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PAKLOK AMUSEMENTS 
 
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 BOSTON 
 JAMES R. OSGOOD AND COMPANY, 
 
 (Late Ticknor & Fields, and Fields, Osgood, & Co.) 
 
 1875. 
 

 
 Entered according to Act of Congress, in the year 1874, by 
 
 JAMES R. OSGOOD & CO., 
 In the Office of the Librarian of Congress, at "Washington. 
 
 BOSTON: 
 
 Stebeotyped and Printed by 
 Rand, Aveey, & Co. 
 
PREFACE. 
 
 The dramatic element exists, in a greater or less 
 degree, in every mind ; for the little child begins to ima- 
 gine or personate some character at a very early age. 
 The doll is invested with histrionic power, and plays 
 many different roles as time goes on ; and the love of 
 acting lasts after old age has dulled many other enjoy- 
 ments. No pleasanter manner of whiling away a long 
 evening can be found than by a simple entertainment 
 in which old and young unite. The chief objection to 
 such performances has been the trouble which attends 
 their preparation. This little book is intended to 
 obviate this difficulty, as the scenes are so arranged 
 that the most of them can be performed in any parlor 
 with simple properties and costumes, and most of them 
 without study or practice. Every one of them, however, 
 has been tried before large audiences in hundreds of 
 cities, and they are now simplified and arranged for 
 performance by old and young. 
 
 In the opening chapter, proof of the long experience 
 of the manager is- given ; and the last ones are devoted 
 to games of thought, in which new games, and old ones 
 in a new dress, are presented in the hope that much 
 benefit to the thinking powers may be gained, as well as 
 amusement. 
 
 3 
 
CONTENTS. 
 
 t — - 
 
 PAGE 
 INTRODUCTION 7 
 
 HINTS ON TABLEAUX 17 
 
 SCENES IN THE LIFE OF MARIE STUART ... 23 
 
 ELABORATE TABLEAUX 25 
 
 THE LILT MAID OF ASTOLAT 29 
 
 JARLEY WAX-WORKS . . 30 
 
 THE BABES IN THE WOODS 35 
 
 THE MAGIC MIRROR 37 
 
 THE MISER'S SUPPER 41 
 
 LOVE IN AMBUSH 44 
 
 THE SLEEPING BEAUTY 46 
 
 AULD ROBIN GRAY 50 
 
 THE MISTLETOE BOUGH 53 
 
 VILLIKENS AND HIS DENIAH .57 
 
 CHARADES 61 
 
 GAMES OF THOUGHT 67 
 
 THE MENTAL INDEX 70 
 
 HOW POETS ARE MADE 72 
 
 5 
 
INTRODUCTION. 
 
 As I stood on the stage of the new opera-house, all 
 ready to begin, an irresistible desire to laugh nearly- 
 upset my gravity, caused by the funny contrast between 
 the entertainment I was about to superintend and my 
 first dramatic performance. 
 
 The house is crowded with the beauty and fashion of 
 the city; and the receipts, for the benefit of a noble 
 charity, will exceed a thousand dollars. The stage is 
 furnished with every appliance which modern art has 
 brought to the aid of the drama. By a touch of the 
 bell, the orchestra can be set in motion, or stopped in 
 the middle of the sweetest strain. By a turn of the 
 hand, the scene can be plunged into utter darkness, or 
 lighted with the brilliancy of daylight ; which will flash 
 into red sunrise, or fade into"*green moonlight, at will. 
 At the sound of a whistle, angels will float from the flies, 
 or demons spring through the floor. Quiet carpenters 
 consult the plot, and the horizon melts into forest, and 
 the palace at once becomes a kitchen. In the luxurious 
 dressing-rooms, ladies and gentlemen of talent stand 
 ready to lend the graces of refined culture to the attrac- 
 tions of the scene. At the rise of the curtain, a large 
 ship, ornamented with quaint carving, bears a graceful 
 company of beautiful blondes. Groups of classic statu- 
 ary, and careful copies of pictures, succeed ; and then a 
 comedy is acted by amateurs, to whom the movements 
 
 7 
 
8 INTRODUCTION. 
 
 of our best society are natural, and not assumed. The 
 last scene represents a dark wood by moonlight, where 
 Bohemian gypsies in rich costume glide about among the 
 trees, and finally join the brilliant dance to the sound 
 of ringing tambourines and clashing cymbals. 
 
 What a contrast to the old garret in Concord, which 
 witnessed our earliest dramatic efforts ! 
 
 An old blue bedquilt, hung on a clothes-line from the 
 rude rafters, furnished our only stage adornment. 
 Neptune, a great Newfoundland dog, was the only 
 member of the corps who could stand erect at the 
 wings ; from which he used to rush upon the stage at 
 the denoilment, and create considerable confusion by 
 biting the ears of the dead heroes. The third mem- 
 ber of the company was a boy aged six, who is now a 
 prominent merchant. "We played Shakspearian trage- 
 dies chiefly, and took turns in personating Clifford and 
 Rutland, as the killing parts were considered the most 
 desirable. Aunt Betsey, a dear old lady, composed our 
 whole audience, and showed a high appreciation of the 
 performance by laughing heartily at the most tragic 
 scenes. Many strange events transpired between these 
 two occasions, some of which I propose to relate in the 
 order of their occurrence. 
 
 After a year or two, the dramatic company, being in- 
 creased by the addition of a dozen schoolboys, was 
 removed from the garret to more commodious quarters 
 in a large hen-house ; where large audiences of twenty 
 persons crowded the auditorium on Saturday afternoon. 
 Miss Edgeworth's drama of "Old Poz" was here pro- 
 duced with great effect ; the part of the magpie being 
 taken by a large parrot, who lent a tragic element to the 
 piece by biting savagely at every one who came near his 
 cage. " The Lady of the Lake " also had a most success- 
 ful run, until the dying Highlander brought down the 
 house by rolling over upon the back curtain, thus expos- 
 ing the dressing-room, and the bare walls of the old hen- 
 
INTRODUCTION. 9 
 
 house. A pair of old cavalry swords were the favorite 
 properties, as they served also as goads in driving home 
 the cows from their distant pasture. One of the boys, 
 who delighted to march along the country lanes with 
 martial tread, cutting off the heads of the mulleins, 
 served gallantly in every battle of the Potomac, and 
 fought- his way to a major-generalship. 
 
 This temple of the drama was burned, like many 
 another theatre; and the company took refuge in the 
 Town Hall, where many ladies and gentlemen now 
 well known in literature made their debut. . The gifted 
 authoress of " Little Women " here enacted her favor- 
 orite characters. One of our leading men is now editor 
 of a leading paper ; and one has made a mark with his 
 pen on both sides of the Atlantic. These performances 
 being often attended by persons from Boston and Cam- 
 bridge, their fame spread so widely that members of 
 the company made tours to distant places to assist in 
 similar enterprises. Sometimes fine scenery was painted 
 or hired; but in many cases the accessories were so 
 simple that the talent was made more conspicuous. 
 
 One of the best of these was given in the kitchen of 
 an old farmhouse, almost the only inhabited build- 
 ing on an island in the sea. The time was midnight ; 
 one of the actresses a well-known novelist, and one a 
 lady who had won laurels on the English stage. The 
 play was wholly impromptu. There was no audience at 
 alL the actors being only desirous to secure the applause 
 of each other. The rough beams of the roof were 
 lighted with tallow candles, and garnished with strings 
 of onions and dried pumpkin. 
 
 A banquet being called for in the second act, the 
 pantry was robbed of a pan of milk ; the comedian 
 foraged the hen-coop ; the eggs were beaten by the tra- 
 gedian; and the effect of the repast was felt by the 
 whole company for a week. 
 
 When the sanitary fairs sprung up over all the coun- 
 
10 INTRODUCTION. 
 
 try, the drama was one of the most successful means 
 employed to raise money. It is impossible to ascertain 
 the amount of these very large sums, as the receipts 
 were added to the general fund, or applied to the pur- 
 chase of material for village societies, to which the 
 labor of many energetic ladies gave a threefold value. 
 The old academy at North Conway was turned into a 
 summer theatre, and every week the proceeds were for- 
 warded to some hospital. This establishment was as 
 remarkable for the talent of its company as for the 
 simplicity of its decorations. No expense was wasted, 
 as it was solely a money-making concern. One night, a 
 distinguished lady from Boston failed to come on in 
 time when a scene from Dickens was called ; and the 
 anxious manager, hurrying into the green-room, found 
 the unfortunate star fastened to the floor, and unable to 
 extricate her foot from a hole in the board through 
 which she had stepped. The guests at this theatre in- 
 cluded two major-generals, and a portion of the presi- 
 dent's family. 
 
 In the city of Louisville, the amateur drama has been 
 brought to the highest state of perfection by the 
 Dickens Club, an organization which has existed for 
 many years, and numbers one hundred members from 
 the age of six to sixty. Old and young act with vigor 
 together ; and they have become so perfect, by long prac- 
 tice, that their representations are very clever. They 
 use none of the stage-plays, but dramatize stories and 
 poems to suit their needs. 
 
 In an elaborate version of " The Golden Legend," 
 sixty persons appeared in one group in the transforma- 
 tion scene. Six ladies were fastened upon the paint 
 frame, which was covered with light-blue cloth, so that 
 they seemed to be floating in the air. They stood in 
 tbeir stocking-feet, as the illusion would have been 
 destroyed if their black boots had shown against the 
 transparent background. One night the manager stood 
 
INTRODUCTION. 11 
 
 at the back of the stage, waiting .for the cue, at which to 
 give the signal for opening the flats. The avenging 
 angel was strapped upon the frame about six feet from 
 the floor; and, when within two lines of her speech, 
 she whispered in a trembling voice, "I have my boots 
 on ! " The lady lifted one foot at a time while he pulled 
 off the boots, and stood holding them in his hand, listen- 
 ing to the denunciation of the ascending angel, as the 
 frame was slowly wound up by the carpenter. Another 
 night, one of the upper angels became so dizzy that she 
 was obliged to be taken down in a hurry, by means of a 
 long ladder, just before the others were exposed to the 
 view of the audience. 
 
 A home for widows and orphans received the greater 
 part of its support, for many years, from the efforts of 
 this club. 
 
 A whole chapter might be devoted to the romance of 
 the drama, for many a tender scene has been repro- 
 duced upon the stage of life. There is one farce in 
 which those who take the lovers' parts are sure to marry. 
 This has proved to be true in so many cases, that it is 
 not considered best to give the name of the play, as 
 the demand would be greater than the publisher could 
 supply. 
 
 At some of the army hospitals, the convalescents 
 found amusement for themselves and their friends on 
 the mimic stage. At Annapolis, a large barrack was 
 converted into a theatre, where very creditable perform- 
 ances were given by the soldiers, for several nights, 
 to an audience of about a thousand, nearly every one of 
 whom were cripples. As this array of wounded heroes 
 were drawn up in line, ready to march into the building, 
 one brilliant moonlight night, the sight was very affect- 
 ing, and made one feel grateful for any amusement which 
 could vary the monotony of their tedious existence. At 
 Washington, a performance was given for the Christian 
 Commission, which was participated in by young ladies 
 
12 INTRODUCTION. 
 
 from nearly every part of the Union, the wives and 
 daughters of the senators and representatives from the 
 various States. The grace and beauty of two stars of 
 this stage have won laurels in the most brilliant court 
 of Europe. 
 
 This taste for the drama exists in the minds of 
 many sedate persons, and often appears most un- 
 expectedly at the summer-resorts, where the cares of 
 business are forgotten, and the hard-working students 
 and merchants delight to renew their youth in some 
 careless and merry frolic. 
 
 Two great merchants once appeared as the Babes in 
 the Wood, dressed in short costumes like boys and girls, 
 while a noted lawyer and preacher represented the 
 robins. Adorned with red shawls and feather-dusters, 
 these frisky birds covered the sleeping innocents with 
 cabbage-leaves. 
 
 A dramatic performance was once given above the 
 clouds, on Mount Mansfield, by a party from Cambridge 
 and its vicinity. That night, the excellent hotel was 
 crowded with guests, among whom was the Sage of 
 Concord, the editor of a large journal, two professors, 
 and a prominent lawyer, with ladies from a dozen States. 
 When the sun had set, and the heavy clouds gathered 
 beneath the mountain-top, this motley audience assem- 
 bled in the long, uncarpeted room, and seated them- 
 selves on wooden benches around a bright fire. The 
 performance was of the most primitive character, the 
 wardrobe being selected from the mountain-dresses 
 which hung upon the wall, and the weapons from the 
 kitchen-closet ; but the rounds of applause, and shouts 
 of laughter, which shook the rough beams, testified to 
 the delight of the spectators. At the foot of Mount 
 Mansfield, in the town of Stowe, is one of the most 
 beautiful little private theatres in the country. The act- 
 drop and scenery are painted with great nicety ; and the 
 machinery is so perfect that the stage can be darkened at 
 
INTR OD UCTION. 1 3 
 
 once. Among the hundreds of people who visit this 
 popular resort, amateurs of talent are easily found; and 
 difficult comedies are performed in a style which many 
 more pretentious establishments might do well to copy. 
 One little star of this mountain theatre has since figured 
 in the salons of Paris ; and many persons, now scattered 
 over the United States, will remember her fascinating 
 personations of difficult roles. An original comedy was 
 produced here, being a dramatization of Curtis's "Poti- 
 phar Papers," arranged by a gentleman from Troy. A 
 young lawyer was summoned by telegraph from Bos- 
 ton to act the part of the fop; and -the professor of a 
 New- York university played Cream Cheese in a most 
 oleaginous manner. Seven changes of scenery gave 
 effect to this play, the drawing-room, in the first act, 
 being very handsomely furnished. The audience at this 
 performance came in full dress ; and the auditorium was 
 lighted by two large chandeliers with pendants of cut 
 tin, which flashed in quite a magnificent manner. 
 
