B . 8610 '^5 f ^?? ^.^KD#--- It r V •** ■fnp^y-' 5fr President Whjte Library, Cornell university. Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924029473745 SUNDAY SCHOOL v_ (Number One.) DESIGNED FOR PUBLIC AND PRIVATE ENTERTAINMENTS. PRINTBD AT THE. JUVENILE INSTRUCTOR OFFICE, Salt Lake Cut, Utah. 1884. ^ LJBRAPV NEW PUBLICSTIONS OF TUB Juvenile Instrrictor OfELce. THE HAND-BOOK OP REPERBKCE to the History, Clironology, Religion and Country of the Latter- day Samts. A Work that should be in the hands of all. Price 50 Gents, Postpaid. ORSON PRATT'S WORKS. This Book should be used in every Sabbath School, Uutual Improrement Association and home of the Saints. Price, 75 Cents, Pos^aid. LTDIA KNIGHT'S HISTORY, Pirst Book of the Noble Women's lives Series. An interesting little Work. Price, 35 Gents, Postpaid. PREFACE. The demand for a book containing Dialogues and Recitations suitable for use in the Sunday School entertainments of Zion induced us to undertake the publication of this little work. How far it will be capable of supplying this want, the public must judge. We trust, however, that our efforts will not be entirely fruitless, and that this publication may be only a forerunner of something better and more useful. The Publisher. CONTENTS. Page Hints on Elocution, 7 DIALOGUES. What is Charity? 13 Playing the Truant, .18 Slang, . . . ~ 22 The Lost Pocket-Book, .... 26 The Sewing-Bee, 28 The Best Enjoyment, .... 36 The "Mormons," 40 A Sunday Lesson, 43 Harry's Bravery, 47 Mrs. Lackadaisy's .Visit, .... 53 Prayer, 63 Politeness, 67 The Bottle, 69 RECITATIONS. Waiting, 80 Plurality of Wives, 83 The Minstrel's Curse, .... 85 The Beggar and his Dog 89 Not Fit to be Kissed, .... 91 True Grreatness, 9 : Somebody's Darling, .... 94 The Richest Prince, 95 Who Stole the Bird's Nest? ... 96 HINTS. ON ELOCUTION. npHAT those who use this work may understand what is •■■ expected of them when speaking in public, we offer these few hints, with the hope that they will aid the youth in their efforts in reciting before the public. Space will not permit of a full treatise on the science of elocution ; but there are some rules which are necessary to be observed by all who desire to appear acceptably before an audience. These we will endeavor to explain so that they can be easily understood. To those who wish to attain,excellence in this branch of study, we would recommend works that treat upon its principles thoroughly. But for the benefit of those not thus inclined we submit the following suggestions, which, if observed, will aid them in their endeavors to entertain their friends. Elocution is the art of expressing ideas and sentiments in an elegant manner, both in utterance and action. The requisites for acquiring this art are : 1. Distinct Articulation. 2. Full and. Free Respiration. 3. Perfect Control of a Clear, Full, Musical Voice. 4. Graceful and Expressive Movements and Ges- ticulations. 5. Good Taste and Judgment. DISTINCT AUTICULATION. Articulation is the utterance of the sounds used in speaking a language by the proper movements of the organs of speech. Distinct articulation can be acquired by caiefiilly practicing 8 SiJNDA T SCHO OL these sounds, and by pronouncing each word clearly and dis- tinctly while reading or speaking. FULL AND FEEE RESPIRATION is very necessary to clear articulation. A person while speak- ing should stand erect, in an easy position, with shoulders thrown back. The body should rest upon the left foot with the right placed a little forward, and nearly at right angles with the left. The breathing organs should be exercised by taking a long breath, and holding it a moment, then exhaling it. This exercise can be varied by taking the breath slowly or rapidly and emitting it in like manner, or by uttering different sounds, first with gentle force and increasing till the full power of the voice is reached. The power of the voice should be regulated by the force used in expelling the air from the lungs, and not by exerting the vocal organs within the throat. If a loud tone is desired, no extra strain upon the organs is needed, but the air should be forced more suddenly from the lungs. Exercise in breathing should be often repeated, as it strengthens the lungs and is beneficial to health. THE CONTROL OF THE VOICE is gained by observing the above mentioned requirements. There are six attributes of the voice, which are: Form, Quality, Force, Stress, Pitch and Movement. All of these are used whenever we utter a sentence. What is meant by Form of voice is the way in which the sound is sent fi'om thff vocal organs. There are three Forms of voice, which are called, Effusive, Expulsive and Explosive. Effusive form is that produced when the sound issues forth in a gentle, smooth manner, without abruptness. Expulsive form is that caused by expelling the sound in an abrupt and forcible manner. Explosive is that form of voice which bursts from the organs very suddenly, or like an explosion. In all, there are eight qualities of voice: Pure Tone, Oro- tund, Aspirate, Pectoral, Guttural, Oral, Nasal and Falsetto. DIALOGUES AND RECITATIONS. 