GIFT OF
TLi!lI DEPT.
ST. NICHOLAS
BOOK OF PLAYS
& OPERETTAS
PSYCH.
LIBRARY
ST. NICHOLAS
BOOK OF PLAYS
OPERETTAS
YORK : PUBLISHED II Y
THE CE1STTITRY CO. 1905
Copyright, 1874. 1876, 1877, 1880, 1881, 1882, 1886, 1888, 1890, 1892, 1894,
1897. 1898, 1899, by THE CENTURY Co.
Copyright, 1900, by
THE CENTURY Co.
Gift
J. F. TAPLEY GO.
New York
PUBLISHER'S NOTE
The plays and operettas here as-
sembled were published originally in
" St. Nicholas," some of them a quar-
ter of a century ago. u The Ballad of
Mary Jane" and certain others have
been called for again and again, and
five or six have been reprinted in
pamphlet form . Their popularity has
suggested the making of the present
volume, which contains all of the
pieces that have been in most demand.
CONTENTS
PAGE
THE MODERN AND MEDIEVAL BALLAD OF MARY JANE 1
ACTING BALLADS 15
THE HOUSE OF SANTA CLAUS .... 23
MOTHER GOOSE OPERETTA 36
THE LAND OF NOD 41
THE GIANT PICTURE-BOOK 72
SHADOW-PANTOMIMES 81
THE MAGIC SWORD 93
THE FALSE SIR SANTA CLAUS .... 109
A SIXTEENTH-CENTURY CHRISTMAS .... 139
CHRISTMAS EVE AT MOTHER HUBBARD'S . . 153
A LAWN DANCE FOR LITTLE PEOPLE .... 173
DICKY DOT AND DOTTY DICK 180
AN OLD ENGLISH FOLK-SONG 190
HAYDN'S " CHILDREN'S SYMPHONY "... 196
A TOPSYTURVY CONCERT 200
THE CHANGELING . . 202
ST. NICHOLAS BOOK OF
PLAYS AND OPERETTAS
ST. NICHOLAS BOOK OF
PLAYS AND OPERETTAS
THE MODERN AND MEDIEVAL BALLAD
OF MARY JANE
BY HENRY BALDWIN
This is a shadow-play, which can be performed in any parlor.
A sheet is hung between the audience and the performers, who,
by the proper arrangement of light (which can best be attained
by experiment), throw their shadows on the sheet. Somebody
hidden from the audience reads the ballad aloud.
IT was a maiden beauteous
Her name was Mary Jane j
To teach the district school she walked
Each morning down the lane.
[She passes and repasses behind the curtain.
Well skilled was she in needlework,
Egyptian she could speak,
Could manufacture griddle-cakes,
And jest in ancient Greek.
1
31\ NICHOLAS PLAYS AND OPERETTAS
It was the stalwart Benjamin,
Who hoed his father's corn ;
He saw the lovely maiden pass,
At breaking of the morn.
[He enters at left.
Deep sighed that bold, admiring swain ;
The maid vouchsafed no look
She munched a sprig of meetin'-seed,
And read her spelling-book.
[She enters at right, and halts.
THE STALWAKT BENJAMIN.
A low obeisance made he then ;
Right bravely did he speak :
" There is no rose so fair," he said,
" As that upon thy cheek !
" And many a brooch and silken gown
Will I bestow on thee,
If thou wilt leave thy father's house
And come and marry me."
THE BALLAD OF MARY JANE
Then proudly spake that lovely maid :
" Thy corn-patch thou may'st till !
I haste to teach the infant mind,
On yonder lofty hill.
THE BEAUTEOUS MAEY JANE.
" Though never golden brooch have I,
Though silken gown I lack,
I will not wed an husbandman,
So take thine offer back ! "
HE TORE IN
HIS RAVEN LOCKS."
ST. NICHOLAS PLAYS AND OPERETTAS
Oh, fiercely blow the icy blasts
When winter days begin !
But fiercer was the rage that filled
The heart of Benjamin !
He tore in shreds his raven locks,
And vowed he 'd love no more.
" Smile on," he cried, " thou haughty maid ;
Thou shalt repent thee sore ! "
The lady turned ; she did not speak ;
Her tear-drops fell like rain ;
[Tears represented by small pieces of paper.
Those plaintive words at last did pierce
The heart of Mary Jane !
II
Oh, blithely sang the soaring lark ;
The morning smiled again j
Up rose the sun, with golden beams,
And up rose Mary Jane.
[The lark should be made of pasteboard, and a
string, passed through his body, should be
stretched diagonally across the sheet. By
another string fastened to his head, and
running over the upper nail, he may be made
to soar. The sun should rise by a string
passed over a nail in the center, and at the
top of the framework on which the sheet is
stretched. The lark should be about as large
as the sun.
THE BALLAD OF MARY JANE
HE SUN. THE SOARING LARK.
She gat her to her daily task,
As on the former morn ;
Alack ! she spied not Benjamin
A-hoeing of the corn.
[Enter Mary Jane.
No longer, as she trips along,
Her merry songs she sings ;
The tear-drops dim her pretty eyes,
Her lily hands she wrings.
1
"And art thou gone, sweet Benjamin?
Ah ! whither hast thon fled ?
My spelling-book has charms no more j
I would that I were dead ! "
But soon her bitter moan she ceased ;
She viewed her doughty knight,
Delayed not many leagues from thence,
And in most grievous plight.
ST. NICHOLAS PLAYS AND OPERETTAS
For as lie to his husbandry
That day would fain have passed,
A monster cow his path beset,
And sorely him harassed.
THE COW HARASSES BENJAMIN.
Upon the summit of a wall
He sits, and dares not flee ;
The awful beast its sprangling horns
Doth brandish frightfully.
[The cow, made of pasteboard, should be
fastened to a broom-handle, and poked in
from one side. The smaller the cow the
better.
" Oh, Mary Jane ! " he cried, " if you
But love me, do not stay
To weep, but lend a friendly hand,
And drive the cow away ! "
Her apron then she quickly takes,
And wipes her streaming eyes ;
Not quicker melts the morning dew
Than to her love she flies.
THE BALLAD OF MARY JANE
The monster turns at her approach,
It shakes its ample tail ;
Take heart, O Benjamin ! thy love
Will neither quake nor quail.
MART JANE WAVES HER PARASOL.
Her parasol that venturous maid
Exalted o'er her head,
Thrice waved it in the air, and lo !
Straightway the monster fled.
Then tarried not that joyous pair
Fond vows of love to make,
But to the house of Mary Jane
Themselves they did betake.
[As the cow runs away, Benjamin gets down
and approaches Mary Jane till almost close
to her. Then, if both lean forward, the
ST. NICHOLAS PLAYS AND OPERETTAS
RESCUED!
above affecting tableau is produced. They
then take hands, and the lamp is moved
slowly to one side and obscured ; this gives
them the appearance of walking, and allows
the father to enter ; after which the lamp is
moved back, and the lovers reenter.
And out spake grateful Benjamin :
" Forsooth, I had been dead,
Had Mary Jane not saved my life
And her I fain would wed."
Up spake her aged sire then;
Full wrath fully spake he :
" How darest thou, thou popinjay,
To ask such thing of me ?
" For wert thou but a millionaire,
Then would I not demur ;
Now thou art but an husbandman,
And she a school-teacher ! n
THE BALLAD OF MAEY JANE 9
Oh, sorely, sorely, did they grieve !
The cruel parient's heart
Inflexible as stone remained,
And they were torn apart.
[He motions them apart.
THE AGED SIRE IS WRATHFUL.
Ill
And now has come Lord Mortimer,
A-suing for her hand ;
A richer nobleman than he
Is not in all the land.
Upon his lordly knees he sank,
On bended knee he fell ;
" And wilt thou not, fair Mary Jane,
Within my castle dwell ?
10 ST. NICHOLAS PLAYS AND OPERETTAS
" Thou walkest now with weary feet,
But thou shalt ride in state ;
And dine and sup, like any queen,
Off my ancestral plate."
LORD MORTIMER.
Right scornfully that angry maid
Her dainty nose upturned !
She waved her lily hand, and thus
His tempting offer spurned :
1 GET HENCE ! AVAUNT ! I SCORN THY GOLD."
THE BALLAD OF MARY JANE 11
" Get hence ! avaunt ! I scorn thy gold,
Likewise thy pedigree !
I plighted troth to Benjamin,
Who sails the briny sea."
[Exit Mortimer ; enter father.
" Nay, verily," her father said ;
" Braid up thy golden hair ;
Prepare to die, if thou wilt not
For nuptials prepare ! "
[Flourishes a pasteboard knife.
THE FATHER ENTERS.
She braided up her golden hair
With jewels bright, eft soon j
She clad her in her twice-dyed gown,
And eke her thrice-patched shoon.
" Oh, Benjamin ! Oh, Benjamin ! "
Was all that she could say j
She wist not but that he was dead,
Or thousand leagues away.
12 ST. NICHOLAS PLAYS AND OPERETTAS
IV
Alack for Mary Jane ! the knife
Hangs glittering o'er her head !
Before the altar, Mortimer
Waits his fair bride to wed.
" Who knocks upon the outer gate ?
Oh, father, quickly hie ! "
' 'T is but the grimy charcoal man ;
We have no time to buy ! "
HER SHRIEKS NO MERCY WIN!"
" Methinks I hear the area-bell ;
Oh, father, quickly speed ! "
" 'T is but a pesky book-agent ;
Thou hast no time to read ! "
THE BALLAD OF MARY JANE 13
The fatal knife descends, descends !
Her shrieks no mercy win !
When lo, a shout ! the door gives way!
In rushes Benjamin !
I NOW RETURN, A TRILLIONAIRE."
"Full many a year, a pirate bold,
1 7 ve sailed the Spanish Main ;
I now return, a trillionaire,
To claim thee, Mary Jane ! "
Out spake her happy sire then :
" Can I my eyes believe ?
Upon your knees, my children dear,
My blessing to receive ! "
Alas for luckless Mortimer,
Of love the hopeless dupe !
He gave up all his title-deeds,
And joined a circus troupe.
14 ST. NICHOLAS PLAYS AND OPERETTAS
But merrily the bells did ring,
Loud was the cannon's din,
Upon the day when Mary Jane
Was wed to Benjamin !
[A low step-ladder, or table covered with a
cloth, may be used for the wall. Mary Jane's
bonnet can be made of a newspaper. Her
father may wear a waterproof cloak, belted
in, if a dressing-gown is not obtainable.
ACTING BALLADS
BY AMY LOVELL
IN the long winter evenings, when lessons are all
learned, supper eaten, and while bedtime is still a
good way off, there comes a pause which is (or should
be) " known as the children's hour.' 7 Everybody is a
little tired. Boys and girls stretch themselves again,
and wish there were something pleasant to do. If
there is not anything pleasant to do, the yawns in-
crease, the pause becomes first dull, then quarrelsome,
and the evening ends unpleasantly, or the boys sidle
toward the door and invent errands to the store or
the post-office, which lays the foundation of a habit
of being out, and of various mischiefs.
Now, there are plenty of pleasant things which can
be done to fill up this unoccupied hour. The boys
and girls can play at chess, backgammon, or cards.
Don't be shocked, dear papas and mamas, at the
word " cards." Cards are not in themselves harmful,
and almost all young people are likely to play them
sooner or later. It is a thousand times better that
they should do so at home as a permitted amusement,
than away from home, with the feeling that they are
indulging in a guilty pleasure which they must hide
from you. There can be reading aloud from some
really entertaining book. There are parlor games of
all kinds, and some which tax the wits a little without
15
16 ST. NICHOLAS PLAYS AND OPERETTAS
tiring them. There are candy-pulling, corn-popping,
roasting apples by a string, telling stories round the
fire, piano kaleidoscope, acting charades. And, easier
than charades, and better fun, there is acting a ballad,
about which I particularly want to tell, because it is
new to many of you, and in the long winter evenings
you may like to try it. ^
Acting a ballad does not require as much prepara-
tion as acting a charade, because the movement is all
in pantomime, and is regulated by the movement of
the ballad chosen. It is necessary, of course, that all
who act should know the ballad, or should read it
over carefully several times, so as to be prepared for
what is coming, and ready to express by their ges-
tures and faces what is supposed to be going on.
Many who have not confidence to act in a charade
will find that they can do this easily, for no ready wit
is needed, and it often is much easier to follow a
course laid out for you than to invent one of your
own.
If there is a piano in the room, and any one who
can sing, the ballad should be sung slowly and dis-
tinctly, with an accompaniment which introduces an
imitation of the sounds of wars, storms, guns, or
whatever else may transpire in the ballad. If not, it
must be read or recited, taking care to pronounce
clearly and give due emphasis to the words. The
characters must come in at the proper moment as the
singing or reading progresses, and time their move-
ments to the movement of the story. The ballad
chosen should always be one in which there is little
relation and as much action as possible. Campbell's
ACTING BALLADS 17
ballad of " Lord Ullin's Daughter " is a good example
of the sort of ballad to choose. " The Young Lochin-
var " is another, and that pretty poem, " Old Mistletoe
Bough/ 7 which is always successful, giving as it does
opportunity for quaint groups and sudden changes of
scene. Others, which I have never seen acted, but
which could not fail of effect, are Tennyson's ballads
of " The Lord of Burleigh " and " Lady Clare." None
of these are funny ballads, although the improvised
scenery, dresses, and stage properties will naturally
lend a flavor of comedy to them as they are enacted.
In entertainments of this sort, grace should be con-
sulted as well as comedy, and there is a wide differ-
ence between burlesquing a poem and acting it with
just that tender edge of fun which gives piquancy
without marring the intention of the poet.
As an example of comical ballad-acting, let us take
Campbell's "Lord Ullin's Daughter," a poem with
which most of you are probably familiar. It requires
four principal performers, and two or three assistants,
who remain out of sight, or by the courtesy of the
audience are supposed to be so.
The curtain rises, revealing the ferryman in his
boat. There is no need of an actual curtain; a
blanket shawl hung on two gimlets answers the pur-
pose perfectly, or if there are two connecting rooms a
door can be opened and shut. As real boats are not
easily obtainable in parlors, it will be well to make a
substitute out of two large clothes-baskets, which
will furnish convenient accommodation for three per-
sons. There must be footstools or boxes for seats,
and beneath the boat large traveling- shawls or table-
18 ST. NICHOLAS PLAYS AND OPERETTAS
cloths should be spread, which the assistants at the
sides of the room can shake to imitate the movement
of waves slightly at first, but more and more im-
petuously as the story goes on. The boatman is
naturally in shirt-sleeves or in a jacket or greatcoat,
while pokers or yardsticks will suffice for oars.
The other characters are the lady, her knight, and
the father.
The poem begins thus :
A chieftain, to the Highlands bound,
Cries, " Boatman, do not tarry !
And I '11 give thee a silver pound
To row us o'er the ferry."
During the singing of this verse the chief and lady
enter. The chief shows the boatman a piece of
money. He is dressed in hat and tall feather, with a
plaid shawl arranged to represent the Highlander's
plaid, and is armed with a bread-knife or pistols;
he also carries a valise, bandbox, and umbrella. The
lady should be attired in a wide hat and waterproof
cloak, and should carry a bird-cage, a work-basket,
and a parasol.
Second verse :
" Now who be ye, would cross Lochgyle,
This dark and stormy water?"
" Oh, I 'm the chief of Ulva's isle,
And this Lord Ullin's daughter."
This is all in pantomime, of course. The boatman
calls attention to the stormy water, as the waves rise,
ACTING BALLADS 19
and strives with gestures to dissuade them from
crossing. Third verse :
" And fast before her father's men
Three days we ; ve fled together ;
For should he find us in the glen,
My blood would stain the heather."
Here the lady is terrified and shudders, looking
imploringly at the boatman. He goes on with much
action through the next :
" His horsemen hard behind us ride ;
Should they our steps discover,
Then who will cheer my bonny bride
When they have slain her lover?"
The boatman consents to receive them, and bustles
about as preparing the boat. The lady clings to her
lover and looks anxiously behind. Next verses :
Out spoke the hardy Highland wight :
"I '11 go, my chief ; I ; in ready.
It is not for your silver bright,
But for your winsome lady.
"And by my word ! the bonny bird
In danger shall not tarry ;
So, though the waves are raging white,
I '11 row you o'er the ferry."
They hurry their luggage into the boat; the lady
gets in ; the chief and the boatman remain standing,
and look back for the pursuers.
But now the storm increases; the gas should be
lowered, and the piano accompaniment should be a
20 ST. NICHOLAS PLAYS AND OPERETTAS
low, dull roll in the bass, with occasional nigh, wild
notes to represent the water-spirit.
By this the storm grew loud apace,
The water- wraith was shrieking ;
And in the scowl of heaven each face
Grew dark as they were speaking.
But still as wilder blew the wind,
And as the night grew drearer,
Adown the glen rode armed men
Their tramping sounded nearer.
A tramping should be made in the hall, gradually
approaching the terror of all in the boat increases.
" Oh, haste thee, haste ! " the lady cries,
"Though tempests round us gather;
I ; 11 meet the raging of the skies,
But not an angry father."
The boat has left a stormy land,
A stormy sea before her
When, oh ! too strong for human hand,
The tempest gathered o'er her.
The lady clings to her bird-cage; the chief puts
down his umbrella wide open, and feebly assists in
the rowing. The waves increase, and the tramping
approaches nearer.
And still they rode amidst the roar
Of waters fast prevailing.
Lord Ullin reached that fatal shore ;
His wrath was changed to wailing.
Here Lord Ullin rides in on a chair or cane, with
cloak and feathered hat. He is armed with a lance,
ACTING BALLADS 21
which can be improvised from a yardstick. Seeing
the fearful situation of things, the distracted parent
rides frantically up and down, imploring their return,
his steed curveting excitedly.
For, sore dismayed, through storm and shade,
His child he did discover ;
One lovely hand she stretched for aid,
And one was round her lover.
"Come back ! come back ! " he cried with grief,
"Across this stormy water;
And I '11 forgive your Highland chief,
My daughter ! O my daughter ! "
The gestures of the stern father must show how
intense is his anxiety. The boat reels. One by one
the things are thrown overboard bird-cage, valise,
umbrella, and work-basket. Even these sacrifices are
in vain. The boatman endeavors to turn the boat.
'T was vain the loud waves lashed the shore,
Return or aid preventing ;
The waters wild went o'er his child,
And he was left lamenting.
The entire boat and its contents toss and reel, until
they at last all topple over, and are supposed to be
submerged in the wild waters; the waves (shawls)
rise, and finally cover them from sight. The father
remains frantically riding to and fro, wringing his
hands, and enacting the most intense despair. At
last he rides off, while the others emerge from their
watery graves, and the curtain falls, let us hope, amid
"immense applause."
22 ST. NICHOLAS PLAYS AND OPERETTAS
Ingenuity is essential in converting to use mate-
rials that some would think of no avail, but which
others quickly adopt. Thus an open umbrella be-
comes an apple-tree with an apple stuck on each
point, a shovel and poker make a fair violin, while a
muff-box or a saucepan does duty as a military hat.
This is much better fun than to have the real things.
What is more amusing than the play in " Midsummer
Night's Dream," where a lantern represents moon-
shine, and somebody takes the part of a wall, holding
up his fingers to make a cranny for the lovers to
whisper through !
Both for winter and summer evenings ballad-acting
can be made an available entertainment. Even in the
woods at a picnic, one could be easily arranged, the
bushes serving as screen and green-room for the char-
acters, and the stage appointments being furnished
out of the lunch-baskets and the wearing-apparel of
the audience.
