facing to left ; index finger leading, head well back, 
 chin up, whole manner intensely devotional. 
 
 17 
 
 " Still all my song shall be, 
 Nearer, my God, to Thee, 
 Nearer to Thee." 
 
 Hands to lateral, middle zone, then inward upon 
 chest, one palm upon back of other hand, and hold 
 position to close. 
 
DELSARTEAN PANTOMIMES 20 1 
 
 SUGGESTION 
 
 The following is a list of musical selections suitable, in part or 
 whole, for Pantomimic action : 
 
 1. The Two Angels, Blumenthal 
 
 (Arranged by A. W. Berg.) 
 
 2. The I^ast Hope, Gottschalk. 
 
 3. The Hundredth Psalm, Wm. V. Wallace. 
 
 4. Improvisation — Op. 48, No. 2, S. Jadassohn. 
 
 5. Marcia Fantastica — Op. 51 W. Bargiel. 
 
 6. Variations of Home Sweet Home. 
 
 7. Amaryllis, Ghys. 
 
 8. The Nocturne and The Wedding March of The Mid- 
 
 summer Night's Dream, Mendelssohn. 
 
 (Arranged by Sidney Smith.) 
 
 9. The Funeral March of a Marionette Chas. Gounod. 
 
 ID. The Swing Song, Fontaine. 
 
 11. Acht Skizzen, Arthur Bird. 
 
 12. The Monastery Bells. 
 
 13. The Musical Box — Op. ig, E. Liebach. 
 
 14. The Joyful Peasant Schumann, Op. 68, No. 9. 
 
 (Arranged by A. Hartl.) 
 
 15. Bright Star of Hope— Op. 51, Theo. G. Boettger. 
 
 16. Serenade, Schubert. 
 
 (Transcription — A. I^oumey.) 
 
2 02 DELSARTEAN PANTOMIMES 
 
 17. The Monk's Prayerr Jiilms E. Micller. 
 
 18. The Miserere- and Prison Scene from II Trovatore -Op. 
 
 39, No. 3, Edouard Dorn. 
 
 19. Bonnie Sweet Bessie— Op. 75 T. P. Ryder. 
 
 20. Berceuse, Josef Hofmann. 
 
 The following-named hymns and songs can also be used with 
 good effect : 
 
 1. "Abide with Me, Fast Falls the Eventide." 
 
 2. Nearer, My God, to. Thee. 
 
 3. Almost Persuaded. 
 
 4. Fading, Still Fading. 
 
 5. Softly Now the Light of Day. 
 
 6. The Star-Spangled Baniier. 
 
 7. Robin Adair. 
 
 8. I Dreamt I Dwelt in Marble Halls. 
 
 9. Juanita. 
 
 10. Last Rose of Summer. 
 
" Quaff, oh quaff this kind nepenthe, 
 And forget this lost Lenore !" 
 

AN ALPHABETICAL LIST 
 
 OF THE CONTENTS OF 
 
 VARIOUS PUBLICATIONS, 
 
 BEST SEliECTIOflS 
 
 Each number, Paper Binding, 30c.; Cloth, 50c. 
 
 CONTENTS OF No. I. 
 
 Abrabnio UhcqIm, 
 
 After t'ae Accident. 
 
 Annie and Willie's Vrxyer. 
 
 datasy im\ I are Out. 
 
 Blue aod the Gray, The. 
 
 Bays, Tae. 
 
 Break, Kreak, Brenlc. 
 
 Biig.e Siiig. 
 
 Ball urn i^ra*£€ Banttini. 
 Bui-iu.1 of Muyes, TUe. 
 Cat-Taila 
 
 Cliareo&l Man, Tlie. (gade. 
 Cbarge of the Light Bri- 
 Child- Wite, The. 
 Cutaiag zud G^jiag. 
 Creeds of the Bells, The. 
 CruBsing tne Carry. 
 Death of Little Jse. 
 Death of Little NelL. 
 D.3r Coming Man. 
 Dit&culty of KhyiaiBg, Tlu. 
 Dying Christian, The. 
 Empt^ Nest, Tha. 
 Eveuiag at the Farm. 
 Gxperienoe with European 
 
 Guides. 
 Extract from the Lafl*; 
 
 Speeeh of Robb. Entiiiett. 
 First Te Deum, The. 
 Forty Years Ago. 
 Growth of ttu AmericaA 
 
 KepubUcs 
 
 Hamlet's tiutructi^n to the 
 
 PI ay ens. 
 Hamlet's Choat. 
 How Paul Woa l-Iia Goat. 
 ladt^pendeace Bell. 
 Irish Schoolmaster, The. 
 I«1e of Long Ago, The. 
 Jea» Anderson, my Joy, 
 
 Jean. 
 Jrthii Muynard. 
 Katie Ltse and Willie Gr*y. 
 Katydid. 
 
 Launch uf the Ship, The. 
 Lullaby. (The. 
 
 M.;iUory of Wa^JtiagtoK, 
 Modern Cain, X"he. 
 Mrs. Caudle's Lecture. 
 My Early Uome. 
 My Mule. 
 Nathan's Case. 
 Nix's Mate. 
 Nobody's Child. 
 Old Year and the New, 
 :The. 
 
 Old Yankee Farmer, The. 
 Oratnr Putf. 
 lithello'B Aitology. 
 Our F.dks- 
 Overthu Uill. 
 Over the ttiver. 
 Palmereton and U««iiln. 
 Papa Snys So, Too. 
 
 Partiug Lovers, The. 
 PatriukDoHa'^l^Ave-Lfettoc 
 Pat's Excelaior. 
 Pax Vobiscuin. 
 Piece of Bunting, A. 
 Prodigal Son, The. 
 Psalm XXllI. 
 Vsalni XXIV. 
 Rainy Day, The. 
 tte.Jef of Lucknow, Tlrt. 
 KevulDtiouary Kiaing. 'Dm 
 Scrooge and Marley. 
 Smaok in .School, The. 
 Song ..(■ the Winter Winds, 
 Song Revels. 
 
 Spartiens to thu Glat^liatitrs. 
 I'o a Christinas Puddiu^ 
 To Whom slutli we liivt 
 
 Thanks ? 
 Tragedy, A, 
 Uncle Pete's Counsel to tin 
 
 Newly Married, 
 Waif, A. 
 Why He Wouldn't SeJi tht 
 
 Farm. 
 William Tell. 
 Will tbe New Year ConH 
 
 To-Night? 
 Woiuan's Rights. 
 Your Mission. 
 You Put no Flowers onm§ 
 
 Papa's GrAve. 
 
 CONTENTS OF No. 2. 
 
 AMgail Beelnr. 
 
 Altruism. 
 
 Andrew Jaek«on. 
 
 Arnold Wiakelried. 
 
 Barn Window, The. 
 
 Balls of Shandon, Th«. 
 
 Bible Reading. 
 
 Blacksmith's Story, The. 
 
 Btaok Ranald. 
 
 Buck Fanshaw's Funeral. 
 
 Cassius against Cteaar. 
 
 Cavalry Charge, The. 
 
 CUar-C8-8-al. 
 
 Charity. 
 
 Christmas Carol, A. 
 
 Darius Green and his Fly- 
 ing Machine. 
 
 Death of Eva. 
 
 DatnagogHB, The. 
 
 Oijw's Flat, 1856. 
 
 i>utchman's Speech at an 
 Institute, A. 
 
 East and the West One, 
 The. 
 
 Excelsior. 
 
 Father in Heaven. 
 
 Firat Apnearanoe in Ty^. 
 
 Ohosta, The. 
 
 Oo It AloMa. 
 
 God in Hififcory. 
 
 Hamlet's Soliloquy. 
 
 Hezekiah Bedott. 
 
 High Tide ; or. The Brides 
 of Enderby. 
 
 How Mr. Coville Oounted 
 the Shinf^les. 
 