9 We will only describe here the first two, as they are the most appropriate for speaking in general, Pure Tone is that quality of voice in which all the breath is converted into a clear, smooth, musical sound, which is free from all impure or harsh qualities. Orotund is a quality of voice similar to Pure Tone, but dis- tinguished from it by a fullness, clearness and strength, and is somewhat deeper. Force is the degree of intensity with which sounds are pro- duced. The different degrees of force are called. Subdued, Moderate, Energetic and Impassioned. Stress is the application of force to different parts of a word or sound. The various kinds of Stress are : Badical, when on the first part of the word or sound ; Median, when applied to the middle part ; Final, when on the last part ; Compound, when on the first and last; Thorough, when applied equally to all parts. Intermittent stress is a tremulous emission of the voice from the organs. Pitch is the place upon the musical scale on which the sound is uttered. The degrees of Pitch are. Very Low, Low, Middle, High, Yery High. Movement of voice is the rate with which words are uttered. This may be Very Slow, Slow, Moderate, Bapid and Very Bapid. Every time we speak a sentence we use one of the forms and qualities of voice here described, and we utter it with some degree of Force, Stress, Pitch and Movement. Hence it is necessary in order to speak correctly to understand what Form, Quality, Force, Stress, Pitch and Movement is best suited to the sentiments we wish to express. This, of course, will greatly depend upon the Judgment and Taste of the student. But we will give a few rules for his guidance in selecting the modes of utterance best suited to the various styles of dis- course. Everything of a Pathetic or Serious style, requires the Effusive form of voice, Pure Tone quality, Subdued force, Median stress. Low pitch, Slow or Very Slow Movement. 10 SUNDAY SCHOOL All discourse of a Tranquil character, shouiJ be delivered in Effusive form, Pure Tone quality, Moderate force, Median stress, Middle pitch and Moderate movement. Effusions of a Grave style call for Expulsive form. Pure Tone quality. Moderate force. Radical stress, Low pitch and Moderate movement. The Descriptive and Narrative styles demand Expulsive form, Pure -Tone quality. Moderate force, Radical stress, Middle pitch and Moderate movement. A Lively style should have Expulsive form. Pure Tone quality, Moderate force. Radical stress, High pitch and Rapid movement. A Gray or Joyous style requires Expulsive and Explosive forms, Moderate, Energetic and Impassioned force, Radical and Impassioned-Radical stress, High and Very High pitch. Rapid and Very Rapid movement. The Sublime style should be delivered in Effusive form. Orotund quality. Moderate and Energetic force. Median stress. Low and Very Low pitch. Slow and Very Slow movement. The Oratorical and Impassioned Poetic styles, for the deliv- ery of orations and sermons with an object to arouse the emo- tions and for giving expression to impassioned thought, require Expulsive and Explosive form. Orotund quajjty. Energetic and Impassioned fierce. Thorough stress, Middle, High and Very High pitch. Moderate and Rapid movement. The Shouting style demands Expulsive form. Orotund qual- ity. Energetic and Impassioned force, Thorough stress. High and Very High pitch. Moderate and Slow movement. A Vehement style is given in the Explosive form. Oro- tund, Aspirate and Gruttural qualities. Impassioned force, Impassioned Radical stress. High and Low pitch. Moderate and Rapid movement. The Dramatic and Humorous styles are only combinations of these styles. It should not be understood that a selection of a certain style must be rendered throughout with the attributes of the voice as designated above, but that the piece as a whole belongs to that class. DIAL G UES AND REGIT A TIONS. 1 1 If a piece were to be read or recited throughout without varying the Form, Quality, Force, Stress, Pitch or Movement of the voice it would have a verymonotonous effect. GRACEFUL AND EXPRESSIVE MOVEMENSS and Gesticulations, are a great aid in impressing the sentiments we utter with our lips. Hence they are indispensible to the orator or elocutionist. The position of the feet should be the first consideration. •These should be so placed so as to support the body with firmness and allow freeness of action. The best position in which to stand is with the body resting upon one foot, with the other placed two or three inches from it, and forming nearly a right angle with it. The toes of both feet should be turned a little outward. The foot that is not used to sup- port the body is placed a little in advance of the other. A change of position can easily be made by throwing the weight of the body upon the other foot, and bringing the foot just relieved a little forward. The body and head should be held erect, but should slightly incline in the direction of the gestures made with the hands, if any be made. When the arms are not in use they should hang naturally by the sides. The hands should also rest in a natural position, with the fingers curved. Gestures should be graceful, and should harmonize with the sentiments expressed, and to which they are an accompani- ment. If the movement of the voice is slow the gestures should correspond with it. The expression of the face should also be in keeping with the thoughts and ideas uttered from the lips. When reading or speaking before a congregation, always face the audience ; or if taking part in a dialogue, let your face be turned slightly towards the characters whom you address. By all means avoid turning your back to the audience. GOOD TASTE AND JUDGMENT must be acquired by cultivation. Aside from what one pos- sesses