 A laughable occurrence took place during the per- 
 formance of a farce at this theatre. A young gentleman 
 was playing the part of a lady, dressed in a blonde wig, 
 and a showy silk dress. The lover, being also of a light 
 complexion, wore a dark wig, and had blackened his 
 moustache to match. Regardless of this fact, he im- 
 printed a chaste kiss upon the lips of his beloved, and 
 left a large black circle as the result of his caress. 
 When the summer visitors at the mountains returned to 
 their distant homes, the fame of these performances was 
 so widely scattered that the manager was sent for to many 
 a distant city, to reproduce them for the benefit of char- 
 itable purposes throughout the United States. Week 
 after week, performances have been given with generally 
 veiy good success. The most curious fact gleaned 
 from this long experience is the strange likeness which 
 is found in the various faces, so that pictures can be 
 presented in hundreds of cities in a very similar manner. 
 
14 INTRODUCTION. 
 
 The same ideas also re-appear constantly; as, among 
 the properties used, is a large harp, which is carried 
 from place to place, and has never heen seen in any 
 collection of people without inspiring some allusion to 
 the " harp of a thousand strings." 
 
 The mimic drama also brings out the dispositions of 
 people so strongly that it has been said, " If you wish to 
 know the dispositions of your friend, either marry or 
 unite in a dramatic enterprise with her." It is hoped 
 that this satirical remark can never apply to the actors 
 in these scenes. The chief cause of difficulty is the 
 want of organization ; and therefore the first step is, to 
 find some competent manager to assign the parts, and 
 direct the performance. He will soon learn that the 
 only way to govern others is to completely govern him- 
 self ; and the actors will gain a useful lesson of prompt 
 and cheerful compliance with the decisions of others, 
 which will be of benefit to them on the stage of life. 
 In all of these entertainments, great opportunity is given 
 for the inventive faculties. A little wit is often better 
 than much expense, and the simplest designs are often 
 the most effective ; in proof of which I give an account 
 of an entertainment which was hastily prepared on an 
 island where there were but two houses, and no stores. 
 The island lies three miles west of Plymouth Kock, and 
 is owned by a kind and genial gentleman who is ad- 
 mired by so many ladies, that he has always remained 
 single for their sakes. 
 
 At the time I speak of, there was a very brilliant com- 
 pany assembled at his house, many of whom are well 
 known to the readers of " Our Young Folks." The 
 blue-eyed Miselle, who has written stories almost as fas- 
 cinating as herself, the author of the " Seven Little 
 Sisters," and, first and best of all, the mother of "Wil- 
 liam Henry," all united with many lesser lights to make 
 the summer days pass pleasantly. 
 
 One day, as they all sat in the rustic summer-house on 
 
INTRODUCTION. 15 
 
 the point, watching the sail-boat, on her return trip from 
 Plymouth, laden with passengers and provisions, they 
 beheld a new arrival in the shape of the manager ; and, 
 as soon as he had scrambled up the rocky path from the 
 shore, they set him to work at once, under the island 
 law, which provides that each one shall contribute his 
 share for the entertainment of the others. So that 
 afternoon he assembled his forces upon a great rock, and 
 considered the subject. He found plenty of the first 
 two requisites for success, — beauty and brains; one 
 stately brunette for the tragic parts, two lovely blondes 
 for angels and saints, and half a dozen young ladies of 
 the medium style of beauty which abounds in New 
 England. For gentlemen, there were two Harvard stu- 
 dents, a gallant young soldier, a grave judge from the 
 West for the heavy father, beside three noble young 
 fishermen for the tableaux. The cast was soon made, 
 and the actors retired to study their parts ; when a new 
 difficulty arose. "Where can a theatre be found ? The 
 kitchen and dining-room are in constant use, and all the 
 other rooms are full to overflowing. 
 
 An exploring party then made the circuit of the 
 island, and discovered a large boat-house close to the 
 eastern shore. Here a stage was erected upon four 
 lobster-cages; and a curtain, "borrowed from one of the 
 beds," was contrived to run upon grummets, or small 
 hoops which are used to confine the sails to the mast of 
 a boat. 
 
 For the illustrated ballad, "The Three Fishers" was 
 decided upon, as there were three men ready costumed 
 for the parts, and plenty of nets and lobster-pots for 
 properties. The angels took to themselves wings by 
 making frames from one of those melancholy ruins of 
 modern civilization, — an old hoop-skirt. These frames 
 were covered with cotton cloth, and coated with var- 
 nish from the stores of the boat-house. While the 
 
16 INTRODUCTION. 
 
 varnish, was fresh, they were plentifully sprinkled with 
 live-geese feathers ; and the effect was truly angelic. 
 " Judith and Holof ernes " was one of the tableaux. In 
 the first scene, a black-bearded youth reposed upon two 
 dressing-tables, while his sister flourished the captain's 
 sword above his head. In the second scene, where 
 Judith holds the head, Holof ernes knelt between the two 
 tables, and put up his head through a hole in the sheet. 
 To give reality to this scene, it was necessary to have 
 the sheet sprinkled with blood: so the manager de- 
 manded some pieces of red flannel to sew upon it. 
 None could be found, however, without robbing the 
 only shirt which was to go on in several of the scenes ; 
 so a party set off around the island on a wild search for 
 blood ! They soon returned, bringing in triumph some 
 scarlet poppies, the leaves of which served the purpose 
 so well that the dead head was pronounced very lifelike 
 indeed. Next, a wig must be found for the judge to 
 wear as King Lear ; and a very wild one was made of 
 the pelt of an old sheep, which produced a very strong 
 effect upon both audience and wearer. The vista for 
 the tableaux was made of dark-gray shawls ; but the 
 play was a vaudeville, and demanded a garden-scene. 
 So the rough beams were dressed with graceful vines, and 
 arches made of clematis, lighted up with gleaming sumac, 
 and coral cornel-berries; and, when the shawls were 
 taken down after the tableaux were over, the effect was 
 very fine. Just as the play began, the manager threw open 
 the great doors at the end of the boat-house. The tide 
 was high, and the sea came up close to the building, 
 and the great round August moon began to rise slowly 
 out of the water; and all agreed that no finer back- 
 ground could have been seen in any theatre. So you 
 see that in the mimic stage, as well as on the stage of 
 life, it is well to make the best of your surround- 
 ings. 
 
HINTS ON TABLEAUX. 
 
 I propose to give a few plain directions by which 
 effective scenes can be arranged in any room with but 
 little trouble or expense. 
 
 You will need ten boxes of various sizes, two half- 
 length picture-frames, one wash tub and board, one 
 broom, twenty feet annealed wire, two dozen curtain- 
 rings, twelve large lamps or twenty candles, or a gas-rod 
 twelve feet long with fifteen five-foot burners upon it, 
 six yards black tarlatan-muslin, costing fifty cents per 
 yard, and five cotton sheets. 
 
 If the room has no folding-doors, you must have a 
 thick curtain or bedquilt contrived to draw on a wire 
 across the room at one end, leaving a space about fifteen 
 feet deep for the stage. This space must be draped 
 with shawls or curtains by stretching wire across the 
 sides and back of the stage near the ceiling, and hanging 
 them by means of rings firmly sewed upon the cloth. 
 You will thus have a square room draped all around, 
 except in front. Then procure four upright pieces of 
 narrow board, just the height of the room, for posts ; 
 screw them upon the back-sides of the frames near the 
 edge, so that when you raise them up the frames will 
 stand upright four feet and a half from the floor. 
 Cover all the space above and below the frames with 
 cloth of the same color as the back wall, so they will 
 2 17 • 
 
18 PARLOR AMUSEMENTS 
 
 appear to the audience as if they were hanging upon the 
 wall. Put up these frames four feet apart; and nail 
 four strips of board five inches wide, in the shape of a 
 large frame, between them, having the top and bottom 
 strips which form the frame six feet and a half apart ; 
 which when completed will give you a large frame be- 
 tween the two smaller ones. This large frame will be 
 four feet wide, and six and a half high, outside. A cur- 
 tain must be arranged to run in front of the frames in 
 order to cover them when not in use. 
 
 These three frames stand at the back of the stage 
 (the supporting-posts nailed to the floor) two feet and a 
 half from the wall, so as to give room for the per- 
 formers behind them. 
 
 If gas is available, fasten a rod, with burners upon it, 
 over the top of the curtain or folding-doors. The best 
 way is to make for it a shelf supported upon two posts 
 about eight feet high. Over the burners, and behind 
 them, tack sheets of common tin, bent so as to throw 
 the light down. If you cannot get the tin conveniently, 
 fasten behind the burners a white sheet, which will 
 serve the purpose very well. If the curtain does not 
 come to the ceiling, you must put a shawl or thick cloth 
 above it, so that the light cannot show much over the 
 curtain into the darkened room where the audience sit. 
 When gas cannot be had, fasten the candles upon the 
 shelf. If kerosene-lamps are used, holes must be 
 made in the board to fasten them firmly in their places. 
 In a very elaborate performance, the stage should be 
 raised to a level with the eyes of the spectators ; but 
 I have had many very fine performances in a parlor 
 where we did not begin work until two hours before the 
 curtain rose. 
 
 Next make a veil of black tarlatan-muslin large 
 enough to cover the space before the folding-doors or 
 posts which support your curtain. 
 
 In the programme I am to give you this month, I shall 
 
FOR THE YOUNG FOLKS. 19 
 
 introduce only such costumes and appointments as. can 
 readily be obtained in any house. "We will begin with a 
 group of statuary, as this requires more time for prepa- 
 •tion than other scenes. Here is a very simple one: 
 "Justice, Mercy, and Peace." 
 
 Justice stands on a high pedestal made of two boot- 
 boxes covered with a sheet; Peace on one box; and 
 Mercy kneels on two boxes placed end to end so as to 
 make a long pedestal. They are draped in sheets. 
 Peace must be taken by a child dressed in a short frock 
 of white cotton belted around the waist. Justice must 
 be a larger lady than Mercy. Mercy kneels in atti- 
 tude of prayer, with clasped hands ; Justice stands erect, 
 holding a sword and scales covered with white cloth, 
 and having a bandage over her eyes ; Peace stands on 
 the right of Justice, holding a stalk of paper lilies in 
 her right hand. The faces must be whitened with lily- 
 white rubbed on dry. 
 
 In all statues, the hands which are shown are covered 
 with white cotton gloves, the arms with stocking-legs 
 sewed to the gloves, and the heads with wigs made of 
 lamp-wicking. Eemember to turn down your gas, or to 
 draw a strip of green cambric before your kerosene- 
 lamps ; and, if your statues stand still, the effect is won- 
 derful. When the audience have seen enough of the 
 statues, lower your curtain, or shut folding-doors. The 
 assistants rapidly clear the stage, draw away the curtain 
 which hides the picture, and in one minute the audi- 
 ence behold, to their astonishment, a set of tableaux ; 
 in one frame, " Milton at the Age of Ten," by a girl with 
 a round face, and light, wavy hair falling upon her shoul- 
 ders in front, flat-top cap, pointed paper collar, velvet 
 basque ; in the other, " The Pride of the Market," a dark- 
 haired young lady, rustic hat, white waist, bodice cut 
 out of red flannel ; she holds on her left arm a basket of 
 apples, and in her right hand the largest apple of all. 
 In the centre or large frame we will have "Lear and Cor- 
 
20 PARLOR AMUSEMENTS 
 
 delia. Lear sits proudly on a soap-box, Cordelia has her 
 left arm over his shoulder. Throw light from the left side 
 with a common reflector. Turn the light on at top, and 
 the pictures look as if they were painted. 
 
 Next we must have a comic scene, " Love's Dis- 
 guises." 
 
 A pretty girl in calico is washing at a tub at the right 
 side of the stage; a fop is looking at her through an 
 enormous eye- glass ; he is dressed showily, with white 
 hat and cane. In the next scene, the maiden is sitting 
 on a chair in the centre, and a cunning little Cupid aims 
 his great tin bow at the fop from the wash-tub. 
 
 In the mean time, the active assistant has filled the 
 frames again ; and without delay the audience behold 
 "Catawba," "Little Nell and her Grandfather," and 
 "Little Bo-Peep." 
 
 Catawba holds a glass half full of vinegar ; light flow- 
 ing hair, white dress, with grape-leaves. Bo-Peep, high 
 sugar-loaf hat made of red paper, calico dress tucked 
 over red petticoat ; holds a crooked cane. Nell, calico 
 dress, broad hat. Grandfather leans on her shoulder, 
 cane in right hand. 
 
 And then "The Roman Girls at the Shrine of St. 
 Agnes." 
 
 The saint, in white, stands in the large frame ; before 
 her on the stage two boxes covered with a sheet form 
 the shrine, on which stands a cross, made of unpainted 
 wood, two feet and a half high. One dark Roman girl 
 holds a wreath of flowers over one arm of the cross ; 
 another kneels at the other side, passing to her a 
 basket of flowers ; a third kneels in prayer at front of 
 stage, telling her beads ; a fourth stands in the corner of 
 the stage at back, holding a sheaf of straw. Dress, — 
 black, brown, or red skirts ; black bretelles over white 
 waists ; long white towels on heads, folded three times 
 the longest way, and placed flat upon the head leaving 
 the rest to hang down behind. Concealed singers sing 
 " Ave Sanctissima." 
 
FOR THE YOUNG FOLKS. 21 
 
 By this time, the audience will be ready for something 
 to laugh at : so we will have " Ignorance is Bliss : a 
 French Peasant Scene." 
 