 Isaiah XXXV. 
 
 JFoHnny's Opinion of Grand- 
 mothers. 
 
 Kentucky Philosopky. 
 
 Liberty and Union. 
 
 Lochinvar's Bide. 
 
 Mark Twain and the Inter- 
 viewer. 
 
 May Queen — Conclusion, 
 The. 
 
 Miss Maloney on the Chi- 
 nese Question- 
 Minute Men of 75, The. 
 
 Mr. Coville on Danbury. 
 
 Month of Mars, The. 
 
 Nature of True Eloqueiioe, 
 The. 
 
 New Church Orean, The. 
 
 New Year's Address. A. 
 
 North American Indians. 
 
 aid Man in the Model 
 ChuFch, Tb«. 
 
 01.» and RlSad. 
 Old Cl'^k on. tibe Stala. 
 The. 
 
 Only a Boy, 
 
 Oratory an^ tih« PwM. 
 
 Over the HiU to ih* Jfoar 
 
 house. 
 Polisl. Boy, The. 
 Public Di^tonesty. 
 Puzzled Dntctiman, T^9- 
 Red Jacket, The. 
 Robinson Crusoe. 
 Romance of Nick >'"■ 
 
 Stanu, The. 
 Rum's Maniac. 
 Schneider Sees Leah. 
 Sixty-four and Sixty-five 
 Socrnte* Snooks. 
 Soldier's Reprieve, Thft. 
 Spanish Armada, The, 
 Twenty-third Psalm, The. 
 Washington as a Civilisa, 
 When) Shall the Bal^^ 
 
 Dimple be? 
 Wolaey's Fall. 
 Yarn of the Nancy B«tl 
 
 The, 
 Yoa&g Scholar. The 
 
Frof. J. M. GiLLAM, a Promin*rd Instrvctor in Flnrutifm, says >'" J have 
 ased the numljers of Best f-eleclions fid years, and Lave found in them 
 Ibebest coTlecticii of standard pieces, both for my own 
 reading and for liicube of my pupiU, lUat I liave ever seen." 
 
 CONTENTS OF No. 3. 
 
 Adoon the Lane. 
 
 American Flaj;, The. 
 
 Baby's First Tooth, The. 
 
 Viit'den and Pickwick.. 
 
 Baron's Last Banquet, The. 
 
 Battle of Bear an Duine. 
 
 Blindness. 
 
 Burning Ship, The. 
 
 Charlie Machree. 
 
 Christmas Hymn. 
 
 Claudius and Cynthia. 
 
 Closing Year, The. 
 
 Cynic, The. 
 
 DVspair is Never Quite De- 
 spair. 
 
 Dutchman's Serenade, The. 
 
 Eagle's Rock, The. 
 
 Ev'ls of Ignorance, The. 
 
 Fiimine, The. 
 
 Fp.nale Gossip. 
 
 ^''lo^entine Letter, A. 
 
 From Kxilc 
 
 'Jladiatnr, 'J'he. 
 
 Uoodness and Greatness of 
 G'.d. 
 
 Guod-Night, Papa. 
 
 Haunted House, The. 
 
 Hypochondriac, The. 
 
 If I Should Die To-Night. 
 
 Indian Chief to the "White 
 Settler, The. 
 
 Inquiry, The. 
 
 Jack and Gill. 
 
 Kit Carson's Ride. 
 
 Kitclien Clock, The. 
 
 Laughin* in Meetin." 
 
 Licensed to Sell ; or, Little 
 Blossom. 
 
 Lides to Bary Jade. 
 
 Little Goldenhair. 
 
 Lost and Found. 
 
 Maud Muller. 
 
 Monster Cannon, The. 
 
 National Monument to 
 Washington. 
 
 Negro Prayer. 
 
 Ode on the Passions. 
 
 Old Forsaken School-house, 
 The. 
 
 Painter of Seville, The. 
 
 Parrhasius and the Cap- 
 tive. 
 
 Parting Hymn. 
 
 Passing Away. 
 
 Poor Little Jim. 
 
 Power of Habit, The. 
 
 Promise, The. 
 
 Pulpit Oratory. 
 
 Beaching the Early Traill^ 
 
 Reply to Mr. Corry. 
 
 Reverie in Church, 
 
 Rock of Ages. 
 
 Senator's Dilemma, Tbft. 
 
 Seven Ages of Man. 
 
 Sjgns and Omens. 
 
 Song of Moses. 
 
 Song nf the Sea. 
 
 Tell on his Native Hills. 
 
 Three Fishers, The. 
 
 Tom SaM'vcr's Love Affair 
 
 Trust in God. 
 
 Two Glasses. The. 
 
 Vapiibonds, 'l''he. 
 
 Waiting for the ChildreOi 
 
 Wax -Work. 
 
 Welcome to Summer, A. 
 
 Woman. 
 
 CONTENT- OF No 
 A Man'i a Man for a' That. 
 
 Age. 
 
 Angels of Buena Vista, The. 
 
 Annuity, The. 
 
 Appeal to the Sexton for 
 Air, An. 
 
 Aunt Kindly. 
 
 Baggage -Smasher, Ye. 
 
 BattleofBunker's Hill. The 
 
 Battle of Lookout Moun- 
 tain, The. 
 
 Battle Hymn of the Repub- 
 lic. 
 
 Black Horse and his Rider, 
 The. 
 
 Bridal Wine Cup, The (Di- 
 alogue). 
 
 Burning Prairie, The. 
 
 Cause of Temperance, The. 
 
 Centennial Oration. 
 
 Christmas Sheaf, The. 
 
 Clarence's Dream. 
 
 Columbia's Centennial Par- 
 ty (Dialogue). 
 
 Columbia. 
 
 ^ntentmeBt. 
 
 Oarfe» Must Not Ring To- 
 Night. 
 
 Deacon Munroe's Story. 
 
 Dead Church, The. 
 
 Declart;tion of Independ- 
 ence. 
 
 Dora. 
 
 Dot Lambs vot Mary Haf 
 Got. 
 
 Faith and Reason. 
 
 Fire, The. 
 
 Gambler's Wife, The. 
 
 Ghost, The. 
 
 Grandmother's Story. 
 
 Great Beef Contract, The. 
 
 How a Married Man Sews 
 on a Button. 
 
 Judge Pitman on Various 
 Kinds of Weather. 
 
 Kentucky Belle. 
 
 Leap- Year Wooing, A. 
 
 Love Your Neighbor as 
 Yourself. 
 
 Maiden's Last Farewell, 
 The. 
 
 Mark Antony Soene (Dia- 
 logue). 
 
 Mnrtocjf, Wit. A. 
 Negro Prayer, A. 
 No God. 
 
 Ode to the Deity. 
 Ode to Independence Hall 
 An. 
 
 Ode to the Legislature. 
 
 Our Own. 
 
 Quarrel of Squire Bull and 
 his Son Jonathan, The. 
 
 Rationalistic Chicken, The. 
 
 Raven, The. 
 
 Remember Now thy Cre- 
 ator. 
 
 Rest. 
 
 Revelation XXII. 
 
 Rienzi's Address. 
 
 Rival Speakers, The (Di»> 
 logue). 
 
 Spirit of 76 (Tableau). 
 
 Tommy Taft. 
 
 Tribute to Washington. 
 
 Union, The. 
 
 What the Old Man Said. 
 
 Yankee's Stratagem. TIti 
 (Dialogue). 
 
l^ma the TYanscript, Portland, Maine. 
 
 '•These selections evince correct taste an i funiisli the amateui 
 
 seader and ibu prutessionul elocutiuiust witli the 'vvidest raug[« 
 
 of subjects fur occasions ou which, matters of that kind may b« 
 
 needed. " 
 
 Agar, The, 
 
 Ail that Glitters ia not Gold 
 {Dialogue}. 
 