naturally of these qualities he must get by observation, practice and study. All that is required to make a person an elocutionist is to be able to faithfully imitate nature in bis ]2 SUNDA Y SCHO OL utterance and action. To do this one must be of an observing disposition. He cannot learn the art from books alone. They are only for teaching the mechanical outline of the study. Artistic ability is only gained through individual effort. Before appearing in public, the pupil should make a careful study of the selection which he intends to recite. He should understand the nature of the sentiments which he is going to express, and should bring his whole mind and soul upon the subject, then he will be able to deliver it in the spirit in which it was written. We hope these few suggestions will be a help to the amateur reciter, and that they will encoifrage him to further study in this useful and pleasing art. DIALOGUES AND RECITATIONS. 13 WHAT IS CHARITY? • CHAKACTERS : Mother, Lizzie, Ffank, Jesse. SCENE I. — A sitting-room; chairs, stool, and table with work basket on. Mother discovered sewing at table, children standing near her with hat and caps in hand. Mother. "Well, my dears, to-day is Saturday, and you must have something to occupy you. It is a lovely morning, and I would like to have you spend the time out of doors if Lean think of some- thing useful for you to do. Your morning chores are all done and you have the most of the day before you." {Pauses and puts her hand to her fore- head as though in thought.) "What was the subject of your president's remarks in your last primary meeting ? " Frank. "She did not have any particular sub- ject, mother, but she told us to think over the prin- ciple of charity, and when we came next time, we were to tell her our conclusions and reflections." M. " That would be comparatively easy for you, Frank, who are almost a yoilng^naan, and soon to advance to the young men's mutual improvement association ; but for Lizzie, who was nine last birth- 14 S UNDA Y SGHO OL day, and my baby, Jesse, who is only six years old, it will be a much more difficult task. How- ever, I think I can arrange a plan that will prac- tically illustrate the principle, and thus teach you far more forcibly than can be done through words alone. My plan will also take you out of doors and give you some exercise. What do you say, children?" Lizzie. {Leaning on her 'mother's 'knee.) " If you don't need me at home, mamma, I should like to go out with Frank and Jesse. But will we be gone all day? Hattie Free was coming to play with me, and we were going to make doll clothes this afternoon; shall I go and tell her not to come?" M. No, my dear, it will not be necessary for you to be out all day, and you and Hattie can have your play this afternoon. Now, I must cau- tion you to be careful and not tell each other your secrets until you first tell me. My plan is this : I will give each of you twenty-five cents, and let you go away for a few hojLirs. Frank, you must have a care for Jesse, although he is to have his liberty to go about. Now, this money {giving each a quarter) is your own, and I wish you to use it, as nearly as you can, in real charity. Try and bring your memories, and also your common sense, to bear on what you may have heard or thought about the principle of charity, then act accord- ingly. At the close of the afternoon, or about sunset, you must all come to me here and relate what has happened to you, what you have done or DIALOGUES AND RECITATIONS. 15 said, and how you have used your money. Now then, kiss me good-by, and scamper off as fast as you like. Be careful where you go, don't spend your money for anything but charity, and don't remain out after five o'clock. ( They kiss their mother and run off R. U. E.) {Oartain falls.) ^ SCENE II. {Same as Scene I.) — Frank and Jesse enter R. U. E., taking off caps as they enter. Lizzie enters L. U. E., carrying doll and looking sad. Jesse. Lizzie, have you been cryin'? Broke your dollie? Never mind, when I'm a man, I'll buy you a real, live baby, and it'll cry and open and shut its eyes. So don't you mind. L. I didn't break my doll, Jesse, but I must not tell you what I've been crying about, for mamma told us not to tell. - J. No, you mustn't tell your "secres," 'cause then maybe mamma wouldn't let us go to pri- mary. F. • Hush, children, here comes mother. {Enter mother R. U. E.) M. Welcome, little rovers ! Now, come and tell your stories of the day's experiences. Jesse, come to mamma. {Takes him on her knee.) Where have you been? And what have you done with your money ? J. You know, mamma, you said to do charity with it, and I just gave it to a ragged old man with- out any leg but one ; and he said, "God bless your pretty eyes!" and then he rubbed his eyes, and 16 SUNDAY SCEOOL blowed his nose such a big blow! Was I char- ity? M. Dear little Jesse, your heart is very warm and true, if your words are a little queer and childish. You mean you were charitable, my boy. Now, Frank, let me hear your story. {Jesse jumps down and sits in chair; Frank stands at mother's side.) F. I have heard my father say that true charity consists in giving work to the needy, and then pay them well for their work, that idleness and vice may not be encouraged. So, mother, when a boy about my own age came to me and commenced begging for something to eat, I said he might cut up my morning's kindlings, and help Jesse and I hoe out the melon patch, for which I would pay him twenty-five cents. He didn't hardly like to do it, but I shamed him by telling him he was too lazy to earn his salt, and was too young and strong for a beggar, when he pitched right in and worked just splendidly. I am sure the money came better to him after he had earned it. I think I used my quarter well, and was, as Jesse there would say, quite "charity." M. Now, Lizzie, the boys have told their stories, come here and tell yours ; and tell me also why you look so very doleful and sorry. You have not lost your money, I hope ? L. {Sitting down on stool at mother's feet and speak- ing slowly.) No, mamma ; here is the money. I did not give it away, nor use it. No one asked me DIALOGUES AND RECITATIONS. 