 At the left of the stage, an old lady is asleep in a high 
 chair. She is dressed in black, or in any plain dress : 
 wears a white apron, and has a white shawl folded 
 across her shoulders; also a high cap and spectacles, 
 which have fallen upon her nose. At the right, a girl 
 sits at the spinning-wheel. She has on a bright short 
 skirt, white waist, red or black bodice ; on her head a 
 cap of lace gathered in a rosette with very long ribbons 
 streaming from it ; on her arms she has three ribbons, 
 one at two inches above the wrist, the next below the 
 elbow, the third near the shoulder. A youth is kneel- 
 ing at her feet, holding her left hand. She looks archly 
 at him, regardless of the unconscious grandmother. 
 The youth has ribbons upon his arms like the girl ; he 
 has no coat on, but bright suspenders joined in front 
 with two bars. In the second scene, the lovers remain as 
 before, except that the grandmother has wakened, and is 
 just raising her broom with the intention of waking the 
 young man also. In the third scene, the grandmother 
 holds the lovers apart at arm's-length by grasping one 
 ear of each. The girl is crying at the left side, and the 
 youth at the right of grandmother looks sheepishly 
 down, with his finger in his mouth. Next draw away 
 the back curtain again, and show more pictures which 
 the assistant has had time enough to prepare. 
 
 In the centre frame stands "A Gleaner." In one 
 small frame, a child with a red cape over her head, and 
 a little basket in her hand, personates " Bed Biding- 
 hood ; " and in the other, " A Marchioness." 
 
 Next "The Angels' Whisper." In a cot-bed, two lit- 
 tle children are sleeping. One angel lifts the quilt at 
 the right corner of the bed ; at the head, another angel, 
 with clasped hands, is smiling upon the sleeping babies ; 
 behind the bed, in the centre of the stage, upon a box, 
 
22 PARLOR AMUSEMENTS. 
 
 stands a third angel with hands extended in blessing; 
 the fonrth angel kneels in prayer at the foot of the 
 bed. In the second scene, the little child who lay in 
 front of the bed is kneeling; the highest angel places 
 her left hand upon the child's shoulder, and points 
 up with the right. The other angels turn and look in 
 the same direction. The children are dressed in night- 
 gowns, the angels in white muslin; their wings are 
 made of a wire frame four feet long, in rough imitation of 
 the shape of a bird's wing, and are covered with coarse 
 muslin ; the two wings are fastened together by a band 
 of tin five inches long, pierced with holes for the elastic 
 which confines them to the shoulders. 
 
SCENES IN THE LIFE OF MAEIE STUART. 
 
 SCENE I. 
 
 The Bival Queens. Queen Elizabeth dressed in trained 
 silk dress with high ruff, stands k. pointing to Marie 
 Stuart, who holds up her left hand as if deprecating the 
 wrath of her cruel cousin. Marie Stuart wears black 
 dress trimmed with white wax beads, a square head- 
 dress of black. Pictures of these costumes may be found 
 in any history of England. 
 
 scene n. 
 Signing the Death-Warrant. Queen Elizabeth sits at 
 the right of a table, which stands in centre of stage, 
 surrounded by her ladies of honor, who are dressed in 
 similar costume to her own. A large man stands be- 
 hind the table, as if urging her to sign the warrant, 
 which she seems unwilling to do. 
 
 scene m. 
 The Execution of Marie Stuart. The queen kneels 
 beside the block, which occupies the centre of the stage. 
 She is engaged in prayer, and holds a small cross. She 
 is attended by two gentlemen and three ladies in mourn- 
 ing. A priest at left corner of the stage lifts up his 
 hand as if exhorting her to a change of religion. The 
 executioner, dressed in red, stands by the block, leaning 
 on a long axe. The block is covered with black cloth. 
 
 23 
 
24 PARLOR AMUSEMENTS. 
 
 SCENE IV. 
 
 In the next scene, the queen has laid her head upon 
 the block, and the executioner stands with uplifted axe. 
 One of the ladies kneels at the right, and another has 
 fallen into the arms of the third as if she had fainted. 
 
 We give the above as a specimen of historical tab- 
 leaux, which will prove very useful to children in fixing 
 in their minds the studies they are pursuing, as they can 
 form hundreds of scenes in illustration of them. 
 
ELABORATE TABLEAUX. 
 
 The stage for elaborate tableaux must be raised to a 
 level with the eyes of the spectators. The frames must 
 be gilded, and the curtains made of very dark purple 
 cambric, with tbe dull side towards the stage. A large 
 frame must also be made in front of tbe drop-curtain 
 nine feet bigb, and from eighteen to twenty-five feet 
 wide, according to the width of the hall. 
 
 The gas-rod must contain twenty-six five-foot burners, 
 and be placed over the curtain inside, eight feet and a 
 half from the floor of the stage. These burners must 
 be fed from an upright pipe at the left side. Upon this 
 pipe, two powerful argand-burners must be fastened, five 
 feet from the floor, each provided with a swinging arm, 
 one of them with a green globe and chimney, and the 
 other with a red. Behind each globe a large concave re- 
 flector is to be held. By this simple contrivance, colored 
 light can be thrown to any part of the stage. 
 
 For statuary, or moonlight scenes, turn the upper light 
 nearly out, and throw green on. For sunrise, begin 
 as above, then gradually turn on the upper light, and 
 place the reflector behind the red globe. For the pictures, 
 take off the red globe, and substitute a common white 
 chimney, and throw the light upon the faces of the per- 
 formers in the frames. For the arrangement of the 
 frames and curtains, you can refer to the previous 
 
 25 
 
26 PARLOR AMUSEMENTS 
 
 chapter; but it will be best to have your curtain roll 
 up in the manner of a common window-curtain. 
 
 Outside of the large front frame, you need another 
 gas-rod with ten footlights, which must be turned down 
 for the pictures and still scenes. They will be useful to 
 light the front part of the stage during the pantomime 
 and illustrated ballads. 
 
 To make a boat, which will be needed for many scenes, 
 lay two boards upon the floor so that they will fit to- 
 gether very closely at the edge ; the dimensions should 
 be about fourteen feet in length, fifteen inches in width, 
 and half an inch in thickness. Planed white-wood, 
 or clear pine boards, are the most suitable. Screw three 
 cleats firmly upon these flat boards, one near each end, 
 and one at the centre. Turn the whole over, and you 
 have a flat surface fourteen feet in length and two and 
 a half in width. Draw upon one end the profile of the 
 bow of a boat, and upon the other the stern. Saw 
 the ends carefully, following your drawing. Paint the 
 whole of a light chrome-yellow. Shave the upper edge 
 into a slight curve, beginning eight inches from the bow, 
 and descending to the middle, then ascending to within 
 twenty-five inches of the stern. Then paint a black 
 stripe, three-fourths of an inch wide, six inches below 
 the upper edge, following as nearly as possible the 
 curve ; and, six inches apart, two more stripes below it. 
 Next shade the bow in black, also following the curve 
 from the upper edge to a distance of two feet from the 
 lower edge. Saw out a figure-head and rudder to fasten 
 upon the ends by screws. Stretch a strip of blue cam- 
 bric, eight inches wide, across the front of the stage, hav- 
 ing three wavy lines of white painted upon it for water. 
 The boat is held up by the persons who sit behind it on 
 boxes ; the sail is made of a sheet tacked upon a mast, 
 which is held by a boy. 
 
 As a specimen of a boat scene, I will describe to you 
 " Cleopatra going to meet Mark Antony." For this, you 
 
FOR THE YOUNG FOLKS. 27 
 
 will need a board, five feet long, raised to the height of 
 the boat, upon two boxes ; one soap-box, on which the 
 rower sits ; an oar five feet long ; a narrow mattress, and 
 three pillows, to form the couch ; a high box at the bow, 
 for Fame to stand upon ; a trumpet, and bow and arrow, 
 made of tin ; two high stools ; a canopy made of a scarf ; 
 a silver waiter with wine ; and a guitar ; one large, hand- 
 some lady, with long black hair, for Cleopatra; five ladies 
 as attendants; one little child as Cupid; and one tall 
 lady with very long light hair, as Fame, dressed in plain 
 white drapery. Cleopatra wears a loose white waist 
 richly trimmed with gold-paper ; a cloth of gold covers 
 her ; and long chains hang from her crown, and extend 
 from her dress to the bracelets upon her arms. The 
 attendants wear loose waists of red, black, and yellow ; 
 their skirts are concealed by the boat. All should 
 wear gold chains and ornaments, which can be made of 
 gold-paper. Another cloth is needed to cover the pil- 
 lows, which is made by cutting gold-paper into fancy 
 figures, and sewing it upon lace. 
 
 Cleopatra reclines upon the mattress and pillows, which 
 are placed upon the board platform, near the stern of 
 the boat. One attendant holds the helm; two others 
 hold the canopy above her head ; a fourth is passing the 
 wine; and a fifth sits at the oar. The Cupid stands 
 upon a high stool near the centre. Fame is upon a 
 box at the bow, holding a trumpet ; and the sixth at- 
 tendant, with the guitar, stands upon a high stool near 
 the centre. Show this scene first in strong light, and 
 next by moonlight and sunrise, as explained above. 
 
 "The Triumph of Ceres" is another very beautiful 
 scene, in which the same arrangement of boat and furni- 
 ture is used. Ceres stands in the centre, surrounded by 
 the seasons : Spring, a little girl in white, holding a lily ; 
 Summer, a lovely blonde, reclining, covered with flowers ; 
 Autumn, a brunette, in brown dress covered with autumn- 
 leaves, holding on her head a basket of fruit ; Winter, 
 
28 PARLOR AMUSEMENTS. 
 
 an old man with cloak and hat covered with cotton 
 snow. Old Father Time, with a large scythe, stands at 
 the stern ; and a lovely young lady, in the attitude of sow- 
 ing seeds, bends forward at the bow. Ceres holds a sickle 
 in her right hand, and a sheaf of grain in her left ; she 
 wears a loose white robe, and a wreath of poppies and 
 grain. 
 
THE LILY MAID OF ASTOLAT, 
 
 In this scene, a^ beautiful blonde lies in the boat with 
 her feet towafd the bow; her hair hangs over the pillow, 
 which is richly trimmed with gold paper. She is dressed 
 in white nmslin ; a red cloth covered with gilt paper is 
 drawn to her waist. She holds a letter in her left/ and 
 an open letter in her right. :^ very old man, with "flow- 
 ing white hair and beard, leans upon an oaf at the stern. 
 While this scene is shown, it is well to have a selection 
 read aloud from Tennyson's " Elaine," in which a full 
 description of it can be found. 
 
 A series of tableaux accompanied with readings can 
 be made from the " Courtship of Miles Standish," the 
 most- common of which are, the offer to Priscilla made 
 for Standish by John Alden, and the wedding ceremony. 
 Sometimes the Vhole poem is read and illustrated. 
 Longfellow's "Evangeline" has been superbly per- 
 formed in the same manner, and is full of exquisite 
 tableaux to which the reading gives new life. 
 
 29 
 
JABLEY WAX-WORKS. 
 
 CHAEACTEES. 
 
 Mrs. Jarley. — Black or figured dress, red shawl, huge bonnet. 
 
 Little Nell. — White or calico dress, hat over arm, long stick. 
 
 Chinese Giant. — Curtain of Turkey-red or patch, tied round 
 the waist, long enough to reach to the ground when he stands 
 upon a high stool; patch quilt, or curtain, folded over shoul- 
 ders, shawl fashion; bright lamp-shade on his head, long 
 cue of braided list. 
 
 Dwarf. — Kneeling child rvith large shoes to show in front of 
 dress, white hair of tow or wicking ; dark dress, cap, bowl, 
 and spoon. 
 
 Martha Bangs. — Black dress, sheet thrown carelessly over, 
 black hair flowing, left hand up to forehead, pickle-jar in 
 right hand. 
 
 Mrs. Winslow. — Bark dress, ruffled cap, white apron, bottle of 
 soothing-sirup in right hand, rag-baby or large doll in left 
 hand. 
 
 Mermaid. — White dress, green skirt, mostly concealed behind 
 Giant; long, light, flowing locks, hand-glass and comb in 
 hands. 
 
 The Boy that stood on the Burning Deck. — Fireman's 
 shirt and trumpet; clothes on hind side before. 
 
 Captain Kidd. — Red shirt, stmw or military hat, pistol, and 
 sword. 
 
 His Victim. — White dress, red cape, flowing hair. 
 
 Lord Byron. — Black cloak, broad white collar. 
 
 Bluebeard. — Red dressing-gown, loose white pantaloons, tur- 
 ban, large key. 
 
 Siamese Twins.— Two men or boys, different sizes, joined by a 
 white roll of paper. 
 30 
 
PARLOR AMUSEMENTS. 31 
 
 Mrs. Jarley sits at right of stage by a great drum, or 
 table, and Nell is dusting and arranging the figures as 
 the curtain rises. 
 
 Mrs. Jarley describes the figures as they are pointed 
 out by Nell : — 
 
 The Chinese Giant. — This figure is universally 
 allowed to be the tallest figure in my collection. He 
 originated in the two provinces of Oolong and Shang- 
 high, one province not being long enough to produce 
 him. On account of his extreme length, it is impossi- 
 ble to give any adequate idea of him in one entertain- 
 ment : consequently he will be continued in our next. 
 
 The Celebrated Welsh Dwarf. — This wonder- 
 ful child has created some interest in the medical and 
 scientific world, from the fact that he was thirteen years 
 old when he was born, and kept on growing older and 
 older, until he died at the somewhat advanced age of two 
 hundred and ninety-seven, in consequence of eating too 
 freely of pies and cakes, his favorite food. 
 
 Martha Bangs, the miserable maniac who poisoned 
 fourteen families by giving them pickled walnuts, and 
 then wandered about from house to house observing the 
 effect of the pestiferous pickles. She holds in her right 
 hand the fatal jar, which has plunged so many happy 
 families into the deepest despair ; you will observe also 
 the wild confusion of ideas expressed by her raving 
 locks. It is of this classic figure that the poet Burns 
 speaks in his comic poem of " Casabianca." To use the 
 words of the lamented John Phoenix, " Face white as 
 the driven snow, hair black as the driven charcoal." 
 
 The children's friend, the parent's assistant, the moth- 
 er's hope, Mrs. S. A. Winslow, a nurse of thirty year's 
 standing. She holds in her hand a bottle of that won- 
 derful sirup which has soothed the sorrows of so many 
 suffering sisters. I cannot do better ' justice to this 
 remarkable fluid, than by quoting a few stanzas from 
 the celebrated comic poet Ossian in his great melodra- 
 
32 PARLOR AMUSEMENTS 
 
 matic poem of " Marmion: " " Soothing-sirup adds new 
 lustre to the cheek of beauty, smooths the wrinkles 
 from the furrowed brow of age, and is also excellent for 
 chilblains." 
 