 Archie Dean. 
 
 Bannuck-Bhra. 
 
 Betty Leo. 
 
 Brave at Home, The. 
 
 Bride of the Greek Isle. 
 
 Brook, The. 
 
 Budge's Versiop of the 
 Flood. 
 
 Catiline's Defiance. 
 
 Ceuteuuia.1 I-Iymn, 
 
 Comiii" 'f^to' the Bye (Ta- 
 bleau). 
 
 Competine- Bailroads, The 
 {"Dialogue). 
 
 CovinthiauB, I, XV. 
 
 Course of Love too Smooth. 
 
 Dedication of Gettysburg 
 Cemetery. 
 
 Elder Mr. Wellor's Senti- 
 ments on Literary Com- 
 powition. 
 
 Fairy -Land. 
 
 FoRliionable Singing. 
 
 Flooii of Veara, The. 
 
 Goad Reading, 
 
 Uans and Fritz. 
 
 CONTENTS OF No. 5. 
 
 lie Giveth His Beloved 
 
 Sleep. 
 Heroes of the Land of 
 
 Pean. 
 IIow we Hunted a Mouse. 
 John and Tibbie's Dispute. 
 Lahore est Orare. 
 List Hymn, The. 
 Leak in the Dyke, The. 
 Listeners Hear no Good of 
 
 Tliemselves (Tableau). 
 Lost and Found. 
 Blagdaleua, or, The Span- 
 , ish Duel. 
 Maiden Martyr, The. 
 Man Wants but Little Here 
 
 Below. 
 Man's Ingratitude. 
 Membranous Croup and the 
 
 MeWilliamses, 
 Moral Efiocr.3 of Intemper- 
 ance. 
 Morning. 
 My Trundle-Bed. 
 Old Ironsides. 
 Once Upon a Time. 
 Only a Baby. 
 Over the Hills and Far 
 
 Away. 
 
 Pai-thenia (Dialo^e). 
 
 Prisoner of Chillon, The. ' 
 
 Prince Henry and Fa^shait 
 (Dialogue). 
 
 Furitana, The. 
 
 Beady for a Kiss. 
 
 Begret. 
 
 Samantha Smit)^ heootnah 
 Josiah Allen's Wife. 
 
 Saracen Brothers (Dia- 
 logue). 
 
 Schoolmaster's Guests, Tb«. 
 
 Song of Birds. 
 
 Swell's Soliloquy, The. 
 
 Southland, 
 
 Summer Friends. 
 
 Swallowing a Fiy. 
 
 To a Skull. 
 
 Tramp. Tramp, Tramp. 
 
 True Contentment. 
 
 Uncle Daniel'b Introdue- 
 tion to a AjT'eeissippi 
 Steamer. 
 
 Vaudois Missionary, The. 
 
 Where is Papa To-Night ? 
 
 Why Biddie and Fat Wu- 
 ried. 
 
 Artomus Ward's London 
 Lecture. 
 
 Asleep at the Switch. 
 
 Ave Maria. 
 
 Battle of Ivry, The. 
 
 Bob-o'-Iiak. 
 
 Bridge of Sighs, The. 
 
 Brother Anderson's Ser- 
 mon. 
 
 Cano-Bottonied Chair, The. 
 
 Children's Hour, The. 
 
 ^ool Keason (Dialogue) 
 i^igirer Scene, The. 
 
 i' %y at Niagara, A. 
 
 '^ isorted House, The. 
 
 doctor Marigold 
 
 1' nkito Snake, The. 
 
 Easter Morning. 
 
 Qdith Helps Things Along. 
 
 Eve and the Serpent. 
 
 •Extract from " The Last 
 Jktya of Herculaneum " 
 
 CONTENTS OF No, 6. 
 
 Father Fhil's Collection. 
 From the Tragedy of King 
 
 John (Dialogue). 
 Fruits of Labor, The. 
 Getting Under Way. 
 Gradatim. 
 
 Groen-Mountaiu Justice. 
 Hard Shave, A (Tableau). 
 Hatchet Story. 
 Ho ! Every One thdt Thirsb- 
 
 eth! 
 Home Song. 
 Jane Conquest. 
 Jennie M'Neal's Bide. 
 ^itt.e Allie. 
 Malibran and the Toung 
 
 Musician. 
 Mary Stuart (Dialogue). 
 My Country, 'tis of Thee. 
 Nae Luck Aboet the House. 
 Niagara. 
 
 Old Sergeant, The. 
 
 Oratory. 
 
 Organ Creations. 
 
 Palmetto and the Fine, Tha. 
 
 Professor Puzzled, Tht 
 
 (Dialogue). 
 Belentleas Time. 
 Satan and the Grog-sellM 
 School "Called." 
 Song of the Crickets, Tli» 
 Songs in the Night. 
 St. John the Aged 
 Thanatopsis. 
 Thanksgiving, A. 
 To a Friend. 
 Tom. 
 
 Tribute to East TenntoMft - 
 Valley Forge. 
 Washington (Tableau), 
 Zekle. 
 
FROF, George P. Beard, a Diniinfjitiaked Educator, says: " RiPt Selcc 
 Honsare largrely used by studuiila for choioese\:f:i<'iis for i)ui lie 
 tecilatinn and class reading. They are sdmirably adapted 
 iothe practical -work of elocutiun." 
 
 American War, Tha. 
 ^uld Lang Syne. 
 Books. 
 
 Build&'s, The. 
 Care of God, The. 
 Crescent and the Cross, The. 
 Duddle Doou. 
 Daisy '& Faith. 
 Death of tho Old Year, The. 
 Death of Nelson, The. . 
 Doatli of the Old Squire. 
 Eai-ly Christmas Morning. 
 Fair Play for Women. 
 Farmer's Life, Tho. 
 Glove and the Lions, The. 
 Dray Honors the Blue, Thb. 
 [iamlot, Act II, Scene 2 
 
 (Dialogue). 
 Ilannuh Binding t^hoes. 
 Hunry the Fifth at Har- 
 
 Ilenr. 
 How Tom Sawyer White- 
 
 wasbbd his Fence. 
 
 CONTENTS OF Wo. ■?. 
 
 Leper, The. 
 
 Light-house May. 
 
 Ijoehiel's Warning (_Dia 
 logue). 
 
 Longing. 
 
 Masters of the Situation. 
 
 Master's Touch, The. 
 
 Marco Bozzaris. 
 
 Milking-Time. 
 
 Mine Katrine. 
 
 Model Discourse, A. 
 
 Mont Blanc before Sunrise. 
 
 My Miude to Me a King- 
 dom Is. 
 
 Night after Christmas, The. 
 
 Night before Christmas. 
 
 Old Grimes. 
 
 Old Robin. 
 
 Our Minister's Sermon. 
 
 Onr Traveled Parson. 
 
 Owl Critic, The. 
 
 Parody, A. 
 
 Paradise. 
 
 Paul before King Agripptu 
 Reflections on Westminste' 
 
 Abbey. 
 Royal Princess, A- 
 Saving M-aaion i.f Infaney, 
 
 The. 
 Sellirg'-he Farm 
 Sherjf. Thome. 
 Ship of Faith, Tho. 
 Sister and I. 
 Suntii Wind, The. 
 Sin-ly Tim's Trouble. 
 Tableaux from CutttTB Sat^ 
 
 urday Niglit. 
 That Hired Girl, 
 T::-6d Mothers. 
 Tom's Little Star. 
 Village Blacksmith, The. 
 Voice in the Twilight, Tha 
 ^■Mnw B-oirn's Ohr'itmna. 
 Woman'sRights(Dialogu«). 
 Wounded Soldier. The. 
 
 After Death. 
 
 American Specimen, An. 
 
 Arrow and the Song, The. 
 
 Bald-headed Man, The. 
 
 Bay Biliy. 
 
