O..a/>^0J2» -J' I* Class ^S^sS* Book__Zfi^Iil2 GoipghtN" - COPYRIGHT DEPOSIT, Price, 25 Cents. PUBLISHED BY The* DiLAMAric Publ-ishing Company CHA.ULES H 3ERGEL. . PRESIDENT 2 Practical Instructions for Private Theatricals By W. D, EMERSON Author of ''A Country Eomance," ''The Unknown Eival/' "Humble Pie/' etc. Price, 25 cents Here is a practical liand-took, describing in detail all the accessories, properties, scenes and apparatus necessary for an amateur production. In addition to the descriptions in words, everything is clearly shown in the numerous pictures, more than one hundred being inserted in the book. No such usefvl book has ever been offered to the amateur players of anv country. CONTENTS Chapter T. Introductory Eemarks. Chapter II. Stage, How to Make, etc. In drawing-roomij or parlors, with sliding or hinged doors. In a single large room. The Curtain; how to attach it, and raise it, etc. Chapter III. Arrangement of Scenery. How to hang it. Drapery, tormentors, wings, borders, drops. Chapter IV. Box Scenes. Center door pieces, plain wings, door wings, return pieces, etc. Chapter V. How to Light the Stage. Oil, gas and electric light. Footlights, Sidelights, Eeflectors. How to darken the stage, etc. Chapter VI. Stage Effects. Wind, Eain, Thunder, Break- ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, Shots. Chapter VII. Scene Painting. Chapter VIII. A Word to the Property Man. Chapter IX. To the Stage Manager. Chapter X. The Business Manager. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS THE WINNING OF FUJI '''''■ A JAPANESE PLAY IN ONE ACT BY EUNICE T. GRAY Copyright, 1909, by The Dramatic Publishing Company CHICAGO AND NEW YORK THE DRAMATIC PUBLISHING COMPANY CI.D 17367 TMP92- 009326 CAST OF CHARACTl^RS. Fuji, the beautiful daughter of General Matsu. YuKi, her friend. Madam Matsu, her mother. General Matsu, her father. Lieutenant Kito, her lover. Baron Omoto, an elderly rival. This little play is adapted to amateur performance, and is especially planned to be given for an outdoor entertainment or garden party. The interior of a Japanese house open to the audience is the setting for the first scene, at the end of which the sliding partitions are closed and the rest of the scene takes place in the little garden which surrounds the house. In case the play is given out of doors the stage should be set among shrubbery or small trees, a curtain should be hung about four feet in front of the house (a summer house can be utilized or an impromptu house can be contrived with screens or lattice work lined with heavy paper). The space between the curtain and entrance to the house should give ample room for the performance of scenes two and three. Shrub- bery or large plants should be grouped around the left center of stage and a garden seat set near them. In scene one Yuki approaches the house from the front (entrance right). It would add to the general Japanese character of the play to have Yuki enter in a jinrikisha drawn by a coolie, but this is not necessary. She is met and greeted at left center of open house by Fuji. The house of Fuji should be simply 3 4 THE WINNING OF FUJI. furnished in Japanese fashion. A few mats on the floor, A low tea-table, a large vase with flowers in it, and a bowl of gold fish set on a tabouret, a few pictures and a lacquer chest would be appropriate. The tea-tray used in scene one should contain full Japanese tea-service. Fuji's house Exit Right 'lea table Mat Flowers Tabouret O Bowl of goldfish Mat 1 J Garden -1 1=1 Steps Left Plants, etc. Walk Entrante The effectiveness of the little play will depend upon its strictly Japanese character and upon the music which is used at introduction of each scene. The author has suggested the music from The Geisha, M7?ie. Butterfiy and The Little Tycoon^ but other appropriate music could be used effectively. THE WINNING OF FUJI SCENE I. Scene. — Living room in a Japanese house. Fuji arranging flowers. Time. — Early afternoon. Music from the Geisha. YuKi approaches