THE HOUSE OF SANTA GLAUS
A CHRISTMAS FAIKY SHOW
BY EDWARD EGGLESTON
ARRANGEMENT OF THE STAGE
The stage, shown in the diagram, is about fifteen feet deep by
twenty in width in its main portions. It may vary considerably
from these dimensions, according to the size of the hall or Sun-
day-school room. The room in this diagram is supposed to be
forty feet wide. The stage should not be less than twelve feet
in depth nor loss than fifteen in width. The portions of the
Front of Stage.
PLAN OF THE STAGE.
stage represented at B and /may be on the same level of the
main platform, or B may be higher or lower, and /an incline.
The beauty of the stage is greatly enhanced by surrounding it
with a fence of pop-corn. The upright posts should be bits of
lath eighteen inches high, the lower end nailed to the edge of
the platform, and the whole wrapped with strings of pop-corn.
Then draw two strands of the corn from post to post, to repre-
sent the horizontal rails. At * there should be a gate with a
23
24 ST. NICHOLAS PLAYS AND OPERETTAS
pointed arch over the top. This should also be of lath, wrapped
with pop-corn. There should be three strands in the gate and
a diagonal brace. The pop-corn fence is not essential, but it is
a great addition to the beauty of the scene, giving the stage a
weird and fairy-like appearance, and contrasting finely with the
dark green behind. At x, x, two small Christmas trees may be
planted.
The house A is nine feet in length and six in depth. It
should be about six feet high at the eaves. The frame is of
THE GATE.
studding, and it is first covered with lath nailed six inches or
more apart. Cedar boughs are then so interwoven as to entirely
cover it. The roof is thatched in the same way. At e there is
a chimney made by knocking out both ends of a packing-box
such as is used for shoes. The box is kalsomined or painted to
look like stone ; cleats are nailed around this chimney near the
top, to imitate ornamental stonework. The box is securely
nailed to the timbers of the house, and there is a ladder inside
the house, so arranged that the lad who represents Santa Glaus
can put his head and shoulders out at the top. At b there is a
THE HOUSE OF SANTA GLAUS 25
doorway two feet wide, in which is a door on hinges. Make it
an open frame covered with pink tissue-paper. The window c,
is two feet square and made like the door, but intersected with
strings of pop-corn for sashes. Over the doorway b is a trans-
parency like a transom. It reads " Santa Claus," arid is lighted
by a lantern behind. The house should be provided with a
door-bell. Every precaution must be taken against fire. The
house should stand about two feet from the wall, and the back
may be left open.
At a, a, two pumpkin faces illuminated are suspended or put
upon any support that may be found convenient.
At B there should be either a miniature tent or a dense arbor
of evergreens. If the tent is used, a Chinese lantern may be
suspended on the top outside.
CHARACTERS, COSTUMES, ETC.
SANTA GLAUS should be a boy of fourteen or sixteen years of
age, -with good acting qualities, especially a sense of drollery.
He should have any appropriate costume, wig, mask, etc. He
carries a snuff-box and a red or yellow handkerchief. He is
also provided with a whistle.
The DWARFS are boys of ten or twelve years of age. They
wear masks and a red tunic of paper-muslin, stuffed, to give
them a hunchback appearance. They carry staffs, little tin
trumpets, stoop as they walk, and speak in a squeaky fal-
setto. Their stations are just inside the house, at h, li. They
appear from behind the house in every case except the very
last.
The FAIRY QUEEN should be a little girl of from six to nine
years of age, dressed in gauze, with wings of the same material.
Stripes or stars, or spangles of gold paper, add to the effect of
her dress. She wears a coronet and carries a wand.
The COMMITTEE should consist of three girls in ordinary dress.
They are represented by X., Y. ; and Z. in the following dialogue,
but their real names should be used instead of the letters. Z
should be a rather small girl.
26 ST. NICHOLAS PLAYS AND OPERETTAS
PRELIMINARY ARRANGEMENTS
The superintendent or pastor conducts the introductory exer-
cises from some point in front of the stage. No one must be
seen on the stage until the dialogue begins.
At the time of beginning, the house A conceals Santa Claus
and his two dwarfs, and a grown person who has charge of the
lights and who acts as prompter. There is no light on the stage
except that in the transparency over the door, and that in the
pumpkin faces. There are a large number of tapers or lamps
inside the house, carefully arranged to avoid the danger of fire.
These are not lighted until the signal is given in the dialogue.
The fairy queen is concealed in her bower at B, with some one
who has charge of her, and an automatic music-box, that stands
upon the floor of the platform, wound up and ready to be started
at the proper time. The committee of girls sit in the audience,
and not together.
After appropriate introductory exercises, a teacher rises in his
place and speaks in substance as follows :
TEACHER. Mr. Superintendent, I see some very
pleasant decorations here, but no presents or refresh-
ments for the scholars. I move that a committee of
three be appointed to go up to Fairyland and inquire
of Santa Claus. I would like to know why this Sun-
day-school has been left out.
ANOTHER TEACHER. I second that motion.
[Superintendent puts this question to vote, and
declares it carried, in due form.
SUPERINTENDENT. I would appoint let me see-
girls are better at coaxing than boys, I think I will
appoint X., Y., and Z. [catting the girls by their real
names], who will please come forward.
[X., Y., and Z. rise from their places in their
several classes, and come forward to the
superintendent.
THE HOUSE OF SANTA GLAUS 27
SUPERINTENDENT. Girls, you see we are without
any candy or anything of the sort for our scholars.
Old Santa Glaus has forgotten us. He never did so
before. Now I want you three to proceed to Fairy-
land and see if you can find him. Tell him we must
have something. Don't come down without some-
thing. We can't have all these children disappointed.
[The committee proceed by the steps to the
stage. They stop to examine the first pump-
kin face.
Z. What a strange face ! Wonder who it is !
Y. One of Santa's tricks, I suppose.
X. They do say that he 's full of fun. But this
must be his house. Let 's find the door. [All proceed
to the front] Here it is.
Y. Is n't it cute ? I 'd like to live here.
Z. And play dolly-house?
X. Here 's a door-bell. Santa Claus has all the
latest improvements, I declare.
Y. Ring it.
Z. No, don't; I 'm afraid.
X. Pshaw! Santa never hurts anybody. Don't
you see his name over the door? [Rings. After a
pause.] I wonder he don't answer. Maybe he is n't
at home.
Y, Gone sleigh-riding, as sure as I live !
Z. I guess he 's gone to bed. Maybe his mama
would n't let him sit up late.
X. Let 's look around, and see what we can find.
You two go around that side, and I '11 go around this.
See if you can't find him in behind the face that 's
hanging up there.
28 ST. NICHOLAS PLAYS AND OPERETTAS
[X. goes to the left, around the house, while Y.
and Z. go around to the right. They proceed
timidly to the back of the house, out of sight
of the audience, whereupon the dwarfs blow
sharp blasts upon their horns, and the girls
all rush back to the front of the house.
X. I 'm so scared !
Y. AND Z. Oh, dear ! I 'm so scared !
X. What could it be ? Guess old Santa Claus made
that noise just for fun. I wish the superintendent
had come himself, or sent some of the boys !
Y. I '11 bet the boys would run from that noise.
Don't you ?
X. Yes. Boys never are as brave as girls, anyhow.
But let 's go back again, and see what there is there.
Z. I 7 m afraid.
X. Well, you stay here, and Y. will go that way,
and I will go this way.
[X. again goes to the right, Y. to the left. They
proceed more timidly than before to the rear
of the house, disappearing behind it. The
dwarfs blow their horns, the girls reappear,
crying out in alarm, and the dwarfs run out
after them. The girls hurry back to the front
of the house, followed by the dwarfs one
coming round one end of the house, the other
round the other. They speak in high, squeaky
tones.
FIRST DWARF. What do you want ?
SECOND DWARF. What are you doing here ?
X. We want Santa Claus. But we did not know
there were two Santa Clauses.
[The dwarfs laugh long and loud.
THE HOUSE OF SANTA GLAUS 29
FIRST DWARF. We are not Santa Clauses. We are
the dwarfs that take care of Santa Claus's store-rooms,
full of goodies aud presents.
SECOND DWARF. But there 7 s nothing left to take
care of now. Santa 7 s given away all he had this
Christmas.
X. But we must see old Santa. Our Sunday-school
has been left without anything, and we want to see
good old Claus himself.
FIRST DWARF. But you can't. He >s asleep.
SECOND DWARF. He was out all night last night,
and now he ; s tired to death and sleeping like a top.
Thunder would n't wake him.
X. But we must see him.
Y. AND Z. Yes, we must.
SECOND DWARF. If you 'd been riding over roofs
all night
FIRST DWARF. And climbing down chimneys
SECOND DWARF. And filling stockings
FIRST DWARF. And Christmas trees
SECOND DWARF. And climbing up chimneys again
FIRST DWARF. And getting your hands and face all
over soot
SECOND DWARF. And driving reindeer they do
pull-
BOTH DWARFS. I guess you 'd be sleepy too.
X. But we must have something for the children.
Y. AND Z. We must have something.
FIRST DWARF. There is n't a thing left.
SECOND DWARF. Not a thing.
X. What will the superintendent say ?
Y. What will the children say ?
30 ST. NICHOLAS PLAYS AND OPERETTAS
Z. What will the infant class say?
X. And what will the deacons say ?
Y. AND Z. Yes, what will the deacons say ?
BOTH DWARFS. Deacons ! Oh, my ! Ha, ha !
[The dwarfs now give a blast apiece, and retreat
into their hiding-places.
X. Well, 1 'm going to wake up old Santa Claus.
Y. Maybe he '11 be cross.
X. But we must have something. \Rings.] I won-
der he does n't answer.
Z. Ring louder.
X. Well, here goes. [Rings three or four times.]
[Santa Claus, appearing at the top of the chim-
ney, blows his whistle.
X., Y., AND Z. Oh, dear !
SANTA CLAUS. Who 's there ? Who rang my bell,
I 'd like to know ? Pity if I can't sleep Christmas
night, when I 'm tired to death. Who 's there, I
say f
X. Oh, you dear old Santa Claus ! Don't be angry.
Some of your little friends have come to Fairyland to
see you. Come down.
SANTA CLAUS. Ha, ha, ha! Some of my little
friends come to see me ! Well, well ! [Bloivs his
whistle. } Light up the house, fairies, light up the
house. [Whistles again, and then descends the chimney
and reappears at the front door. The house is lighted
within.] How do you do, girls? How do you do?
[Shakes hands all round, and then, with great deliberation,
takes a pinch of snuff.} Well, I 'm glad to see you.
What can I do for you ?
THE HOUSE OF SANTA CLAUS 31
X. Why, you see, Santa Claus, our Sunday-school
is left without anything this Christmas.
SANTA CLAUS. [Sneezes and uses his bandana.]
What ? You don't tell me so ! What 's the name of
your school?
X. The Sunday-school.
SANTA CLAUS. Oh, yes ! And your superintendent
is Mr. ? I know him like a book. I 've filled
his stockings many a time when he was a little fellow.
I don't know how I came to miss that school. But
you see I 'm getting old and forgetful.
Y. How old are you, Santa ?
SANTA CLAUS. Oh, now ! Do you think I 'd tell you
that?
Z. You must be as old as the Centennial.
SANTA CLAUS. Pshaw ! I used to fill George Wash-
ington's stockings when he was a little boy.
Y. No ! Now, did you ?
SANTA CLAUS. Of course I did.
Y. What did you put in them ?
SANTA CLAUS. What did I put in little Georgie
Washington's stockings? Well, now, that 's more
than a hundred years ago, and an old mail's memory
is n't strong. I can't remember but one thing,
X. What's that?
SANTA CLAUS. A hatchet.
Y. Oh, my!
Z. That same little hatchet?
SANTA CLAUS. The very same little hatchet.
[Laughs.] But I did not give him the cherry-tree.
X. Yes; but we must have something for our
school, good Santa Claus.
32 ST. NICHOLAS PLAYS AND OPERETTAS
SANTA GLAUS. But you can't. 1 7 ve given away all
I had, and turned the reindeer out on the mountains
to pasture, and the times are so hard that I can't afford
to hire a livery team.
X. Yes ; but we must have something.
Y. Yes ; we must, dear old Santa.
Z. Yes, indeed.
SANTA GLAUS. [Takes snuff and sneezes.] Well, what
is to be done ? How many scholars have you got this
year?
X. About .
SANTA GLAUS. So many! Why, you must be
growing. I hope you have n't any Christmas bummers
among them folks that come to Sunday-school to get
something to eat. I hate that kind.
Y. I don't think we have many of that sort.
SANTA GLAUS. Well, I always did like that school,
and now I 've gone and forgotten it ! I wish some-
thing could be done. [Blows Ms whistle long and loud,
and shouts.] Dwarfs, here ! Drako, where are you ?
Krako, come! Wake up! [Whistles again.]
[Enter dwarfs, each blowing his horn.
SANTA GLAUS. Now, my little rascals, what have
you got for the Sunday-school?
BOTH DWARFS. [Bowing very low.] Nothing, my lord.
SANTA GLAUS. [Takes snuff and sneezes.] I don't see
that I can do anything for you.
X. But we cannot go back without something.
The, children will cry.
SANTA GLAUS. Dwarfs, go and look again.
[They go back behind the house as be-
fore. After a time they reappear.
THE HOUSE OF SANTA CLAUS 33
FIRST DWARF. We cannot find a thing.
SECOND DWARF. Not one thing.
SANTA CLAUS. [Takes snuff.] Well, my little friends,
this is very embarrassing very but I have n't a
thing left.
X. But we can't go back. What will the superin-
tendent say ? We must have something.
Y. Something or other.
Z. Yes, something.
SANTA CLAUS. I '11 go and see myself. [Exit into
house. After a considerable delay reenters.] Yes, I find
a box of candy, nuts, and pop-corn in the closet.
X., Y., AND Z. Candy, nuts, and pop-corn ! Good !
SANTA CLAUS. What have you got to put the things
in?
X. Why, we have n't got anything.
SANTA CLAUS. Well, then, the children will have to
take off their stockings and let me fill them.
X., Y., AND Z. Oh, Santa Claus ! we could n't, such
a cold night as this.
SANTA CLAUS. [Takes snuff, looks perplexed, ivalks
about the stage.] Well, I don't know what to do.
X. Oh, dear!
Y. Oh, dear !
Z. Oh, dear ! dear ! lear !
SANTA CLAUS. [Starting up.] Now I have it.
X. Have what?
SANTA CLAUS. An idea.
Z. An idea ? [Addressing X.] What 7 s an idea ?
Can you put candy into an idea ?
X. Be still, Z. Let 's hear what Santa Claus's idea
may be.
s
34 ST. NICHOLAS PLAYS AND OPERETTAS
SANTA GLAUS. I know who will help me out of this
trouble. There 's my friend the Fairy Queen.
X. The Fairy Queen !
Y. Oh, my !
Z. Goody ! goody ! goody !
[Santa Glaus blows three blasts on his whistle
and listens. The music-box in the fairy
bower begins to play.
SANTA GLAUS. Listen ! She 's coming !
X. Fairy music !
Y. ANDZ. Sh-h!
[The fairy comes down from B, skipping and
reciting or singing :
In the secret rocky dell,
There the fairies love to dwell ;
Where the stars on dewdrops glance,
There the fairies love to dance.
BOTH DWARFS. [Bowing to Santa Glaus.] The Fairy
Queen, my lord !
SANTA GLAUS. [Bowing.] Hail, Queen of the Fairies !
X., Y., AND Z. [Bowing.] Hail, Queen of the Fairies !
FAIRY QUEEN. [Bowing.] Hail, Santa Glaus ! Hail,
little friends !
Oh, stocking-filler Santa Glaus,
I heard you whistle what 's the cause?
You rough and shaggy children's friend,
Why did you for a fairy send J ?
SANTA GLAUS. [Talcing snuff. \ Why, you sea, here 's
a Sunday-school forgotten, - - hundred children !
I want to give them something. But they have n't
got anything to put it in.
THE HOUSE OF SANTA CLAUS 35
FAIRY QUEEN.
How would fairy stockings do ?
White or black or pink or blue ?
X. Fairy stockings !
Y. Oh, my !
Z. Goody ! goody ! goody !
FAIRY QUEEN. [ Waving her hand toward B.]
Whatever Santa Glaus shall say,
That let Fairyland obey.
SANTA GLAUS. [Entering the house and Mowing hi*
whistle.] Fill up the stockings, fairies; fill up the
stockings.
[The dwarfs enter, this time by the front door,
and return, carrying between them a basket
full of little pink tarlatan stockings filled
with candy, nuts, etc., which are then dis-
tributed to the children.
MOTHER GOOSE OPERETTA
(In Three Scenes, Founded upon the Story of "Bobby Shaftoe")
BY G. B. BARTLETT
CHARACTERS AND COSTUMES
Five or more pairs of boys and girls as peasants with bright
skirts, laced bodices, high-crowned muslin caps, or any pic-
turesque costumes for the girls ; knee-breeches with broad sus-
penders, and white shirts (no coats), straw hats with bright
ribbons, for the boys.
HERBERT has a suit of same style as the other peasants, over
which he has a short coat trimmed with yellow braid.
BOBBY SHAFTOE also has a coat, much plainer than Herbert's ;
he has light curly hair, and wears large tin or silver-paper
buckles at his knees. In Scene III he wears a sailor's suit.
MARIE, blue skirt, pink bodice, high cap with many ribbons.
All except Herbert carry covered baskets, which (if in sea-
son) can have vines of clematis hanging from them and falling
over the shoulders of the peasants, many of whom carry them
on their heads. One table, three chairs, and one spinning-
wheel will be needed. If the actors cannot sing, the singing
may be performed by concealed persons.
SCENE I
The peasants are heard singing outside; the chorus grows
loud slowly, and they enter, march twice around, and form in a
semicircle, and sing to the tune of "Dearest May."
It is the pleasant twilight, the sun is setting
slow,
36
MOTHER GOOSE OPERETTA 37
As homeward from our daily task with merry
step we go.
It is the close of day ;
With hearts so light and gay,
In merry row, we homeward go,
To rest at close of day.
[After singing, they slowly march out, and the
music gradually dies away.
*
Bobby and Marie, who have remained as if in earnest con-
versation, come forward and sing, to the tune of " Lightly Row,"
" Yankee Doodle," or any other that may be suited to the words.
BOBBY. Dearest, will you marry me ?
For you know how I love thee !
Tell me, darling, will you be
The wife of Bobby Shaftoe?
MARIE. Robert, pray don't make me say
What I 've told you twice to-day ;
Let us true friends always stay
No more, Bobby Shaftoe !
BOBBY. If you will not marry me,
I will go away to sea,
And you nevermore shall be
Aught to Bobby Shaftoe !
MARIE. Dear Bobby, you will never go,
For you 've often told me so !
You will not go far, I know !
Good-by, Bobby Shaftoe !
[Bobby runs away as if in anger. Marie looks
after him, smiling, as if expecting him back,
grows anxious, follows the way he went a few
38 ST. NICHOLAS PLAYS AND OPERETTAS
steps, then turns and sadly goes in the op-
posite direction. Herbert enters from the
direction in which Bobby ran, and follows
Marie, as if he had been listening to the
conversation.
SCENE II
Marie enters very sadly, goes to the table at left, takes up
knitting-work, throws it down impatiently, draws spinning-
wheel to the right of the room, and begins to spin and sing.
Toil is sweet when hearts are light,
Sunshine follows darkest night ;
Always when the heart is right,
Trouble will not linger.
Peasant girl enters in great haste, and sings.
Marie, have you heard the news ?
Our dear friend has had the blues,
And has sailed upon a cruise
Our dear Bobby Shaftoe !