 Beecher on Eggs. 
 
 Better in tho Morning. 
 
 Bessie Kendrick's Journey. 
 
 Blue Sky Somewhere. 
 
 Carl. 
 
 Cnaracter of Washington. 
 
 Child Musician, The. 
 
 Christmas Carol, A. > 
 
 Coney Island Dcwn der 
 
 Pay. 
 ^fence of Lucknow, The. 
 {Migrant's Story, The. 
 Knoch Arclen. 
 Bverlasting Memorial, The. 
 Pire-Bell'a Story, The. 
 Pirfll Quarrel, The. 
 Aran'n'a Al'as Does, 
 Harveiters, The (Tableau). 
 P*r Letter. 
 
 CONTENTS OF No. 8. 
 
 How Ruby Played. 
 
 In the Gai-ret. 
 
 lutevnatioual Episode, An, 
 
 Kinj^'s Missive, 1661, The. 
 
 Leap Year in the Village 
 with One Gentleman (Di- 
 alogue). 
 
 Lesson, The. 
 
 Little Feet. 
 
 Monk in His Cell, A (Ta- 
 bleau). 
 
 Mrs. MaeWilliams and the 
 Lightning. 
 
 Nations and Hiimanity, 
 
 Nebuchadnezzar. 
 
 "N" for Nannie and*'B" 
 for Bon, 
 
 Nun at her Devotions, A 
 (Tableau). 
 
 Old Folks. 
 
 Ophelia (Tableau). 
 
 Order for a Picture, An. 
 
 Over the Hill from the 
 Poorhouse. 
 
 Peace in God. 
 Philosophy of Laughter. 
 Practical Youifg Woman. 
 Psalm XC. 
 Reckoning with the OM 
 
 Year. 
 Reply to Hayne. 
 
 R33t. 
 
 Rivals, The (Dialogue). 
 Scene from Leah the Fc» 
 
 sale en. 
 Setting a Hen. 
 Sioux Chiefs Daughtsr. 
 , Slander. 
 
 Song of Steam, 1 he. 
 Stage Struck (Dialoguo^t 
 Statue in Clay, The. 
 Tale of the Yorkshire Couu 
 Temperance Qiiestion, The. 
 There's No Rose "Without « 
 
 Thorn (Tableau). 
 Undwie (Tableau}. 
 Vashti. 
 
"This series is f^eslgned as a receptncle into which shall fall yearDy 
 year the newest and best reaflins:9 of iLeclocuiionit-tsof the 
 irountry, A few of the old'standard pieces are nlways inlennixed wilh 
 Che newest, thus making Best Selections a compact arcl con-= 
 venient imanual and a thing of merit."— //i/t/ igrvcer, DfyyleHowny 
 Pa. 
 
 :iffed Stranger, The. 
 
 .<i,wfaUy Lovely -Philosophy. 
 
 baby's Visitor. 
 
 Bal>y'a Kiss, The. 
 
 Bercha ia the Lane. 
 
 Births. Mrs. Meelcs, of a. 
 Sou. 
 
 Btior Rose. 
 
 Buaiboat Woman's Story. 
 
 Child on the Judgment- 
 Seat, The. 
 
 Ohriiitinas Ballad, A. 
 
 Clombat between Fitz-Jamea 
 and Roderick Dhu (Dia- 
 logue). 
 
 Conn pp. 
 
 Death of Minnehaha (Ta- 
 olean). 
 
 Fisherman's Wife, The. 
 
 First Party, The. 
 
 Gipsy Fortu ne -Teller (Ta- 
 blean). 
 
 Uamlet, Aot III, Scene 4 
 ^Dialogae). 
 
 CONTENTS OF Wo. 9. 
 
 Henry Fifth'p Wooing (Dia- 
 logue). 
 
 Horatius. 
 
 Ideal, The. 
 
 I Was with Grant. 
 
 Lady of Lyons, Scene from 
 (Dialogue). 
 
 Lost Prayer of Mary, Queen 
 of Scots. 
 
 Lookout Mountain. 
 
 Master Johnny's Next-Door 
 Neighbor. 
 
 Maud Miller (Tableau). 
 
 Mine Vamily. 
 
 Mrs. Walker's Betsy. 
 
 Mrs. Ward's Visit to the 
 Prince. 
 
 National Ensign, The. 
 
 Only. 
 
 Palace of the King, The. 
 
 Paul at Athens. 
 
 Potency of English Words. 
 
 Pwize Spwing Poem. 
 
 Qneen M^ry, Act V, Scene 
 5 (Dialogue). 
 
 River, The. 
 
 Rover's Petition. 
 
 Sailing of King Olaf, 'Da. 
 
 Sam's Letter. 
 
 School Begins To-Day. 
 
 Selling the Farm. 
 
 Sometime. 
 
 Song of the Camp, The. 
 
 St. George and the Dra^ 
 
 on. 
 Terpsichore in the Flai 
 
 Creek Quarters. 
 Then and Now. 
 Thoughts for a New- Year. 
 Tribute to Washington. 
 Truthof Truths, The. 
 Unnoticed and Unhonorel 
 
 Heroes. 
 White Squall, The. 
 Widow and her Son, The. 
 William Goetz. 
 World, The. 
 Words of Strength. 
 Yorkshire Cobbler, Th«. 
 
 CONTENTS OF No. 10. 
 
 Be as Thorough as You Can. 
 
 Balaklava. 
 
 Rlind Lamb, The. 
 
 Caught in the Quicksand. 
 
 Cliimney's Melody, The. 
 
 Chickamauga. 
 
 Despair. 
 
 Drifting. 
 
 Dick Johnson's Picture. 
 
 Death of Roland, The. 
 
 Dot Baby off Mine. 
 
 Euliip/ on Garfield. 
 
 Frenchman on Macbeth. 
 
 Hervo Biel. 
 
 .fiirrepressible Boy, The. 
 
 'k b XXVIII. 
 
 jTamie. 
 
 Law of Death, The. 
 
 Little R lekot's Christmas. 
 
 Larrie O'Doe. 
 
 Little Dora'p Soliloquy. 
 
 Last Charge uf Ney. 
 
 Lost Found. The. 
 
 Mick Tandy's Revenge. 
 
 Macbeth and the Witches 
 (Dialogue). 
 
 Mother of the Graohii, The 
 (Tableau). 
 
 Nay, I'll Stay with the Lad. 
 
 New England's Chevy- 
 Chase. 
 
 Old Year and the New.The. 
 
 Phantom Ship, The. 
 
 Quarrel between Sir Peter 
 and Lady Teazle (Dia- 
 logue). 
 
 Kev. Gabe Tucker's Bo- 
 marks. 
 
 Railway Matinee, A. 
 
 Rizpah. 
 
 Bevories of a Bachelor (Ta- 
 bleau). 
 
 Remioiscences of Exhibi- 
 tion Day. 
 
 Shriving of Guinevere, The. 
 
 Sohonhnaster jJeaten, The. 
 
 Sympathy. 
 
 Sky, The. 
 
 School Statistics. 
 
 Scene from Damoa aiid 
 
 Pythias (Dialogue). 
 Snow-Birds (Tableau). 
 Tilghman's Ride. 
 Theology in the Quarters. 
 To the Survivors of the BaC 
 
 tie of Bunker Hill. 
 Till Death Us Join. 
 "Tammy's Prize. 
 Tragedy, The. 
 True Story of Little B«y 
 
 Blue, The. 
 Two Blind Beggars (Tft> 
 
 hleau). 
 Village Choir, The (Ta* 
 
 bleau). 
 Washington Hawkins Dioet 
 
 with Col. Sellers. 
 Wayside Inn, The. 
 I 
 
ar J. H. Luther, a prominent educator of the South, says : •' I regar* 
 ^18 series as the best publisbed for this department of colleg* 
 study. The Annuals are specially valuable as sustalnlns: ilie 
 (Interest of tlie pupil and widening her knowledge of our best 
 authors.** 
 
 CONTENTS OF No. 11. 
 