 The celebrated Feejee Mermaid, combining, as you 
 well know, the principal properties of a beautiful 
 woman joined to those of a lovely fish. 
 
 This Boy, ladies and gentlemen, had the extreme fool- 
 ishness to stand upon the burning deck. Turning to 
 look in the direction "whence" Albut "he had fled," 
 his head became completely turned, so that he was 
 picked up insensible from among the burning embers ; 
 and his face has been firmly fixed the wrong way ever 
 since. 
 
 Captain Kidd, the robber of the main, supposed to 
 have originated somewhere Down East. His whole life 
 being spent upon the stormy deep, he amassed an 
 immense fortune, and buried it in the sand along the 
 flower-clad banks of Cape Cod, by which course he 
 invented the savings banks, now so common along 
 shore. Having hidden away so. much property, which, 
 like many modern investments, never can. be unearthed, 
 he was known as a great sea-cretur. 
 
 Before him kneels his lovely and innocent victim, the 
 Lady Blousabella Infantes' a, who was several 
 times taken and murdered by the bloodthirsty tyrant, 
 which accounts for the calm look of resignation depicted 
 upon her lovely countenance. 
 
 Bluebeard, the well-known philanthropist, the lov- 
 ing father and tender husband. — But little is known of 
 the early history of this celebrated personage except that 
 his name was Nathan Beard, and he kept a seminary for 
 young ladies at Walpole, Mass., where he endeavored 
 to instil into the female mind those qualities in which 
 they are so painfully deficient, — curiosity, and love of 
 approbation. Failing, of course, in this, he became so 
 blue and low-spirited, that he was known by the nick- 
 
FOR THE YOUNG FOLKS. 33 
 
 name of Bluebeard, which title he bore until his death, 
 which occurred during the latter portion of his life. In 
 his hand he holds the instrument which he used through- 
 out his long and successful career: it will be at once 
 recognized by every true scholar as the "Key to Col- 
 burn's Arithmetic," Part Third. 
 
 The Siamese Twiis t s. — These remarkable brothers 
 lived together in the greatest harmony, — indeed, were 
 never seen apart in their lives, although there was 
 always a bone of contention between them. One of 
 them was born in the island of Borneo, the other on the 
 southern extremity of Cape Ann, 
 
 To an audience of such cultivation and taste as the 
 one before me, it is superfluous to describe this figure. 
 It is easily recognized by you all as Labd Beekon, as 
 he appeared when composing his celebrated novel of 
 " The Coarse Hair," which holds an equal rank with the 
 following popular works: " What's on the Mind," 
 " Locke on the Understanding," and " The Pleasures of 
 Imagination " by Akin Side. 
 
 This usually concludes my exhibition ; but I shall now 
 proceed to do what I seldom do. I shall wind up my 
 figures. These are all fitted with clockworks inside, so 
 that when they are wound up they will go through the 
 exact motions they would have done had they been 
 alive. In fact, many people have supposed them to be 
 alive, they look so very natural ; but I assure you they 
 are all made of wood and wax, blockheads every one. 
 
 Nell winds each one up with a watchman's rattle. 
 When wound up, the Giant bows low, then wags his 
 head three times, and bows again as before ; the Dwarf 
 eats ; Martha Bangs lifts her bottle, and tears her hair ; 
 Mrs. Winslow trots baby, and gives it soothing-sirup; 
 Mermaid turns her head, and combs her hair, looking in 
 hand-glass ; the Boy slowly revolves ; Captain Kidd lifts 
 his sword over his victim, who raises her hands, and 
 3 
 
34 PARLOR AMUSEMENTS. 
 
 groans ; Lord Byron rolls his eyes, and writes in a book ; 
 Bluebeard raises his key, and turns his head ; Siamese 
 Twins begin to fight. 
 
 All move very slowly and stiffly at first, then go faster 
 and faster, when at a signal the clockwork runs down, 
 and they stop. 
 
 This article has been extended to a separate volume 
 for the use of fairs, and is published by S. French & Co., 
 Strand, London, and Nassau Street, New York, from 
 whom it can be ordered. 
 
THE BABES IN THE WOODS. 
 
 CHARACTERS AND COSTUMES. 
 
 The Cruel Uncle. — Dressing-gown, hair powdered with flour, 
 high hat, cane, and spectacles. 
 
 ^ Two very large boys, one dressed in short jacket and 
 he oy. / p an f a i oons tfw tJi er i n a short dress, bonnet, and 
 The Girl. \*„„ m 
 i apron. 
 
 The Ruffians. — Two very small boys with beards marked on 
 their faces with burnt cork, paper hats, carving-knives in sashes 
 tied about their waists. 
 
 The Robins. — Two very tall boys, with tin tunnels, or rolls of 
 brown paper, fastened over their mouths and noses, red shawls 
 tied from their necks to their knees, and feather brushes fastened 
 upon their backs. 
 
 The Sun and the Moon. — Two hoops, one covered with a red, 
 and one with a green cloth. They are raised and lowered by a 
 boy concealed behind a table which stands in the east comer of 
 the room, and is covered by a waterproof-cloak. 
 
 SCENE I. 
 
 The Babes come tripping in, hand in hand : they how 
 to the audience, and begin a game of marbles. The 
 Cruel Uncle enters, and orders them to bed ; he points to 
 the sun, which slowly sets behind the table. They run 
 across the stage different ways; he limps after them, 
 catches the Boy, and drags him after the Girl. Just as 
 he seizes her, the Boy falls, and the old man trips over 
 him. He rises, shakes them both, and drags them away 
 after him. The Uncle returns, and paces the stage in 
 
 35 
 
36 PARLOR AMUSEMENTS. 
 
 wratli. A knock is heard at the door ; the Euffians enter 
 very cautiously; the Uncle pantomimes to them that he . 
 wishes them to kill the children. They hold out their 
 hands, and demand money ; he goes out for a large bag, 
 and gives them some. They ask for more ; he shakes 
 his head, but finally gives it to them. They brandish 
 their knives, and go out. 
 
 SCENE II. 
 
 The Uncle leads out the Babes, one by each hand ; 
 they pick flowers, and gambol on the grass, and he steals 
 away, and leaves them. The Euffians rush in, and 
 attack the Babes. The Boy gallantly defends his sister ; 
 one Euffian is moved to tears at the sight, and attacks 
 the other, and after a terrific combat chases him out of 
 the room. The moon rises slowly; and the children 
 wander about until the Girl sits down, and expresses her 
 hunger by pointing to her mouth. The Boy rushes off 
 for food ; returns, and finds his sister stretched out upon 
 the ground ; he cries, rubbing his eyes, and shaking the 
 tears from his fingers. He tries in vain to restore her, 
 and finally drops down by her side; the moon sinks 
 down also. 
 
 SCENE III. 
 
 The sun slowly rises. The children are stretched out 
 upon the ground. A chirp is heard ; the Eobins come 
 hopping in, one behind the other ; they hop a few times, 
 then stop suddenly, chirp, and hop again. They dis- 
 cover the Babes ; hop over them, and go out. They soon 
 return, each with a large cabbage-leaf which they 
 drop upon them, and go and come until they have cov- 
 ered the Babes, when they hop over them three times. 
 The Uncle enters with the Euffians, the first of whom 
 draws out a small handkerchief, the second a larger one, 
 and the Uncle a very large one. All wipe their eyes. 
 The Babes then rise ; all join hands, bow, and march 
 out in single file, the Eobins last. 
 
THE MAGIC IIRKOR. 
 
 This beautiful scene is intended to illustrate an old 
 legend, which should be related to the audience in ad- 
 vance. A great prince once lost his beloved bride, who 
 was stolen by the fairies. In despair he applied to a 
 famous magician, who, for a handsome reward, agreed to 
 show him a vision of his lost love. For this purpose he 
 conjured up in turn many pictures of fair women, each 
 one of which served only to increase the disappointment 
 of the unhappy lover, until at last his enraptured eyes 
 beheld the likeness of the lost lady in full bridal costume. 
 Overcome with joy, the prince fell upon his knees before 
 the portrait, which seemed to look lovingly upon him. 
 The magician waved his wand, and the picture seemed 
 to start from the canvas and slowly become a living 
 reality. She extended her arms to the happy prince, and 
 they were united, never again to be parted. 
 
 This scene can be produced in any room by using 
 the frame described in previous chapter, but if it is 
 desirable to prepare it hastily, place tables close against 
 the back wall, to make a platform across the end of 
 the room. Next procure two strips of wood, of a length 
 just equal to the height of the room, and not over one 
 inch thick and five inches wide. Lay them upon the 
 floor, and fasten a large portrait-frame on them with 
 screws, in such a manner that, when raised, the lower 
 edge of the frame will be level with the top of the plat- 
 
 37 
 
38 PARLOR AMUSEMENTS 
 
 form. This frame should be seven feet in height and 
 five feet wide ; it can be made of pine boards five inches 
 wide and half an inch thick, and covered with gilt paper 
 or yellow paint, in case a real frame cannot be procured. 
 Fasten these strips upright in the centre of the room, 
 close in front of the platform, and drape all the space 
 around it with dark shawls extending to the walls, the 
 floor, and the ceiling. Hang a dark shawl behind the 
 frame upon the wall for a background. 
 
 The magician occupies the right side of the stage and 
 the prince the left, each standing upon the floor in such 
 a position that he can look upon the frame without 
 turning the back upon the audience. The frame is, of 
 course, between them, in the centre, and about two feet 
 from the floor. The girls who are to appear as visions 
 stand upon the platform, on the right of the frame, con- 
 cealed by the drapery. The first one glides slowly across 
 the frame from right to left, as slowly as possible, and 
 with an almost imperceptible motion of the body. When 
 she reaches the centre of the frame, she turns very 
 slowly, and looks upon the prince, who makes a gesture 
 of disappointment; upon which she turns toward the 
 left again, and disappears, gliding upon the platform 
 behind the drapery at the left of the frame. As soon as 
 she has disappeared, the second follows, and all proceed 
 in turn in the same manner. The magician waves his 
 hand as each one passes by, and whispers to them when 
 they have reached the centre, so that they may know 
 when to turn. When the bride appears to have reached 
 the centre of the frame, the magician makes motions in 
 the air with his wand, as if to recall her to life, and the 
 prince kneels before her as she slowly extends her arms. 
 Any number may participate in this vision, as the curtain 
 can be lowered while the persons upon the concealed 
 platform are changed. The story should be related to 
 the audience while waiting, and a waltz or march should 
 be played upon the piano. 
 
FOR THE YOUNG FOLKS. 39 
 
 The magician's robe may be niade of a curtain, and bis 
 wig and beard of cotton or wool. He should have a 
 bright turban, and a cane wound with gilt paper for a 
 wand. 
 
 The prince should wear dark, short pantaloons, with 
 long white stockings, loose white shirt trimmed with 
 gold-paper fringe, and an opera-cape over the left 
 shoulder. 
 
 The girls should display as much variety as possible in 
 their dress : some appearing with long trains and with 
 powdered hair, and some in simple muslin. The bride 
 should wear white, and, if possible, a long veil also. 
 
 This entertainment has been produced in New York 
 with great brilliancy during the winter, at charitable 
 entertainments for several good objects. At a beautiful 
 village on the Hudson River it also formed the chief 
 attraction of a series of performances for the benefit of a 
 church fund. On this occasion, when the curtain rose, 
 a large frame formed the only ornament of a small room 
 draped in black, lighted from the top by twenty powerful 
 gas-jets, which were invisible to the audience. The 
 prince — a handsome young gentleman, in a costume of 
 blue satin richly embroidered in silver — stood upon the 
 left, and a member of the New York bar, dressed in a 
 long crimson robe, occupied the right of the stage. A 
 flowing white beard and wig concealed his features, and 
 he slowly waved a golden wand in his right hand. A 
 graceful lady, in a brilliant cherry-colored silk dress, 
 glided across the frame so slowly that she scarcely 
 seemed to move ; and as the light gradually increased, 
 she seemed to have come out of the shadowy background 
 by magic. In the centre of the frame she turned toward 
 the prince, showing her exquisite profile to the audience, 
 and disappeared as she had come, seeming to melt away, 
 and was followed by a stately lady in a rich dress of 
 black and orange satin. Next came a queen in dress 
 and presence, with crown and jewels to match. Then a 
 
40 PARLOR AMUSEMENTS. 
 
 train of court ladies in alternate blue, pink, buff, lilac, 
 and scarlet costumes were followed by a lovely blonde 
 in green, wbose powdered hair and diamond ornaments 
 well became their various styles of beauty. Strange as 
 it may seem, to each one of these the fastidious prince 
 showed his disappointment; but when the beautiful 
 bride — attired in white satin, with a flowing veil — made 
 her appearance, he fell upon his knees as she slowly 
 bent forward toward him, and the curtain descended to 
 the music of a dreamy waltz, which had accompanied 
 the entire performance. 
 
THE USEE'S SEPPEK. 
 
 (Trick Pantomime for Three Boys.) 
 
 The Miser. — Old dress-coat. 
 Servant. — Shirt-sleeves, apron. 
 Boy, concealed under the table. 
 
 Plate, knife and fork, plate of meat, glass full of 
 molasses-and-water, long straw or tube of maccaroni 
 bent in a form of a sypbon, newspaper, bag of tin money, 
 piece of money witb a long borse-bair or black sewing- 
 silk tied to it. A candle neatly fastened to a long wbite 
 stair-rail so as to make it tbree feet long. Two sbort 
 eatable candle-ends in candlesticks: tbese candles are 
 cut from an apple, and have wicks made of almonds. A 
 table covered witb a clotb, in tbe middle of tbe top of 
 wbicb is a small trap-door opening downward, fastened 
 witb a binge and button on tbe under side ; on tbe rigbt 
 front corner a candlestick stands, witb a bole in tbe 
 bottom, over a bole in tbe table, through which the long 
 candlestick is slowly pushed or lowered. Two auger- 
 holes are made near the candlestick, and a cloth of same 
 color as the table-cloth is neatly pasted over the table- 
 top, through which the holes and cracks for the trap- 
 door are neatly cut. The table-cloth should be tacked 
 upon a strip which stands half an inch higher than the 
 edge of the table in front. The boy who is to perform 
 the tricks should be under the table when the folding- 
 doors are opened or the curtain is raised. An empty 
 glass. A tame cat under the table. A chair. 
 