17 for it, and I was afraid of hurting feelings by offering it to any one. I am sorry. M. Don't be cast down, my child. It is quite right not to offer money to people, for the very poorest are often the most sensitive. But tell me what you have been doing to-day ; did you and Hattie have a gopd time ? L. Oh, mamma ; if you ask me I must tell you, but I don't like to tell about Hattie, for she was very naughty. She talked so bad about our play- mates, and said so many cross things about Jennie Harper because Jennie is smarter and richer than Hattie or me, that I just talked to her. I told her that I did not think it was nice for her to tell such stories about our playmates ; and I said Jennie was smarter than me, but I did not hate her, only was glad of it. I told her I loved all our friends, and begged her to love them too. She was ashamed, I guess, for she talked good about Jennie too, and we had lots of fun after that, for we both felt so nice and happy. M. Dear child {kissing her) ; you have all uncon- ciously found the deepest, broadest, most Christ- like meaning of the word charity. Little Jesse gave his money to the poor, and he will receive a blessing for it. Frank encouraged an idle beggar to earn the crust of bread for his dinner, and may thereby have planted the seeds of usefulness and thrift in a vagabond's heart. He also will be blessed. But my girl has thrown over the faults of her companions the shining mantle of charity. It will reflect upon herself and those around her with a 18 SUNDA Y SGHO OL pure, bright glow, and fill all hearts with the love of Christ. Let this lesson sink deep into your hearts; and remember the words of the Apostle Paul : "And though I bestow all my goods to feed the poor, and though I give my body to be burned, and have not charity, it profiteth me nothing." "And now abideth faith, hope and charity, these three ; but the greatest of these is charity." Now, children, your day and your lesson are ended, so come with me and prepare yourselves for supper, and to meet your papa who will be home before we are ready to meet him unless we make haste. Come, Lizzie. {Exeunt R. U. E., mother holding Lizzie's and Jesse's hands; Frank following.) {Ourtain falls.) SusA Young Gates. PLAYING THE TRUANT. John Howard and George Adams meet on their way to school. John. Good morning, George. Where are you going? George. To school, of course. Aren't you? J. No, indeed, I'm not! I'm going to have some fun. DIALOGUES AND RECITATIONS. 19 Q. Yes, your father will give you fun when he finds out you have been playing truant. J. Oh, father is an old muff 1 He would keep a boy cooped up in school from morning till night, all the week, and then send him to primaries and Sunday school, and never give him any time to play. But I am getting tired of those stupid books ; I never could see any good in them any way. I'm going to have some fun, and father will never be the wiser if people will mind their own business. O. I should think you would be ashamed to treat your father in that way. It was only last week you were out all day, and I don't know how many half days you have been out. J. Well, you know that stupid teacher has a spite against me, and always gives me hard les- sons, or keeps me in after school, or some such fool- ery ; and I'm not going to stand it much longer. I won't go to such a school where the teachers all show partiality. Q. You know very well, John, the teachers do not mean to show partiality ; but when boys are all the while doing something to aggravate them, • how can they help scolding? J. Oh, you're such a saint, the teachers never find any fault with you. They have not kept you in, after hours, once this term. But Tom Jenks is monitor of our class, and he is always telling some confounded yarn about me, or giving me points of order, and it isn't fair. I'll serve him out some day if he don't mind his p's and q's. 20 SUNDAY SCHOOL G. I tell you what it is, John, you do not take an interest in school, or you wouldn't always be in such scrapes. You know you did not have a single lesson yesterday that did you any credit. You missed in your geography and didn't say half your grammar; and if you had not copied from Jim Daniels' slate you could not have spelled at all. How can the teachers help punishing you, if they undertake to make you learn? And you know your parents pay them to teach you, and hold them responsible for your progress. J. I would have had my lessons, for I studied hard enough; but I was out the afternoon before, and I did not know which they were until it was too late to get them. 0. If you had come to me in the evening I would have shown you the lessons. J. I would have come, but I went down to Tom Rogers' to have a smoke, and, as we were out of tobacco, we had — ^to — go — out — and — get — some. {To be spoken in a halting manner, which arouses George's suspicion), G. And, pray, how did you get it? J. That is a matter that does not concern you. Tom managed it; I didn't have anything to do with it G. Now, John, you know Tom Rogers is a bad boy, and if you keep his company and take his counsel he will lead you to ruin. I dare say he raised his funds from somebody's hen-coop, and if you follow him up you will be as big a thief as he is. DIAL UES AND RECITA TIONS. 