on path in jinrikisha drawn hy hoy or walks in. Fuji comes forward to meet her. Fuji. Greeting, Yuki-san. You are as welcome as the cherry blossoms in spring-time, YuKi [Alights from jinrikisha drawn hy hoy]. Greet- ing, Fuji-san. Fuji. Come into my humble house. You honor me with your presence. YuKi. Fuji-san, I am so happy to see you again, and to enter your charming house. How is your honorable mother ? Fuji. My honorable mother is well. She is gone to spend the day with my aunt. I hope your honorable mother is well also. YuKi. Thank you, she is quite well. Has your august father returned yet, Fuji. My father is still in Nagasaki with his regiment. YuKi. How sweet your blossoms are, dear friend. Your garden is favored of the gods. Fuji \ Mysteriously].. My poor flowers were forced to bloom, Yuki-san. YuKi [Surpiised]. How? Fuji. T whispered a great secret to them — Yuki-san, and they opened their ears to hear it! [Langhs gaily]. YuKi [Laughing]. A secret — T felt it in the air — I 5 6 THE WINNING OF FUJI. could hardly wait to reach you. My boy crawled like a tortoise. Fuji. Come, be seated on my poor mat, and I will tell tell you all about it. [They are seated'] YuKi. I am all ears. Fuji. Yuki-san, you remember the handsome young soldier who carried our parasols at the cherry-blossom festival ? YuKi. The honorable Kito? That splendid young lieutenant lately returned from the frontier? Fuji. Y"es, it is he. Such a brave, handsome young soldier. [Both nod in agreetnent.'] YuKi. Have you seen him again? Fuji. I have seen him and talked with him ! Y^esterday I went shopping with my mother and we met Lieutenant Kito in the street. He turned and came home with us, walking by my jinrikisha all the way. YuKi. Fuji, how interesting! Does your mother approve ? Fuji [Doubtfully']. I am afraid not. She did not ask him to come again, and she questioned me closely about him when we were alone. Oh, but he is a very charming man! Y^UKi. And Fuji-san is a very charming maiden. Did he not discover that fact ? Fuji. [Shyly]. He didn't say much about it, but — Yuki, he is to be at the ambassador's garden party! [Maid enters with tea.] Yuki. How fortunate ! And when your mother meets him there with all tliat distinguished company and sees how well he appears among them she will change her mind, I'm sure of that, Fuji dear. Fuji [Shakes her head]. Y^ou do not know my honor- able mother. She never changes her mind when once she has made it up. Yuki. But she loves you and will not see you unhappy ! Fuji. A dutiful child finds happiness in obedience. YuKT. True, but, Fuji-san, does not every maiden lind joy in a lover ? THE WINNING OF FUJI. 7 Fuji. When be is noble and good. YuKi. Like Lieutenant Kito. Fuji [Nods and sighs]. If my august father were at home he might. — But no — he is too busy, and he will not be home from Nagasaki until the official appointments have all been announced. But come, dear Yuki, I should not worry my guests about my aifairs. Let me give you some tea, and do tell me what you are to wear at the garden party. [Serves tea.'] Yuki. My honorable mother is planning my kimono this afternoon with my sister. I think it will be gray crepe with white plum blossoms scattered over it. Fuji. How lovely! And will you have a new obi? Yuki. Mother thinks the one I have will do, but I hope I may have a new one. Fuji [Animatedly]. I am to have a new obi — a present from my aunt in Yokohama, silver and blue and brown, soft and thick and wide, to be worn with a new blue kimono. I shall feel like a princess in it. Yuki. And look like one too, dear one. Your tea is delicious and I dote on these cakes. Fuji. They are very poor things. You are good to say you like them. [Rises, picks a spray of flowers from the vase, hums lightly strains of the Amorous Goldfish.] Yuki. Dreaming of lieutenants ? Fuji. Yes, and singing of them too. [Both hum a little of the song, stand looking into the howl of goldfish, then accompanied hy orchestra or piano the two sing The Amorous