 Apos* jphe to the Ocean. 
 Arctic Aurora, An. 
 iSallet Girl, The. 
 Bobolink, The. 
 Catchirg the Coli 
 Child Martyr, The. 
 Clown's Baby, The. 
 Convict's Soliloquy, the 
 
 Night before Execution, 
 Death of Little Dombey. 
 Decoration Day. 
 Dutchman's Snake, The. 
 Echo and the Ferry. 
 Execution of Queen Mary. 
 Finished. 
 
 Flash — the Fireman's Story 
 Fo\es'Tjiils ; or, SandyMac- 
 
 Dimald's Signal, The. 
 Freckled-faced Girl, The. 
 Front Gate, The. 
 Froward Duster, The. • 
 Givrfiold at the 'Wheel. 
 Grandmother's Apolr^gy, 
 Her Name. 
 Jerry. 
 
 Joan of Arc at the Stake 
 f Tableau). 
 
 Knowledge and Wisdom. 
 
 Life's Loom. 
 
 Lisping Lover, The, 
 
 Little Boy's Valentine, A. 
 
 Little Gottlieb's Christ- 
 mas. 
 
 Mice at Play. 
 
 Model American Girl, 
 The. 
 
 Modern Facilities for Evan- 
 gelizing the World. 
 
 Mona's Waters. 
 
 Naomi and Her Daughters- 
 in-law (Tableau). 
 
 New Slate, The. 
 
 Nicodemus Dodge. 
 
 No Kiss. 
 
 Old Year and the New, 
 The. 
 
 One Flower for Nelly. 
 
 Parson's Fee ; or, The Bag 
 of Beans, The (Tableau). 
 
 Possible Consequences of a 
 
 Comet Striking the Eai 't 
 in the Pre-glacial Period 
 
 Prospects of Mi© Kepublic. 
 
 Queen Vashti's Lament. 
 
 Bock Me to Sleep. 
 
 Romance of a Hammock. 
 
 Shadow of Doom, The. 
 
 Song i.f the Mystic. 
 
 Spceclies of Zenobia and 
 her Council (Dialogue). 
 
 Sunday Fishin'. 
 
 Supposed Speech of John 
 Adams. 
 
 Telephonic Conversation.A. 
 
 This Side and That. 
 
 Thora. 
 
 Ticket o' Leave. 
 
 Trial of Fing Wing (Dia- 
 logue). 
 
 Tribute to «ir Walter Scott. 
 
 Wedding of Shoo Maclear. 
 
 Where's Annette 1 
 
 Winter in the I^ap ol 
 SpringX Tableau). 
 
 Wondera of Genealogy, The 
 
 CONTENTS OF No. 13, 
 
 Aunty Doleful'a Visit. 
 Aux Italieus. 
 
 Ballad of Cassandra Brown. 
 Battle Flag at Shenandoah. 
 Bell of Zanora, The. 
 Bells, The. 
 
 Bolls Across the Snow. 
 Beyond the Mississippi. 
 Bishop's Visit, The. 
 Blind Poets Wife, The. 
 Book Canvasser, The. 
 Brother's Tribute, A. 
 Convention of Realistic 
 
 Readers. 
 Country School, The. 
 Discontentment, 
 pude. The. 
 
 pjelisfs Victory, The. 
 £:-^rnest Views of Life. 
 jEJaster - Tide Deliverance, 
 
 A. D. l-JS. 
 Engineers Mak'ing Love. 
 Fall of Pomberton Mill. 
 Felor'sColl. A. 
 f\y'a CogitatiuUB, A. 
 
 God's Love to Man. 
 
 Good- Bye. 
 
 Grace of Fidelity, The. 
 
 How Girls Study. 
 
 How the Gospel came to 
 
 Jim Oaks. 
 Industry Necessary to the 
 
 Attainment of Eloquence. 
 Innocence. 
 
 Interviewing Mrs. Pratt. 
 I would'na Gie a Copper 
 
 Plack. 
 Jesus, Lover of my Soul. 
 Jimmy Brown's Steam 
 
 Chair. 
 Lasca. 
 
 Legend of the Beautiful. 
 Life's Story. 
 Lincoln's Last Dream. 
 Luther. 
 
 Magic Buttons. 
 Maisteran' the Bairns, The. 
 Ma^arta. 
 Man's Mortality. 
 Mine SchiUlh.)od. 
 
 Newsboy's Debt, The. 
 
 Old Book, That. 
 
 Old Letter. 
 
 Over the Orch.ird Fenca. 
 
 Pantomime, A. 
 
 Poor-HouseNan. 
 
 Popular Science Catechis'^ 
 
 Ptuvor of the Tongue, The. 
 
 Psalm Book in the Garret 
 
 Receiving Calls. 
 
 Santa Claus in the Minefi. 
 
 Serenade, The. 
 
 She Cut his Hair. 
 
 Skeleton's Story, The. 
 
 Stovy of Chinese Love, A 
 
 Tarrytown Romance, A 
 
 Toddy McGuire and Paddj 
 
 O'Flynn. 
 Temperance. 
 Ter'ble "Sporience, A. 
 T ttal Annihilation. 
 Trytngto be Literary, 
 Wave, The. 
 ^Vendoll Philtn* 
 Yosemite. 
 
"The pieces In Best ^v,iectIons present a very pleastns 
 variety In style and subject, and afibrd a convenient 
 little viilnme from wJiicli to make selections for readings and reciti^ 
 tions." ~Bui ling; on Ilawkeye. 
 
 CONTENTS OF No. 13. 
 
 AJsbeBs's Story, The. 
 
 Ait«r-DiaimL- Speech by a 
 Freachiuaa. 
 
 Ancieat Miner's Story, The. 
 
 ^ristaTchm Studies Elocu- 
 
 At Lost. [uion. 
 
 Aunt Betsy and Little Da- 
 vy (Dialogue). 
 
 Aunt Polly's *' George 
 Washington." 
 
 Banford's Burglar-AIarm. 
 
 Better Things. 
 
 Canada. 
 
 Chase, The. 
 
 Child's Dream of a Star, A. 
 
 Chopper's Child, The. 
 
 Cloud, The. 
 
 Devotion (Tableau). 
 
 Diana (Tableau). 
 
 Ego et Echo. 
 
 Elijah and the Prophets of 
 Baal. 
 
 Griffith Hammerton. 
 
 Humblest of the Earth- 
 Children, The. 
 
 In the Signal-Box, a Sta- 
 tion Master's Story. 
 
 Jehoshaphat's Deliverance. 
 
 Lady Bohesia, The. i 
 
 Landlord's Visit, The. 
 
 Little Quaker Sinner, The. 
 
 Lead the Way. i 
 
 Le3;end of the Orgaa- 
 Builder, The. I 
 
 Let the Angels Ring the 
 Bells. I 
 
 Literary Recreation?. } 
 
 Lord Dundreary in the 
 Country, 
 
 Marit and I. 
 
 Mary's Night Ride. 
 
 Marry me, Darliut, To- 
 night. 
 
 Memorial Day. 
 
 Methodist Class Meeting, A. 
 
 Mine Shildren. 
 
 Mother and Poet. 
 
 Murder of Thomas a Beck- 
 et (Dialogue). 
 
 New Cure for Bhumatism. 
 
 New Tear ; or, "Which Way? 
 
 Old Continentals, The. 
 
 Old Man Goes to Town, 
 The. 
 
 Only. 
 
 On the Stairway, 
 
 Out to Ola Aunt Mary's. 
 
 Our Relations to England. 
 
 Playfnl (Acting Charade). 
 