Marie rises in confusion, upsets the wheel, and sings.
Bobby Shaftoe gone to sea !
And no message left for me?
Oh, it cannot, cannot be !
Dearest Bobby Shaftoe !
She cries, leaning her head on the shoulder of her friend, and
the two girls sing in duet.
Bobby Shaftoe 's gone to sea,
Silver buckles on his knee ;
But he '11 come back again to I '
< me,
Pretty Bobby Shaftoe !
MOTHER GOOSE OPERETTA 39
SCENE III
Three years are supposed to have passed. Marie sits very
sadly at work. Herbert enters and leans over her chair. Her-
bert sings.
Marie, why so cold to me ?
I was ever true to thee.
Bobby Shaf toe 's lost at sea ;
Give up Bobby Shaf toe !
MARIE. No, he is not lost at sea !
Fate cannot so cruel be
As to tear away from me
My own Bobby Shaf toe !
HERBERT. Pray, consent my wife to be !
For I know he 7 s lost at sea,
And you '11 never, never be
Wife of Bobby Shaf toe !
Marie kneels down, resting her head on the chair, as if in
tears, and sings very sadly.
If he 7 s dead or lost at sea,
I can never care for thee ;
Live or dead, I '11 faithful be,
And true to Bobby Shaftoe !
Bobby comes rushing in, dressed as a sailor. Marie runs
toward him in rapture.
BOBBY. Darling, 1 7 ve come back from sea ;
1 7 ve come back to marry thee,
For I know you 're true to me
True to Bobby Shaftoe !
40 ST. NICHOLAS PLAYS AND OPERETTAS
MARIE. Yes, I always cared for thee !
And now you have come from sea,
We shall always happy be,
Dearest Bobby Shaf toe !
Peasants enter and shake hands with Bobby, then form a ring
around him and Marie, and, after dancing, sing to the tune of
"Dearest May."
We welcome home our comrade, who wandered far
away,
To love and peace and rapture upon this happy day !
Oh, happy day ! with hearts so light and gay,
We joyous sing in merry ring,
Oh, happy, happy day !
NOTE. In the dialogue, the first singer sings one half of the
air, and the other concludes it.
THE LAND OF NOD
(An Operetta for Young Folks, Portraying the Visit of Six Little
Sleepy-heads to the King of the Land of Nod, and the Wonders
Tlicy Saw at his Court.)
BY E. S. BROOKS
CHARACTERS
THE KING OF THE LAND OF NOD.
THE SAND MAN
. Cabinet Ministers.
JACK o' DREAMS >
THE DREAM SPRITES.
THE DREAM GOBLIN.
THE Six LITTLE SLEEPY-HEADS.
THE DREAM PRINCE. THE GOBLIN CAN-AND-MUST.
MY LADY FORTUNE. THE QUEEN OF THE DOLLIES.
OLD MOTHER GOOSE. THE DREAM PRINCESS.
THE ROYAL PAGES.
His MAJESTY'S STANDARD-BEARER.
COSTUMES AND MOUNTING
The stage mounting and the costumes must depend entirely
upon the taste and facilities of the managers. The more care
bestowed upon the preparation of the costumes and the dressing
of the stage, the more effective will be the presentation. If no
curtain is used, the scene should be set to represent a throne-
room, with a tastefully draped throne at the rear center of
stage. The only other properties really necessary are a wheel-
41
42 ST. NICHOLAS PLAYS AND OPERETTAS
barrow; a hand- wagon; six couches either small mattresses or
inclined frames (of this style), over which bright-colored afghans
may be thrown. Soap-boxes,
cut to this shape and with
sacking tacked across, would
do for these couches. Strings of artificial flowers for Dream
Sprites, say thirty to forty inches long, and a banner of crim-
son and gold (or some equally striking combination), bearing
conspicuously a big poppy, and the words, " ' To bed ! To
bed!' says Sleepy-head."
The costumes, as far as possible, should be based on the
following :
THE KING. Velvet (or imitation) tunic of cardinal color-
trimmed with black and gold ; trunks or knee-breeches ; long
cardinal stockings ; shoes with gold buckles ; long velvet (or
imitation) robe and train-cloak of royal purple, trimmed with
ermine ; gold crown, encircled with poppy wreath ; long white
beard ; scepter and crown jewels.
THE SAND MAN. Common working suit of a house-painter
(overalls, shirt-sleeves, etc.), painter's white or striped apron,
and a sand-sprinkler or flour-dredger.
JACK o' DREAMS. Regular costume of a court jester, party-
colored, with cap and bells, jester's rattle and bells.
THE DREAM SPRITES (not less than six, and more, if possible
all little girls). Pretty white dresses, gauze wings, chains
of artificial flowers as above.
THE DREAM GOBLIN. Red goblin suit tight-fitting suit with
wings, red skullcap with short horns.
THE Six LITTLE SLEEPY-HEADS. Three little boys and three
little girls (the younger the better), with long white night-
gowns over their clothes, the girls with nightcaps.
THE DREAM PRINCE. Fancy court suit.
MY LADY FORTUNE. Classic Grecian female costume; gold
fillet in hair. Wheel, about twelve inches in diameter, from
an old bicycle, made to revolve, spokes and spaces between
them covered with cardboard and papered in different colors.
THE LAND OF NOD 43
OLD MOTHER GOOSE. Short red petticoat, red stockings, slip-
pers with silver buckles, brown or fancy overskirt and waist,
high bell-crowned hat, red or purple cape, large spectacles, and
broom.
THE GOBLIN CAN-AND-MUST. Dull-brown, tight-fitting suit,
brown skullcap and short horns, heavy chains on hands.
THE QUEEN OF THE DOLLIES. Any pretty, fancy costume,
gold crown, wand ; she should have two or three prettily dressed
dolls.
THE DREAM PRINCESS. Fancy court dress.
THE ROYAL PAGES. Two or four small boys in fancy court
suits.
THE STANDARD-BEARER. Fancifully designed semi-military
suit.
The costumes may most of them be made of silesia, which
has the effect of silk. The following ages are suggested for
children taking part in the representation. KING : stout, well-
voiced boy of about sixteen. JACK o' DREAMS, SAND MAN:
boys of twelve or fourteen. GOBLIN CAN-AND-MUST : boy of
thirteen. THE DREAM PRINCE : boy of eleven or twelve.
DREAM GOBLIN : boy of twelve or thirteen. PAGES : boys of six.
STANDARD-BEARER : boy of eight or ten. DREAM SPRITES : girls
of ten or twelve. DREAM PRINCESS, MY LADY FORTUNE,
MOTHER GOOSE : girls of ten or twelve. QUEEN OF THE DOL-
LIES : girl of eight. LITTLE SLEEPY-HEADS : children of from
four to six.
Appropriate music should be played between parts, or when-
ever a pause occurs in which music would add to the effect.
Any part for which a good singer cannot be had may be spoken
instead of sung. Should all the parts be spoken, instrumental
music only would be required, and this could be performed be-
hind the scenes.
THE OPERETTA
Enter in procession the King, preceded by Standard-bearer,
and followed by the Pages. Music" Fatinitza March," or any
other preferred. King stands on the platform on which the
44
ST. NICHOLAS PLAYS AND OPERETTAS
throne is raised, and faces the audience. The Standard-bearer
steps back to one side, and the Pages stand on either side at
the foot of the throne. All salute the King.
Music by W. F. SHBEWIN.
A la Militaire.
KINO.
m
1. I'm the jol - ly old King of the Realm of Dreams, The
2. My crown is a gar - land of pop - pies bright, That
3. Come hith - er, my bench - men, bold and true, Proud
THE LAND OF NOD
45
Espretsivo.
sweet, sleep - y Land of Nod;
grow in the Land of Nod;
knights of the Land of Nod; '....
And I
For wher -
fol - low the sun - king's van - ish - ing beams, And
drive round the world the black hors - es of night, Or
ev - er I go, and what -ev - er I do, My
fly when his morn - ing glo - ry streams, For
sometimes a night-mare the dreamers to fright, As I
roy - al old head must be guid - ed by you; Now,...
1 Enter right and left the Sand Man and Jack o' Dreams,
who make each a low obeisance to his Majesty.
46
ST. NICHOLAS PLAYS AND OPERETTAS
I am the drow - sy god Yes,
ride to the Land of Nod, The
is n't that aw - fully odd ? Yes,
I am the drow - sy
dear, dreamy Land of
cu - ri - ous, funny and
god! But I'm King of the Night in my
Nod; And I wel - come the children, all
odd? For what -ev - er I do, I de
Gas - tie
sleep - y
pend up
of Dreams; The King of the Land of Nod!
and white, As they come to the Land of Nod.
on you, Tho' I'm King of the Land of Nod.
' ' ^ _
( Use last four measures of introduction as an interlude.)
THE LAND OF NOD 47
SAND MAN. [Bowing to the King.]
I I am the Sand Man bold !
And 1 7 m busy as busy can be,
For I work when it 's hot,
And I work when it 7 s cold,
As I scatter my sand so free.
Close to the eyes of the children dear
I creep and I creep ; I peer and I peer j
I peer as with barrow I plod.
Then I scatter, I scatter the sand so free,
Till the children are s-1-e-e-p-y as s-1-e-e-p-y can be ;
And oif we trot the children with me
To the King of the Land of Nod.
I I am the Sand Man bold !
I come when the night-shades fall j
Then up to the children my barrow I roll,
And the sand fills the eyes of 7 em all.
[Bepeat last seven lines of first stanza.
KING.
Scatter and plod, Sand Man odd ;
You 're a trusty old knight of our Land of Nod.
JACK o' DREAMS. [Bomng low to the King.}
I >m the sprightly young, lightly young Jack o ;
Dreams,
And I caper the livelong night,
While my jingling bells, with their tingling swells,
Are the dear sleepy children's delight.
For I jingle them here, into each pearly ear,
And I jingle them there again j
48 ST. NICHOLAS PLAYS AND OPERETTAS
And the dreams come and go, and the dreams fall
and flow,
As I jingle my bells again.
And I dart, and I whirl, o'er their brains toss and
twirl,
As I scatter the fancies odd ;
I >m the child of the night, 1 'm the jolly young
sprite
Of the King of the Land of Nod.
KING.
Well spoken, my henchmen bold and true,
Proud knights of the Land of Nod ;
But tell to me, Sand Man, what do you
Bring now to the Land of Nod f
Just sample the stock of your latest flock
For the King of the Land of Nod.
SAND MAN.
O sire ! I bring to the Realm of Dreams
The sleepiest set of boys
That ever the sun-king's vanishing beams
Cut off from their daylight joys
The sleepiest, drowsiest, laziest set
In all my travels I ? ve met with yet ;
And I 've picked out three as a sample, you see,
A sample most funny and odd,
To show you the stock that comprises the flock
Of the King of the Land of Nod.
KING.
Ho ! fix the couches, Jack o' Dreams,
And you, O Sand Man odd,
THE LAND OF NOD 40
Roll in the boyswithout their noise
For the King of the Land of Nod.
[Low music. 1 Jack o' Dreams arranges and
smooths down the couches, and the Sand
Man returns, bringing in his wheelbarrow
three little boys in their nightgowns, fast
asleep. He and Jack o' Dreams lift them
out gently and place them on their couches.
King rises to receive guests.
KING. [Joyfullij.]
Now nid, nid, nod, my bonny boys.
O Sand Man, it is plain
The stock you bring before your king
Your fealty proves again.
Sleep right, sleep tight, with fancies bright,
On Dreamland's pleasant sod ;
The night 's begun, we '11 have some fun,
Says the King of the Land of Nod.
And what, O Jack o 7 Dreams, do you
Bring here to the Land of Nod ?
Come ! let us know what you have to show
To the King of the Land of Nod.
JACK o' DREAMS.
Great King ! I bring the sweetest things
That ever you looked upon,
With bangs and curls, and frills and furls
The rosiest, posiest little girls
That ever romped or run ;
1 Gottschalk's "Cradle Song" (simplified edition); Heller's
"Slumber Song" ; " Swing Song," by Fontaine ; " Good-night,"
by Loeschhorn ; Lange's " Blumenlied " ; "Nursery Tale," by
Fradel, or other selection. Or a lady may sing "Birds in the
Night," by Sullivan.
50 ST. NICHOLAS PLAYS AND OPERETTAS
The tightest, brightest, sauciest lot
That ever in dreams I plagued.
I could n't pick better for you no, not
If you begged, and begged, and begged.
And of these there are three that I wish you to see-
Three sleepers so charming and odd
If Your Majesty please, shall I bring in these
For the King of the Land of Nod ?
KING.
Ay ! bring them in, young Jack o' Dreams,
And you, old Sand Man odd,
Fix the couches all for the ladies who call
On the King of the Land of Nod.
[Low music, 1 while Jack o' Dreams draws in a
little wagon in which are three very little
girls, in their nightgowns, fast asleep. He
and the Sand Man lift them carefully out
and lay them on the couches. King, in rap-
ture, bends over each little girl in succession.
KING.
Oh, my pink ! Oh, my pet !
You 7 re the prettiest yet !
Brave Jack o' Dreams so true,
7 T is very plain that never again
A fairer lot we '11 view.
Sleep soft, sleep well, O girlies fair,
On Dreamland's pleasant sod,
While the Dream Sprites start in each young heart
For the King of the Land of Nod.
[Stands by the throne and waves his scepter.
1 See foot-note on page 49.
THE LAND OF NOD 61
Cling, cling, by my scepter's swing,
By the wag of my beard so odd j
Dream Sprites small, I summon you all
To the King of the Land of Nod !
Enter the Dream Sprites, each with a chain of flowers. They
glide in and out among the little sleepers.
DREAM SPRITES. [In concert.}
We weave, we weave our fairy chain
Roun^l each young heart, in each young brain,
Our dream-spell chain so sweet.
Bright Dream Sprites we, so gay and free ;
We come with tripping feet, with merrily
tripping feet,
To dance on Dreamland's sod,
While we weave, we weave our fairy chain
Round each young heart, in each young brain,
That beats and throbs in the sleepy train
Of the King of the Land of Nod.
Enter the Dream Goblin on tiptoe, with finger raised.
DREAM GOBLIN.
But if some children eat too much,
Or on their backs recline,
I jump and bump on all of such,
Until they groan and whine.
'T is not my fault, you '11 all agree
I 'm naught but a goblin, as you see,
And I dance on Dreamland's sod.
But if children will stuff, why that 's enough j
I know what to do, for I 'm " up to snuff,"
For the King of the Land of Nod.
52
ST. NICHOLAS PLAYS AND OPERETTAS
KING.
Now weave your chains, ye Dream Sprites fair,
And call the Dreams from the misty air.
Stand back, O Goblin odd !
Old Sand Man, scatter your sand apace
O 7 er each drooping eye, on each little face j
And Jack o' Dreams, jingle your merry bells
Till the tinkling tangle falls and swells,
While trooping from Dreamland's pleasant lanes
Come the Dreams through the ring of rosy chains,
Come the Dreams so rare through the misty air,
To the King of the Land of Nod.
DREAM SPRITES' WEAVING SONG
Music composed by ANTHONY REIFF.l
Andante.
Copyright, 1880, by Anthony Reiff.
THE LAND OV NOD
53
fe$==t-
air;
Come, come, come,
Come to these chil - dren fair.
Come to these chil-dren fair. Soft and low,
pp
54 ST. NICHOLAS PLAYS AND OPERETTAS
Soft and low, Sing to each list-'ning ear,
Sing to each list'ning ear; Fall and flow,
Dreams of the air, ap - pear! Here ap - pear,
THE LAND OF NOD 55
Da Capo dal Segno al Fine.
Here ap-pear, Dreams of the air, ap-pear!
KING.
Here, here, children dear !
Now, by my scepter's swing,
I hold you all in my mystic thrall,
Fast bound in my fairy ring j
Eyes bright closed tight, rest ye on Dreamland's sod.
As your slumbers you keep, speak the language of
sleep
To the King of the Land of Nod.
Sfx* LITTLE SLEEPY-HEADS. [Sitting up in bed, facing
the audience, and nodding their heads sleepily.]
We are k Little Sleepy-heads just from the earth,
To visit the Land of Nod.
Our lessons are over, and so is our fun ;
And after our romp, and after our run,
Right up to our beds we plod j
And when mama is kissed, and prayers are said,
Why we drowsily, dreamily tumble in bed,
And are off to the Land of Nod.
[Fall sleepily on their couches again.
56 ST. NICHOLAS PLAYS AND OPERETTAS
KING.
Now raise the call, my subjects all,
As ye gather on Dreamland's sod.
Bid the Dreams appear to the children here
And the King of the Land of Nod.
INCANTATION CHORUS [All sing]
Music by ANTHONY EEIFPJ
is _ . s
Mer-ri- ly, mer-ri - ly here we sing, Cheer-i - ly, cheer-i - ly
1
-jg p- ^ ~!*T
Copyright, 1880, by Anthony Reiff.
THE LAND OF NOD
67
let it ring, Ring, ring thro' the mist - y air;
3^S^5 ~r I ""' " ' ^*^^ .. ^ _
Sprightly, 0! lightly, 0! Come at our call; Hith-er come,
hith - er come, Hith-er come, one and all! Hith-er come,
d-ts cr :
hith - er come, Come to these chil-dren fair.
58 ST. NICHOLAS PLAYS AND OPERETTAS
SECOND CHORUS.
4s
Glid - ing, slid - ing, full of joy
hast - en, girl and boy. A-sleep, a - sleep on
Dream-land's sod, Quickly, oh, quickly we bid you come.
&
Drow - si - ly, drow - si - ly, Crooning with buzz and hum,
p
-*f- ^ =M
THE LAND OF NOD
59
tJ -- -* ' ' "*' '* * *- -*-
To the King of the Land of Nod, The King of the Land of
Says the King of the La_nd of Nod. Buzz-buzz,
EfEElfeEfeE
f
23E5==f
Buzz - buzz, Says the King of the Land of Nod.
60 ST. NICHOLAS PLAYS AND OPERETTAS
[As the buzz-buzz chorus is repeated, with nod-
ding motion and music accompaniment, the
Six Dreams silently enter and stand behind
the little sleepers.
THE DREAM PRINCE. [Steps in front of first little girl ]
I 'm the gallant Prince of the Fairy Isles
That float in the mists of story,
1 7 m the glittering Prince of the Realm of Smiles,
And I tread the paths of glory.
I call the bright flush to each eager cheek,
As my deeds are read with rapture,
And the dangers I face and the words I speak
Are certain all hearts to capture.
Oh, I Ve danced in the brains of countless girls,
As they Ve read with joy the story
Of my wondrous treasures of gold and pearls,
And my marvelous deeds of glory.
I 'm the Prince who glitters on many a page
Of many a fairy story,
Ever young and brave, as from age to age
I reign in perennial glory ;
And I come to-night at the call of my King,
To dance through your sleep, dream-laden,
And many a happy thought to bring
To my rare little, fair little maiden.
[Shakes his sword aloft.
Here 's my strong right arm, that shall shield from
harm
This Queen of my Realm of Story ;
I 'm your Prince so true, and I come to you,
Filling your dreams with glory.
[Steps behind her again.
THE LAND OF NOD 61
KING.
Right gallantly spoken, my brave young Prince ;
No knight of my realm has trod
More loyal than you for the pleasures true
Of the King of the Land of Nod.
MY LADY FORTUNE. [To first little boy.]
With My Lady Fortune's wheel,
Turning ever, woe or weal,
Into every life I steal,
As to you, my boy.
Listen, while I tell to you
All I 'm able now to do,
If my aid you rightly sue,
For your future joy.
With my wheel, I '11 turn and turn
All the joys for which you yearn
High and leaping thoughts that burn
In your heart so bright.