 41 
 
42 PARLOR AMUSEMENTS 
 
 Enter miser, with bag of money, which he lays on the 
 trap-door in centre of the table. Servant enters, places 
 chair at right end of table, brings plate, knife and fork, 
 and tumbler, and puts them down before miser, who 
 points to his mouth to show his hunger. Servant strikes 
 his left palm to show he must have money. Miser 
 reaches for bag, which is gone. He accuses servant of 
 having stolen it, and they search the room and are about 
 to fight, when they discover that the bag is just where 
 he left it ; he takes out a piece of money, which the ser- 
 vant takes and puts into the tumbler. The money 
 dances up and down very rapidly, being pulled by the 
 invisible string. Both appear alarmed. When the money 
 is quiet, servant takes up the tumbler, and the money 
 jumps out and disappears. The miser gives him more, 
 and he goes out for a newspaper, which the miser begins 
 to read, holding it elose to the candle, which the servant 
 lights for him with a match. The candle slowly rises ; 
 the miser is absorbed in his paper, and rises as fast as 
 the candle, until he sits upon the top of his chair-back, 
 with his feet upon the seat. As the candle descends, he 
 comes down with it to his place. The same action is 
 repeated. The servant then brings a glass of molasses- 
 and-water, at which the old man smacks his lips with 
 delight, sips a little of it, and places it near the auger- 
 hole, and returns to his paper. The tube is put up, and 
 the glass emptied through it. The miser picks up the 
 glass, raises it to his lips, and seems much surprised that 
 it is empty. The servant brings a plate of meat, goes 
 for tin cover which he places over it, and when he lifts 
 the cover to help the miser, the plate is empty. He goes 
 for more, but returns and finds it all right. As the 
 miser prepares to eat, the candle is pulled down and ex- 
 tinguished. The servant runs out and brings the two 
 eatable candles. The other candle then appears, and is 
 lighted by the servant. He then discovers that the dish 
 and cover have both disappeared, and is about to go for 
 
FOR THE YOUNG FOLKS. 43 
 
 more. The miser is so hungry that he eats both the 
 candles, holding them in his mouth until he comes to 
 the wicks, which he eats last. He is about to eat the 
 long candle, when he discovers that the covered dish is 
 in its place. He lifts the cover eagerly, and a cat jumps 
 out ; he runs away in horror, and the curtain falls. 
 
LOYE IN AMBUSH. 
 
 CHABACTEES. 
 
 Stephen the Parent. — Swallowtail-coat, hair powdered. 
 
 Frank the Lover. — White pantaloons, frock coat, eye-glass. 
 
 Jenny the Maiden. — Calico dress, white apron-. 
 
 Properties. — Table, ironing-board just the size of the top of the 
 table, clothes-basket, handkerchiefs, iron, pattern, two letters, 
 sheet of paper, pencil, soap-box, white hat, overcoat, cane, 
 straw hat, newspaper. 
 
 Curtain rises. Jenny is ironing at table in centre. 
 Stephen sits reading newspaper at left end of table, bis 
 overcoat, cane, and bat are on cbair at K. Jenny often 
 leaves ber work, and runs to door as if expecting some- 
 body ; but ber father directs ber to continue ber work. 
 She seems very impatient and anxious to get rid of him, 
 and shows him a pattern, as if she wanted him to go to 
 the store ; but he shakes his head and examines his pock- 
 ets as if he had no money. A knock is heard. Jenny 
 seems more anxious, and finally gets rid of the old man 
 by showing him a letter to take to the mail. She puts 
 on his coat and hat, gives him his cane, and helps him 
 off. As he goes out of the door, she leads in Frank 
 behind bis back. They shake hands as if overjoyed to 
 meet ; she gives him a chair, and takes another at the 
 opposite side of the stage ; they cast glances and grad- 
 ually draw their chairs together. He takes her hand, 
 kneels down, and expresses his devotion in fervent ges- 
 44 
 
PARLOR AMUSEMENTS. 45 
 
 tures. A cough is heard, they express consternation, 
 and rush across the stage. Another cough, and they 
 seize the table and carry it away. Jenny then takes the 
 basket off of the box, K., and places it exactly where the 
 table stood, and makes Frank kneel upon the box and 
 rest his hands upon it. She places the board upon his 
 back and covers it with a sheet, so that a table is formed 
 precisely like the other one. She then begins to iron 
 vigorously. Stephen enters, takes off his overcoat, and 
 places his hat and cane on one chair and draws up the 
 other to the left of the table and prepares to sit down. 
 Frank kicks away the chair and he sits heavily upon the 
 floor. Stephen shakes his fist at Jenny, who motions that 
 she was busy ironing and did not touch the chair. He 
 then repeats the experiment with same result. Jenny 
 then holds the chair firmly in place, while Stephen care- 
 fully sits down and reads his letters. He then directs her 
 to bring paper and pencil, and begins to write, when 
 Frank dances the table up and down with all his might. 
 Stephen accuses Jenny of shaking the table, but she 
 denies it. Seeing that the table is still, Stephen again 
 attemps in vain to write. He then discovers Frank's 
 hat on the floor in front of the table, and holds it up, 
 asking whose it is? Jenny puts it on his head, and he 
 seems satisfied until he discovers his own and brings it 
 to her. She then puts Frank's hat on her own head and 
 walks around the table. Stephen follows her very 
 doubtfully and shakes his head. As he passes the left 
 end of the table he receives a kick from Frank and 
 comes forward rubbing his leg. He then takes his cane 
 and pushes under the table. Frank rises and throws the 
 sheet over Stephen's head, and the lovers exit as 
 
 CURTAIN FALLS. 
 
THE SLEEPING BEAUTY. 
 
 CHARACTERS.. 
 
 King. — Ermine robe, crown. 
 
 Queen. — Silk dress with ermine, crown. 
 
 Four Gentlemen. — Knee-breeches, white stockings, cloaks over 
 
 left shoulder. 
 Four Ladies of Honor. — SW<; train-dresses, powdered hair. 
 Cook. — White apron, white pantaloons. 
 Page. — Knee-breeches and cloak, like Gentlemen of Honor. 
 Two Maids. — Calico dress and white aprons. 
 Two Musicians. — Costumed like Gentlemen of Honor, excepting 
 
 the cloak. 
 Six little Girls for Fairies. — Thin white muslin dresses, 
 
 spangled with gold-paper. 
 Old Woman. — Black dress, lohite apron and kerchief. 
 The Prince. — Very showy dress, like Gentlemen of Honor. 
 The Beauty. — White satin, like Ladies of Honor. 
 
 SCENE I. 
 
 The queen sits at K., rocking a cradle. The king 
 rises and receives five of the fairies who enter L. After 
 much ceremony, the maids enter and set a table for the 
 fairies, who sit around it. The page places before each 
 a golden plate, at which they are much pleased. The 
 cook brings in the dinner, with the help of the maids. 
 While they are busily engaged, the sixth fairy enters 
 angrily, and the page places a chair for her and goes 
 for a plate, returning with a common one. The fairy 
 46 
 
PARLOR AMUSEMENTS. 47 
 
 demands a golden one. When the page explains to her 
 that there are bnt five, she grows more indignant, 
 dashes her plate upon the floor. The king tries in vain 
 to pacify her, but she points at the cradle in a threaten- 
 ing manner. The other fairies gather around as if to 
 shield the child, on which tableaux the 
 
 CUBTAIJST FALLS. 
 
 SCENE II. 
 
 The king and queen are seated in centre. Beauty sits 
 on a couch at their right ; an old woman enters with a 
 distaff at L. Beauty watches her eagerly, and motions 
 her to draw near. The old woman comes up to the 
 couch. Beauty takes the distaff and falls on the couch 
 as if overcome with sleep. The old woman waves her 
 cane, and the king and queen, the gentlemen and ladies 
 of honor, who stand in a semicircle at back of stage, 
 all fall asleep in the attitudes in which they stand, and the 
 
 CTJETAIN FALLS. 
 
 SCENE III. 
 
 The kitchen. One maid is sweeping at L. The cook 
 is stirring some soup. One of the maids is boxing the 
 page's ear, and the other is in the act of drinking. The 
 old woman waves her cane, and all fall asleep in their 
 attitudes. 
 
 SCENE IY. 
 
 The same scene as the second, with all the characters 
 asleep in the attitudes in which they were left. 
 
 The prince slowly enters L, looks around in the great- 
 est amazement, and examines the different persons curi- 
 ously. He discovers Beauty, expresses astonishment 
 and rapture. Kneels and kisses her hand. Beauty 
 rises. All the characters yawn, wake up, and follow the 
 
48 PARLOR AMUSEMENTS 
 
 prince, who leads Beauty out K. The king and queen 
 bring up the rear. 
 
 CUBTAIN FALLS. 
 
 SCENE V. 
 
 Kitchen, with sleeping characters as in Scene III. 
 When the prince and Beauty lead the procession in, all 
 perform the acts they had commenced when put asleep. 
 The cook stirs the soup; the maid boxes the page's ear; 
 the other maids drink and sweep. 
 
 SCENE VI. 
 
 Same room as Scene IV. The procession enters, led 
 by two musicians, who stand at back of stage. The 
 fairies enter and stand at back corner, K. The prince 
 and Beauty stop in centre. The gentlemen and ladies 
 join hands around them; all salute the centre couple 
 and begin the dance. 
 
 All hands around ; all forward and back twice, bowing 
 as they advance. The centre couple promenade out of 
 the circle, divide, and stand together behind the dancers. 
 Eight hands around ; forward and back twice ; turn part- 
 ner by right hand; corner by left; every lady turns 
 under her partner's hand, which is held up. Four ladies 
 cross right hand ; left hand back, keeping hold in centre ; 
 take their partners by the left hand and revolve in a 
 star; stand in star-figure, raising up the left hands of 
 the gentlemen, so the fairies can pass under, which they 
 do twice ; all turn partners ; all promenade. The above 
 figure is repeated as before, excepting that the gentle- 
 men form the centre of the star. After which, all hands 
 around; forward and back to circle; all keep hold of 
 hands, as the prince winds up the whole ; and, when all 
 are in a compact circle, he leads out under the upraised 
 hands forward to the centre ; and all form a semicircle 
 
FOR THE YOUNG FOLKS. 49 
 
 at back. The king and queen enter. The prince and 
 Beauty kneel before the king, who joins their hands, and 
 the fairies dance around them in a ring. All bow to au- 
 dience as the 
 
 CUBTALN FALLS. 
 
 Illustrated Ballads form a charming entertainment 
 for a winter evening, as they require slight rehearsal 
 and little or no scenery. They can be very effectively 
 performed in any parlor, by children of any age, who 
 possess a good ear for time and a thorough appreciation 
 of the spirit of the song. The words must be distinctly 
 sung by a performer, who may be concealed from view 
 of the audience if preferred. As each line is sung, the 
 actors must present, in pantomime, its appropriate action 
 in exact time to the melody. 
 
AULD ROBIN GKAY. 
 
 CHARACTERS. 
 
 Atild Robin Gray. — Gray suit, knee-breeches , long vest, plaid, 
 white wig, or powdered hair. 
 
 Jamie. — Kilt, plaid, pea-jacket, sailor-hat. 
 
 Jeannie. — Plaid skirt tucked up over white, white waist, black 
 bodice, plaid scarf. 
 
 Mother. — Black or brown dress, white kerchief, white apron. 
 
 Father. — Gray or brown suit, — wrapped in plaid, left arm in 
 sling. 
 
 Furniture. — 1st Scene, crown for Jamie ; 2d Scene, two chairs, 
 R. for parents, small chair, C, at small spinning-wheel ; 3d 
 Scene, box for door-stone, C. ; 4th Scene, great chair, with 
 pillows, quilt, &c, for Robin, C, small table, cup, medi- 
 cine. 
 
 SCENE I. — Jamie, R., and Jeannie, L., discovered in attitude 
 of parting lovers, C. 
 
 Young Jamie loved me well, and Jamie kneels on left knee. 
 
 sought me for his hride, 
 But saving a crown he hath Jamie shows crown-piece ; both 
 
 nothing else beside. sadly shake their heads. 
 
 To make the crown a pound, my Jamie points off, L., and exit, 
 
 Jamie ga'ed to sea, L., at the word "sea." 
 
 And the crown and the pound Jeannie follows him three 
 were a' baith for me. steps, parts, comes forward 
 
 sadly with clasped hands. 
 
 [Curtain falls. 
 50 
 
PARLOR AMUSEMENTS. 
 
 51 
 
 SCENE n.- 
 
 ■ Father and Mother in chairs, L. ; Jeannie, C. 
 at wheel, hands clasped in lap. 
 
 He had na' been gone a year 
 
 and a day, 
 When my father brake his arm, 
 
 and our cow was stolen away. 
 My mother she fell sick, my 
 
 Jamie at the sea, 
 And Auld Robin Gray came a 
 
 courtin' to me. 
 
 My father could not work, my 
 mother could not spin, 
 
 I toiled day and night, bxit their 
 
 bread I could not win. 
 Auld Bob maintained them 
 
 baith, and with tears in his e'e, 
 Said, " Jeannie, for their sakes, 
 
 oh, pray, marry me." 
 My father urged me sair, my 
 
 mother did na' speak; 
 
 But she looked in my face till 
 my heart was like to break ; 
 
 So they gied him my hand, tho' 
 my heart was on the sea, 
 
 And Auld Robin Gray was a 
 gude man to me. 
 