 Flaying School, 
 
 Public Speech^ 
 
 Rcgulus to the Carthagea- 
 
 ians. 
 Rhymlet, A. 
 Smoke of Sacrifice, The. 
 Song of the American £&< 
 
 gle. 
 Spring Poet, The. 
 Statuary (Tableau), 
 Tableaux from Hiawatha, 
 
 with Readings. 
 Three Graces, The (Ta- 
 
 bleau). 
 Tribute to Longfellow, A. 
 Two Stammerers, The. 
 Union Forever, The (T»- 
 
 bleau). 
 "Uncle Ben.'* 
 V-a-fl-e, The. 
 Yosemite, Th«. 
 Zarafi. 
 
 CONTENTS OF No. 14. 
 
 Are these God's Children F 
 
 Artist's Dream, The (Tab- 
 bleau). 
 
 ballad of the Wicket} Neph- 
 ew. 
 
 Battle of Morgarten. 
 
 Be a Woman. 
 
 Bill and Joe. 
 
 Brudder Yerkes's Sermon. 
 
 Child is Father to the Man. 
 
 Child's Thought of God. A. 
 
 Culuinbua bel'orc Ferdinand 
 and Isabella (Tableau). 
 
 Contrast, A. 
 
 Cow and the Bishop, The. 
 
 Crazy Nell, 
 
 Culprit, A. 
 
 Daniel Gray. 
 
 Day is Done, The. 
 
 DaathofSteerforth. The. 
 
 Dosfiny of America. 
 
 Domestic Economy. 
 
 Don't bo Mean, Boys. 
 
 Dfjubtina; Iloark. A. 
 
 Drummer Bny of Mission 
 Ridge The. 
 
 E)xtriict from a Eulogy on 
 General Grant. 
 
 Finding of the Cross, The. 
 
 Rettvahnrir. 
 
 Ind's Anvil. 
 
 (icina: for the Cows. 
 
 Gracie's Kitty. 
 
 Great Issue, The. 
 
 Head and the Heart, The. 
 
 Her Laddiij's Picture> 
 
 Ho, Boat Ahoy ! 
 
 Incompatibility (Charade). 
 
 Jimmy Brown's Sister's 
 
 June. [Wedding. 
 
 Jupiter and Ten. 
 
 King Harold's Speech to his 
 Army before the Battle of 
 Hastings. 
 
 Lady Judith's Vision, The. 
 
 Last Charge of Ney. The. 
 
 Lifeboat, "The, 
 
 Light that is Felt. The. 
 
 Military Supremacy Dan- 
 ge.rouB ta Liberty. 
 
 Miseries of War, The. 
 
 Mither's Knee, A. 
 
 Model Woman, The. 
 
 Money Musk. 
 
 Mother's Portrait, A. 
 
 Mr. Winkle Pnts on Skates. 
 
 Nearer Homo. 
 
 Night-Watch, The. 
 
 Old UomesCead, Thn. 
 
 Origin of Scandal. The. 
 
 Orlando's Wooing (Dia- 
 logue). 
 
 Fleasaut Acquaintance, A. 
 (T^.Meaui. 
 
 Pockets. 
 Psalm XCV. 
 PuritAn, The. 
 Roroanee of the Rood-LoA. 
 Runianco of the Swan'sNeit 
 School-Boy on Corns, A. 
 Second Trial, A. 
 Self-Culture. 
 Shipof State, The. 
 Sing a Song a Sixpence 
 Sister Agatha's Ghost. " 
 Smile and the Sigh, The. 
 Soldier's Home, "Washinr- 
 
 ton. The. 
 Stolen Bird'sNest, The (Ts^ 
 
 bleau). 
 Story Kathie Told. The. 
 Sweetest Picture, The. 
 Tear of Repentance, A. 
 Tender Heart, The. 
 Thoughts for the Nev/ 
 
 Year 
 Three Leaves from a Boy's 
 
 Diary. 
 To the Desponding. 
 Tweatv S?oond of Febro* 
 
 ary. The. 
 Victor of Marengo, The. 
 What we Did with the Cem 
 Widow Cummiskey, Th*. 
 ■Woman's Power. 
 Ulvssos. 
 
CONTt-'MTS OF DUMBER T5. 
 
 ^one Bole/n's Bejecfciou 
 of Henry VIIl.'s First 
 
 Gift (THbleao). 
 
 iacbelors, The. 
 
 Balaam's Parables. 
 
 :3artlioldi Statue, The. 
 
 3eauLit'ul Hiind^. 
 
 becalmed. 
 
 ^3urial of the Old Flag. 
 
 ^rave Aunt Katy. 
 
 j^hildreu. The. 
 
 Childhood's Scenes. 
 
 ^liiiRtmas Guest, The. 
 
 :ity of la, The. 
 
 iomnaeice. 
 
 Concord Loi^eSoDg, A. 
 
 Duvid's LameDi for Absa- 
 lom. 
 
 Death of Jezebel, The. 
 
 Iter Oiih uiid Der Viite. 
 
 i)j-.coveiiDg a Leab (Tab- 
 
 D,'iubtful Bank Note, The 
 
 'Table.iu). 
 P.iJiiig I.paf, The. 
 V.ill III! IStK). 
 t'lag ot the ftaiubow. 
 b. 'dt?ii Biidge, The. 
 licuiit's Place in History. 
 Sraj Chavnpiou, The. 
 
 Oueseiug Naiitmalities. 
 
 Heart's B^olve, The (Tab- 
 leau). 
 
 I Gh:irch — During the 
 Litany. 
 
 In tlie Children's Hostntnl. 
 
 Irelaud To Be Ruled by 
 Iiisltmen. 
 
 Jem'H l^asl Kide. 
 
 King Ai'tliur and Guine- 
 vere. 
 
 Kiss Deferred, The. 
 
 La Tour D'Aavergne. 
 
 Lltlle Chi-LStel. 
 
 LiLtle Foxes. 
 
 Little Maid with Loi-3TS 
 Twain. 
 
 LtiUaby Song. 
 
 Mauiiood. 
 
 Moittli of Apple BloBsoms, 
 The. 
 
 Mide^ummer. 
 
 Moral Courage, 
 
 Mouse Trap, The '.A 
 Farce) 
 
 Mr. Beecher ^nd the 
 Waifs. 
 
 Mrs. Pickett's MisalOTiary 
 Box. 
 
 Music in Camp. 
 
 Niagara Falls. 
 
 0?i jSIoQiw-nflWu 
 
 Old KouiidsmanV SMey, 
 
 Oi'.r Choir. 
 
 Oi r First Experience ffjftl 
 
 a Wale 1 1 Di>g. 
 people's rtoug of I'ejwe. 
 Perfectly, t wml.y, lave^ 
 
 etovy, A. 
 Price of a Driuk, Tba. 
 Proof Positive. 
 &he Wanted to Kear ik 
 
 Again. 
 Skipper t^en. [_Aat. 
 
 Speech A^aiu^t iUv Stam^ 
 Squire's ^r^itiu, Th?. 
 Song fov tile Oouquerml, fk 
 Story of an Appie, A. 
 Strange l<>^perieuc&. A. 
 Three Kilty's, The. 
 Three Meetings. 
 Tragedy on Paai Patta 
 
 eiples, A. 
 Two Dutiful Daughters (A 
 
 Colloquy). 
 Two Kunawaya, The 
 Vanity. 
 Village Post Office. Tim 
 
 (Tableau). 
 Watch Nigbt 
 lIThnt of Thill? 
 World We Jjivelu, The. 
 
 iMibiietiu Craze, The. 
 
 &1I ll'illow. 
 
 V.ifjel .I'lil the Shepherds, 
 
 Ihe. 
 Aiiuther Y^ar. 
 Appeal for Liberty, An. 
 BAby in Church. 
 Sack from the War. 
 Bad Pi dyers. 
 Battle Hymn, The. 
 Better than the Miser's 
 tiold. 
 