Wealth and health, and honor, too,
All that 's noble, brave, and true,
With my wheel I turn for you
In your dreams to-night.
But, my boy, remember this
Guard your heart, lest Fortune's kiss
Turn your noble aims amiss
To the ditch of pride ;
Wealth and health may sometimes pall ;
Pride e'er goes before a fall ;
With good luck be wise withal j
Never worth deride.
Fortune comes from patient heart,
62 ST. NICHOLAS PLAYS AND OPERETTAS
Pleasures, too, from kindness start.
Luck from pluck should never part ;
So, my boy, be strong !
Ever to yourself be true ,
Help the needy ones who sue j
Upright be and manly, too,
Victor over wrong.
KING.
Hurrah for My Lady Fortune's wheel !
May it turn full many a rod,
Never for woe, but ever for weal,
Says the King of the Land of Nod.
OLD MOTHER GOOSE. [To second little girl.]
Over the hills and far away,
Sailing aloft on my broomstick gay,
Out from the Land of the Long Ago,
Out from the Realm of the Want to Know,
Scattering song-seeds high and low,
Travel I fast to the children.
Into your dreams I bring to-night
Snatches of song and of story bright,
Glimpses of what you know oh, so well !
From the man who cries, " Young lambs to sell,"
To the poor drowned kitty and ding-dong bell,
And dear old Mother Hubbard.
Old King Cole and his Fiddlers Three,
The Wise Men sailing their bowl to sea ;
Humpty-dumpty, the Mouse in the Clock,
THE LAND OF NOD 63
Taffy the Welshman, who got such a knock,
Little Bo-peep and her tailless flock,
And the House that Jack Built jumble.
Soon from your life I fade away ;
Treasure, my dear, to your latest day
The songs I Ve sung and the truths I Ve taught,
The mirth and laughter that oft I Ve brought,
The sense my nonsense has ever wrought,
And the blessing of Mother Goose.
KING.
Dear Mrs. Goose, I 'm proud to see
You here on Dreamland's sod ;
And ever to you my castle is free,
Says the King of the Land ofJNod.
THE GOBLIN CAN-AND-MUST. [To second little boy.]
Clank ! clank ! in my dungeon dank,
I live far down among chains and dust ;
And I say to each girl, and I say to each boy,
1 7 m the grim old Goblin Can-and-Must.
When they go to bed ugly, and cross, and bad,
Leaving mother and father so sorry ami sad,
Then I come and I stand and I say :
[Shaking his finger.
Little boy, little boy, you are wrong, you are
wrong !
And this is the burden of my song :
.What your parents say do should be easy for
you,
And you can and must obey.
64 ST. NICHOLAS PLAYS AND OPERETTAS
Yes, you can and must do right, do right ;
And however you squirm and twist,
I shall come and shall stand in your dreams at night ;
And they '11 never be happy, and never be bright,
Until love your heart has kissed,
And you 're ready to say, on the very next day,
" My parents I can and must obey."
Then away from your dreams to his chains and dust
Will vanish the Goblin Can-and-Must !
KING.
You 're out of place, Mr. Can-and-Must ! Go
From pleasant Dreamland's sod !
There 's not a boy
[Here Can-and-Must shakes his head, and
points to second little boy in proof of his
statement.
What no ? Why, sho !
Says the King of the Land of Nod.
QUEEN OF THE DOLLIES. [To third little girl]
Little one, pretty one,
Sleeping so sound,
Resting so calmly on Sleepyland's ground,
Open your heart to a dream of delight,
Open your dream-lids for me, dear, to-night ;
Open your dream-eyes to see what I bring,
Open your dream-ears to hear what I sing j
List to me, turn to me, here as I stand,
The Queen of the Dollies
From bright Dollyland.
THE LAND OF NOD 65
Small dreamer, wee dreamer,
Into your heart
Now, with my fancies and visions, I dart j
Visions of dollies all satin and puff,
Visions of dollies in azure and buff ,
Cloth of gold, silver thread, velvets so rare,
Gossamer laces, fair faces, real hair,
Bonnets, and bracelets, and jewels so grand
Oh, sweet are the dollies
Of bright Dollyland.
Precious one, little one,
Come, will you go
Off with the Queen to the wonders she '11 show ?
Make your own heart, then, a land of delight,
Fair with life's sunshine, with love's glances bright.
Then shall we float, dear, in dreams soft and sweet,
Oif to the joy-gates and down the fair street,
Into the palace, and there, hand in hand,
Reign both Queens of Dollies
In bright Dollyland.
KING.
And I will go, too, fair Queen, with you,
To Dollyland's beautiful sod.
Yes, your Majesty bright, we will go to-night,
Says the King of the Land of Nod.
THE DREAM PRINCESS. {To third little boy.]
Daisies and buttercups lowly bend-
Bend for me as I pass ;
For the Queen of the Dreams to this boy doth send
66 ST. NICHOLAS PLAYS AND OPERETTAS
His own little, sweet little lass.
roses bright, and violets, too,
Rejoice as so swiftly I pass;
1 shall dance and nutter his day-dreams through
I 'm his own little, sweet little lass.
O Powers above ! In your infinite love,
Make him gentle, and brave, and strong;
Make him fearless and true, and manly, too,
As ye hasten his years along.
O Prince of the Isles of Beautiful Smiles,
Send us pleasure and happiness rare ;
Send us favoring tides as our ship gaily glides
Down Life's flowing river so fair.
KING.
Well, well, my brave boy, there '11 be nothing but
joy
In your pathway so soon to be trod.
May this sweet little lass make it all come to pass,
Says the King of the Land of Nod.
JACK o' DREAMS. [Rushing in at right]
Great King ! the sun is on the run
The lamps of day to light.
'T is time to go, oho ! oho !
With the vanishing shades of night.
Dismiss your court, break off your sport ;
'T is time that your way you trod
Around Cape Horn, ere day is born,
To the opposite Land of Nod.
THE LAND OF NOD
67
SAND MAN. [Rushing in at left.]
Too true, too true ! Great King, for you
The horses of night I Ve hitched
To your chariot grand, and a fresh load of sand
Into my barrow I Ve pitched.
So, let us be off ! be off ! be off !
To China's celestial sod,
To hold the court, and renew the sport,
Of the King of the Land of Nod.
[Spirited music "Racquet Galop," Simmons,
"Full of Joy Galop," Fahrbach, "Boccaccio
March," or other selection.
KING. [Rising.]
Gather and plod, gather and plod ;
Up and away from the Land of Nod !
SAND MAN AND JACK o r DREAMS. [Together.]
Goblins, sprites, and dreamy ring,
Gather, gather round your King,
Here on Dreamland's sod.
Bound the world we now must go,
Ere the sun his face doth show
In this Land of Nod.
All the characters form in circle around the children, and
all excepting the King sing or repeat together :
Music by W. F. SHER WIN.
68 ST. NICHOLAS PLAYS AND OPERETTAS
To THE CHILDREN. Softly.
( Chil - dren dear, Sleep - ing here, Pare you, fare you
( Pleasures bright Round you light, Hap - py chil - dren
m r~~* >
I I
To THE KING. /
well! Might - y King, Break the ring
all. Might - y King, Break the ring
To THE CHILDREN.
THE LAND OF NOD
69
Wake! wake! the
i
spell we break Of the King of the Land of Nod.
II
-&-
. J ' .-
mv v r-^ <m ^
=tH I Vm ~* _ti::p-^=^I
-fr- fr- +^m
T '
KING. [From his throne, using music of first song.}
1 7 m the jolly old King of the Realm of Dreams,
The sweet, sleepy Land of Nod.
But I fly from the sun-king's morning beams
To the Kingdom of Night and the Castle of Dreams
Far away in the Land of Nod-
In the Chinaman's Land of Nod
For 1 7 m no good at all when the sunlight streams
I am King of the Land of Nod !
[Descends from the throne.
70 ST. NICHOLAS PLAYS AND OPERETTAS
Gather round me, henchmen bold and true,
Proud knights of the Land of Nod j
Bear your monarch away round the world with you.
[To the children.] God-speed ye, dear children !
Whatever you do,
Come again to the Land of Nod.
Wake, boys ! and wake, girls ! here 's the day shining
through,
Says the King of the Land of Nod.
[All pass off in procession, Standard-bearer
leading, followed by the King and his Pages,
Sand Man, Jack o' Dreams, Dream Sprites,
Dreams, and Goblins. As they move off,
they sing in chorus the following :
GOOD-BY SONG
(Use the music of the Incantation Chorus, on page 56)
Tra-la-la, la-la-la, soft and slow,
Singing merrily, now we go
Off through the misty air.
Waken, O little ones ! Here is the dawn.
Wake, with the flush of the rosy morn
Tingeing each cheek so fair.
Soft we go, slow we go ; now farewell.
Dreamers, awake, we break the spell.
Haste ye from Dreamland's sod ;
Good night ! Good morning ! say King and court.
Rouse ye, O children ! waken to sport-
Farewell to the Land of Nod.
THE LAND OF NOD 71
Good-by! Good-by!
Says the King of the Land of Nod ;
Good-by ! Good-by !
Says the King of the Land of Nod.
[When the last strains of the Good-by Song die
away, and all is quiet, the Six Little Sleepy-
heads begin to stir and stretch. Low music,
"Nursery Tale," by Fradel, or "Blumen-
lied," by Lange, during which the Six Little
Sleepy-heads sit up on the edge of their
couches, rub their eyes, and finally become
wide awake.
Six LITTLE SLEEPY-HEADS. [All together.]
Oh ! oh ! What a beautiful dream ! What a
Why! see all the people! Why, where are we?
Oh ! Mama ! Mama !
[All run off hastily.
THE GIANT PICTURE-BOOK
(A New Style of Tableaux Vivants)
BY G. B. BARTLETT
This curious novelty can be produced with very little trouble
in any parlor, by children, for the amusement of their friends,
or in a public hall.
A little girl dressed in white is discovered on a couch strewn
with picture-books and toys, as if she had fallen asleep at play.
She is dreaming of the pictures as they are shown in the great
book which leans against the wall in the center at her right.
The Fairy Godmother rises from behind the couch, and stands
on a cricket above and behind the child. She is dressed in red
(paper-muslin or some cheap material), with long pointed waist
over a black skirt. Her high, pointed hat and her shoes and
stockings are red, and she wears a white ruff about her neck,
and another inside her hat, which has a wide black band and a
gilt buckle.
She holds in her right hand a cane with a bar across the top,
and after saluting the spectators, she sings :
Sleep, darling, sleep !
My fairy watch I keep ;
In dreamy visions I call to view
Your childhood's friends so tried and true
Sleep, darling, sleep !
The Fairy Godmother then springs down from her perch, and
opens the picture-book (which will be explained hereafter),
taking care to open the cover and fly-leaf together, and a life-
size picture is seen ; after waiting a moment she shuts the
plain or fly leaf, which she opens again as soon as the picture
has been changed ; and so on, until the effect produced resem-
72
THE GIANT PICTURE-BOOK 73
bles an actual exhibition of a great picture-book by turning
over its leaves.
When all the pictures of one story or series have been shown,
the Fairy may shut the book, which will be the signal for the
curtain to be dropped, or for the folding-doors in front of the
sleeping child to be closed. After all the pictures selected for
the evening have been shown, the characters, still in costume,
are displayed in one group around the room, or stage, in a
semicircle, which is opened in the center to allow the opened
book, still containing a lovely picture, to be shown also.
After they have remained still in tableau for one moment, the
Fairy, who has resumed her place upon the high cricket, waves
her cane and sings to some pretty lullaby tune the following
verse, in which all join ; during which the little girl wakes, rubs
her eyes, jumps off the couch into the center of the room, and
makes a bow to each one in order ; they return her civility, and
all bow to the audience as the curtain falls.
Wake, darling, wake !
For we our leaves must take,
And go right back to our picture-book,
In which the little ones love to look.
Wake, darling, wake !
Now we must explain how the picture-book is made, as it can
be used hundreds of times for all sorts of pictures. By a little
change of decoration on the cover, it can serve as a history in
which historical pictures can be shown, or it can be made to
illustrate miscellaneous selections, or some well-known story.
Place a long, solid table against the back wall in the exact cen-
ter, and procure two boards one inch thick, six inches wide, and
just long enough to touch the ceiling when they stand upright,
leaning against the table. They must fit well, for they must be
firmly fastened to the floor, as well as to each of the front
corners of this table. Having found the exact height of the
boards, lay them on the floor, and see that they are straight and
parallel and just four and a half feet apart. Fasten upon them
four strips of board six inches wide and five and a half feet long,
one at each end of the boards, one at thirty inches from the
74 ST. NICHOLAS PLAYS AND OPERETTAS
bottom, and one six feet above the last-named. The strips must
be fastened firmly with two-inch screws to each board, going
through one into the other. Tack white bleached muslin on
the upper strip, and draw it tight by tacking it to the strip next
below ; then fasten another piece from the lowest strip to the
strip which is thirty inches above it. Tack both pieces of cloth
also to the outer edges of the long boards, and cover all the
cloth and the boards which show with white or tinted printing-
paper ; after this is done you will have an opening six feet high
and four and a half feet wide. Then raise the whole until it is
upright, and fasten it to the table by means of the second strip,
which will lean against it, as most tables are about thirty inches
high. If there should not be a chandelier near in front to light
it sufficiently, a gas rod with ten burners in it can be placed on
the inner side of the upper bar, and fed with an elastic tube,
which can be arranged by a plumber at a trifling expense ; but
unless a very elaborate exhibition is proposed, the ordinary
light will probably answer. Shawls or curtains are hung on
each side of this frame to the corners of the room, which will
allow a passage for the performers, and a chair is placed at
each end of the table so that they can step up and down out of
the frame, behind which a curtain of dull-green cambric is
tacked on the back wall. The performers are to stand in a line
behind the side curtains, at the right side of the hidden table,
ready to step into the frame the moment the fly-leaf is shut and
the former occupants have stepped down.
The fly-leaf must be made by covering a light wooden frame
with muslin, on which printing-paper is pasted. It must be as
high as the ceiling, and five and a half feet wide, and it is hung
on common hinges at the right outer edge of the upright board
which forms one side of the frame. Behind these hinges a long
strip of board, two inches thick and the height from the floor to
the ceiling, is securely nailed, to hold the hinges of the cover,
so that it can swing freely apart from the fly-leaf without inter-
fering with its motion ; for although the fly-leaf is often opened
with the cover, it is closed by itself when the pictures are
changing, as the cover is only shut when one set of pictures is
ended. The cover is like the fly-leaf, only that it is decorated
THE GIANT PICTUEE-BOOK 75
with pictures or ornaments at the corners and margin, and if in
a large room it might have the title of the story to be shown.
These titles can be made on strips of paper eight inches wide
and three feet long, with black or colored chalk crayons, and
can be changed whenever the curtain is shut. If for the enter
tainment of little children, the Fairy can tell the stories (which
are too well known to require any description here), or she can
read any of the stories aloud if she has no gift at story-telling.
In the sketches of pictures introduced here the very effective
costumes and properties can be furnished in almost any house
with very little trouble or expense, and the skill and taste used
in preparing them will add much to the enjoyment.
Wigs can be made of black and white curled hair, sewed upon
a skull-cap made of four conical pieces. Beards can be con-
trived by fastening the same articles, or white llama-fringe, on a
wire frame, which goes under the chin to each ear, around
which it is fastened.
SERIES No. 1. CINDERELLA
In the first picture, Cinderella is crouching in the
left corner ; her head is bowed, and her face is hid in
her hands, as if cryiog at her disappointment in hav-
ing to stay at home from the ball. The Fairy God-
mother is bending over the prostrate girl, as if about
to arouse her from her sad reverie, and is pointing up
with her stick, which she holds in her right hand.
Cinderella wears a loose brown robe, under which is
concealed a white muslin dress, richly trimmed with
stars and fringe of gold-paper. The Godmother's
dress and stick are described on page 68 ; the colors
of it may be altered if preferred.
Second Picture : The same characters as in the
first; same positions, excepting that the Godmother
and Cinderella have changed sides. The loose robe
76 ST. NICHOLAS PLAYS AND OPERETTAS
has been pulled off, and Cinderella stands proudly in
the center, in a dancing attitude, contemplating with
delight her beautiful ball-dress. The Godmother is
lifting up a large yellow pumpkin, as if showing Cin-
derella that her carriage will soon be ready; and a
box lies at her feet, to represent the trap in which the
horses are stabled, ready for the trip. Cinderella
should be a blond young lady, with small hands and
feet, and a graceful, slight figure.
Third Picture : The Prince and Cinderella stand as
if about to lead the dance, in the attitude of the old-
fashioned minuet ; his right hand holds hers high, as
she holds her dress with the left. Their left feet are
extended, and their heads turned toward each other.
The dress of the Prince can be made of light-blue
sateen, trimmed with puffs of pink on the shoulders
and at the sides ; he has loose trunks of pink, with
light-blue puffs and pink stockings. Two ladies, in
court-dresses similar to those described at the foot of
page 74, may be introduced, one at each side, to rep-
resent other dancers.
Fourth Picture : Cinderella in terror is flying from
the ball, her old ragged dress on, and a dingy hand-
kerchief tied loosely over her head.
Fifth Picture : Cinderella is meekly asking the
Prince to let her try on the glass slipper, which he
holds, standing in the center. At the left, her angry
sisters turn away in disgust because they could not
succeed in wearing the slipper. The sisters are dressed
very showily, but Cinderella still wears her old brown
costume, as she stands at the right of the Prince, with
downcast eyes and extended hand.
Sixth Picture : Cinderella sits in the center. The
THE GIANT PICTUKE-BOOK 77
enraptured Prince kneels before her, with the foot
wearing the glass slipper resting on a foot-stool ; the
companion glass slipper she has just drawn from her
pocket. The Godmother stands over them, having
changed the old brown robe into a ball-dress by her
mystic power, and she seems to be waving her stick
in triumph ; and after this picture has been shown for
one minute, the book is closed.
SERIES No. 2. JACK AND THE BEAN-STALK
First Picture : A small boy stands looking up
into his mother's face in terror; her right hand is
raised above him in anger, as if she intended punish-
ing him for selling the cow to so poor advantage.
She wears a black dress with very high pannier over a
gray underskirt, a white kerchief over her shoulders,
and a high, pointed white cap.
Jack wears red stockings, yellow trunks, a loose red
jacket trimmed with yellow points. He holds in his
left hand a round red cap, which is partly filled with
beans, some of which, being strung separately on fine
black silk, seem to be falling out of the cap.
Second Picture: Jack is climbing up the bean-
stalk, which is made of a rake-handle or long pole,
one end being fixed in the table, and the other out of
sight in the picture ; a cross-stick on which he stands
is made of an old broom-handle, two feet from the
bottom of the picture; another cross-stick, five feet
higher, he clings to with his hands ; and all the sticks
are covered with dark-green cambric.
Third Picture: The Giant is seated at a table;
before him is the celebrated hen, and behind her sev-
78 ST. NICHOLAS PLAYS AND OPERETTAS
eral golden eggs lie on the table. These are easily
made by covering china eggs, or real ones, with gilt
paper, while the hen is easily cut out in profile, as
only one side is seen, on which feathers are drawn
with crayon or stuck with glue. The Giant is partly
concealed by the table, upon which he really kneels,
and a large cloak covered with red calico and stuffed
with pillows makes him very large ; and his head is
made by covering a bushel basket with unbleached
muslin, on which a face is drawn, red carpet-yarn
being sewed on the back to represent hair.