Goldfish or A Japanese Love Song.] Fuji. Do you think I will appear well at the garden party, Yuki dear ? Yuki. You will look like the lovely blossom whose name you bear. Indeed, my dear, there will be no one there so beautiful. [Jinrihisha comes up]. Oh, here is my jinrikisha. Must say good-bye, dear friend, twilight falls. Fuji. Yuki-san, the time has flown like the wind in the autumn. Must you go ? Yuki. The hours have flown like winged birds, and they have been full of joy. 8 THE WINNING OF FUJI. Fuji. Come again soon, my dearest. YuKi. I shall wait impatiently for a visit from you. Come soon, Fuji-san, my poor flowers will not bloom till you come. Fuji. [Assists Yuki to jinrihisha]. I will see you at the garden party. Yuki. Yes, and we will see the honorable lieutenant also. Fuji. Oh yes, you will see him. He is a very brave soldier. Yuki-san, do you think my honorable mother will ever like him;? Yuki. I am sure she will. Fuji. Good-bye. Yuki. Good-bye. [Exit Yuki right entrance.'] \ Lights are loivered, evening has come. Maid enters, re- moves tea tray, draws blind shut in front of house. Fuji assists her and goes off the stage rear exit, into adjoining room.] [Music. Japanese Love-Song. Enter Lieutenant Kito, right entrance. Sings serenade before closed house.] Lieut. Kito [Enters with flowers in hands, singing. Approaches house, looking up. Calls softly] Fuji-san, little flower-girl! [No response] Fiiji-san, I am unworthy your notice, but accept the flowers of my devo- tion. [Places flowers on door-step. Fuji pushes blind back slightly.] Star of heaven — Fuji. Oh, you must go away ! Kito. Do not send me away ! Fuji. You must go away at once, do not stay. My honorable mother will be very angry if she knows you are here. Kito. Fuji-san, it grieves me to have found disfavor with your honorable mother. What have I done to dis- please her? Fuji. I do not know, but she was very much displeased when she saw us talking together yesterday. Do go now, before she hears our voices. Kito. Fuji-san, you do not find me displeasing also? [Fuji makes no reply.] Speak to me, little wisteria THE WINNING OF FUJI. 9 blossom, is there not that in your heart that bids me stay? Let your heart speak, Fuji-san. Your lips are closed like the petals of a rosebud, but in your heart the flower is unfolding. Fuji-san, is it not so ? Fuji [Picks up floivers]. My mother has spoken to me severely. I must not talk to you or listen to your words. KiTO. I know I am not worthy of the daughter of so brave a general as your father, — and yet I have much to be proud of — I am not ashamed to ask your honorable parents to listen to my suit. Fuji. My mother has other plans, I fear, so Lieutenant Kito, go. Perhaps it may be if I am obedient and you offend her no further, she will be more lenient. Kito. And your august father, is he also displeased ? Fuji. My honorable father is not at home, but he values my honorable mother's opinion very highly. My father is a great soldier and he exacts obedience from his children as from his army. Kito. Fuji-san, I have never seen anyone so fair, so beautiful as you; you are an obedient daughter, I will not be a stumbling-block in your path of duty, but I shall not grow discouraged. Next week I shall attend the Ambas- sador's garden party, and I expect to meet you and your honorable mother there, and perhaps change her opinion of my worthless self. Fuji [Agitatedly']. Oh! go, dear Lieutenant! I hear someone coming. Hasten ! Yes, I will see you at the garden party, if my honorable mother will permit me. Kito. I will go [Turns away, turns bach~\ but, Fuji- san, give me some token, some sign of your heart, — Oh, dear one — [Mother calls'] Mother. Fuji — daughter ! Fuji. Go! [Throivs doivn floit-er — Kito comes for- ward and picks it up — Mother suddenly appears and closes Mind quickly'] Kito [Looks at fower while he talks]. Little blossom, so sweet, so pure, so fair! Like the beautiful Fuji, — little wisteria blossom, flower of my heart. [Kisses flower] May you grow in the sunshine of my love, Fuji. [Looks hack at closed hlind] And may I be strong to cherish and protect you. CURTAIN. 