 ■ Calls." 
 
 :;hariot Race, The. ' 
 
 ^Christening, The. 
 Jicely Croak. 
 Unrsc to Labor, The. 
 Day of Judgment, The. 
 'Death of Napoleon. The. 
 jjecoration Day. 
 £lf Child, The. 
 first View of the Heavens, 
 
 The. 
 Fraudulent Party Outcries. 
 From the Shore of Ltemity. 
 General Grant's l^uglieh. 
 Uinevra. 
 Srout's Strategy. 
 
 CONTENTS OF No 
 
 House that was Just like its 
 Neighbors, Tlie. 
 
 How the Celebrated Mil- 
 tiades Peterkin Paul got 
 the Better of Santa CJana. 
 
 Invitation to the Zoological 
 Gardens, An. 
 
 Ivy Green, The. 
 
 " I Wouldn't, "Would Tou ?" 
 
 "Jefful, The." 
 
 Jimmy Hoy. 
 
 Legend of the Earth, Tlie. 
 
 Lily Ser^'osse's Ride. 
 
 Lincoln. 
 
 Lost Child, The. 
 
 Medley, A. 
 
 Message of tlie Dove, The. 
 
 Miriam's Song. 
 
 Mourner a la Mode, The. 
 
 New South, The. 
 
 Old Fireplace, The. 
 
 Old Man and Jim, The. \ 
 
 Old Story, TIio. 
 
 Old Sweetheart of Mine, An. 
 
 Pennsylvanian's Lament, 
 
 The. 
 Pin. A. 
 Plauc of the Imagination in 
 
 16. 
 
 the Art of E^ipresslos 
 The. 
 
 Portrait, The. 
 
 Praying for Shoos. 
 
 Si;lio .] Boys" Strike, The. 
 
 Self- Life. 
 
 Skipper's Lwe, The ; or, tht 
 Tide will Turn, 
 
 Song of the Mountaineers, 
 
 Stratford Fountain. 
 
 Swan Song, Tlie. 
 
 TellTale Heart, The. 
 
 That Waltz of Von "Webfli 
 
 Thanksgiving in BostoQ 
 
 H.irbor, The. 
 Topsey's First Lesson. 
 Toussaiut L'Onvertui^ 
 Two Pictures, The. 
 Two Queens in Weatoui. 
 
 ster. 
 Uncle, The. 
 ■Wasted. 
 
 Water MIv, The. 
 Water and Bum. 
 What She Slid. 
 While \\u :>\iy. 
 Wisdom Dearly Pnrchasot 
 Woadflriui Country, The 
 
CONTENTS OF No. 17. 
 
 Alnander'9 Foast, or, The 
 
 Power of Mnsiu. 
 Army of the Potomac. 
 A.rmy of the Potomac, The 
 4uDt Melliasy od Boys. 
 Aant Sylvia's First Lesson 
 
 in Geography. 
 Beautiful in Creation, The. 
 .QDat Race, The. 
 :Bonnie Wee Eric. 
 Sravost Battle that Ever 
 
 was Fought, The. 
 iDarcassonne. 
 Oolloquial Powers of Dr. 
 
 Franklin. 
 Courting and Science. 
 Cumnor Ilall. 
 Dead Grenadier, The. 
 Dead March, The. 
 Dead on the Field of Honor. 
 Death of JeEferson. The. 
 Eiister Morning. 
 First Thanksgiving, The. 
 Prarfield Statue, The. 
 Heavenly Guest, The. 
 Ilttw we Fought the Fire. 
 fguoranoe a Crime in a Ke- 
 
 pubUe. 
 Inge, the Boy King. 
 
 Jimmy Brown's Prompt 
 Obedience. 
 
 John Biirns of Gettysburg, 
 
 Knight and the Pag , The. 
 
 Labor. 
 
 Labor. 
 
 Land nf Thus and So, The. 
 
 Legend of Rabbi Ben lievi, 
 The. 
 
 Lexint^n. 
 
 Little Match Girl, The. 
 
 Lord Dundreary's Riddles. 
 
 Lost. 
 
 Xisve of Country. 
 
 Low-Backed Car, The. 
 
 Minuet, The. 
 
 Miss Witchazel and Mr. 
 Thistlepod. 
 
 Monks' Maenificftt, The. 
 
 Motlier-in-Law, The. 
 
 Mr.Brown has His Hair Cut. 
 
 My "Wife is a "Woman of 
 Mind. 
 
 Nurae Winnie Goes Shop- 
 ping. 
 
 One Niche the Highest. 
 
 O.i tne Ice. 
 
 Oiif Flag. 
 
 Penn's Moanment. 
 
 Poor and the Rich, Th«. 
 Ride of Collins Graves, 'PiM 
 Riding to the Toumamcii^ 
 
 The. 
 Rome and Carthage. 
 Rover in Church. 
 Rustic Bridal, The; or, The 
 
 Blind^irl of Ciistel CuiUd 
 Sciontific Genesis, The. 
 Sent Back by the Angeli; 
 Several Cats. 
 Silver Plate, The. 
 Single Head of Wheat The 
 Starless Crown, Tho. 
 Story of John Maynard. 
 To Barbary Land. 
 Took Nodice. 
 Upward and Onward. 
 Usual Way, The. 
 Vano fm the Spire, The. 
 Victuals and Drink. 
 Vow of Washington, The_ 
 Walpolfc's Attack on Pitt. 
 What is a Minority ? 
 What Men Have not Foaghl 
 
 For. 
 When I M«an tn Marry. 
 When I Was Young. 
 Wild ^ight at Sea, A. 
 
 CONTENTS o;F No. 18. 
 
 Absolution. 
 
 Aliij^ail Fisher. 
 
 After the Wedding. 
 
 A^pual for Temperanoe. 
 
 At. the Stage Door. 
 
 A lutio-.ieer's Gift, The. 
 
 Uallot Reform. 
 
 Bad Boy's Diary, A. 
 
 Klind Man's Testimony, 
 
 The. 
 Captain's Well, The. 
 Charity Grinder and the 
 
 Postmaster- General. 
 Christmaa Weak. 
 Cowboy's Sermon, The. 
 Come and be Shonp. 
 0anie1 Periton's Ride 
 IDefence of the Bride, The. 
 Death Bridgb of the Tay, 
 
 The. 
 Drunkard's Dausfhtor. The. 
 Pamo. Wealth, Life, Death, 
 fashionable. 
 Famished Heart. A. 
 for All Who die. 
 tfets Dhere. 
 fiood. The. 
 
 Golden Raia. 
 
 Grand Old l>ay. The. 
 
 Home in the Government, 
 The, 
 
 How Ben Fargo's Claim was 
 Jumped. 
 
 Indirection. 
 
 Imph-m. 
 
 Infant's Dream. 
 
 John of Mt. Sinai. 
 
 Little Charlie's Christmas. 
 
 Little Maid's Sermon, The. 
 
 Little Leaf's Sacrifice. 
 
 Lord's Prayer in Ve"se. 
 
 Man in the Moon The. 
 
 Message, A. 
 
 Monk's Prayer. The. 
 
 Naming the Baby- 
 Nature of Man. The. 
 
 Nnthan Hale, the Martyr 
 Spv. 
 
 New Year's Hymn. 
 
 New Series of Census Ques- 
 tions, A. 
 
 Nnses. 
 
 O'Gmdv's Goat. 
 
 On tha Blnff. 
 
 Opportunities of the Scholar 
 
 Out of the Way 
 
 OnrT>eloved Dead. 
 
 Packet of Letters, A, 
 
 Pilgrims, The. 
 
 Relenting Mob, A. 
 
 Robert Browning. 
 
 She Washed fur Him. 
 
 She Liked Him Rale Waii 
 
 Something Great. 
 
 Spirits of Fire, The. 
 
 Spacially Jim. 
 