Fourth Picture: Jack and his mother sit one at
each side of a table, contemplating with wonder the
hen and the two bags of gold. The table used in all
these scenes is only a board ten inches wide, covered
with a white cloth and furnished with rough legs
which do not show.
Fifth Picture : Jack is raising his hatchet to cut
down the bean-stalk, and by his side is an enormous
golden harp, which is made of pasteboard in profile,
covered with gilt paper.
SERIES No. 3. BEAUTY AND THE BEAST
First Picture : The merchant is taking leave of
his daughters; Beauty is in the center, winding a
scarf around the neck of her father, while her proud
sisters stand one at each side, with extended hands,
as if urging their father to bring them rich and costly
attire. Beauty looks down, as if too modest to ask
for any gift but a rose.
The sisters weai silk dresses of as brilliant color as
they can find, with long trains and square necks which
THE GIANT PICTUEE-BOOK 79
are easily contrived by sewing a square of white mus-
lin upon the dress-waists of their mothers' dresses,
the skirts of which will do for court trains.
Their hair is rolled over a cushion, powdered, and
dressed with feathers or flowers, which can be bor-
rowed from bonnets. Beauty wears a plain loose
waist of white muslin over a plain black skirt. Her
hair falls loosely.
The father has a square-cut suit to arrange which,
fold the skirts of a sack-coat away in front to form
square corners, which, with the lapels, must be faced
with white paper-muslin. The vest is covered, and
also lengthened a quarter of a yard in front, with the
same, and large flap pockets are added.
Pantaloons rolled to the knee do very well for
breeches, with long stockings and low shoes, and a
felt hat can be pinned into a chapeau by turning up
one side and fastening the other corner into a point.
Second Picture: The father is plucking the rose
from a bush which stands in the center, covered with
paper roses. The Beast, with uplifted club, seems
about to destroy the old man, who stands with knees
together and hands down, in a comic attitude of
despair.
The Beast wears a fur cloak or mat over his shoul-
ders, pinned around his waist and reaching to his
knees below the tops of long pink stockings. His
arms may be bare, and he wears over his face a mask,
which may be bought at a toy-shop, or made of brown
paper.
Third Picture : The father introduces his daughter
to the Beast, who stands as if bowing low at the right.
Beauty is at the left, drawing back and making a
80 ST. NICHOLAS PLAYS AND OPERETTAS
courtesy. She is dressed as before, with the addition
of a shawl pinned over her shoulders, and a red hand-
kerchief over her head.
Fourth Picture : Beauty's return home, in which
scene she is embracing her old father, who seems in
raptures ; they are in the center, while the proud sis-
ters stand one at each side, one looking off in anger,
and the other gazing with envy at the happy pair.
Beauty has a rich silk dress of a style similar to that
shown in the first picture.
Fifth Picture: Beauty is asleep in her chair in
the center, while her sisters bend over her in triumph,
one holding a vial containing the sleeping-draught, of
which they have administered a dose in order to make
her overstay her time and break her promise to the
Beast.
Sixth Picture : Beauty stands weeping over the
body of the poor Beast, which is represented by a roll
of dark shawls, around which the robe of the Beast is
wrapped, as his head and feet would be concealed by
the sides of the frame j her face is covered with her
hands and she seems overwhelmed with grief.
Seventh Picture: A handsome prince is kneeling
at the feet of Beauty, who is overjoyed to find in him
her faithful Beast, restored to his form and rank
through her fidelity and truth. His dress can be
arranged with a lady's velvet basque, with an opera
cape across the shoulders, a pair of white satin
breeches made of paper-muslin, long white hose, and
low shoes with large bows ; a sash may cross from the
left shoulder to the waist, in case the basque is too
small to meet neatly in front.
SHADOW-PANTOMIMES
BY HERMAN H. BIRNEY
YOUNG persons often wish to give an entertainment
'which will be interesting without involving too much
labor in its preparation. Shadow-pantomimes 1 an-
swer this purpose admirably.
There are no speaking-parts to be learned, and any
boys and girls can do the required acting. As for
objects of scenery and striking points of costume, these
can be cut out of cardboard, newspaper, or anything
that will cast a shadow ; indeed, all the characters,
costumes, and surroundings are shown only by their
shadows. These are cast upon large translucent
screens, or, better still, upon a sheet so suspended as
to divide the actors from the spectators.
A double doorway between rooms affords an excel-
lent place for this screen, which should be stretched
across as smoothly as possible. If the sheet be wrung
out of water before being stretched, it will dry smooth
and tight. Where the space requires a larger surface,
two or more sheets may be stitched together to form
the screen.
Next in importance is the light, which may be any-
thing from a magic lantern down to a tallow candle.
One person should be delegated to manage this light
behind the screen, and another the lights in front of
1 See also a shadow-play, "The Modem and Medieval Ballad
of Mary Jane," by Henry Baldwin, in this volume.
6 81
82 ST. NICHOLAS PLAYS AND OPERETTAS
it ; for the spectators' room must be darkened during
the performance.
The best way to "drop the curtain" is to obscure
the light behind the screen, and at the same time to
turn up the lights in the spectators' room.
The light which is to cast the shadows should be at
such height and distance behind the screen as will
bring the shadows of the actors into the proper places
and make them of the desired size. The actors should
try to keep as close to the screen and as much in pro-
file as possible ; and care should be taken that their
arms, and any objects held in their hands, such as
pasteboard weapons, canes, baskets, etc., cast distinct,
characteristic shadows.
Let us take one performance in detail. Almost
any dramatic poem, song, or story may be chosen for
shadow-pantomime. It should be clearly sung or re-
cited while the actors perform their dumb-show. I
shall give you the well-known tragic story, " The Bal-
lad of the Oysterman," written by Dr. Oliver Wendell
Holmes. This has been found easy to represent, and
has often proved to be a decided success.
While the words are being very distinctly sung or
spoken, the actors do their shadow parts to the best
of their ability. The illustrations given with the bal-
lad show some of the more striking situations, but the
gestures will be found to add very greatly to their
effect. In this, as in all other amusing performances,
liveliness of action must be tempered by moderation,
and the acting must be in perfect keeping with the
story to be represented.
The effect of river-banks may be given by tables,
one on each side of the stage, covered with any thick
SHADOW-PANTOMIMES
83
cloth. Irregularities in the contour of the shores are
readily made by various objects placed on the tables
under the cloth, and near the screen, so as not to in-
terfere with the actors when they are obliged to stand
on the tables. Water is well represented by mosquito-
netting the sort without cross-bars or coarse tarla-
tan, reaching from table to table, a few inches behind
the screen. If held at the upper corners by hidden
assistants, and very gently waved or shaken, the effect
is improved.
If it be desired to present the " tragedy " after the
most approved style, the water is best arranged as
follows : Suppose the
screen, on which the
shadows are thrown, to be
stretched across a wide
doorway. Small screw-
pointed hooks should be
screwed about six inches
apart into the edge of the
door- jamb, two on each
side, at the height intended
for the water-level in the
first part of the perform-
ance, and two more on
each side at the water-level for the last verse. A
triangular block of wood should now be hung by
screw-eyes to these hooks, as shown in the illustration,
the base of the block resting solidly against the wall,
its apex projecting. Wires should be run from the
corners of this block to a similar piece on the opposite
side of the doorway. Now the edge of a broad piece
of plain mosquito-netting should be sewed or threaded
84
ST. NICHOLAS PLAYS AND OPERETTAS
along the lower wire, and the rest of the netting
thrown over the upper wire from behind forward,
and allowed to fall to the floor, thus forming a slant-
ing double layer of netting
above, and a perpendicular
single layer below. This ar-
rangement gives, in shadow,
the effect of a perspective
view of the surface of the
water, and a perpendicular
section beneath the surface.
It also makes it easy to
change quickly the depth of the water for the final
scene, by simply raising the blocks from the lower to
the upper hooks.
The fish, and other properties cut from pasteboard,
may be stationary or movable, as preferred. If fish
are to swim, they may be pulled along on strings or
fine thread- wire.
The moon is cut from pasteboard, and suspended
by strong thread from above the door. The expres-
sion of the face can be changed, when desired, by a
simple pivoted card, provided with threads for mov-
ing it up and down. The eye may be made to wink
the " eyelid" being held up by a weak rubber-band,
which replaces it after a " wink."
As the first line of the fourth verse is read, the
oysterman should leap away from the screen at an
(SHADOW-PANTOMIMES 85
angle, so that his shadow is not seen to cross the
river. If the doorway be narrow, the table on which
the oysterman stood should now be pulled to one side,
and the other table be brought farther out to give
more room to those who act upon it.
Before the last verse there is a necessary intermis-
sion of a few minutes in order that the scenery may
be changed. For this last scene everything should
be in perfect readiness to be put in place the moment
the " curtain is dropped' 7 in the manner previously
suggested.
THE BALLAD OF THE OYSTERMAN 1
Words by OLIVER WENDELL HOLMES.
Arranged for Pantomime by H. H. BIRNEY.
1. There was a gay young oys - ster - man lived
LBjt p j_ ._pi ^ __| ii"rz:q^n
v* m m ^ a
rhrzzirri
by the riv - er - side ; His shop it was up
on the bank, his boat was on the tide.
The daugh - ter of a fish r er - man, she
jRitard Accelerando.
so straight and slim, Lived o - ver on the
1 The words of this ballad are printed by kind permission of
Houghton, Mifflin & Co. The music is used by permission of
Oliver Ditson & Co., owners of the copyright.
86 ST. NICHOLAS PLAYS AND OPERETTAS
oth - er shore, right op - po - site to him.
1
With a Rook - che - took, che - took - che - took - che,
Whack! fol - lol - did - die - lol - la - day.
II
I
THERE was a gay young oysterman lived by the river-
side;
His shop it was upon the bank, his boat was on the
tide.
The daughter of a fisherman, she was so straight and
slim,
Lived over on the other shore, right opposite to him.
CHORUS.
SHADOW-PANTOMIMES
III
87
It was the pensive oysterman who saw the lovely maid,
Upon a moonlight evening, a-sitting in the shade ;
IV
He saw her wave her handkerchief, as much as if to
say,
" I 'm all alone, young oysterman, for daddy 's gone
away.
CHORUS.
88
ST. NICHOLAS PLAYS AND OPERETTAS
V
Then spake the gallant oysterman, and to himself said
he,
" I guess I '11 leave the boat at home, for fear the folks
might see j
VI
I 've read it in the story-books, that for to kiss his
dear,
Leander swam the Hellespont, and I will swim this
here." CHORUS.
SHADOW-PANTOMIMES
VII
89
Then he has leaped into the flood, and swum the shin-
ing stream,
And he has clambered up the bank, all in the moon-
light gleam,
vm
And there were kisses sweet as dew, and words as
soft as rain j
90 ST. NICHOLAS PLAYS AND OPERETTAS
IX
But they have heard her father's steps, and in he
leaps again. CHORUS.
Out spake the ancient fisherman, " Now, what was
that, my daughter?"
u; T was nothing but a pebble, pa, I threw into the
water."
SHADOW-PANTOMIMES
XI
91
" And what is that, pray tell me now, that paddles off
so fast?"
" 'T is nothing but a porpoise, pa, that 's been a-swim-
ming past." CHORUS.
xn
Then spake the ancient fisherman : " Go, bring me
my harpoon !
I '11 jump into my fishing-boat, and fix the fellow soon."
92
ST. NICHOLAS PLAYS AND OPERETTAS
Down fell that lovely innocent, as falls the snow-white
lamb,
Her hair dropped round her pallid cheeks like sea-
weed round a clam. CHORUS.
XIII
Alas for those two loving ones ! she waked not from
her swound,
And he was taken with the cramp, and in the stream
was drowned ;
But fate has metamorphosed them in pity of their
woe,
And now they keep an oyster-shop for mermaids
down below. CHORUS.
THE MAGIC SWORD
BY KATHARINE PYLE
The jars of candy, Noah's Ark, and music-box for the first
act are painted scenery, and should be in such proportion to
the actors as the real ones would be to the toys that is, five or
six feet in height.
The doll's-house furniture in the second and third scenes
should be of the usual size, but copied as closely as possible
from toy furniture.
The gestures and movements of the actors should be stiff and
mechancial, as toys might be supposed to move.
The BEAR'S costume can be hired at a good costumer's ; but
if this is not convenient, a suit may be made of brown Canton
flannel, sewed into a loose shape, somewhat like that of a little
child's night-garment, the sleeves and legs ending in mittens
and stockings of the same material. Make a mask of cardboard
resembling in shape a blunt cornucopia, cover with Canton flan-
nel, and end it in a hood that draws over the head. Sew ears of
flannel on in the proper places. A bearskin rug may be fas-
tened about the body over this costume, and the whole sewed
up the back with large stitches that will rip easily.
JACK wears a mask, and in the first scene a harlequin suit
and stiff, pointed cap. In the second scene he wears a long,
narrow gown of checked calico, and a pointed cap of the same
material, mask, and white beard.
ROSALINE has a blond wig ; her cheeks are painted very red,
and her eyebrows are painted, highly arched. Her costume for
the first scene is a slip of white paper-muslin, trimmed with
coarse lace, through which are run pink ribbons. In the second
scene she wears a pale-pink slip.
The OLD DOLLS are dressed in stiff, old-fashioned silk frocks,
93
94 ST. NICHOLAS PLAYS AND OPERETTAS
cheeks very red, eyebrows arched, and have smoothly banded
black wigs.
The TOY SOLDIERS are costumed in imitation of the wooden
soldiers that may be bought at any toy-shop.
ACT I
SCENE. Shelf in Old Mother Candytop's toy-shop. Jars of
differently colored stick-candy, a Noah's Ark, and a music-box
in the background. Wooden Soldiers are standing in a row.
There is a harlequin Jumping- Jack, and against the wall leans
a beautiful Doll, wrapped up as high as the arms in brown
paper and twine.
A clock strikes twelve. For an instant afterward all remains
as it was ; then the music-box plays for a short time, the Toy
Soldiers present arms, and the Doll turns her head stiffly from
side to side, and looks about her.
JUMPING-JACK. Now the mother of the toys is fast
asleep in bed ; the shop is shut up so that people could
not come in to buy if they wished to j and we toys can
have things all our own way. Hey, there ! you sol-
diers, what are you about ?
TOY CAPTAIN. Don't interrupt us. I must keep my
soldiers in good drill, for who knows but that we may
be sold almost any day ?
JUMPING-JACK. Stupid things ! Just as if it would
make any difference if you were ! You would have to
keep just as still if you were in the nursery as you are
here.
TOY CAPTAIN. Attention ! Present arms ! Shoulder
arms ! Forward, march !
[Toy Soldiers march off.
JUMPING-JACK. How I hate them all! They are
THE MAGIC SWORD 95
so stupid ! Now I '11 make a face at that doll, and
scare her.
[Makes a face.
DOLL. [Covering her face with her hands.] Oh, oh!
There is that dreadful Jumping-Jack again ! I hate
the sight of him. Please stop making faces at
me !
JUMPING-JACK. Then why don't you come and talk
with me ?
DOLL. You 're so wicked that I 'm afraid. You
made such faces at the plaster cat that it split all down
the back, and had to be thrown out on the ash-heap.
JUMPING-JACK. Then you 'd better take care, or
maybe I '11 make faces at you.
DOLL. No, no ; you must n't, you wicked toy !
JUMPING-JACK. [Fiercely.] Yes, I will unless you
talk with me.
[Enter the Fairy Prince. He is dressed in a
tunic of shimmering silk, and wears a sword
at his side.
FAIRY PRINCE.
Star gleam,
And moonbeam !
Quick as a flash I slip through the window, and here
I am ! But what a strange place it is ! [Looking at
the Noah's Ark.] Never before did I see a house like
that no bigger than a fairy's house might be. [Ex-
amining the music-box, which plays for a moment or tivo.]
And such a queer chest, with music coming from in-
side of it ! [Sees the Doll] Oh, you beautiful fairy !
Who are you ?
DOLL. I am a doll.
96 ST. NICHOLAS PLAYS AND OPERETTAS
FAIRY PRINCE. A doll ! What is a doll ? Pray,
tell me.
JUMPING- JACK. A poor thing made of wax and cloth
and sawdust.
FAIRY PRINCE. O beautiful Doll, come with me to
the court of the Fairy Queen, and she will change you
into a real fairy ; and you shall be named Rosaline ;
for your cheeks are as pink as rose-leaves, and not a
fairy in all the court is so beautiful as you.
DOLL. Indeed, I will gladly go with you.
JUMPING- JACK. Ah, but wait a bit ; for I shall have
something to say to that first.
FAIRY PRINCE. You ?
JUMPING-JACK. Yes, I, the Jumping-Jack of the toy
shelf ! I have frightened the toy horse till he could
not stand ; I have made such a face at the toy cat that
it split ; and if you try to take the Doll away I will
make a face at her, too ; and then aha !
FAIRY PRINCE. Then out, my Magic Sword !
[He draws his Magic Sword arid points it at the
Jumping-Jack.
Magic blade, and hilt of gold,
Work the charm as thou art told !
Let his face be stiff as if made of wood, so that he
cannot stretch or twist it !
JUMPING-JACK. Ow ! Ow ! He has bewitched me so
that I cannot move my face at all !
FAIRY PRINCE. And now, beautiful Doll, let us
away.
DOLL. Yes, but see ! I am so wrapped up in paper
and tied about with string that I cannot move.
THE MAGIC SWORD
97
FAIRY PRINCE. Then come once more, my Magic
Sword !
[He cuts through the string, and lays the sword
down beside him, while he helps the Doll
to unwrap and step from the paper. Then
he drops on one knee and takes her hand in
his. At this moment the Jumping-Jack
creeps up toward them and steals the Magic
Sword, hiding it behind him.
FAIRY PRINCE. There ! You are free. And now
away away to the court of the Fairy Queen !
KP
JUMPING-JACK. But first let me see if the Magic
Sword will not work for me as well as you. [Pointing
it toivard them.]
Magic blade, and hilt of gold,
Work the charm as thou art told 1
98 ST. NICHOLAS PLAYS AND OPERETTAS
Let the Doll sleep and forget everything until to-
morrow night, when the toys awake again !
DOLL. Oh, I am going to sleep I feel that I 'm
going to sleep ! My eyelids weigh like lead. Fare-
well, Fairy Prince, farewell farewell!
[She sleeps.
FAIRY PRINCE. [Springing toward the Jumping-Jack.]
Ah, wretched toy ! Give me back my sword.
JUMPING- JACK. [Pointing the sword at the Prince.}
Stop! [The Prince stands, unable to move.} What fate
is there bad enough for you ? You shall be changed
into a mechanical bear ; and in that shape you shall
wander through the world until you hold the fairy
sword in your hand once more, and when that time
comes you may turn its shining blade toward me.
Ha! ha!
[The Fairy Prince shrinks back in dread ; and
the Jumping-Jack stands, holding the Magic
Sword triumphantly above him, while the
music-box plays in the background.
ACT II
SCENE. The doll-house. The Old Dolls are sitting in a row
in three red wooden chairs. Tlxe New Doll, Rosaline, sits in
the rocking-chair beside the table. At one side of the room
stands a large square chest covered with green-and-white-
ehecked paper, and fastened with a hook like that of the well-
known toy jack-in-the-box.
The cuckoo-clock is heard crying the hour of twelve in the
nursery outside. There is a moment of silence, and then the
Old Dolls rise stiffly, and the New Doll turns her head from side
to side, and looks about her.
NEW DOLL. Where am I ?
OLD DOLLS. This is the doll-house.
THE MAGIC SWORD 99
NEW DOLL. And how did I come here ?
OLD DOLLS. You were brought here all done up in
paper, just as we were long ago ; for yesterday was
Christmas.
NEW DOLL. And am I to live here always ?