10 THE WINNING OF FUJI. SCENE II. Scene — Some as Scene I, Yuki and Fuji walking in in the garden. Time — Morning. Yuki. — And what did you do then, Fuji? Fuji. I must have turned pale. I caught my breath and spoke very hurriedly, but very low, for my honorable mother stood just outside the arbor. I begged him to go, but he was very much excited and stood there clasping my hand and refusing to go one inch till I had told him he might ask my parents. Yuki. Fuji-san — bow romantic ! Fuji. He said my honorable mother did not, could not, understand. He begged to be allowed to come to our home and explain everything; that he knew what he had to say would certainly make a difference. Yuki. What did you say then? Fuji. I told him that if — if — he really loved me he would say no more, for my mother could not forgive my unmaidenly conduct of a few evenings ago. Yuki. That was very unfortunate that she should have discovered the Lieutenant serenading you, Fuji. I do not think she would have been so severe if it had not been for the flower which I threw to him. Yuki. Fuji-san, did she see you do that? Fuji. No, but she asked me to tell her all that had happened, and — Yuki. And did you tell her? Fuji. I could not deceive her. Yuki. No, Fuji, you could not deceive your honorable parents. You have been well trained; you are a true daughter. Lieutenant Kito has great reason to be courageous and persistent in wooing the loyal Fuji-san. Fuji [Sighsl. He is a brave lover. I am unworthy such a hero. Yuki. Will not your honorable mother change her mind ? Fuji. [Sadly']. My honorable mother never changes her mind unless my august father changes it for her, — and she THE WINNING OF FUJI. H told me to-day that my father did not favor the suit of a poor young soldier like Lieutenant Kito. Yuki-san, I fear the love-god has looked at me only to turn away and leave me cold and lonely. YuKi. Dear Fuji, do not sigh. Lieutenant Kito is so brave and so earnest he will find a way. Fuji [Smiles — puts hand to a letter hid in her dress]. Yes, he will try, he is not to be discouraged. I left him in the arbor that afternoon, and returned to my mother and stayed dutifully by her all the afternoon, as you saw me, but after all — he found a way. YuKi. Did you see him again? Fuji. No, I did not see him again, — but — Yuki-san, I am a very miserable girl. I feel so guilty — but oh ! so happy — [Draws out letter']. YuKi. He wrote to you ! Fuji. Last night he came beneath my window again and called softly, but I dared not open my blind. I stood inside trembling with fear. All was still. I thought he had gone away, then I saw a corner of white paper slip under the blind. I pulled it in quickly, and hid it in my kimona lest my mother enter and see it. I have deceived her in this, Yuki, but is not a love-letter sacred? It belongs not alone to me, but to him who sent it. It is not mine to give, — and — she has not asked me for it. Yuki. I cannot believe it would be wrong to hide a love-letter. Fuji [Unfolds letter]. This is it, Yuki. I have carried it here all day though I have trembled at every breath lest my mother should hear it rustle. Yuki [Looks at letter with interest]. The handwriting is very fine. Fuji-san, [^Curiosity thinly veiled] does he express himself well? Fuji [Rapturously]. Yuki-san, have you ever re- ceived a love-letter? Yuki [Shakes her head. Girls seat themselves.] Fuji. The language of love has wings like a dove. Yuki [Looking at letter]. A love-letter must be very interesting. Fuji [Reads to herself a little]. Yuki, Lieutenant Kito is a very remarkable man. His letter is — is more 12 THE WINNING OF FUJI. interesting than — Yuki, would you not like to hear this one beautiful line ? YuKi [Eagerly^. Of course, if you would — I — well, yes — Fuji — I think it is well to know about these things. Fuji [Eeads^. " The wind and the grass and