 Squarest un Among 'Em. 
 
 St. Martin and the Beggaci 
 
 Taste. 
 
 Through the Dark ForeM. 
 
 Timothy Horn. 
 
 T'ibe's Monument. 
 
 To a Waterfowl. 
 
 Two Christmas Eves. 
 
 Volunteer Organist. 
 
 AVas I to Blame? 
 
 Wanted to see Hie OM 
 
 Home. 
 Wakin' the Young Uns. 
 Whistling Regiment. 
 Women's Dispositioofl. 
 
Address to the Tnothache. 
 imftteur Photngraphy. 
 Ainerica.n ExilQ, An. 
 Ballad of the Bird-Bride. 
 Ball id of the "Wajfarer, 
 
 The. 
 
 Beiiitlful Mind, The. 
 Beware ! 
 
 Bridget OTlannagau. 
 Bylo Land. • 
 
 Camping and Can-^/era. 
 Coid, Hard Cash. 
 Courting in Kentucky. 
 Oaddy Benson and the 
 
 Fairies. 
 Dinner Disouasion, A. 
 Divided. [A. 
 
 D'ictor's Diploma in Conrt, 
 D'lotnr's Story, The. 
 Dream of Fair Womsn, A. 
 Drop of Water, The. 
 Dnmb Savior, The. 
 Everlasting No, The. 
 Gettin" On., 
 Glazier-Bed, The. 
 God'a-Acre. 
 
 Grnwn-Up Birthday, A. 
 (ler LaiiE^h— III Fonr Fits, 
 Horse Auctioneer, The. 
 Hoss. 
 How Big Wm Alexander, 
 
 Far 
 
 CONTENTS OF No. 49. 
 
 How Uncle Podger Hung a Queer Boy, 
 
 Picture. Reuben Jamea. 
 
 In do Mornin'. Ride. 
 
 In Swanage Bay. 
 Is It "Worth While? 
 JjiGqueminot Rose Sunday 
 
 A. 
 Jim, Arizona, 1885. 
 Joe Sie,^ 
 
 Kid Sixey's Cliristmas. 
 King's Daughter, The. 
 King Dollar. 
 Lady of Shalott, The. 
 hist Lesson, The. 
 Lecture by the New Male 
 
 Star. 
 Life's Sunsets. 
 Looking for Barjjains. 
 Love and Latin. 
 Mary Alice Smith. 
 Meditations on Immortality. 
 Midnight in London. 
 Monk's Vision, The. 
 Mother's Mending Basket, 
 Mr, The. Cihher. 
 Muckle-Movith Meg. 
 Noten Like a Patience. 
 Oh; the Golden, Glowing 
 
 Morning. 
 Outcast, The. 
 Palmer. The. 
 Priacess' Finger-Nail, The. 
 
 Scotch Jeanie's Story. 
 
 Sermons. 
 
 Sermon in Rhyme, A. 
 
 Siege of the Alamo. 
 
 Song from the Suds, A 
 
 Summerset Folks, Tho 
 
 Sweet Pe«ce is Born. 
 
 Swipesy's Christmas DinK.*/ 
 
 ThriiO \ oices. The. 
 
 Tired Out. 
 
 Toboggan Slide, The. 
 
 Tola of Mustard Seed, TIi€ 
 
 Tragedy in the Sunshine, A 
 
 Tray. 
 
 True Bostonian atHeaven'C 
 
 Gate, A. 
 Twilight at Nazareth. 
 Two Church -Builders, The. 
 Two Drowned Lovers 
 Two Mysteries, The. 
 Unit, A. 
 
 Veiled Statute at Si>;s. The 
 War-Horn of the Elkinga. 
 
 The. 
 Wedding of the Moon. The. 
 When i Am Weak then I 
 
 Am Strong. 
 YawGob's Dribulatlona. 
 
 CONTENTS O^F No. 20. 
 
 After a Match. 
 
 All Things Shall Pass 
 
 Away. . 
 Aunt Phillis's Guest. 
 Billy. 
 
 "Birkenhead," The. 
 Bobolinks, The. 
 Boys Wanted, 
 Bridget's Soliloquy. 
 Burghers of Calais, The. 
 Casualty, A. 
 Calling the Angels In.' 
 Crmdonsed Telegram, The. 
 Coauhingthe Rising Star, 
 Day in the Woods, A. 
 De Quincey's Deed. 
 Dimple and Dumpling. 
 Doctor's Story, The. 
 Early Start, An. 
 Elopemct in Seventy-Five. 
 Election of the Future, 
 
 The. 
 Festal Day Has Come, The. 
 Fortunes of War, The. 
 For A' That; or, Selling a 
 
 Feller. 
 Following the Advicft of a 
 
 Physician, 
 Franoes Edwena. 
 Qettiug Acquainted. 
 
 Great- Gi;andmnmma and I. 
 
 Halbert and Hob. 
 
 He Worried About It. 
 
 Hullo. 
 
 Ideal Girl, The. 
 
 In hospitality. 
 
 I Will Not Leave You Com- 
 fortless. 
 
 Josiar. 
 
 Judy O'Shea Sees Hamlet, 
 
 Kissed Ilis Mother^ 
 
 Last Redoubt, The. 
 
 Little Margery, ' 
 
 liittle Busy Bees, The. 
 
 Livo's Young Dream. 
 
 Melik The Black. 
 
 Me ahd Jim. 
 
 Millais's " Huguenots." 
 
 Modern Girl, The. 
 
 Mrs, Marigold. 
 
 Mrs. Jones's Revenge. 
 
 My Daughter Louise. 
 
 Naughty Kitty Clover. 
 
 Noll's Journey. 
 
 Not in the Programme. 
 
 One Word. ■ 
 
 O le Who Stays at Home, 
 The. 
 
 Obstructive Hat la the Pit, 
 The. 
 
 Parental Diseipliaa. 
 
 Paganini. 
 
 Perfect Wife, The. 
 
 Poor Rule, A. 
 
 Popular Amer^:,ans. 
 
 Prince. 
 
 Rajput Nuvse, A. 
 
 Rivals, The. 
 
 Riding on a Rail 
 
 Sacrilege. 
 
 Senex Jubilans. 
 
 Sir Wal ter Raleigh and 
 
 Queen Elizabeth. 
 Skimpsey. 
 
 Song Without Music. 
 Song of the Market Place; 
 
 The. 
 Survival of the Fittest 
 
 The. 
 Tale of Sweetheartr, A. 
 Their First Spat. 
 Theoph:iu3 TliistlesThrusb 
 
 ed Thumb. 
 Thrasymedes and Euno«. 
 Two. 
 
 Uncle Noah's Ghost. 
 ■\'acaMon. 
 Wait On. 
 Wedding. The. 
 
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 dim date of the age which we call Homer's down, to 
 our own. In this wonderful poem lie the germs of 
 thousands of volumes which fill our modern libraries. 
 Not that all their authors are willful plagiarists, or even 
 conscious imitators; but because the Greek poet, first 
 of all whose thoughts have been preserved to us in writ- 
 ing, touched, in their deepest as well as their lightest 
 tones, those chords of human action and passion which 
 find an echo in all hearts and in all ages. 
 
 Contains eighteen full-page illustrations of the Flax- 
 man drawings. 
 
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 Ho^AT to Acqu-lre and Practice it 
 
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 Cloth minliiiy, $I.g5 
 
 AMERICA is the land of orators, and that out 
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 acknowledged. This work, teaching how readiness in 
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 The author is an instructor in the art of extempore 
 speech, is himself a strong exemplification of what can 
 be accomplished in this direction, and is well qualified 
 to write upon the subject. His treatise is the result ol 
 many years' experience and observation, and will prove 
 a valuable manual to all who figure or are desirous ot 
 figuring in public life. 
 
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 /p^ ACH volume is composed of three numbers 
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