OLD DOLLS. Yes, you will live here until you break ;
and you will be the mistress of the whole house, be-
cause you are so beautiful and new.
NEW DOLL. [Sighing.] Ah, me !
FIRST OLD DOLL. Why do you sigh ?
NEW DOLL. I sigh when I think of the Fairy Prince,
and how he, too, told me that I was beautiful.
FIRST OLD DOLL. We have never seen a fairy
prince; but we have as neat and tidy a little doll-
house as any one would wish to see.
SECOND OLD DOLL. Yes ; and look at the little tables
and chairs, and the little gilt clock that almost looks
real.
NEW DOLL. Yes ; it is very lovely. Ah, if the Fairy
Prince could but see it !
FIRST DOLL. And look at the sideboard full of little
china dishes, pink china ham, and china chicken, and
shiny china bread.
NEW DOLL. And what is in that box over yonder?
SECOND DOLL. That we don't know. It was a Christ-
mas present, too, and it does n't belong in the doll-house.
NEW DOLL. Then why was it put here ?
SECOND DOLL. That we don't know, either.
NEW DOLL. Let us look in it. It may be that there
is something in it that is more beautiful even than all
the rest something such as they do not have even in
Fairyland.
100 ST. NICHOLAS PLAYS AND OPERETTAS
OLD DOLLS. [Anxiously.] Better not open it.
JACK. [Sings inside the box.]
Open the lid ! Open the lid !
Here inside of the box 1 'ru hid.
Oh, what a wonderful sight you '11 see
If you only will open the lid for me !
NEW DOLL. Whatever it may be inside there, it is
asking me to let it out.
OLD DOLLS. Do not open it !
JACK. [Sings inside the box.]
Everything in the house is thine.
Open, then, beautiful Rosaline !
NEW DOLL. Do you hear ? Whoever it is is calling
me by the name that the Fairy Prince gave me. And
now indeed I must open it ; for who knows but what
it may be the Fairy Prince himself ?
[She unhooks the lid. The Jumping-Jack flies
up with a squeak. The Dolls shriek.
JACK. Not the Fairy Prince, beautiful Rosaline;
but nevertheless it is one who carries the prince's
magic sword. Don't you remember an old friend like
me?
NEW DOLL. Alas ! I remember you indeed. You
are the Jumping-Jack.
JACK. Yes, the Jumping-Jack himself. With the
prince's sword I made myself a box, and fastened
myself in, and followed you here ; and it was only
necessary that you should let me out for me to have
you in my power once more !
10?; T; CEOIfAS ( PLAYS/AND OPERETTAS
OLD DOLLS. Shut the lid ! Oh, shut the lid, and
fasten him in once more !
[Jack steps out of the box. He is dressed in
a long, tight dress of green-and-white-
checked calico, and wears a pointed cap.
JACK. I can close the lid and fasten it myself.
[Turning to the Doll.] Ah, lovely Doll, you thought
you had escaped me ; but it is not so easy to free
yourself from Jumping- Jack, ugly and despised
though he may be. [The Dolls hide their faces, trem-
bling.] Not quite so beautiful here as in the fairy's
court, perhaps; but still it will do as a makeshift.
And we will live here always, just as the Dolls said
and you shall be my servants ; for I am still the mas-
ter of the Magic Sword.
ACT III
SCENE. The doll-house. Jack is eating at the table. The
Dolls are serving him.
JACK. [Pushing back his chair.] My spring and
whiskers ! but that was the best meal I Ve had for
many a long day. A china ham, a china chicken, and
a whole china loaf ! Here, you lazy Dolls, you may
put the dishes away now. [Stretches and gapes.] How
sleepy I feel ! Oh, what a soft sofa ! Just the place
for a nap ; and, Rosaline, you shall sit at my head and
sing me to sleep.
[He stretches himself on the sofa. The New
Doll sits at his head.
ROSALINE. [8ings.]
The shelf was gay, and the moon was bright,
When I saw the Fairy Prince, one night.
THE MAGIC SWORD 103
Now sadly I think of him, and weep
Jumping- Jack, are you yet asleep ?
[Jack yawns.
His eyes were as bright as bright could be,
Like the shining balls on the Christmas tree ;
But he vanished away while I slumbered deep
Jumping- Jack, are you yet asleep ?
[Jack snores. A soft knocking is heard at the door.
ROSALINE. Hark ! Some one is knocking.
[Soft knocking again.
BEAR. [Singing outside.]
Black and grim in my hairy hide,
I wander over the nursery wide.
What care I if I sleep or wake ?
Ah, if my stitches would but break !
ROSALINE. There is some one singing outside.
Look from the window, and tell me who it is j but step
softly, for the Jack is asleep !
FIRST DOLL. I see nothing but the great nursery
window, and the mantelpiece high up above the house-
top ; and I hear nothing but the ticking of the cuckoo-
clock in the nursery outside.
BEAR. [Sings.]
The nursery 's dark and the nursery 7 s wide,
And my works they grumble and growl inside.
Who would guess, as the} 7 look at me,
How bright and slender I used to be f
104 ST. NICHOLAS PLAYS AND OPERETTAS
ROSALINE. There ! I hear it again. Look once
more, and tell me, do you still see nothing ?
SECOND DOLL. I see nothing but the pattern of the
nursery carpet, and the two great, black, hollow shoes
that the child Ann took off last night.
BEAR. [Sings.]
As fair she was as a doll could be ;
Her cheeks were red, and she smiled at me.
Would she know me under this hair of mine
The beautiful waxen Rosaline?
ROSALINE. Now I can bear it no longer ! I must
see for myself who is singing outside, even if the
Jack should waken.
[She goes on tiptoe to the door and opens it.
The Mechanical Bear stands without.
ROSALINE. Ah ! What a terrible bear !
[She tries to shut the door, but he slips his
hairy paw within so that it will not close.
BEAR. Wait but a moment, beautiful Rosaline.
ROSALINE. What do you want here ?
BEAR. Only to come in and rest awhile.
ROSALINE. No, no ; that you cannot do ; for if my
master were to waken and find you here, he would be
in a fine rage.
BEAR. But I will step so softly on my padded feet
that he will not so much as turn in his sleep.
ROSALINE. Then come in.
[She opens the door, and the Bear enters.
OLD DOLLS. Oh, how ugly he is !
BEAR. Ah, I seemed fine enough to you, Rosaline,
when we met on the shelf in the toy-shop !
106 ST. NICHOLAS PLAYS AND OPERETTAS
ROSALINE. Who are you ?
BEAR. Alas ! have you so soon forgotten the Fairy
Prince ?
ROSALINE. But you are not the Fairy Prince !
BEAR. Yes, I am he ; and it was because of you that
the wicked Jumping-Jack turned me into a mechani-
cal bear.
ROSALINE. Alas ! alas ! that it should be so ! But
fly, Fairy Prince ; for the Jumping Jack is here !
BEAR. Here?
ROSALINE: Yes ; he is asleep on yonder sofa.
BEAR. [Eagerly.] Then he must have my Magic
Sword with him.
ROSALINE. I have not seen it.
BEAR. We must look for it ; for if I can only find it,
all may yet be well !
ROSALINE. But if he should waken !
BEAR. We will move about very softly.
[They all hunt about.
BEAR. What is in that chest ?
ROSALINE. That is the chest the Jack came in.
[Bear works and works at the lock with his
hairy paws.
BEAR. Alas ! I cannot unhook it with these clumsy
paws.
[Rosaline unhooks the box. The Bear throws
back the lid, and with a glad cry lifts from
it his Magic Sword.
BEAR. My Magic Sword ! My Magic Sword ! And
are you once more mine ?
[The Jack begins to stir and waken.
ROSALINE. He is awakening ! We are lost!
THE MAGIC SWORD 107
BEAR. Not yet. Quick ! Take the Magic Sword,
and rip up the stitches along my back !
ROSALINE. [Shuddering.] Ah, I cannot do that !
BEAR. Quick, or we are indeed lost !
[Rosaline takes the sword and cuts the stitches.
The Fairy Prince throws aside the bearskin,
and steps forth. Jack rises, and stands,
staring at him stupidly.
ALL. The Fairy Prince !
FAIRY PRINCE. And now let us see whether the
Magic Sword will still serve me.
[He points it toward the Jack.
Magic blade, and hilt of gold,
Work the charm as thou art told !
[The Jack springs toward him with a cry, and
then stands as though bewitched.
FAIRY PRINCE. Henceforth you shall have no power
to twist your face. You shall have no home but the
chest ; and you shall be known, not as the Jumping-
Jack, but as the Jack-in-the-box.
JACK. No, no !
FAIRY PRINCE. Now, into the box with you !
[Bewailing and wringing his hands, the Jack
climbs into the box, where he stands stiff
and motionless as plaster.
FAIRY PRINCE. And now, lovely Rosaline, let us
away.
OLD DOLLS. But shall we never see you again?
ROSALINE. Yes, yes ; when I am a fairy I will often
come to see you. You will see me come slipping in
108 ST. NICHOLAS FLAYS AND OPERETTAS
through the window on a moonbeam, to tell you of
the happy life in the fairy world.
[A cock crows.
FAIRY PRINCE. Hark ! The cock crows ! The
housemaid stirs, and the night-moth is looking for a
hollow where he may hide.
PRINCE AND ROSALINE. Away away to Fairyland !
THE FALSE SIR SANTA GLAUS
(A Christmas Masque for Young and Old)
BY E. S. BROOKS
This masque is designed to precede the Christmas tree at a
Christmas party. Its action may call for the help of the entire
company to assist at the choruses. All the children in the room
may, if desired, be massed on the stage, and the chorus of pa-
rents may be given by the audience from the seats they occupy,
provided they are led by a few ready voices near the piano. No
special decoration is needed for the stage. The action should
take place near the Christmas tree, which should, if possible,
stand behind a curtain, or be screened by the folding-doors,
until the end of the masque, when it should be suddenly dis-
closed with all its blaze and glitter. The "properties" are
simple, and none of the costumes need be elaborate, but the
setting can be as greatly diversified and elaborated as the in-
clination and facilities of the managers permit. Let the
choruses and speaking parts be rendered with spirit. Much of
the text can be sung to familiar airs, which will readily suggest
themselves to the musical directors.
CHARACTERS
MR. MONEYBAGS (afterward the False Sir Santa Glaus). Hard
as his dollars, and "down on children."
SANTA GLAUS. Positively the Only Original article. No con-
nection whatever with the spurious imitation above.
JACK FROST AND HIS WIFE. Firm friends of the Only Original.
JACK o' LANTERN. The pugnacious young page of the False Sir
Santa Glaus.
THE FAIRY BOUNTIFUL. All glitter and spangles.
109
110 ST. NICHOLAS PLAYS AND OPERETTAS
RED RIDING-HOOD'S WOLF \ rni
_ _ _. ) The False Four. The base and
THE BIG BUGABOO f , . ,. ,. ... ^ .
> hireling policemen of the False
THE WHOOPING-COUGH MAN [
V Sir Santa Glaus.
THE WANDERING JEW j
DICK ^
ETHEL > Who do the talking for the rest of the children.
CURLY-LOCKS )
THE CHORUS OF CHILDREN. THE CHORUS OF INDULGENT PARENTS.
COSTUMES AND PROPERTIES
MR. MONEYBAGS may be a "grown man" or a big boy. May
be dressed in street costume at first. When he appears as the
FALSE SIR SANTA GLAUS he should wear a full-dress suit of
fashionable cut, with opera hat, white kids, big watch-chain,
trim white wig, white mustache and side-whiskers as great a
contrast as possible to the conventional Santa Glaus.
SANTA GLAUS should be made up, as customary, "in fur from
his head to his foot, a bundle of toys flung on his back," etc.
Another " grown man " or big boy should be selected for this
part.
JACK FROST (boy of fifteen) and his WIFE (girl of thirteen).
Pretty ice-and-snow suits of white Canton flannel with swan's-
down trimming, sprinkled with silver powder. They carry sil-
ver wands.
JACK o' LANTERN. Agile boy of twelve, in tight-fitting fancy
or jester's suit.
THE FAIRY BOUNTIFUL. Girl of sixteen. Fancy white dress,
wings, and spangles ; silver wand.
RED RIDING-HOOD'S WOLF. Boy of sixteen, in fur robe or
coat, with wolf's-head mask, and movable jaws, if possible.
THE BIG BUGABOO. Tall youth of sixteen or eighteen, with
demon's mask or some ugly face. Dressed in close-fitting red
suit.
THE WHOOPING-COUGH MAN. Boy of sixteen, doubled and
bent, with basket and crook, whitened face, and light clothes.
THE WANDERING JEW. Big boy in old black suit, shocking
bad hat, and bag full of "old clo'es."
DICK. A bright boy of fourteen.
THE FALSE SIR SANTA GLAUS 111
ETHEL. A bright girl of twelve.
CURLY-LOCKS. A pretty little girl of six or eight.
As the curtain rises, the children rush in pell-mell, singing :
Moderate.
ESEE
P-*--4--fc=tEtC=3b= =1
Please clear the way for us,
Please clear the way for us, las - sie and lad.
$ 1 r^4 r T^3 1 r I-
y-a-* 1 1 H i 1 1 t 1 1 ' ^ r i
112 ST. NICHOLAS PLAYS AND OPERETTAS
Here are no wea - ry ones, Here are no drear-y ones,
^bj=^zp^^=g=^^:^^^
i=r=ta
Christ -mas has come, and we chil -dren are glad;
Christ - mas has come, and we chil - dren are
THE FALSE SIR SANTA GLAUS 113
CHORUS OF INDULGENT PARENTS [In audience]
Shout it out ! Sing it out ! Clear voices ring it out !
Ring out your glee, every lassie and lad.
Under the holly, now, sing and be jolly, now;
Christmas has come and the children are glad !
CHORUS OF CHILDREN
Hurry all ! Scurry all ! We 're in a flurry all !
We 're in a flurry, with happiness mad.
Gaily we sing to you ; welcomes we bring to you ;
Christmas has come and we children are glad !
[Enter Mr. Moneybags, account-book in hand.
He shakes his fist at children.
MONEYBAGS.
What a rumpus ! What a clatter !
Why, whatever is the matter ?
All this rout and shout and riot is distracting to
my brain.
You 7 ve disturbed my computations
With your singing and gyrations,
And you Ve mixed my figures up so, I must add
'em all again.
ETHEL. Oh, stupid Mr. Moneybags, where are your
senses, pray, sir?
DICK. Why, don't you know of course you do !
that this is Christinas Day, sir ?
CURLY-LOCKS. 'T is Christmas, sir the children's
day!
ETHEL, DICK, AND CURLY-LOCKS. [Shaking their
fingers.] And please to understand
114 ST. NICHOLAS PLAYS AND OPERETTAS
ALL THE CHILDREN. We 're waiting here for Santa
Glaus to come from Somewhereland.
CHORUS OF INDULGENT PARENTS
Don't scold them, Mr. Moneybags, for, please to
understand,
They 're waiting here for Santa Claus to come from
Somewhereland.
MONEYBAGS. [Much disgusted.}
For what ? For whom 1 For Santa Claus ?
; T is past my comprehension
That, in this nineteenth century,
Such foolishness finds mention !
For Santa Claus ? No bigger fraud
Has ever yet been planned !
There is n?t any Santa Claus,
Nor any Somewhereland !
[Consternation among the children.
ETHEL. [Indignantly.] Oh, wicked Mr. Money-
bags, how can you be so cruel !
DICK. [Pathetically.] Why, Christmas without
Santa Claus is weak as watered gruel !
ETHEL AND CURLY-LOCKS. [Sorrowfully.] We can't
believe you !
DICK. [Vehemently.] And we won't!
ETHEL, DICK, AND CURLY-LOCKS. [With warning
finger] So please to understand
ALL THE CHILDREN. [ Vociferously.} We 're wait-
ing here for Santa Claus to come from Somewhere-
land.
THE FALSE SIR SANTA CLAUS 115
CHORUS OF INDULGENT PARENTS
They can't believe you, and they won't, for, please to
understand,
They 're waiting here for Santa Glaus to come from
Somewhereland.
MONEYBAGS. [Aside.]
It seems to me it would be wise
To stop this superstition j
To open these young eyes to fact
Would be a useful mission.
So I '11 devise a little scheme,
And try it, if I 'm able,
To bring these folks to common sense,
And burst this foolish fable.
[Aloud.] Well, good-by, youngsters ; now I 'm off !
I really cannot stand
This trash you talk of Santa Claus
Who comes from Somewhereland.
[Exit.
DICK. [Turning to children, with uplifted hands.}
No Santa Claus !
CHILDREN. [Lifting hands in dismay.] No Santa
Claus !
CURLY-LOCKS. [Tearfully.] I never did did you?
ETHEL. [To children, hands lifted.] No Santa Claus !
CHILDREN. [Lifting hands solemnly.] No Santa
Claus !
ALL. [In audible tears.] Boo-hoo, boo-hoo, boo-
hoo !
ETHEL. [Spitefully] I just believe he 's telling
fibs.
116 ST. NICHOLAS PLAYS AND OPERETTAS
DICK. [Surlily.] Of course !
ETHEL. [Dejectedly.]
It seems to me
This horrid Mr. Moneybags
Is mean as mean can be !
DICK. [Decidedly.] Of course he 's fibbing.
CURLY-LOCKS. [Indignantly.] Course he is.
ETHEL. He does it just to tease us.
DICK.
He 's down on children ; so, you see,
He never wants to please us.
CURLY-LOCKS. [Anxiously.] Oh, dear ! why does n't
Santa come?
DICK. Let 's wish him here.
CHILDREN. [Incredulously.] That ; s quirky.
DICK. [Stoutly.]
? T ain't ! Ethel saved a wish-bone up
From last Thanksgiving's turkey.
CHILDREN. All right ! Who '11 pull it ?
ETHEL. [Producing the ivish-bone.} Dick and I.
DICK. [Examining it.] It 's dry enough. Say
when, boys. Catch hold here, Ethel wish !
CHILDREN. Now, pull !
[Dick and Ethel snap the wish-bone.
ETHEL. Dick 's got the lucky end, boys !
CHORUS OF CHILDREN!
Come to us, come to us, here as we sing ;
Come to us, come to us, Christmas bells ring.
Come to us quickly nor loiter, nor pause j
Come to us, come to us, old Santa Claus !
i Try, for air, " Nelly Bly."
THE FALSE SIR SANTA CLAUS 117
CHORUS OF INDULGENT PARENTS
Santa Claus ! Santa Glaus ! Jolly old saint ;
Hark to them ! Hear to them ! List to their plaint.
Broken the wish-bone ! All wistful they stand
Come to them, Santa Claus, from Somewhereland !
[A loud clang and clash outside. Enter, with
double somersault or long jump, Jack
o' Lantern. The children start, amazed.
JACK o' LANTERN. [With comic posture.} Who
calls for Santa Claus, I 'd like to know 1
ETHEL. [Surveying him curiously.] We, Mr. In-
dia-rubber !
JACK o' LANTERN. [Laughing derisively.] Ho, ho, ho !
[Turns a double somersault, or some other
nimble contortion, and, striking a comical
attitude, says:
With a clash and a clang, and a rattle ty- bang
And a bumpity-jump rather risky,
With a jounce and a bounce, Santa Claus I announce !
I 'm his page, Jack o' Lantern so frisky.
See where he comes ; stand all here close at hand,
Enter ! Sir Santa Claus of Somewhereland !
[Enter Moneybags as the False Sir Santa Claus,
dressed in full-dress suit, as indicated in
costume directions. The children start back,
surprised at seeing a person so different from
their idea of Santa Claus in dress and ap-
pearance. Moneybags surveys them through
his eye-glass sourly.