the leaves are whispering to me of you. Wisteria, softly and sweetly they whisper — YuKi. Why — Fuji-san, he is a poet ! Fuji. " You bade me forget you — as easily forget the sacred mountain whose name you bear, Fuji-san, I can never forget you [Hesitates^ and you " he writes very beautifully — but — Yuki, I think his most beautiful words are for me only. [Takes letter tacl:.'] Yuki. Yes — Fuji-san, I would not enter the sacred temple which he has built for you. Fuji [Eeads a little more — turns to Y^uki, letter still in hand, smiling radiantly']. He is a very noble lover, is he not, Yuki-san. This poor maiden would gladly promise him her hand, but ah — Yuki, Yuki, [Sadly] it can never be, Yuki-san, my poor heart is very sad. Yuki. Have courage, dear. I cannot believe that a heart so pure and tender should lose the smiles of the love- god. Fuji. I have not told you all. I cannot yet believe it. He came to me as a crushing blow — and Yuki — it is a secret which I should not even share with you — But Yuki. Fuji-san, what is it? Your mother has not punished you any more severely for your wilful love? Fuji. She does not regard it as a punishment. Yuki, she has chosen for me a husband — she has given him her word that if my august father will allow it I shall marry him, Yuki-san, marry him before the fete of autumn leaves. Yuki. Has chosen another! Fuji-san, who is to steal the prize of the brave good Lieutenant. What coward dare ? Fuji. Hush ! He is not a coward, — he too is a brave soldier, a man of rank and wealth, one worthy of the family; but — Yuki, he is old and grizzly and ugly and fat! Yuki. Ugh! Fuji, who is this man; THE WtNXING OF ITJI. 13 Fuji. Baron Omoto! YuKi. What, the rich Baron Onioto ! Fuji. Yes, it is he, but you must not tell it to any one. He is very jealous and has hedged my mother about with all sorts of precautions for fear I may be lost before he has rlairned me. YuKi. These plans must have been going on for some time. Fuji. Y"es, I can see it all now. While I was playing gaily like other girls, and dreaming a little, and planning a little, mother — my honorable mother was taking all my future into her own hands, and now Y^UKi. Fuji-san, you must not yield to this cold, heartless plan. Fuji. My mother has commanded, I must obey. Y^UKi. But you cannot love this man — why, Yuki, he has already had two wives, the Lady Baroness Omoto died less than a year ago. It will be wicked for you to sacrifice your heart, your soul, to this rich old Fuji-san, don't, I implore you ! Fuji. " After sacrifice comes the blessings of the gods." YuKi. Y'ou are too yielding, too conscientious — Fuji. I dare not disobey, Y^uki, there you have the truth. I have never disobeyed — I have no power to do so now — but [Dr^aws out letter.'] Yuki-san, it is very, very- hard — and I do not think I can ever forget. Do you think 1 might keep this letter ? Yuki. Ah, poor Fuji-^keep it — yes — ^l3ut it will be a sorry comfort. Fuji \ Spreads out letter on lap and reads]. I cannot part with it — it is more precious to me Mother [Approaches from house, appears behind girls.] What are you reading, my daughter? Fuji. [Jumps up startled]. A — poem — honorable mother ! Mother [Holds out hand]. What kind of a poem? Fuji. A love poem, honorable mother. Mother. The eyes of a mother must see into the heart of her child. Fuji. honorable mother it is a letter to me. 14 THE WINNING OF FUJI. Mother. A good child shares her heart secrets with her mother. Fuji. I cannot [Weeps, holds letter]. YuKi. 0, honorable lady, can you not see it is a love- letter, a letter which is very dear to her? Mother. Am I to meet with resistance in the child of my friend as well as in my own family? [Severelyl The letter, Fuji. [Fuji hands letter to Mother. Yuki clings to her.] CURTAIN. SCENE III. Scene same as Scene II. House closed. Time — Dusk, Music. [Enter Lieutenant Kito.] KiTO. The house of my little flower-girl — do I dare approach her door? Strange what cowards love makes of men! I could face