21 /. You needn't go calling Tom a thief. The old man was owing him for work he did a long time ago, and never would pay him a cent. He only took a little of that which honestly belonged to him. Cr. Honestly belonged to him! That's a fine story. That is thieves' ipgic. They simply help them- selves to what the world owes them. What do you suppose the law would say on the subject? /. I gUess if it came to a question of law it would not be very nice. I took good care not to have any hand in it. But I say, George, you mustn't blow. Q. Well, I don't know as to that; I will prom- ise not to say anything about it on condition that you come along to school and get your lessoris as you ought to, and leave off going with Tom Rog- ers ; for I know he will lead you into trouble and disgrace. If I were you I would quit using tobacco, for I know it does no one any good, and I believe it is, directly and indirectly, the source of a great many evils. J. Your advice is good, George, and I feel inclined to take it, for I am never fit to get a les- son after being out at night; and a fellow feels so sneaking mean to get up in school and not know what he's about. Q. I hope you will take it and stick to it, for I know you will feel much happier, and make a better and wiser man. Come on now, the bell is ringing. {They both walk off together). M. J. T. 22 S UNDA Y SCHO OL SLANG. CHARACTERS : John, Charles and Henry. John and Charles are seated at the table.' Boohs, etc. John. I got a letter this afternoon that pleased me very much. Charles. Who was it from ? From Smith? No? Then your Uncle Ben wants you to come and see him? J, No. It was from Mr. Watson. a What! the tailor? J. Yes, that's the man. He wrote me a letter offering me a place as bookkeeper and cashier, at a salary of six dollars a week. Now I shall have some money to buy books. C. You will still belong to our Improvement Society? We cannot aflford to have you leave us. {Enter H.) J. Here comes Henry. That's right : glad to see you, {shaking hands.) Take a chair. C. How do you do, Henry ? I am gla^ to see you ; sit down. Henry. So I will. I'm tired, and don't you forget it. /. Now, Henry {laughing), you must — H. Cut the shop. DIAL G UES AND REGIT A TIONS. 23 J. No, no. I. wasn't going to say that ; I was going to say you must drop your slang. C. Yes, Henry ; it is really a great injury to you and will be all your life. You see you are intemperate in the user of slang language. If you used it once in a while, why, it might be admired, but it is -not elegant. It reminds me of a Frenchman I knew. When I first knew him I thought the way he shrugged his shoulders and cast up his eyes was really . admirable, but as he did it all the time it was painful. J. That is correct. H. Why, I don't use much slang; now and then I flip out a word or two. /. It is hard for you to speak a sentence with- out using slang. H. Oh ! not so bad as that ! C. Yes, it is just like that. J. And I will tell you what we were talking about when you came in. I have an ofi'er to go with Mr. Watson as cashier. H. Bully for you ! G. {Laughing) There, I knew he could not get along without' a slang expression. H. Why what did I say ? I wish I had a good place ! How came he to give you the place? He's mighty particular. What sugar do you get ? J. Sugar ? I can • understand a great many things that you say, but now you are too deep for me. What is sugar? H. Why, the — the — pay. 24 SUNDAY SCHOOL J. and C. Good for you! have spoken one sentence in tolerable English. H. (offended) What's the damage in using slang, anyhow ? J. I'll tell you a little story. Seven boys went into the grocery on the corner of Main Street on Saturday night and were buying groceries. There was a gentleman there also buying. When the boys went out he asked the grocery-man the name of the young man with a light hat — H. Oh! I know. That was Mr. Watson. He selected our friend John — C. I was going to tell you. He said he liked his language. /. Now, boys you make me embarrassed; I don't pretend to use such elegant language. H. That's just it. You don't pretend to, but you do, all the same->-and don't you forget-(cZaps hand to mouth.) J. Since I have been a member of the Improve- ment Society, I have been reading our English authors, and I have been made aware of the vast quantity of beautiful words there are in existence. It seems to me that neither of us, if sent into a room that was filled with garments would select those that showed signs of having been well worn, but those that were fresh and elegant. C. So it seems to me. /. Now when you take slang words, you take street-words, words that those not over-particular use. H. But they seem so strong and pat. DIALOG UES AND REGIT A TIONS. 