MONEYBAGS. [Gruffly.] Heigh-ho, there, you
youngsters ! Well, how do you do ? H'm what did
you say ?
118 ST. NICHOLAS PLAYS AND OPERETTAS
ETHEL. [Timidly.] Oh, we only said oo-oo-oo !
MONEYBAGS. Well, why this surprise ? Why this
staring and stir ?
CURLY-LOCKS. [Showing Mm her toy look.} We
looked for that kind of a Santa Glaus, sir.
MONEYBAGS. [ TaMng look and examining it critically
through eye-glass.]
Hey ? what kind ? Oh, that ! Ah, permit me
to look ;
Why, Santa Claus, child, does n't live in a book !
[Reading quickly.]
H'm " little old driver" pshaw! "sleigh full of
toys"
"Down the chimney" that's nonsense, you know,
girls and boys.
[Reading again.]
" He was dressed all in furs, from his head to his
foot,
And his clothes were all tarnished with ashes and
soot;
A bundle of toys he had flung on his back,
And he looked like a peddler just opening his pack.
His droll little mouth was drawn up like a bow,
And the beard of his chin was as white as the snow j
And the stump of a pipe he held tight in his teeth,
And the smoke it encircled his head like a wreath.
He had a broad face"
Oh, that 's nonsense, I say j
I have n't looked that way for many a day !
I dress in the fashion ; I 'm solemn in speech,
And detest all the folly that fable would teach.
THE FALSE SIR SANTA CLAUS 119
I hate to be bothered with children and toys,
And I 'm down on this Christinas Day worry and
noise.
ETHEL. [Anxiously.] And yonr sleigh ?
DICK. [Dubiously.] And your reindeer?
MONEYBAGS.
All sold long ago.
They were quite out of date too old-fashioned and
slow.
What with steamships and railways and telegraph-
wires,
And stores overcrowded with sellers and buyers,
And modern improvements in every land,
There 's no use for Santa Glaus now understand?
[Sings.]
I 'm a thrifty old merchant who lives at the Pole,
A sleep-loving, ease-loving, saving old soul ;
1 7 m healthy and wealthy and wise now, because
I Ve done with the nonsense of old Santa Claus ! x
CHILDREN. [Singing poutingly.]
He 's a selfish old merchant who lives at the Pole,
A skinflint old miser, as mean as a mole ;
But he '11 never siicceed if he tries to pick flaws
In the joys of the children this old Santa Claus !
INDIGNANT PARENTS. \Singing snappishly.]
He 's a heartless old merchant who lives at the Pole ;
For his comfort and ease he would barter his soul.
Come away from him, children ; don't trust him, be-
cause
He 7 s a fraud and a miser this old Santa Claus !
1 Try, for air, "The Campbells are Coming."
120 ST. NICHOLAS PLAYS AND OPERETTAS
MONEYBAGS [Bomng loiv, in mock humility.}
Thanks for your compliments, kind friends, indeed ;
I '11 not forget your praises ;
'T is pleasure rare to hear and heed
Such kind and courtly phrases.
But this I know you 11 soon, with speed,
Give up these Christmas crazes.
DICK. [Emphatically.] Well, is n't this dreadful ?
ETHEL. \Tearfully.] Oh, dear, I could cry!
MONEYBAGS. [ Threateningly.]
You 'd better leave that for the " sweet by and by."
If there 's one thing I hate, in this bedlam appalling,
It is to hear children a-screaming and squalling.
So, if you attempt it, I know what to do !
CURLY-LOCKS. [Anxiously.] Oh, what does he
mean?
ETHEL. I don't know.
ALL THE CHILDREN. [ Vociferously.] Boo-hoo-
hoo!
MONEYBAGS. [ Wrathfully.]
What, ho, there ! Hallo, there ! My trusty police,
These children are cranky this nonsense must cease.
Come in here, my beauties, these children to tell
Sir Santa Claus knows how to manage them well.
[Enter the False Four, one by one. Conster-
nation on the part of the children.
MONEYBAGS. [Checking them off as they enter.]
Here 's Red Riding-hood's Wolf !
Here 's the Big Bugaboo !
Here 7 s the Whooping-cough Man !
Here 's the Wandering Jew !
THE FALSE SIR SANTA CLAUS 121
Are n't they sweet? What 's the matter? You
quiver and quake so,
One would think you were frightened to see you all
shake so.
DICK. What horrid, ugly people !
ETHEL.
Did you ever, ever see
Such dreadful folks invited to a lovely Christmas
tree?
MONEYBAGS.
Speak up, my gentle serving-men, and tell these
children, now,
What parts you play on Christmas Day and when
and where and how.
RED RIDING-HOOD'S WOLF. [Snappishly.]
I 've great big ears, and I 've great big eyes,
And I 've great big teeth, because
Oh, yes, you 've heard the story before-
Just look at these beautiful jaws !
[Opening mouth very wide.
THE BIG BUGABOO. [Solemnly.]
I 'm the Big Bugaboo ! And I live in the dark,
With my grin and my club. And I wish to remark,
I know all the bad boys, and I 'm looking at you !
So, don't you forget I 'm the Big Bugaboo !
THE WHOOPING-COUGH MAN. [Astlimatically]
I 'm the Whooping-cough Man, yes, I am I am
I 'm the Whooping-cough Man so breezy j
And the bad boys I fill, yes, I will I will
With my choke and my strangle so sneezy.
And the little girls, too, yes, I do I do
122 ST. NICHOLAS PLAYS AND OPERETTAS
If I find them at all uneasy,
Why I take their breath off
With the cough the cough.
I 'm the Whooping-cough Man so wheezy !
THE WANDERING JEW. [Seductively.]
" Old clo'es ! Old clo'es ! Cash paid for old clo'es ! "
I sing through the streets of the city,
And the people they bring every ragged old thing
When they hear the sweet strains of my ditty.
[Impressively.]
But the bad girls and boys, if they make too much
noise,
Or if words with their betters they bandy,
Why, I ups with their heels,
And I smothers their squeals
In my bag of " old clo'es " so handy !
[More consternation among the children.
MONEYBAGS. {Alluringly.}
They sometimes give boxes at Christmas, you know,
Instead of the stockings and trees.
A nice Christmas box would be jolly to show
You each shall have one, if you please.
Come, gather around me, and I will explain.
[The children draw near in anticipation.
My meaning I '11 make very clear :
[Ominously.]
If children are cranky, I don't speak again,
But give them a box on the ear !
[Tries one on Dick, with bewildering effect.
The children retire in dismay, and sing dole-
fully:
THE FALSE SIR SANTA GLAUS 123
Slowly. , K J
Dis - mal, dole-f ul chil - dren, Dole - f ul chil-dren
PP_\ *L_J . , | ,._4___JS__J^_^
+-V-F-*
- '-'
Gone is all our pleasure, Gone is all our
J
- **- -^- *- ft* -- -t" -- -- -- --
glee Sing-ing turns to sigh-ing; Day is dark be -
124 ST. NICHOLAS PLAYS AND OPERETTAS
cause... He is such an aw - ful, hor-rid San-ta
^ __ _ r _ __ _ -,
ggp=gzi=^==i=g^|
-r
Faster.
Glaus.... Please to go, please to go, please to go be-cause
Faster.
You're not what we look'd for m old San - ta Glaus.
*; ^ U
- . - &
I i 1 1 ^ f~
^=& n fr "'l^' 1 I n
THE FALSE SIR SANTA CLAUS 125
CHORUS OF DISTRESSED PARENTS
Worried, flurried parents, worried parents, we !
Pleasure's sun is clouded, gloomy is our glee.
Christmas ends in crying, hopes are dashed, because
He is such a horrid, hateful Santa Claus !
Please to go, please to go, please to go, because
You 're not what they looked for in old Santa Claus !
MONEYBAGS.
What ! Go 1 Ah, no ; the children want me badly,
The darling, snarling, doleful little dears ;
If I should leave, I know they 'd miss me sadly ;
I know they love me, so I '11 spare their tears.
What! Go? Ah, no not while I ; ve strength to
stand ;
Why, I 'm Sir Santa Claus of Somewhereland !
THE FALSE FOUR. [In derisive chorus.}
What! Go? Ah, no not while we 've strength to
stand ;
Why, he 's Sir Santa Claus of Somewhereland !
JACK FROST AND HIS WIFE. [Singing behind scenes.]
Out from the kingdom of ice and of snow,
Rollicking, frolicking, frisking we go j
Rollicking, frolicking, singing in glee ;
Oh, who so merry and cheery as we ?
Clear rings our song, all the day long,
All the glad Christmas Day, Christmas Day long.
Shout the gay glories of Christmas so grand ;
Shout for old Santa Claus of Somewhereland !
[Moneybags and the False Four start in sur-
prise at the sound of this singing, and look
at each other anxiously.
126 ST. NICHOLAS PLAYS AND OPERETTAS
MONEYBAGS.
Say, who be these that sing so blithe and free ?
Quick, Jack o' Lantern, find this out for me !
JACK o' LANTERN. [Reluctantly.]
Excuse me, I beg I 'm suspicious of dangers,
And it ruffles my nerves, sir, to interview strangers.
JACK FROST AND HIS WIFE. [Singing nearer.]
Racing and chasing, from sunset to light,
Painting the windows with traceries bright ;
Dancing with sunbeams, all sparkle and life,
Oh, who so gay as Jack Frost and his Wife ?
Oh, who so gay, all the glad day,
All the glad Christmas, the glad Christmas Day ?
Shout the gay glories of Christmas so grand ;
Shout for old Santa Claus of Somewhereland !
[Jack o' Lantern clutches Moneybags by the
arm and drags him to the front.
JACK o' LANTERN. [Hurriedly and emphatically.}
Jack Frost and his Wife, sir,
Oh, run for your life, sir !
They '11 stir up a strife, sir,
And interview you.
They 're Santa Claus folks, sir ;
Have done with your jokes, sir !
You '11 be pinched and poked, sir
And frost-bitten, too !
MONEYBAGS. [Defiantly.]
Pshaw ! Who 7 s afraid ?
Here on my rights I 7 11 stand !
I am Sir Santa Claus of Somewhereland !
[Enter Jack Frost and his Wife, briskly.
THE FALSE SIR SANTA CLAUS 127
JACK FROST.
How are you, youngsters ? Full of fun and life ?
I am Jack Frost
His WIFE. And I 'm his loving wife
JACK FROST. [Looking at the children anxiously.]
What 's the matter ? Where are your shouts of glee ?
Where 's Santa Glaus ? And where 's your Christmas
tree ?
DICK. [Ruefully.] There '11 be no tree
ETHEL. [Dolefully.] And Christmas glee is o'er.
CURLY-LOCKS. [ With a great sigh.] Oh, Mr. Jack !
Christmas will come no more.
JACK FROST Why, who says that, you curly little
elf?
CURLY-LOCKS. Oh, don't you know? Old Santa
Claus himself !
JACK FROST. [Looking all around.] Old Santa
here? Where? Not among. that band !
DICK. [Pointing to Moneybags.] There !
MONEYBAGS. [Pompously.] I am Sir Santa Claus
of Somewhereland !
JACK FROST.
You ? Well, I guess not ! You, sir ? Oh, no, no !
That 7 s a good joke ! You Santa? Ho, ho, ho !
MONEYBAGS. There, that will do ! Be off, now !
Scatter ! Pack !
JACK'S WIFE. We get away ? I guess not ! Will
we, Jack ?
JACK FROST. [Dancing derisively before Moneybags.]
No, not for such a fat old fraud as you !
[Then to children.] This False Sir Santa Claus is
fooling you !
128 ST. NICHOLAS PLAYS AND OPERETTAS
MONEYBAGS.
Quick, now, my good policemen, clear them out !
I will not have such vagabonds about.
THE FALSE FOUR. [Closing around Jack and his
Wife.] Move on, now ! Come move on ! You ; re in
the way here !
JACK FROST. [ With hand to ear, sarcastically.} 1 'm
just a little deaf. What 's that you say, here ?
THE WHOOPING-COUGH MAN. [ Grasping Jack Frost's
arm roughly.] Move on, I say ! [Jack Frost touches
him with his ivand.] Ah !
JACK FROST. [Slyly.] Well, now what 7 s the mat
ter?
DICK. [Touching the Whooping-cough Man, ivho is
motionless as a statue.} He 's frozen stiff !
[Jack Frost suddenly touches the Big Bugaboo
with his wand.
THE BIG BUGABOO. Oh, how my teeth do chatter !
[He also stands motionless and stiff-
ETHEL. Oh, see there, Dick ! Feel him !
DICK. He 's frozen, too.
JACK FROST. Jack's magic wand froze the Big
Bugaboo !
JACK'S WIFE.
They both are frozen up, too stiff to wink
They '11 let us stay here now awhile, I think !
ETHEL. [Pointing to Moneybags.] But is n't he
Santa Glaus ?
JACK FROST. He ? Bless you, no !
MONEYBAGS. H'm ! how will you prove it?
JACK FROST. That 's easy to show.
THE FALSE SIR SANTA CLAUS 129
MONEYBAGS. Well, show it !
JACK FROST. I will, sir ! I will don't you fret !
JACK'S WIFE. Oh, False Sir Santa Claus, we '11 beat
you yet !
MONEYBAGS. [Snapping his fingers contemptuously.]
What can you do ?
JACK FROST.
Oh, quite enough, I think ;
We '11 do enough, I know, to make you shrink.
I '11 summon up each fairy, gnome, and elf ;
I '11 call I '11 call old Santa Claus himself !
I '11 tell him no for first I '11 stop this strife,
Or we will (won't we, dear?) Jack Frost and Wife !
[They rush with their magic wands to Red Rid-
ing-hood's Wolf and the Wandering Jew,
who are at once frozen to statues and stand
stiff and rigid. Jack o' Lantern runs off.
DICK. Hey ! The Wandering Jew 7 s frozen stiff
as a stake !
ETHEL. So 's Eed Riding-hood's Wolf! What
nice statues they make !
ALL THE CHILDREN. [Exultantly.]
And now, hip, hurrah ! Let Jack go, if he can,
For this horrible, terrible Santa Claus man !
[Jack Frost and his Wife, dancing around
Moneybags, pinch and poke him, while he
winces and dodges and shivers, and the chil-
dren jump for joy.
JACK FROST AND HIS WIFE.
We '11 nip his nose and tweak his toes ;
With cold he '11 shake and shiver !
We '11 twinge his ears and freeze his tears
Until he '11 quake and quiver.
130 ST. NICHOLAS PLAYS AND OPERETTAS
We '11 cover him nice with a coat of ice,
While he '11 shiver and sneeze and stumble ;
No Santa Glaus he ! A fraud he must be :
He 's nothing but glitter and grumble. 1
MONEYBAGS. [Aching with cold.]
Br-r-r ! Oo-oo-oo ! I 'm cold ! Oh, hold there, hold !
Do save me from this ice man.
Ah, boo I freeze ! My nose ! My knees !
Do stop it there 's a nice man !
[Enter Jack o' Lantern hastily, with a stick
painted to look like a red-hot iron bar.
JACK o' LANTERN.
Here 's a red-hot bar I Ve brought, sir
Heat will thaw you so it ought, sir;
Now I '11 try what heat will do, sir.
[Pokes Moneybags with the bar.
That 's for you !
[Lays it on Jack Frost's back.
And that 's for you, sir !
MONEYBAGS. [Jumping with pain, but relieved.}
Ouch ! that 's better what a pelting !
JACK FROST. [Growing limp and drooping as the hot
iron thaivs him out.}
Wifey, quick ! I 'm limp and melting !
Come, with magic wand revolving;
Here 's your Jacky fast dissolving !
JACK'S WIFE.
Courage, Jacky ; here I come, dear ;
My ! you 're getting thin and numb, dear.
There ! I '11 stop this in a trice, sir.
[Touching Jack o' Lantern with her wand.
1 Try, for air, " Grandfather's Clock/'
THE FALSE SIR SANTA CLAUS 131
Jack o' Lantern, turn to ice, sir !
[Jack o' Lantern becomes a frozen statue.
Noise of sleigh-bells heard, and then Santa
Glaus is heard shouting, behind scenes.
SANTA CLAUS. [Outside.]
Now, Dasher ! Now, Dancer ! Now, Prancer and
Vixen !
On, Comet ! On, Cupid ! On, Donder and Blitzen !
To the top of the porch, to the top of the wall,
Now, dash away ! dash away ! dash away, all !
[The children listen, amazed and delighted.
CHORUS OF CHILDREN 1
Hark ! we hear the jangle, jingle ;
Hark ! we hear the tangle, tingle j
Hear the jingle and the tingle of the sleigh-bells sweet
and strong.
Welcome, welcome, rings our greeting ;
Joyful, joyful, is the meeting ;
Sweet the greeting and the meeting, sing the welcome
loud and long.
Jingle, jangle, tingle, tangle,
Christmas joy shall know no pause.
Tangle, tingle, jangle, jingle,
Welcome to you, Santa Claus !
CHORUS OF HAPPY PARENTS
Jingle, jangle, tingle, tangle, etc.
SANTA CLAUS. [Entering with a rush, shaking snow off. ]
Hello ! Merry Christmas ! I hope I 'm on time !
With the rivers I cross and the mountains I climb,
1 Try, for air, the " Galop" from "Gustavus."
132 ST. NICHOLAS PLAYS AND OPERETTAS
With the roofs that I scale and the chimneys I drop
down,
By the day after Christmas I 'm ready to flop down.
But what if I do get so tired with trotting f
Your joy gives new strength for my planning and
plotting.
My reindeer are fleet, and Hello ! What 's the mat-
ter?
Something 's wrong here or else J'm as mad as a
hatter !
Why is Mr. Jack Frost, there, so slimpsy and droopy ?
Who are these funny statues so cold and so croupy ?
Why are not all these little folks happy and hearty?
And well bless my stars ! Who 's that pompous
old party ?
MONEYBAGS. \Admncing.] I am Sir Santa Glaus
of Somewhereland !
SANTA GLAUS. [Quizzing him.]
Ho ! are you ? Well, old fellow, here 's my hand !
So you 're Sir Santa Glaus? Well by the by
If you are he why, bless me ! who am I?
MONEYBAGS. [Loftily.] I have no doubt, sir, you 're
some low impostor.
SANTA GLAUS. Well, come, that 's friendly ! I '11
look up the roster.
But, still, I think, as far as I am able,
I ; ve been old Santa Glaus since the days of fable.
How is it, little folks ? We '11 leave to you
To say which is the False one which the True?
DICK. \Detidedly.] Oh, you 're the true one !
CURLY-LOCKS. Certain sure !
SANTA GLAUS. [Inquiringly.} Because?
THE FALSE SIR SANTA CLAUS 133
ETHEL. We know that he's the False Sir Santa
Glaus.
SANTA GLAUS.
Well, well ; that 's logic ! Then, by your decree,
What shall the sentence of this culprit be ?
DICK. [ Vindictively.] Let 's tar and feather him !
ETHEL. And freeze him, too !
SANTA GLAUS. Well, little Curly-locks, and what
say you ?
CURLY-LOCKS. [Reflecting.]
He 's been so dreadful naughty, I should say
It 's best to make him good again to-day.
If ive are good to him, why, don't you see,
He '11 have a chance to try and gooder be ?
SANTA GLAUS.
Why, bless you for a rosy little saint !
You 've found the cure that 's best for his com-
plaint.
What, Mr. Moneybags, shall your answer be,
Now that you 've heard this little maid's decree ?
Do you appreciate the magnanimity
Extended you by this small judge in dimity ?