the guns of all Russia's army more easily than I could ask Madam Matsu for her daughter's hand; yet that is what brings me here. I am brave after all; yes, I believe I am. Have I not been forbidden the house, the grounds, yes, even the air that sweet Fuji breathes — I have been told to take myself off — anywhere — away out of her sight — but — I could not go. I have hung around here broken-hearted, sighing and complaining [Disgustedly] and doing nothing. But now, to-night, I am brave and bold. Dear child, she needs me. [Talces out note.] Only a line sent by the faithful Yuki, but it has brought me here full of hope, fear, and determina- tion. '^ I am promised to Baron Omoto ; I have but to obey." Loyal Fuji, not a word of complaint, of bitterness, yet I know she calls me and hopes against hope that I may save her. Yes, I will win. Youth and courage and love against wealth and rank and craftiness. Madam Matsu shall listen to-night to my suit — to my explanation, [Approaches door.] [Baron Omoto comes on stage, Kito turns,'] THE WINNING OF FUJI. 15 KiTO. Whom have we here — the honorable Baron Omoto. Omoto. What seek you at the house of General Matsu ? KiTO [Boldly]. I have come to ask for the hand of the fair daughter of the august General Matsu. Omoto. Too late, my young lieutenant. The honor- able and wise General Matsu has already chosen a husband for his young dove. KiTO. And has she given him her hand and love as wisely and willingly? Omoto. She has accepted, as every loyal daughter should, the choice of her august parents. KiTO. Her heart has not accepted this lover, her heart is mine. Stand back. [KiTO approaches door.] honor- able Baron Omoto, I have come to win from the parents of the little flower-girl the promise which will bring joy to her tender heart. Omoto. What folly ! Do you think to win against me ? You — with nothing but youth, poverty, inexperience Kito. Love knows neither rank nor riches — [Goes to door again]. The fair Fuji shall never be the wife of the honorable Omoto. [Kito stands before him.] Make way. Omoto [Dratcs weapon.'] I have a right here and I am prepared to defend my rights. Kito [Draws weapon]. I, too, have a right, and am prepared. [Father appears at door, lighted interior, Mother and Fuji inside alarmed.^ Father. Who are you ? What do you want at the door of General Matsu, — drunken soldiers in a fight? Omoto. General Matsu Father. I'll call the guard, this is- Kito. Not drunken soldiers, but rivals in love — We crave your pardon, sir, forgive this turmoil at your door. Father. Rivals in love — what — Ah, I perceive. Now, the honorable Omoto, you are an inpetuous [Baron ap- proaches.'] lover for one of your years. [Sarcastically.'] Omoto. Sir — this impudent rascal dares tell m.e he loves your daughter. Kito. Yes, sir, and your daughter loves me. Father. You — my daughter 10 THE WINNING OF FUJI. KiTO. And it is to gain your consent to our marriage that I came to-night — It was my bad fortune to meet at your door the honorable Baron Omoto, who claims to be the promised husband of the beautiful Fuji. Father [Approaches Kito]. Man — do you dare to trifle with the will of a father? [Starts suddenly] Kito. Have you forgotten me? Father [Takes him heartily by the hand]. Lieutenant Kito, how came you here? Kito. Seeking the hand of your daughter, sir. [Baron looJcs on sullenly.] Father. Welcome to our house, my brave boy. Wife, this is the noble young soldier who saved my life at Port Arthur. [Mother and Fuji approach.] Mother. Lieutenant Kito your rescuer? And I have refused him the hospitality of our home! Father. Such blindness ! Come, my dear Lieutenant Kito, let us make amends. Mother. I did not know, I did not dream. [Kito and Fuji talking.] Father [To Baron]. Sir, I have apologies to make. My first obligation is to this brave young comrade who risked his life to carry me to a place of safety in the fierce fire of the battle of Port Arthur. But I have accepted you as the suitor of my dear daughter, — though I