25 J. In a certain sense you are correct, but by thought and study you find better words — words more fit for your purpose. C. That reminds me of an illustration. I knew a man, who, when he wished to drive a nail, would take the first thing that came to hand ; he is like the one that uses slang. H. I am convinced ; but the selection of our friend here has a great deal to do with it. Now why does Mr. Watson dislike slang terms? J. I understand that he is a man of fine taste himself, that he has quite a library and even writes for the Jmenile Instructor. H. Is that so ? "Why, I thought tailors were very illiterate? G. Some are, and some are not. We even begin to get the efiect of our common school sys- tem. He went to the high-school in Provo, and then learned a trade. H. That reminds me. I'm told it will be fashionable again to learn a trade. I believe I will, anyhow. I'm a lame duck, and not likely to suit those who want precise speaking. J. Now, boys, to- change the subject, let us bring up the subject of slang at the school. There are a great many who use very common words. C. What will you do? J. Form an anti-slang society. H. I'll join it. /. But there will be a fine on those who fail. H. Jerusalem ! Why, I'll be bankrupted ! C. Not so bad as that. {Bell rings). J. That's the bell for school. Come on {Exit). 26 SUNDA T SGHO OL THE LOST POCKET-BOOK. Between two boys who meet on the street. Thomas. Hello, George, what is that you've got? George. A pocket-book that I have just found.' T. Oh ! let me see it. Is there any money in it? Q. Yes, quite a lot. {Hands him the pockd- book) T. You're lucky! Where did you find it? O. Just out there in the road. T. {Looohing into the pocket-booh). Whew ! Look at" the money ! What are you going to buy with it, George? G, Nothing, the money isn't mine. T. (Surprised). Isn't yours ! Why, didn't you find it? G. Yes. T. Well, whose is it, then? Isn't anything yours if you find it? G. No ; it belongs to the person that lost it. T. What are you going to do with it, then? G. Find the owner and give it back to him. T. Why, I knew a boy who found some money and kept it, and never tried to find the owner. DIAL G VES AND REGIT A TIONS. 27 O. Well, that boy was dishonest. I don't want to be dishonest. T. Why, that wasn't stealing, was it? G. Next thing to it, I guess. It wasn't doing right. T. Well, what are you going to charge the owner for finding iif O. Nothing, it wasn't any trouble to me. T. But you expect him to give you something, don't you, if you let him have it back? O. No ! My pa says I must be honest because it is right, not for pay. He says the best way to get a living is to earn it, not to have it given to me. T. Well, I believe you are right! If I lost anything I wouldn't like any person to find it and keep it ; nor to charge me a high price for return- ing it, either, for I might not be able to pay it. It might be a poor man that lost that pocket-book. Q. Yes, and it might be all the money he had. T. Oh, won't it make him feel glad, then, to get it again ! I wish I could see him when you give it back to him. Q. I guess it will make him glad, and that will be all the pay I'll want. So, now, 111 go on home and get my pa to find the owner. G. C. L. 28 8UNDA Y SCHO OL THE SEWING-BER CAST OF characters: Mrs. Quietly, a nervous old lady. Grandma Newsbury, the village gossip. Dame McLouder, deaf and yet not deaf. Mrs. Johnson, a good neighbor. Miss Clara Quietly, ~] " Dora " i Village " Annie Johnson, ( Maidens. " Susie Green, J, SCENE: — A sitting room with seven small chairs and one rocking chair at L. A smaller stand R. front. {Enter Mrs. Quietly L., followed by Clara and Dora, each having an arm full of carpet rags.) Mrs. Quietly {leaning on a cane). Now, girls, remember, no noise, no loud talking and boisterous laughter to shock my poor nerves. This is the first sewing-bee I've had in my house for three years, and it shall be the last if my conditions are not strictly adhered to. Clara. Don't be afraid, ma, we will be as quiet as mice. Dora. And see what a help it will be to us, for, you know, Mrs. Jones said she was ready to start on our carpet next Monday. DIALOGUES AND RECITATIONS. 29 Mrs. Q. Now, then, let me hear who is coming {she sits in arm chaw). C. Well, we've asked Mrs. Johnson and her daughter, Annie; and Susie Green, and-r- Mrs. Q. Good workers enough but rather dull company, is there any more? C. Only Mrs.*Newsbury. Mrs. Q. Mrs. Newsbury! Oh, my nerves! how glad I am. Now I shall find out who is going to marry, who quarrelled last, who had a new bonnet last Sunday and who didn't ; Oh, charming ! Her presence will give me more light in a day then the New York Sun could in a year. D. Hush, mamma, here they come {att rise, D. and C. go R. to meet guests). Both. Gome in, come in. {Enter Mrs. Johnson, followed by Or. Newsbury and Dame McLouder.) Or. N. {Speaking loudly to Dame McLouder.) Oh, bless you ! it'll be all right, I'll tell her 'twas me as made you come. Good morning, all of you. Mrs. Q. Good morning. Pray be seated and make yourselves at home. {Enter Susie and Annie; all take off shawls, bonnets, etc., and greet each other.) Or. N. I'd ha' been here sooner only I called around to see Dame McLouder {pointing to her). Dame Mc. Pretty well, thankee. How do you feel to-day ? ' Or. N. And I had to call at several places on some little business, and. Oh, I got such news. {Loud.) I'm dyiag'to tell you confidentially. 