 Jeannie in attitude of despair, 
 
 hands clasped. 
 Looks sadly at her father. 
 
 Turns towards her mother. 
 
 Robin Gray enters, L. or C, 
 kneels to Jeannie, and takes 
 her right hand; she turns away 
 in disgust and looks down. 
 
 Robin Gray points to each; 
 Jeannie sadly watches his 
 motions. 
 
 Jeannie spins at wheel, C. 
 
 Robin kneels and implores with 
 tears. 
 
 Jeannie turns away as he takes 
 her hand. 
 
 Jeannie is led by Robin across 
 to her parents, and kneels 
 with her hands across her 
 Mother's lap. 
 
 Mother regards Jeannie earn- 
 estly as she kneels before her, 
 R. 
 
 Robin crosses from C. to R., 
 takes Jeannie' s hand from 
 Mother. 
 
 Robin leads Jeannie to C. 
 and draws her hand through 
 his arm, looking fondly at 
 Jeannie, who looks sadly 
 down. 
 
 {Curtain falls. 
 
 SCENE HE. — Jeannie discovered sitting at door, very sad. 
 
 I had na' been his wife but 
 
 weeks only four, 
 When sitting so mournfully at She slowly lifts her head from 
 
 my own door, her hand. 
 
52 
 
 PARLOR AMUSEMENTS. 
 
 I saw my Jamie's ghost, for I 
 
 could not think it he, 
 Till he said, "I've come home, 
 
 iove, to marry thee." 
 Oh, sair did we greet, and mickle 
 
 did we say ; 
 "We took na' kiss at all, I bid 
 
 him gang away ; 
 For I will do my best a good 
 
 wife for to be, 
 For Auld Robin Gray is very 
 
 kind to me. 
 
 Jamie enters, L. ; Jeannie, in 
 
 fright, motions him away. 
 They rush into each other's 
 
 arms. 
 They bow their heads, then lift 
 
 their heads as if conversing. 
 Jeannie pushing him away; 
 
 exit Jamie sadly, L. 
 Jeannie comes forward, extends 
 
 her hands. 
 Sinks back into her seat, bowed 
 
 with sorrow. 
 
 [Curtain falls. 
 
 scene rv.- 
 
 Robin at C, in arm-chair, propped up by cushions 
 or pillows. 
 
 The nights were long and sad, 
 
 the days were dull and wae, 
 But that which grieved me most 
 
 was Auld Robin Gray. 
 He sickened day by day, and 
 
 nothing would he take, 
 But said, " Tho' I am like to die, 
 
 'tis better for her sake. 
 Is Jamie come?" he said, and 
 
 Jamie by us stood. 
 "I've wronged you sair," he 
 
 said, "now let me do some 
 good. 
 I give you all, young man, my 
 
 houses and my kine, 
 And the good wife herself, who 
 
 should not have been mine." 
 
 We kissed his clay-cold hands, 
 a smile came o'er his face. 
 
 Said Jamie, "He is pardoned 
 before the Throne of Grace ! 
 
 O Jeannie, see that smile ; for- 
 given I'm sure he is ; 
 
 Who could resist temptation 
 while hoping to win thee?" 
 
 Jeannee bends over him, R. 
 
 Jeannie smooths his hair from 
 
 his forehead. 
 Jeannie passes cup from table, 
 
 R., which he refuses. 
 Jeannie kneels for the old 
 
 man's blessing. 
 Jamie enters, L. 
 
 Robes grasps Jamie's hands. 
 
 Jamie kneels, L„, and Robin 
 
 points off, L. 
 Jeannie kneels, he joins their 
 
 hands, they bow their heads 
 
 for his blessing. 
 They rise, lift his hands to their 
 
 lips, and then suffer them to 
 
 drop heavily. 
 Jamie points up, L., one hand 
 
 on arm of chair. 
 Jamie turns to Jeannie. 
 
 Robin falls back in death. 
 Jeannie kneels, R. ; Jamie 
 points up, L. 
 
 [Curtain falls. 
 
THE MISTLETOE BOUGH. 
 
 AN ILLUSTRATED BALLAD. 
 
 CHARACTERS. 
 
 The Bride. — White dress and veil, wreath, also a faded wreath. 
 Lovell. — Knee-breeches of white paper-cambric, coat faced with 
 
 same, ruffled shirt, white cravat, white wig and beard for 
 
 last scenes. 
 The Baron, | same as Lovell, excepting bright- 
 
 Four Gentlemen or Boys, ) colored breeches and facings. 
 Four Ladies or Girls. — Silk train-dresses, powdered hair. 
 The Baroness. — Black dress in same style. 
 Six little Children in ordinary dress. 
 Furniture. — One table, one chair, tioo boxes. Front, side, and 
 
 lid of chest, four and one-half feet long, two and one-half 
 
 high, fastened at inside corners with hooks, which must be 
 
 unhooked when the chest falls in last scene. 
 
 [At rise of curtain the bride and Lovell stand in centre 
 of stage at back. The baron and baroness at the left 
 hand of Lovell. The others stand in two lines at side, 
 gentlemen at right hand of partners. They dance as 
 follows: head couple forward and back, sides forward 
 and back twice and bow, grand right and left. The 
 pianist must play the melody, and as the bride and 
 Lovell meet at head of the stage, the singer must 
 twice sing the chorus, " O the Mistletoe Bough." At 
 the word " bough," the couples join right hands and 
 bow, first to partner, then to opposites, in exact time 
 with music. The song then begins, the same dance 
 coining in as marked.] 
 
 53 
 
54 
 
 PARLOR AMUSEMENTS 
 
 The mistletoe hung in the castle 
 
 hall, 
 The holly branch shone on the 
 
 old oak wall ; 
 And the baron's retainers were 
 
 blithe and gay, 
 And keeping their Christmas 
 
 holiday. 
 
 Lovell leads his Bride forward 
 
 and points up. 
 They go backward to place, he 
 
 points to sides of stage. 
 
 Sides forward and back, bow, 
 and begin the dance, which 
 goes on as above. 
 (Dance.) 
 (Sing.) The baron beheld with Lovell leads Bride to Baron, 
 
 a father's pride 
 His beautiful child, young Lov- 
 
 ell's bride, 
 While she with her bright eyes 
 
 seemed to be 
 The star of the goodly company. 
 
 O the Mistletoe bough ! 
 O the Mistletoe bough ! 
 
 who salutes her ; he then leads 
 her to centre of stage and puts 
 a ring upon her finger. 
 
 They look tenderly at each other, 
 and remain in centre hand in 
 hand, until chorus, when they 
 bow first to each other, then to 
 sides. 
 
 All bow as before. 
 
 (Dance.) 
 
 "I'm weary of dancing now," 
 • she cried ; 
 " Here tarry a moment, I'll hide, 
 
 I'll hide! 
 And, Lovell, be sure thou 'rt 
 
 the first to trace 
 The clew to my secret lurking- 
 place." 
 Away she ran, and her friends 
 
 began 
 Each tower to search, and each 
 
 nook to scan ; 
 And young Lovell cried, "O 
 
 where dos't thou hide? 
 I'm lonesome without thee, my 
 
 own dear bride." 
 O the Mistletoe bough ! 
 
 Bribe comes forward, stretches 
 out her hands wearily, places 
 left hand on Lovell's shoul- 
 der, who also comes forward ; 
 she points over her shoulder 
 and runs off at the right. 
 Dancers cross and go out. 
 
 Lovell expresses despair. Bar- 
 oness comes fortoard, places 
 her right hand on his shoulder. 
 They salute each other, then 
 bow to audience at chorus. 
 
 [Curtain falls. 
 
FOR THE YOUNG FOLKS. 
 
 55 
 
 SCENE II. — Chest in centre, table tipped over at right of stage, 
 chair on floor at left. The melody is played. Bride enters 
 hastily : first hides behind table, then decides to enter chest, 
 draws up chair and steps in. The chorus is then sung, and 
 the Bride lets the lid fall heavily at last note. 
 
 They sought that night, and they 
 
 sought her next day, 
 And they sought her in vain, 
 
 when a week passed away. 
 In the highest, the lowest, the 
 
 loneliest spot, 
 Y"oung Lovell sought wildly, hut 
 
 found her not. 
 
 The dancers enter sloivly, pause 
 a moment, then cross and exit. 
 [Curtain falls. 
 
 SCENE TIL — Children are playing " Thread the Needle," in 
 time to the melody ; they stop suddenly, two of them point to 
 right of stage. 
 
 And years flew hy, and their 
 
 grief at last 
 Was told as a sorrowful tale 
 
 long past; 
 And when Lovell appeared, the 
 
 children cried, 
 "See! the old man weeps for 
 
 his fairy bride." 
 O the Mistletoe hough ! 
 
 Lovell appears at right, dressed 
 as an old man, and crosses the 
 stage slowly. 
 
 He bows his head and weeps, then 
 salutes the Children, who 
 bow to Mm and then to audi- 
 ence. [Curtain falls. 
 
 SCENE IV. — Same as Scene III., except that the chest is unhooJced 
 at corners, and the faded wreath inside. 
 
 At length an oak chest, that had 
 long lain hid, 
 
 Was found in the castle. They 
 raised the lid, 
 
 And a skeleton form lay mould- 
 ering there, 
 
 In the bridal wreath of the lady 
 fair! 
 
 O, sad was her fate ! in sportive 
 jest 
 
 Old man slowly enters, and at- 
 tempts to raise the lid, pushes 
 the right corner and chest falls. 
 He holds up the wreath ivith 
 trembling fingers. Gazes with 
 horror on the chest. Turns to 
 audience and points towards 
 it. He kneels, and at last note 
 of chorus falls on ruins of the 
 chest. 
 
56 PARLOR AMUSEMENTS. 
 
 She hid from her lord in the old 
 
 oak chest ; 
 It closed with a spring ! and her 
 
 bridal bloom 
 Lay withering there in a living 
 
 tomb. 
 O the Mistletoe bough ! [Curtain falls. 
 
YILLIKENS AND HIS DENIAH. 
 
 AN ILLUSTRATED BALLAD, TO BE PERFORMED BY CHILDREN 
 FROM EIGHT TO TWELVE YEARS OLD. 
 
 CHARACTERS. 
 
 Parent. — Top-toots, knee-breeches, swallow-tail coat, ruffled shirt, 
 
 white cravat, powdered hair. 
 Villikens. — White pantaloons, swallow-tail coat, ruffled shirt, 
 
 fancy tie, curled hair. 
 Deniah. — Train dress, bright overskirt, hat, large waterfall, 
 
 Grecian bend. 
 Properties. — Two sheets, letter, bottle, carpet-bag, money. 
 (A concealed Singer begins song as curtain rises.) 
 
 I. 
 
 There was a rich merchant, in Parent bows low to audience. 
 
 London did dwell, 
 
 Who had for a daughter a very Parent points with left hand. 
 
 fine girl; 
 
 Her name it was Deniah, just Parent spreads both hands in 
 
 sixteen years old, ecstasy. 
 
 With a very large fortune, in Parent rattles money in his 
 
 silver and gold. pockets. 
 
 CHORUS. 
 
 Sing tural li lural li lural li la, Parent dances in time to music, 
 
 forward. 
 Sing tural li lural li lural li la, Parent dances in time to music, 
 
 backward. 
 Sing tural li lural li lural li la, Parent dances in time to music, 
 
 forward. 
 Sing tural li lural li lural li la, Parent dances in time to music, 
 
 backward, and bows at last 
 
 note. 
 57 
 
58 
 
 PARLOR AMUSEMENTS 
 
 As Deniah was walking the gar- 
 den one day, 
 
 Her father came to her, and 
 thns did he say: 
 
 "Go dress yourself, Deniah, in 
 gorgeous array, 
 
 And I'll bring you a husband, 
 both gallant and gay." 
 
 ni. 
 
 "O papa, dear papa, I've not 
 
 made up my mind ; 
 To marry just yet I do not feel 
 
 inclined ; 
 And all my large fortune I'll 
 
 gladly give o'er 
 
 If you '11 let me be single a year 
 or two more." 
 
 " Go, go, boldest daughter ! " 
 
 the parent replied. 
 "If you do not consent to be 
 
 this young man's bride, 
 I'll give your large fortune to 
 
 the nearest of kin, 
 
 And you sha' n't reap the bene- 
 fit of one single pin. 
 
 CHORUS. 
 
 Deist a ft enters and courtesies to 
 Parent, who lows in time. 
 
 Parent approaches her, and 
 moves head and hand as if 
 speaking. 
 
 Parent points to Deniah's 
 dress, who takes it in her hands 
 and looks upon it. 
 
 Deniah puts finger in her mouth, 
 and turns head away. 
 
 Both dance forward and back- 
 ward together at each line and 
 bow at end. 
 
 Deniah puts right hand on 
 Parent's left shoulder. 
 
 Deniah places left hand coax- 
 ingly under his chin. 
 
 Deniah turns to left, moves both 
 hands as if throwing away 
 her money. 
 
 Deniah looks at him implor- 
 ingly, and coaxes him as before. 
 
 Both dance forward and back- 
 ward, and bow in time as be- 
 fore. 
 
 Parent shakes his head and 
 fist very savagely. 
 
 Deniah kneels down and cries. 
 
 Parent makes motions as if 
 throwing away money ; takes 
 large pin from his coat. 
 
 Dent ah wrings her hands and 
 
 Sung and danced as before. 
 
 [Curtain falls. 
 
 As Villikens was walking the 
 
 garden around, 
 He spied his dear Deniah lying 
 
 dead on the ground, 
 
 Villikens enters, discovers 
 Deniah lying in centre of 
 stage with bottle and letter; 
 he jumps, throws up his hands 
 in horror. 
 
FOR THE YOUNG FOLKS. 
 
 59 
 
 "With a cup of cold poison lying 
 
 down by her side, 
 And a billet-doux, saying by 
 
 poison she died. 
 
 CHORUS. 
 