confess I felt the affair in my wife's hands, — the decision is now in the hands of my daughter. Fuji, speak. Omoto. Eemember, you are promised to me — [Fuji looks from one to the other timidly, then moves to- wards Lieutenant.] Father. Answer, daughter. Fuji. I think you owe Lieutenant Kito a life, father. CUETAm. Hageman^s Make-Up Book By MAURICE HAGEMAN Price, 25 cents The importance of an effective make-up is becoming more appar- ent to the professional actor every year, but hitherto there has been no book on the subject describing the modern methods and at the same time covering all branches of the art. This want has now been filled. Mr. Hageman has had an experience of twenty years as actor and stage-manager, and his well-known literary ability has enabled him to put the knowledge so gained into shape to be of use to others. The book is an encyclopedia of the art of making up. Every branch of the subject is exhaustively treated, and few ques- tions can be asked by professional or amateur that cannot be an- swered by this admirable hand-book. It is not only the best make- up book ever published, but it is not likely to be superseded by any other. It is absolutely indispensable to every ambitious actor. CONTENTS Chapter I. General Remarks. Chapter II. Grease-Paints, their origin, components and use. Chapter III. The IVIake-up Box. Grease-Paints. Mirrors, Face Powder and Puff, Exora Cream, Rouge. Liquid Color, Grenadine, Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig Paste. Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps, Cold Cream, Cocoa Butter, Recipes for Cold Cream. Chapter IV. Preliminaries before Making up; the Straight Make- up and how to remove it. Chapter V. Remarks to Ladies. Liquid Creams, Rouge. Lips, Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. Chapter VI. Juveniles. Straight Juvenile Make-up, Society Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, Hands, Wrists, Cheeks, etc. Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy Old A?e, Ruddy Complexions. Chapter VIII. Comedy and Character Make-ups. Comedy Ef- fects, Wigs. Beards, Eyebrows. Noses, Lips, Pallor of Death. Chapter IX. The Human Features. The Mouth and Lips, the Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. Chapter X. Other Exposed Parts of the Human Anatomy. Chapter XI. Wigs, Beards, Moustaches, and Eyebrows. Choosing a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, Beards for Tramps, Moustaches, Eyebrows. Chapter XII. Distinctive and Traditional Characteristics. North American Indians, New England Farmers, Hoosiers, Southerners, Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, Quadroons, Octoroons, Negroes. Soldiers during War, Soldiers dur- ing Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlers, Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, Portuguese, South Americans, Scandinavians, Germans, Hollanders. Hungarians, Gi]osies, Russians, Turks, Arabs, Moors, Caffirs. Abys- sinians, Hindoos, Malays. Chinese, Japanese, Clowns and Statuary, Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. • Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS r^nry r^vz^ ro CAT O'V. NOV 27 1909 PLAYS. BEING the largest theatrical booksellers in the United States, we keep in stock the most complete and best assorted lines of plays and entertainment books to be found in this country. We can supply any play or book pub- lished. We have issued a 144-page catalogue of the best 1500 plays and entertainment books published in the U. S. and England. It con- tains &. full description of each play, giving number of characters, time of playing, scenery, costumes, etc. This catalogue will be sent free on application. The plays described are suitable for am- ateurs and professionals, and nearly all of them may be performed free of royalty. Persons in- terested in dramatic books should examine oui oatalogue before ordering elsewhere. The Dramatic Publishing Company. CHICAGO. ^ LIBRftRY OF CONGRESS Dm 016 103 250 5 g i^^mg'^.m^^fm^ ^