30 SUNDA Y SCHO OL Dame Mc. Grood gracious ! Dying did you say? who, who ? Why, you are all looking as well as usual. Or. K {Shouting to Dame Mc) I was just saying— Mrs. Q. [Screaming.) Oh, my nerves! (Sinks into chair.) Mrs. Johnson. Well, this isn't sewing. Perhaps it would be better if we all went to work. (All get needles and sit but Dame McLouder who stands a moment, then look around and sits svddenly; old ladies put specs on and all sew.) Mrs. J. (Loud.) What luck with chickens this Spring. Dame Mc. Very good, and very bad. Or. N. Hello,'Susie ! another new calico dressl how many poor fellows are breaking their hearts . about you just now, you little flirtl Dame Mc. There was thirteen fine ones hatched out, all in one nest, but somehow I had no luck with them, some drowned in the swill tub and then that spell o' cold weather come. I wrapt 'em all up in my red flannel skirt, but 'twas no use, couldn't keep 'em alive nohow. (During this the rest have all been laughing, Dame sees them.) You laugh, but 'twas no laughing matter, I can tell you, they was worth two bits a piece to me. Or. N. Poor thing! deaf as a post, I'm so sorry for her, but then it is such sport to be able to chat about any one when they can't hear you, that I couldn't resist the temptation, so you see I brought DIAL G UES AND RECITA TIONS. 31 her along purposely, girls, but, indeed, I didn't think of Mrs. Quietly's nerves being disturbed. Dame Mc. {Aside.) Perhaps I'm not as deaf as she imagines. Thanks to Doctor Brown, I'm nearly cured. But, however, I'll enjoy the advantage of my past affliction for once and listen to what they have to say aboyt me. {Aloud.) Is'nt our new school teacher a nice looking young man ? Annie. Charming I I just dote on him. Gr. N. {Aside.) Dear, dear, why don't they ask me to unburden myself of my secrets. {Aloud.) Hem, oh, yes, and that reminds me of Mrs. Pea- body, don't she think she's a beauty? Dame Mc. Such a beautiful mustache. {All tit- tering.) Or. N. And that bonnet of hers {loud) a perfect fright, isn't it?— Dame Mc. {Looking swprised at Gr. N.) A fright, did you say a frighU? I'm sorry to say you have no eye for beauty, Grandma Newsbury. Gr. N. {Pointedly, loud.) I think my eye is as reliable for beauty as yours, Dame. Mrs. Q. Oh, mind my nerves ! Mrs. J. {to Dam^). You misunderstood, they are talking of bonnets. Dame Mc. Bonnets. My bonnet a fright ! All, {forgetting Mrs. Q.) No, no, not yours — ^ Mrs. Q. {Screaming and fainting.) Oh, my nerves ! D. {Rising.) Oh, mamma has fainted! {All rise bui Dame Mc) Gr. N. Get some water or a smelling bottle. 32 SUNDA T SGHO OL Dame Mc, {seeing the confusion -cises and crowds for- ward). What's the matter? Dear, is she sick? Got the colic? Get some black pepper. Here, I've got some. I always carry it. {Takes some out of her pocket; about to give to Mrs. Q) Mrs. Q. No, no! Go away! I'm coming to myself. Do please sit down and don't shout so. Or. N. You must try and forgive me ; it's all my fault. Mrs. Q. Well, you said you had some news, let's hear it. Not that I'm at all curious, you know. Gr. N. {Aside.) I'll soon make her curious. {Aloud.) Well, there is some talk around about a certain wedding, and such an odd one, but then, you know, I haint one to tell secrets, and I dcm't know as I ought to tell anything about it, but I just thought I'd hint the matter to you, you know. Susie. Oh, who is it? Tell us, don't keep us in suspense. Mrs. Q. No, don't stretch us ; my nerves won't bear it. Or. N. {Aside.) Now, who is curious ? {Aloud.) Well, if I do tell, mind, it must be kept ' a secret. The person, or one of them, haint fifty miles away at present, I reckon {making signs towards Dame Mc). What an interesting bride she would be, wouldn't she ? All. Then it's her? G^-. N. Oh, I didn't say that, but then I did hear that Mrs. Brown was told by Mrs. Jones that Mrs. Smith said that Dame McLouder was to be married DIALOGUES AND RECITATIONS. 33- next week ; but mind it's a secret, and if you hadn't guessed it, I shouldn't never have told, and, mind, don't tell any oye -as I said anything about it. Mrs. Q. She? To be married ! That poor, deaf, wrinkled up old maid I Impossible! Who on earth would have her? ,Do tell! Or. N. Oh, somebody. {Aside) I can't tell because I don't know, but they mustn't be allowed to feast on my ignorance. {Alovd) I mustn't tell that, for indeed I promised not to, and when I do promise you know that I am a woman of my word. Mrs. Q. Well, it isn't of much importance, for, of course, it's nobody of any consequence. Some old" peddler, I suppose. Lauks, what a blessing that she is deaf ! Dame Mc. (Aside.) Well, I never would have believed it. (Aloud.) Why, we are as still as if we was at a funeral. Grandma Newsbury, haven't you got some news for us ? Gr. N. Nothing in particular; besides I don't like to talk about my neighbors, you know, but I suppose you've heard that Deacon Jones and his wife has been quarreling most awful, that's what they say at least, and I'm sorry to say that he gave her a black eye, and I guess it's true, for I was told by a person who had seen her, poor thing, a crying terribly. Oh, it's awful ! but then it's none of my business, you know, and I wouldn't be the means of spreading scandal about Brother Jones for any- thing, not 1 1 34 SUNDAY SCSOOL Dame Mc. Well, I never did like him since he preached against poor Dick Rogers selling tinware, 'cause I always thought he was an honorable sort of man, and as I've often said, if I wanted a hus- band I'd rather have him than