 He kissed her cold corpus a hun- 
 dred times o'er, 
 
 And called her his Deniah, 
 though she was no more ; 
 
 Then he swallowed the poison 
 like a lover so brave, 
 
 And Villikens and his Deniah 
 both lay in one grave. 
 
 CHORUS. 
 
 Villikens picks up bottle and 
 
 smells of it. 
 Beads letter in amazement. 
 
 Yillikens dances forward and 
 backward, looking first at let- 
 ter in Ids left hand, then at 
 bottle in his right, extending 
 each hand in turn, bows at 
 last note. 
 
 Viulikens kneels down behind 
 Deniah, bends over and pre- 
 tends to kiss her. 
 
 Wrings her hands. 
 
 Brinks from bottle. 
 
 Falls behind Deniah at last 
 note. 
 
 No dance. 
 
 [Curtain falls. 
 
 At twelve next night, by a tall 
 
 poplar tree, 
 The ghosts of his children the 
 
 Parent did see, 
 Standing close to each other, 
 
 and both looking blue, 
 Saying, "We should be both 
 
 living if it was not for you." 
 
 CHORUS. 
 VHI. 
 
 Now the Parent was struck with 
 a horror of home, 
 
 So he packed his portmanteau, 
 the world over to roam ; 
 
 But he had not gone, far, when 
 he was seized with a shiver 
 
 Which ended his days, so fin- 
 ished him forever. 
 CHORUS. 
 
 Parent enters, discovers the 
 lovers standing at back of 
 stage dressed in sheets like 
 ghosts. He jumps, looks first 
 over his left shoulder at them, 
 then qver his right shoulder, 
 and continues this motion 
 through rest of verse and 
 chorus. 
 
 Ghosts dance forward and back 
 .as before, following Parent; 
 all bow. 
 
 Parent goes off left for his ear- 
 pet-bag. 
 
 He packs his clothes. 
 
 Suddenly turns his head, sees 
 ghosts, and shivers faster and 
 faster until he drops in centre 
 of stage. 
 
 Gliosis dance around Parent; 
 Deniah first ; both bow. 
 
 [Curtain falls. 
 
60 PARLOR AMUSEMENTS. 
 
 Note. Swallow-tail coats are easily made by sewing tails on to 
 the boys' jackets; the ruffles are made of paper. The girl can 
 wear a long dress tucked up over her own. The sheets are placed 
 over the heads, leaving only the face exposed. They hold the 
 sheet under their chins with left hands and point with the right. 
 Where a trap-door is available they fall into and rise up from it. 
 
CHAEADES. 
 
 Although considered easy to act by many persons, 
 these are by far the most difficult of all dramatic 
 scenes. To render them effective, a quick wit and a 
 brilliant conversational talent must be united with the 
 power of imitation. It is, therefore, best to give only 
 the skeleton of a few which have proved successful, 
 leaving them to be endowed with life by the genius of 
 the actors ; for those with written conversations often 
 appear tame. 
 
 The more extravagant the humor of a well-acted cha- 
 rade the better ; so we shall begin with some comic ones, 
 which have often been acted successfully, in which, of 
 course, the pronunciation of the words is considered, 
 and not the spelling. 
 
 JEW. 
 
 Shylock. — Red dressing-gown, sash, red yarn braid, loose trous- 
 ers. 
 
 Antonio. — Tunic, loose pantaloons. 
 
 Portia. — Dark dress, white cotton wig, like a strong-minded 
 female judge; knife, scales, bond. 
 
 Shylock enters, followed by Antonio. He demands 
 payment of a bill for a pound of flesh found on his last 
 month's meat-bill. 
 
 Antonio begs for more time; says he will pay him 
 when his ship comes in. Shylock demands immediate 
 
 61 
 
62 PARLOR AMUSEMENTS 
 
 payment, or he will sue him. The matter is then re- 
 ferred to the judge, who compels Shylock to produce a 
 pound of beef, as a specimen of the amount at stake. 
 She finds that Shylock has charged too much for his 
 meat, and compels him to discharge Antonio, and to for- 
 feit the piece he has laid before the court. Shylock 
 expresses great discomfiture as the 
 
 CURTAIN FALLS. 
 
 ILLS. 
 
 Fine lady in rich costume, reclining on a couch. 
 Pompous doctor. 
 
 Lady in hysterics. Doctor knocks and enters. She 
 gives him a list of many ills and maladies, each one of 
 which he assures her she has no symptoms of. 
 
 He then asks her a few questions, such as, " Do you 
 find, that after a hearty lunch, a great dinner, or a 
 game-supper, you experience a loss of appetite or indiff- 
 erence to food?" 
 
 " Oh yes, doctor." 
 
 "After a hard day's work, and dancing all night, do 
 you ever feel a sense of lassitude ? " 
 
 " Oh yes ! Doctor, you understand my case exactly." 
 
 He writes a long prescription, and the 
 
 CURTAIN FALLS. 
 
 JEWELS. 
 
 The Mother of the Gracchi. — Roman costume, draped with 
 
 sheets. 
 The two Gracchi. — Draped with sheets. 
 
 The two Gracchi enter, each with a prize-package of 
 candy, containing cheap jewelry, over which they are 
 quarrelling. The mother enters with stately step, pulls 
 the combatants apart by the ears, and takes away the 
 prizes, exclaiming, " These are my jewels ! " 
 
 CURTAIN FALLS. 
 
FOR THE YOUNG FOLKS. 63 
 
 NOR. 
 
 Noah and his three sons, each with a wife upon his 
 arm, come in, stepping carefully, holding up their dresses 
 and umbrellas' as if it were damp. They converse about 
 the various animals, and the difficulty they have expe- 
 rienced in getting them safely into the ark, and exit by 
 another door. 
 
 MA. 
 
 A lady is seated on a chair at the centre of the stage. 
 A small boy comes running in, calling, " Ma ! Ma ! " She 
 orders him to do several things without success; and 
 finally says, " Go out of the room." He says, " I wont." 
 She replies, "Stay here; I will be minded." 
 
 NORMA. 
 
 A procession of druids and nuns enter, dressed in 
 waterproof-cloaks and sheets. Norma follows, in white, 
 with a wreath of oak-leaves. They march three times 
 round the stage and arrange themselves in a semi-circle. 
 Norma kneels and sings, in burlesque, Casta Diva. 
 
 The moon rises behind the table, and all march out, 
 chanting the well-known march. 
 
 CO. 
 
 An old man and his wife enter, and seem reading the 
 signs all along a street; and the lady remarks, "What a 
 splendid business must be done by Mr. Co, as his name 
 appears upon so many signs. 
 
 NUN. 
 
 A tableau can be introduced here of the well- 
 known scene of taking the veil. 
 
64 PARLOR AMUSEMENTS 
 
 DRUMS. 
 
 An irascible old bachelor, wishing to revenge himself 
 upon a family, presents the six boys each with a drum. 
 The effect of the instruments, played with vigor, gener- 
 ally satisfies the audience in a short time. 
 
 CONUNDRUMS. 
 A troupe of minstrels, who give and guess conundrums. 
 
 MARM. 
 
 A party of warriors enters in proud array. It is the 
 eve of battle. Marmion addresses his troops, and is pre- 
 paring to lead them forth to victory, when he remem- 
 bers that his washing has not come, and that he must 
 have a shirt-front done up immediately ; and quotes the 
 well known line, 
 
 " Their swords are ten thousand, their bosoms are one." 
 
 An Irish lad comes running in, and after hearing the 
 demand, calls out, "Marm, marm, marm! here's a man 
 who wants some washing done." 
 
 IRON". 
 
 The Irish woman is discovered ironing at a table. 
 The shirt-bosom is ironed and laid on a chair. Loud 
 noise is heard, and Chester enters, supporting Marmion 
 in his arms, who waves above his head the fragment 
 of his blade, shouting victory. The Irish woman 
 demands payment for her work; but he puts her off, 
 and continues his heroic utterances. She persists ; and 
 he exclaims, " Charge it to Chester. Charge, Chester, 
 charge ! " and expires. 
 
FOR THE YOUNG FOLK 8. 65 
 
 DKAM. 
 
 An Artist, sitting by a table on which is an empty plate, a bottle, 
 and a few brushes. Picture frames, and other furniture of a 
 studio, are arranged around the room. He speaks in. burlesque of 
 Hamlet's soliloquy. 
 
 " To be or not to be," — life's dreary dream is o'er, 
 
 And dark despair stands shuddering on the shore, 
 
 Pointing in terror to that dreadful bourne 
 
 From which, alas! there can be no return. 
 
 Come then, dark dram of poison handy, 
 
 Of strychnine made, called pure French brandy. 
 
 Lift the black veil! thou dark and dreadful dram; 
 
 Teach me what fate —what life is — what I am ; 
 
 And why this curse of genius has been given 
 
 To crawl on earth and only dream of heaven : 
 
 For round my mind the changing colors play 
 
 Bright as the radiance of departing day ; 
 
 And forms of beauty ever fill my mind, 
 
 "Which to my canvas will not be confined — 
 
 Bright fleeting visions which should trace my name 
 
 With the great masters ! But one moment stay ! 
 
 They had no names till they had passed away! 
 
 And when, to-morrow, they will find me here, 
 
 Will tardy fame mourn o'er my early bier, 
 
 And glory toll my mournful funeral knell? 
 
 What! no bread here? " Plate, oh, thou reasonest well." 
 
 [Drinks from the bottle. Lady enters, and knocks away the dram 
 
 from his lips. 
 Lady. — " What can have tempted you to this?" 
 Artist. — " Living in misery to dream of bliss; 
 That which makes folly wise, and wisdom folly prove; 
 The burning cold and freezing heat of love ; — 
 But you can make me happy! Let me trace 
 The changing glories of that lovely face : 
 The blush-rose mingling with the pure white lily." 
 Lady. — "To paint my face! How can you be so silly? " 
 Artist. — "Next week the dreadful critics come to see 
 If to their clique I can admitted be. 
 5 
 
66 PARLOR AMUSEMENTS. 
 
 Oh, let me paint that face which haunts me ever! 
 And if they don't pronounce the picture clever, 
 Othello's occupation's gone! and then 
 I never will attempt to paint again." 
 
 CURTAIN PALLS. 
 
 ATTIC. 
 
 The same room as before. One of the picture-frames 
 is placed upon the table near the edge, the top of the 
 frame leaning against the wall. A black shawl is pinned 
 to the back edge of the frame, and the lady stands 
 behind the table so as to show her head and shoulder 
 in it, the rest of her body being concealed by the tables. 
 Three critics enter, and express their disgust at being 
 invited to such a miserable attic — as if any picture 
 worth having could be produced in such a poor place. 
 They then proceed to find fault with it in every way, 
 criticising the drawing, color, &c. The lady keeps still 
 as long as possible, then bows to them from the frame. 
 The artist laughs at them, and the critics retire in con- 
 fusion as the 
 
 CUBTAIN FALLS. 
 
 DRAMATIC. 
 
 A manager sits at a small table at left of stage, and 
 many applicants for engagements for the next dramatic 
 season arrive, each one in turn giving a specimen of his 
 powers. A tragedian, Irish, Dutch, comedian, ballet- 
 dancer, and many others present themselves. 
 
GAMES OP THOUGHT. 
 
 Many persons enjoy a quiet game which taxes the 
 thinking powers; and we offer here a few which will 
 prove interesting to children, and which can be played 
 in a manner hard enough to tax the brightest intellect. 
 Of these none are better than the good old game of 
 Throwing Light. 
 
 Some word must be chosen which has several mean- 
 ings, such as deer, pen, post, mail, rail, oar, yarn. One 
 player may conduct the game, or the company may be 
 divided into sides. The leader talks fluently about the 
 word, using it in as many meanings as possible, varying 
 his conversation so as to confuse and mislead the 
 guessers. I give a specimen of the manner in which one 
 of the above words has been played by a Boston club, 
 leaving the reader to guess which one is meant. 
 
 "Fixed and immovable, it sustains the swift messen- 
 ger in its rapid course, and hinders slow travellers on 
 their weary way. An emblem of dulness and stupidity, 
 it spreads intelligence far and near. The lover longs for 
 it with ardor ; and the most stupid animals are attached 
 to it also. Although very matter of fact, it is a crea- 
 ture of the imagination. 
 
 " One man is supported by it in time of weakness, while 
 another is plunged into sorrow, or exalted to joy by its 
 tidings. The real one is put to the meanest uses, while 
 
 67 
 
68 PARLOR AMUSEMENTS 
 
 heroes gladly sacrifice their lives for the imaginary one. 
 It cheers the sorrowing, sustains the weak, unnerves 
 the strong, and holds a light to those in darkness, while 
 the dull are bound to it by enduring ties. Welcomed at 
 the doors of all, it seldom enters the houses of the poor; 
 but no house can stand without it, and no country 
 exists where it is not known. One brings another every 
 day, and a man may be called by it, from it, to it, and 
 pursue its imaginary existence even to death. 
 
 TWENTY QUESTION'S. 
 
 This is unlike the game of Throwing Light, for it 
 depends wholly upon plain matter-of-fact replies to 
 questions, without puns or any equivocation of fancy. 
 The company must be divided into sides, each one of 
 which selects a word to be guessed, and endeavors in 
 turn to guess the word chosen by the other side. The 
 most difficult word must be found, but it must be the 
 name of some particular thing which is known to exist 
 somewhere by both parties. Great care must be used 
 by the guessing side not to waste questions, which must 
 be used with care, as an account of them is always kept 
 by the other. Any question may be used, except such 
 as would have the name of the thing for the only true 
 answer. Things thousands of miles away, of the most 
 minute character, may often be guessed in five questions, 
 after practice. Some persons have conducted this game 
 who seldom had occasion to ask more than the following : 
 
 " To what kingdom does it belong? What is its size? 
 shape? distance? and height from the ground?" 
 
 An umpire should be chosen to settle the disputes 
 which often arise. 
 
FOR THE YOUNG FOLKS. 69 
 
 CABTOONS. 
 
 Each, person draws a picture of some eventful scene, 
 or in illustration of some line of poetry, or proverb. 
 The drawing is passed in turn to each person, who 
 guesses and writes its subject underneath. For pictures 
 in illustration of this new and popular game, see "Our 
 Young Folks' Magazine," for February, 1872. 
 
THE MENTAL INDEX. 
 
 V 
 
 Each player writes rapid replies to the following 
 questions, as fast as they are read by the leader of the 
 game : — 
 
 What do you most prefer ? 
 
 What is your greatest aversion ? 
 
 Which is your favorite author? 
 
 Which is your favorite character of fiction ? 
 
 Which is your favorite character of history ? 
 
 What quality would you most desire in a friend ? 
 
 What is your favorite color ? 
 
 What do you like best to eat ? 
 
 When all have written, the leader reads the papers, 
 and each one guesses the name of the writers. 
 
 CHARACTER. 
 
 One person leaves the room, and, during his absence, 
 some personage of history and fiction is selected. They 
 address the first player, upon his return, as if he were 
 the person upon whom they have fixed, and he is to 
 guess who it is by their remarks. The one by whose 
 remark the name was guessed, must, in his turn, go 
 out. 
 
 THE ARTIST. 
 
 Each player draws the head of some person, animal, 
 bird, or fish, and turning down the paper, passes it to 
 70 
 
PARLOR AMUSEMENTS. 71 
 
 the next, who draws a body and passes it to a third, 
 who finishes the picture, of course without knowing 
 what has been done by his predecessors. On opening 
 the paper a singular figure is the result. 
 
 MESMEBISM. 
 
 One person goes out of the room ; the others decide 
 upon some easy thing for him to do. He is led back 
 blindfolded, and the players surround him, laying their 
 hands upon him so that the finger-tips all touch him, 
 the thumbs of both hands touching each other, and the 
 little fingers touching those of the next players in the 
 circle. When he is completely surrounded with hands, 
 he is directed to divest his mind of thought as much as 
 possible, while the other players fix their minds intently 
 on the idea they have chosen. In most cases, after a 
 few minutes, the player begins to move in the desired 
 direction, and 6ften performs the very act which he is 
 willed to do. 
 
HOW POETS AEE MADE. 
 
 Thebe has long existed in the eccentric village of 
 Concord, a factory for the production of poetry, which 
 has turned out several masters of the art who are well 
 known in the world of letters ; but as no account of the 
 process has ever been made public, it may perhaps be 
 interesting. Imagine a quaint, old-fashioned room, 
 lighted by a fire of blazing logs, and ornamented with 
 simple art treasures from many lands. A party of young 
 people, all intent upon their work, their eyes in fine 
 frenzy rolling, and their brows knit in thought. Each is 
 armed with pencil and paper, and feels sure that his 
 errors and faults of style will be judged only by friendly 
 criticism; for all papers are destroyed by the flames 
 before the evening is over. They have climbed, by easy 
 steps, the dizzy heights of fame, until the dullest among 
 them can produce a poem upon any subject at the rate 
 of a hundred lines an hour. 
 
 The first step was an exercise, where one person thought 
 of two words that rhymed, and gave out one of them to 
 be guessed. The successful guesser, in turn, gave out 
 another, and so on. Next, each player wrote two words 
 upon a slip of paper, and passed it to the next, who wrote 
 a question upon it. When all had written both rhymes 
 and questions, the papers were gathered, and each drew 
 a slip from the pile, and replied at once to the question 
 by using the words to complete the lines of his answer. 
 72 
 
PARLOR AMUSEMENTS. 73 
 
 Next, a page of some old poet is selected, and some 
 one reads the last word of each line in succession. The 
 others then each write a line ending with that word, 
 being obliged to finish it before hearing the next, and so 
 on until the last word is read; and every person finds 
 that he has written a poem, each upon a different 
 subject. Each person then writes a word upon a slip of 
 paper and passes it to the next. Several very difficult 
 questions are presented, a choice from which is made, 
 and all devote themselves for an hour to the work, when 
 the poems are collected and read aloud for the benefit 
 and criticism of all. Long practice at these exercises 
 has given to most of these players some facility at mak- 
 ing verses, a few specimens of which are collected from 
 various journals, and modestly added here, — 
 
 THE OLD MAN'S WILL. 
 
 Old Oliver Smith, in his threadbare suit, 
 Hears the boys of the village laugh and hoot, 
 " There goes the miser, so poor and old, 
 Starving and scrimping to heap up gold." 
 But the old man thinks, with a quiet smile, 
 " Let these idle scoffers wait awhile, 
 Till time, which sifts the wheat from chaff, 
 May show that the poor have cause to laugh." 
 The old man goes to the promise sure, 
 " Who feeds the hungry and clothes the poor, 
 To the very least of them all, shall see 
 He has done it also unto me." 
 
 The years roll by and the will is read, 
 And blessings descend on the giver's head: 
 For many a farmer of wealth and skill 
 Owes his start in life to the old man's will. 
 It hears the orphaned children's cry, 
 And the blushing maiden's modest sigh; 
 
74 PARLOR AMUSEMENTS 
 
 And it smooths the poor man's dying bed, 
 For it gives to his starving children bread ; 
 And it claims its share of the perfect bliss 
 Which crowns the lover's ecstatic kiss: 
 For it furnishes gold for the golden band 
 Which binds them together in heart and hand. 
 " God help the widow! so poor and old," 
 And He does, from the miser's hoarded gold: 
 For His perfect love to the old man gave 
 Both the wish to give, and the power to save. 
 
 Ye sordid slaves of the shining pelf, 
 
 Who love the gold for its own poor self, 
 
 Who know that the cash you love so well 
 
 Is dragging you down to the depths of hell, — 
 
 If how to leave it you'd like to know, 
 
 Yet take it with you when you go, 
 
 To the bank which seven-fold interest pays, 
 
 Where no thieves can steal and no rust decays, 
 
 So that riches take wings and upward fly, 
 
 And the camel springs through the needle's eye, 
 
 Go clothe the poor and the hungry fill, 
 
 And follow the text of the Old Man's Will ! 
 
 SWEET-PEAS. 
 
 " Do you love the sweet-peas, grandpa ? " my darling 
 
 said to me, 
 As, holding up a bunch of them, she climbed upon my 
 
 knee; 
 Her shining curls of tangled gold, all mingled with the 
 
 gray, 
 As, nestling on my shoulder, her winsome forehead lay. 
 " Yes, I love them, little Mabel, for they always bring to 
 
 me 
 Three pictures, which my old blurred eyes can never fail 
 
 to see. 
 
FOR THE YOUNG FOLKS. 75 
 
 " A small brown cottage by the sea, with graceful vines 
 
 o'errun, 
 In a quaint old-fashioned garden, all open to the sun, 
 Where she stood among the blossoms on a blessed sum- 
 mer day, 
 As graceful, sweet, and blushing, and as fresh and pure 
 
 as they ; 
 When the timid ' Yes ' was spoken, and at once into it 
 
 rolled 
 All the goodness and the virtue that my erring life could 
 
 hold. 
 Then I thought I loved her truly, with my heart and 
 
 soul and will ; 
 But every day I've lived since then I've loved her better 
 
 still. 
 
 "The tender fragrance of the flowers now hovers round 
 
 the room ; 
 But it cannot cheer the darkness sad, or dissipate the 
 
 gloom, 
 Where calm and still, in perfect peace and purity, she 
 
 lies, 
 My wife ! my darling ! all I have on earth to love and 
 
 prize. 
 
 "All summer long the sweet sweet-peas luxuriantly will 
 
 grow, 
 Regardless of the blessed one in dreamless sleep below ; 
 In the rough old village graveyard, that I love with all 
 
 my heart, 
 Too restful and too placid for the fuss of modern art, 
 There is room just close beside her, where I hope ere 
 
 long to lie;" 
 But my baby darling whispers, "Dear grandpa, don't 
 
 you cry!" 
 
 Concord, Mass., January, 1872. 
 
76 PARLOR AMUSEMENTS 
 
 CATCHING CUNNERS. 
 
 A breezy point far out at sea ; 
 A fresh sou' -wester blowing free 
 Drives up the surf in a dashing swirl, 
 To kiss the feet of a lovely girl. 
 The violet shadow that seaward lies 
 Scarce rivals the hue of ber dreamy eyes, 
 Which turn with a soft bewitching look 
 On a handsome youth as he baits her hook ; 
 For with great good luck, on the coming tide, 
 They are sitting together, side by side, 
 Catching cunners. 
 
 The graceful kelp sways to and fro 
 As the white-capped rollers come and go, 
 And sweet sad thoughts of a buried past 
 O'er the young man's mind came thick and fast, 
 Of a love that cruelly hard had died, 
 In a bitter struggle of wounded pride, 
 When a year ago she had proved to be 
 As changeful and false as the sounding sea. 
 But he only says, with a glint of the eye, 
 "When the tide has turned it's useless to try 
 Catching cunners." 
 
 Eastern Point, Summer of '71. 
 
 A COMMON CONTRAST. 
 
 On the Common, by the Frog-pond, a patient figure 
 
 sits, 
 And all day long, through cloud and shine, her brow 
 
 and stocking knits ; 
 Happy to charm the cents away from some stray child 
 
 of Eve ; 
 Content if all the passers-by her tempting apples leave. 
 
FOR THE YOUNG FOLKS. 77 
 
 The pond, and sky above it, were blushing rosy red 
 
 In the glory of the sunset, when I saw the graceful head 
 
 Of a winsome little beauty, with its crown of shining 
 
 gold, 
 Bending across the basket to the one so gray and old. 
 
 Her dainty dress, from witching boot to tiny little glove, 
 Proclaimed her as the petted child of luxury and love, 
 And a bitter, bitter contrast to the worn and wrinkled 
 
 dame; 
 But the sum of human happiness to all is much the 
 
 same. 
 
 Fond hearts may break for your sweet sake, oh blue-eyed 
 
 little dear, 
 And loving hands may from your path the briars and 
 
 pitfalls clear; 
 But you must learn through pain and loss, "for 'tis the 
 
 common fate," 
 Life's hardest, brightest lesson, how to calmly trust and 
 
 wait. 
 
 DAISY. 
 
 Darling ! with the great brown eyes, 
 Brimming full of sweet surprise, 
 Fleecy floss of spun-gold hair, 
 Drifting over temples fair, 
 The golden summer seems to me 
 Fuller of grace for knowing thee. 
 
 Where the solemn mountains stand, 
 We climb together, hand in hand, 
 And the summer Sunday smiled 
 On the old, and little child, — 
 
78 PARLOR AMUSEMENTS 
 
 One bowed low by weary strife 
 Of a long and wasted life, 
 And tbe other fresh and fair, 
 And pure as this delicious air. 
 
 Eippling laughter, soft and low, 
 Kises from the porch below, 
 Where fair brunette and lovely blonde 
 Have drawn a charmed circle fond 
 Of friends and lovers to their feet, 
 . By winning smiles and voices sweet, — 
 Many an aching heart may know 
 Sorrow and love together go ; 
 But our love, my baby friend ! 
 Knows no sting or dreary end ; 
 Perfect trust in true love lies 
 Mirrored in your lovely eyes. 
 
 Nothing in this wondrous view, 
 Can compare, my pet ! with you ; 
 Graceful ferns bend low to brush 
 Tour cunning coat of bright blue plush ; 
 Wide-eyed daisies envious stare 
 At the ones that kiss your hair, 
 Nodding from the graceful brim 
 Of the saucy hat they trim. 
 
 Stowb, Vt., Slimmer of 1870. 
 
 THE LITTLE HOUSE. 
 
 A little house of modest brown 
 
 Stands close by the church, in a pleasant town, 
 
 Where early and late, all the summer day, 
 
 A dreamy organist conies to play ; 
 
 And through the house and its garden round, 
 
 The softened notes of the organ sound ; 
 
FOR THE TOUNG FOLKS. 79 
 
 Through the open window they gently steal, 
 
 To chant their grace at the morning meal ; 
 
 Then float away on the early breeze, 
 
 Where the hammock swings from the apple-trees, 
 
 Through the bending corn, whose green leaves glisten 
 
 As with all its ears it tries to listen, 
 
 And the lovely children pause in play 
 
 To hear the sweet notes die away, — 
 
 Away they go, for they cannot stop 
 
 To furnish music for the hop, 
 
 Where the morning glories in round dance twine ; 
 
 But they sound through the gorgeous trumpet vine, 
 
 And set the dahlias all aglow 
 
 By kissing the mignonette below. 
 
 They welcome the Father home at night 
 
 To the pleasant porch with its faces bright, 
 
 Where the beautiful Mother, the soul of home, 
 
 And the brown-eyed children at sunset come ; 
 
 And a graceful maiden, with wondrous hair, 
 
 And soft blue eyes, sits dreaming there 
 
 Of the mighty discords, and chords of life, 
 
 And the perfect harmony, after the strife : 
 
 And the notes of the organ rise and fall 
 
 In sweet benediction above them all. 
 
 GOLDEN EOD. 
 
 A SKETCH IN COLORS. 
 
 Through a tangled thicket of golden rod, 
 
 A lovely maiden at sunset trod ; 
 
 With her bright red skirt, and her sack of blue, 
 
 And curls with the gold glints gleaming through. 
 
 Like a cameo cut on a rosy shell, 
 
 Her perfect profile stands out well ■ 
 
80 PARLOR AMUSEMENTS. 
 
 On the glowing west, as she turns to see 
 
 The radiant splendor of shrub and tree, 
 
 All flaunting their banners of gold and red, 
 
 To show that the beautiful Summer is dead. 
 
 Across the hills on the distant bay 
 
 A fleet of fishermen anchored lay, 
 
 Their torn sails gleaming pure and white, 
 
 Like most men's lives to the distant sight. 
 
 One of Indian Summer's most perfect days 
 
 Is flooding the earth with its golden haze ; 
 
 And the maiden's mind, with a sweet day dream. 
 
 As bright as the blossoms that round her gleam. 
 
 THE END. 
 
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