a dozen Deacon Jones'. Qr.N. Aha! All. Ah, it's him, then ! Mrs. Q. Oh, my nerves! ha, ha, what a pair! he's cross-eyed, and a tinker — Or. N. And bandy-legged, a picture of ugli- ness. Mrs. Q. Both alike, both alike, couldn't be a better pair of them, 'twill be a show at the wed- ding to see them, I'd give a dollar to be there if my nerves will permit. Gr. N. 1 dare say a dollar would be very acceptable to them, for they'll be poor enough. Mrs. J. I am sorry to disturb your plans, but I think you have all made a mistake. I happen to . know something about it. She is to be married to the rich and honorable widower, Mr. Brown. Mrs. Q. Brown! Widower Brown! {rising eagerly). (Aside.) After all my attentions to him, the brute ! how could he when he knew he could have me ! Oh, my nerves wont stand it (sinks into chair). Gr. N. I'm amazed. (Grossing over to Dame Mc. Loud, but kindly.) Come you dear, old creature, why don't you chat and be sociable; we want you to be sociable and neighborly like. Do you know I always was fond of her as a neighbor. DIALOG UES AND REGIT A TIONS. 35 Dame Mc, {laughing). Oh, go on, go on, I have been amusing myself listening to your little chat. All, {sv/rprised). Listening! did she say? Gr. N. Poor thing ! she forgets she is deaf as a log. Dame Mc Besides, when a poor, deaf, wrinkled up old maid gets among ladies of honor she ought to keep silent. Mrs. Q. Oh, my nerves! I wish I could faint away. Or. N. Haint she deaf, then? Dame Mc. No more than you are, just at pre- sent, and permit me to advise you, Mrs. Quietly, to spend that dollar in getting something for your nerves, for I can assure you it is very disagreeable to refined ears to hear you for ever crying out, "Oh, my nerves!" Mrs. Q., {in a rage). As I said at the first, this is the first sewing-bee for three years, and I'll never, never, never {stamping) have another in my house. Dame Mc. "Oh, my poor nerves! " Mrs. J. Allow me to act as peace maker. I admit that we have done very wrong, but let us sbake hands and be friends again, and turn this sewing-bee to good accounts: let this be a lesson for us, and in the future let our conversation be such that we need not feel the blush of shame on our cheeks should all the world overhear it, and make a resolution in the future always to speak well of our neighbors or never speak at all. Sft SUNDA Y SCHO OL Dame Mc. My hand is ready, my heart is wil- ling to forgive. Mrs. Quietly — {all rise). Mrs. Q. Well, you are generous. Forgive me. You know, 'tis sometimes a woman's failing to chat {they shake hands). Gr. N. Well, as I said before, I don't like to talk about my neighbors, but I own my tongue is an unruly member, but I promise to put the bridle on constantly from this day forth. C. Well, now we are all friends again. Let's retire to the dining room and eat, and let me ven- ture to say: See what good we can say of our neighbors, and let us never forget the lesson we learned at The Sewing-Bee. {All bow and exeunt.) E. S. THE BEST ENJOYMENT. characters: Herbert, Thomas, William, Frederick, Isaac. SCENE. — A street. Herbert, Thomas and Frederick sitting upon a log. {Enter Isaac and William, .eating carrots.) Thomas, {rising from log). Hello, here comes Isaac and Will. Now, let's play some game, or do something to pass away the time. Frederick, {rising). All right, I'm willing. What shall we do? DIAL G UES AND REGIT A TIONS. VJ Isaac. I'll tell you how we can have lots of fun. All together. ~ How? I. We'll go down to Old Man Thomas' field and ^et some green corn, then we'll make a fire and roast it — you bet, we'll have a fine time ! F. I'll go with you if the others will — anything to have some fun. William. I'll go, only I'm 'fraid the old man will catch us. ■ Then he'll make it hot for us. /. Oh, you're a coward. He can't catch us. We'll run away. W. But he'll find out who we are, and will tell our parents, and I wouldn't like my father to know about it. F. Never mind if he does ; you tell him that it isn't so. Herbert. Boys, I am not in favor of going with you, if that is what you intend to do. Thomas. Neither am I ; I don't see any fun in stealing from a poor man. H. No. There is no pleasure in practicing dis- honesty. Besides, Mr. Thomas, whom you call the "Old Man," is depending upon the products of his farm for his livelihood, and it would be cruel for us to go and take his property just for what you consider to be "fun." I have a suggestion to -offer, which, if you will ^ree to carry out, will bring us much more pleasure, and at the same time we will be benefitting scfmeone else. I. What is it ? I'll agree to do it, F. So will I, 38 SUNDAY SCHOOL H. I doubt if you will, Isaac, for my proposi- tion is of an opposite character to the one you made. I. Well, I must confess I never considered what harm there would be in taking a little corn out of a man's field. If I had stopped to think, I wouldn't have made such a proposal. H. That is your greatest fault, Isaac. I believe you have a good heart; but you do not think before you act. You do many things without a moment's reflection that bring sorrow to you after- wards. Now, if you will exercise your thinking faculties more, and use some judgment in your words and action, you can thereby avoid many unpleasant mishaps that you might otherwise cause. I. You are correct, Herbert, I can now see my weakness. I'll endeavor in future to carry out your good advice, and I thank you for it,