MONEYBAGS. [Dropping humbly on one knee before
Curly-lochs.}
I 'm conquered completely, as you may see,
And I bow to your gentle sentence ;
And I humbly beg, on my bended knee,
Your pardon with true repentance.
1 have been such a horrible, cross old bear,
With never a soul above dollars ;
But I promise you now, if my life you spare,
To be one of your happiest scholars.
134 ST. NICHOLAS PLAYS AND OPERETTAS
Hereafter my days shall have more of glee ;
With the children I '11 frolic and roam, ma'am,
And I '11 give one half of my fortune, free,
To the Destitute Children's Home, ma'am.
SANTA GLAUS. [Clapping Mm on the back.]
Bravo ! Now joy-bells ring out clear and free ;
Come with me, children, to the Christmas tree !
[Enter the Fairy Bountiful, with a burst of
music. All stand surprised.
THE FAIRY BOUNTIFUL.
One moment tarry, ere, with wonders sweet,
The tree shall make your Christmas joys complete.
One thing remains : List, while I tell to you
What Fairy Bountiful would have you do.
In the old days, when Valor, Truth, and Right
Would fight the Wrong and conquer wicked Might,
The champion brave his sure reward would see,
And by his king or queen would knighted be ;
And, as his shoulders felt the royal blade
Give the glad stroke they called the " accolade,"
These welcome words came, as his guerdon due :
" Rise up, Sir So-and-so, good knight and true ! "
Without old Santa Claus, the children's fun
At Christmas-tide could never be begun.
In their glad hearts the champion he '11 stand
Their good old friend, who comes from Somewhere-
land.
Let, then, the title that this False one bore
Come to the True, with love in goodly store.
Kneel down, old Santa Claus, while with ready blade
Sweet Curly-locks shall give the " accolade " !
THE FALSE SIR SANTA CLAUS 135
[Santa Clans kneels before Curly-locks, who
touches him lightly on the shoulder with the
fairy's wand.
CURLY-LOCKS.
Good knight and true ! Dear to the girls and boys,
Friend of their fun and helper in their joys,
Receive this honor from the children's hand.
Rise up, Sir Santa Glaus of Somewhereland !
SANTA GLAUS. [Rising.]
Thanks, thanks to you, Curly-locks gentle and true ;
Thanks all, girls and boys, for this honor from
you.
I '11 be loyal and leal to your joyous young cause.
Health and wealth to you all ! says your friend Santa
Glaus.
Now, rally all, rally all, rally with me,
Round the wonders and sights of the bright Christmas
tree.
Give a cheer and a shout and a chorus because
We have routed and conquered the False Santa
Glaus !
During the chorus that follows, in which the parents should
join, the curtain or doors should slowly open and disclose the
Christmas tree, around which the children, with Santa Glaus at
their head, should march as they sing :
Modf,rato.
& : J____ -1- -g- -*- ?__&.
136 ST. NICHOLAS PLAYS AND OPERETTAS
When the chil-dren are safe in the Land of Nod, All
Scherzo.
sleep-i - ly snug in their plac - es, Then o - ver the
chimney-tops, jol-ly and odd, Old San-ta Glaus rushes and
CHOKUS.
rac - es; Then ring out and sing out the wel - come we
THE FALSE SIK SANTA GLAUS 137
give, Our love he will al - ways command. Hur-
>i
-'=
rah for San-ta Glaus! long may he live At his castle in
J \. I 1
rt=
H=t:
Somewhereland; Hur-rah! Hur-rah! for
138 ST. NICHOLAS PLAYS AND OPERETTAS
-fe m f -(*r i i m y
ta Glaus ! long may he live At
>
^j=r.- H :
^=^W^=^EE^
*y -^- -- -- -(&- -+
i i
his castle in Somewhereland.
ff
While Christmas-tide comes with its laughter and glee,
Our hearts shall keep green as the holly,
If there in the circle with smiles we may see
Old Santa Glaus merry and jolly.
CHORUS. Then ring out, etc.
Then round the glad Christmas tree rally with joy ;
Let Love's happy sun shine in gladness.
Sing it out, every girl, sing it out, every boy ;
Old Santa Claus banishes sadness.
CHORUS. Then ring out, etc.
Distribution of Gifts and General Jollity.
A SIXTEENTH-CENTURY CHRISTMAS
BY CHARLES A. MURDOCK
INTRODUCTORY
The purpose of this entertainment is to reproduce a Christ-
mas scene of Shakspere's time, both for its own sake and as
an attractive setting for the delightful old Christmas carols
which never can wear out.
It is especially adapted to a church choral society, or to the
older pupils of a Sunday-school or an academy, and it also
brings in a good number of the younger children.
It admits of any desired changes as to the music designated,
though the quaint old carols should be adhered to. The Waits,
if possible, should be a well-trained male quartet.
The costumes should be carefully consistent, and pains must
be taken to secure effective grouping of the company. The
picture will be finer if the gentlemen generally stand ; and the
short benches on which most of the ladies may sit should be of
varied heights.
SIR TRISTRAM and LADY GERALDINE should occupy antique
chairs on a dais at the side of the stage, and the JESTER, while
moving freely around, will be in place near their feet.
The company should move about as opportunity offers, rising
to sing, and avoiding stiffness and indifference to what is
going on.
The "Lord of Misrule" and his followers must be very
spirited, making a whirlwind of fun and noise during their
brief appearance.
CHARACTERS
SIR TRISTRAM, an English gentleman.
LADY GERALDINE, his wife.
139
140 ST. NICHOLAS PLAYS AND OPERETTAS
LADY BEATRICE, a guest, who sings.
LITTLE EDITH, the grandchild.
MASTER RIVERS, another tuneful guest.
A JESTER.
GREGORY, a servant.
HUGO, a servant.
Waits, ladies and gentlemen, the "Lord of Misrule"
and his merry band, children, etc.
SCENE. An old English hall.
Curtain rises, discovering two servants and a jester.
GREGORY. By the mass, this is the merriest
Christmas I e'er did see. Didst ever know such
goings on ? Such eating, and drinking, and frolick-
ing ? What a dinner had we the day ! and ods-
body, what a pudding was that ! They perforce left
enough for us to feast withal.
HUGO. Ay, that they did, and right royally. I
tell thee, Gregory, we do well to live in these days
of good Queen Bess, when there 7 s plenty to eat and
drink. I warrant thee those knavish knights we
hear of oft went hungry.
GREGORY. The more fools they. I care not for
glory. As the merry play-actor saith, "I am one
that am nourished by my victuals, and would fain
have meat." Ah, Hugo, that 's a rare play; it
maketh one to laugh mightily. The master goeth
oft to see it, and he delighteth in that merry Launce.
Marry, thou shalt see anon how pat I '11 do 't ; the
master saith, Christmas or no Christmas, I shall
present Launce and his dog.
HUGO. The feasters soon shall come, I trow. 'T is
eight o' the clock. How now, fool? Why art thou
142 ST. NICHOLAS PLAYS AND OPERETTAS
drowsy? Whence these doleful dumps? Awake
and give us a taste of thy drollery.
JESTER. Oh, give o'er, I prithee. 'T is sad enough
to show folly to the wise. My pearls are not for
swine.
HUGO. Swine ! Thou unmannerly knave ! We '11
whack thee soundly an thou mind'st not.
JESTER. Nay ; an thou canst not be civil, I '11 take
myself away. I 'd fain be still. I 'm grinding at
my mill 'gainst the Yule-tide.
GREGORY. What mean'st thou, boy ?
JESTER. Dost think we men of mind can forthwith
do our task as ye can lift a trencher? Aforetime
must we store the jest that seemeth struck like flash
of steel. E'en now I 'm sitting on the jokes I '11
hatch anon.
GREGORY. Ho, ho ! thou art rare, Sir Fool.
JESTER. Then leave me lest I be ivell done with
such a scurvy fire as you would give.
GREGORY. My life, but thou art quick. I Avould I
had your wit.
JESTER. Oh, covet it not, good Gregory. Thou art
fool enough without it.
HUGO. He hath thee "on the hip," as saith the
Jew. Hark ! I hear the steps of the gentles. Let us
to our posts.
[Enter the Christmas company.
SIR TRISTRAM. This way, good friends. I pray
you be merry and at ease j make our home your own.
My sweet wife, here, and my chicks will look to 't
that a Christmas in old England shall not see you
A SIXTEENTH-CENTURY CHRISTMAS 143
want for anything. In our simple English way we
bid you welcome to Yule-tide.
LADY GERALDINE. Find seats, dear hearts. We 'd
have such a Christmas Eve as would drive all thoughts
but happy ones far from you. 'T is a blessed time,
for the good will the angels sang of yore gains apace,
and in this fair land, far from those lonely heights
where the shepherds watched their sheep, we gather
to praise Christ's name, and show each to each the
love we bear.
SIR T. Ay, she speaketh well. I own 't is true;
but I fear me ye may not be merry. My wife is unco
guid, as the canny Scots would say, but
1 7 m yet a sinner
Who loveth dinner,
And fain would see you gay j
I fear not folly,
I 'd e'er be jolly,
Nor work when I can play.
JESTER. Oh, nuncle, thou mak'st me weary.
SIR T. How now, gentle Jester, why dost repine ?
JESTER. It is my sweet privilege to play the fool,
and it likes me not when you begin.
SIR T. You rascally lout, what mean you ?
JESTER. Know you not there is a time for all
things? The mistress would have us gay, but she
hath sense to know that they only can be truly
happy who are truly good.
You, my wicked lord, nor I, nor no man
E'er can happy be as noble woman.
144 ST. NICHOLAS PLAYS AND OPERETTAS
WOMEN. Hear, hear ! good for the Jester.
MEN. [Derisively.] Oh, oh !
SIR T. Ah, you sly dog, you know how to make
friends where friends are worth the having.
LADY G. Thank you, boy. None need have fear
we shall be too serious. And now, to begin, let us
sing The First Nowel."
SIR T. One moment, an it please you. [To Jester.}
Boy, come hither ! [Whispers to Jester, who runs out.]
I hope it is no offense, but at the last Yule-tide the
words of these same Christmas carols slipped so
villainously from our minds that we sang but illy,
and it is no marvel, for we sing them but once the
year, so I bethought me to send to London, and
Master Evans hath, sent me here the words, in good
fair type, that all may read, and, not- fearing to slip,
may sing right lustily. Boys, give out the songs.
Now will we sing " The First Nowel."
[They sing.
JESTER. Nuncle, that is a goodly song. It re-
fresheth my spirits. If you had a soul, I think it
would do it good.
SIR T. If I had a soul, blockhead ! and why have
I not?
JESTER. I give it up. I know not why.
SIR T. But what proof hast thou that I have
not?
JESTER. Art a philosopher and askest me to prove
a negative? It resteth for thee to prove that thou
hast.
SIR T. And how can it be done, my pretty knave ?
A SIXTEENTH-CENTURY CHRISTMAS 145
JESTER. Marry [Sings.]
Now, mark me ! do!
But show a ray
Of love for me,
It goetli far
To prove thy soul.
Now, say not la !
But let us see
Your cake 's not dough.
SIR T. Good, fool! By all the saints, this is
admirable nonsense. Thou hast earned the cross,
and shalt bear it.
[Giving money.
JESTER. Oh, no ; I 'm not musical for nothing. I
cannot draw silver music from a heart of flint. Not I,
forsooth. ? T is the caitiff wretch that bideth round
the corner.
SIR T. Now, let the frolic begin. Ho, Gregory !
Hugo ! go bid my hinds bring hither the Yule log.
[Exeunt G. and H.] Now, friends, bethink you that
care 7 s an enemy of life. As saith young Hamlet :
"What should a man do but be merry?" Master
Shakspere giveth us another good text in " Richard
II " : " Be merry, for our time of stay is short." Let
us all stand up and shout for Yule-tide joy.
[All stand and hurrah. Ladies wave handker-
chiefs. Log brought in.
Come, bring with a noise,
My merry, merry boys,
10
146 ST. NICHOLAS PLAYS AND OPERETTAS
The Christmas log to the firing,
While my good dame she
Bids ye all be free
And drink to your health's desiring.
LADY G. Let us raise our voices in the grand old
carol, " From Far Away."
SIR T. Ah, goodwife, thou choosest well. I love
that same old song.
LADY G. Be seated, all. Frame your minds to
mirth and merriment, for now ; t is seasonable.
SIR T. Boy, cannot you sing? Too much carol
maketh me sad. I fain would have a stirring ditt} T
or a rollicking ballad.
JESTER, Ah, master, Heaven is not so partial to
any mortal as to make him beautiful and wise, and
then to gild him with the power of song. I 'm no
nightingale, nor be I a lark (though perchance at
times I aid one but that is apart).
LADIES. Oh, sing, sweet youth.
JESTER. It ill beseemeth me to say you nay. To
decline mayhap were more inglorious than to fail,
but i' faith I cannot. I 'm coltish to-night.
SIR T. Coltish ? What rnean'st thou ?
JESTER. Why, a little hoarse. An it please you
ask Master Rivers to sing. He hath a marvelous fine
voice, and knoweth a ballad 't would make ye merry
to hear.
LADY G. Thou speakest well. Good Master Rivers,
favor us, an thou wilt, with thine antique song.
MASTER R. An it please you, my lady, I '11 sing
from now till Michaelmas.
A SIXTEENTH-CENTURY CHRISTMAS 147
JESTER. Oh, not so long, good master. Be brief,
if you would win our love.
[Master Rivers sings "The Leather Bottle,"
from "Pan Pipes." All clap hands and cry
"Good!"
SIR. T. My thanks, good friend. The performance
doth thee credit. I would I had thy voice and
thy years. Well, sweet wife, 't is thy choice next.
148 ST. NICHOLAS PLAYS AND OPERETTAS
What wilt thou offer to our guests and the general
LADY G. Good my lord, our little grandchild,
Edith, hath a verse. Brief is it, but beautiful.
'T was writ by Master George Herbert, and " Love-
joy" calls he it. Come hither, Edith. Now, sweet
child, say thy little lines.
EDITH. [Recites.]
on a window late I cast my
eye,
saw a vine drop grapes
with J and C
Anneal'd on every bunch.
One standing by
Ask'd what it meant. I (who
am never loath
To spend my judgment) said :
" It seem'd to me
To be the body and the letters both
Of Joy and Charity." " Sir, you have not
missed,"
The man replied. " It figures Jesus Christ.''
SIR T. " Sweet invocation of a child, most pretty
and most pathetics!." Now will we have a bit from
a bright play. My servant, Gregory, is no Burbage,
but he doth something smack; he hath a kind of
taste for the player's art, and will now give you the
speech of Launce, from "The Two Gentlemen of
Verona." The dog you see not. 'T is " in his mind's
eye." Sirrah, stand forth.
A SIXTEENTH-CENTURY CHRISTMAS
149
[Gregory recites Act II, Scene 3. Applause.
Singing without: "God Rest Thee, Merry
Gentlemen."
LADY G. 'T is the Waits singing from door to
door. When they have done we will bid them enter.
[Waits conclude their carol.} Good my lord, may we
not call them in to share our festivity ?
SIR T. Marry, will we. Jester, bid you the min-
strels to come in and sing for us again. They dis-
course most excellent music.
[Waits enter and sing again: "The Boar's
Plead Carol," or some carol for male voices.
SIR T. 'T is well ; 't is very well. Perchance the
Waits are dry. Belike you all may be, for so in
sooth am I. Hugo, bring hither the loving-cup.
150 ST. NICHOLAS PLAYS AND OPERETTAS
Break this respectful stillness. You have been staid
too long.
[General talk, very brisk and voluble. Loving-
cup passed.
SIR T. [Resuming seat.] Now, neighbors all, again
let quiet reign. We '11 have another Christmas song.
[Waits sing "What Maid was This?" from
"Christmas Carols Old and New."
JESTER. Sir Twistem, methinks that song was e'en
as good as the other one.
SIR T. No more, my sweet fool. Thou need'st
not think to match thy crossed shilling.
JESTER. Ah, good my lord, think not I care for
thy silver: 't was the winning gave me joy. But I
love music ; my soul longeth for
it. 1 suck sweet melancholy
from a song as thou suckest
a dull brain from thy pota-
tions.
SIR T. Sirrah, thou abusest
thy privilege. I care not for
ale, nor is my brain befogged.
JESTER. Then, speaking of sil-
ver, canst thou tell me why a
boxed rat is like a man becoming
short of money ?
SIR T. Beshrew me, boy, I
cannot answer.
JESTER. Because, look you, it will be a-gnawing to
get out.
SIR T. Go to ! annoying. A villainous jest, i' faith.
A SIXTEENTH-CENTURY CHRISTMAS 151
JESTER. Nuncle, where hadst thou this fine ale ?
SIB T. Of Master Davenant at the Crown Inn,
sirrah.
JESTER. Of Master Davenant ! Then why is the
Crown Inn like Jacob's Well ?
SIR T. I know not that, either.
JESTER. Because, hark ye, "he brews drink there.
SIR T. Go to, thou art too subtle for me. He
brews drink ! 'T is passing good ! [ Wipes tears.]
Hebrews drink to be sure. I wonder not that the
melancholy Jacques would fain wear motley. By
the way that same sad man reminds me [Addresses
Waits.] My good friends, could ye sing for us that
fine song the huntsmen sing in the forests of Arden,
as 't is done at the Curtain Theater!
WAITS. Ay, good my lord, that can we.
SIR T. We must have a little spice withal, or the
carols will pall upon our taste.
[Waits sing "What Shall He Have who Kills
the Deer ? " from the Boosey collection. The
bystanders in the scene applaud.
LADY G. Lady Beatrice, wilt thou not sing for us
that quaint old ballad that I love so well ?
LADY B. If it is thy pleasure, I cannot decline.
[Lady B. sings " O Mistress Mine " or " Pliil-
lida Flouts Me," from "Pan Pipes." Noise
without.
LADY G. Good my lord, what noise is this without ?
SIR T. It must e'en be those merry roisterers who
follow the Lord of Misrule. Fear them not; they
are but somewhat rude. They '11 do no ill. Some
152 ST. NICHOLAS PLAYS AND OPERETTAS
there are, poor souls, who know no way to show
their joy but by making a monstrous noise.
[Enter the Lord of the Misrule and followers,
with music, hobby-horse, etc. They dance
and distribute papers, for which they re-
ceive pennies. A poor child comes with a
Christmas box.
LADY G. Ah ! dear little mouse. Bring hither thy
Christmas box. Soon may 7 t be full.
[Roisterers exeunt.
JESTER. [Yawning.] I have an exposition of sleep
come upon me, nuncle. Is to-day to-morrow or yes-
terday? If too full we fill one day, 't will spill and
spoil the next. I fain would niggard with a little
rest. Christmas joys are well, but
A surfeit of the sweetest things
The deepest loathing to the stomach brings.
SIR T. Thou art not altogether a fool. The time
draws near, " so I regreet the daintiest last to make
the end most sweet." Dear heart, what shall be the
final act in this our Yule-tide play ?
LADY G. Glad are our hearts. Peace, plenty, and
joy smile upon all. Let our last act on the birthday
of our Lord be the union of our voices in praising
his name. Let us sing " Gloria in Excelsis."
[All sing.
NOTE. Almost all the songs named in the text can be ob-
tained by ordering through music-dealers, and most of the waits
and carols are to be found in the "English Melodies" and
"Sacred Series" of the collection called the " Choralist."
Of course, when necessary, other old songs and carols may be
substituted at will for those mentioned here.
CHRISTMAS EVE AT MOTHER HUBBARD'S
(A Christmas Play for School or Parlor Entertainment)
BY S. J. D.
CHARACTERS
LITTLE Miss MUFFET. JILL.
LITTLE JACK HORNER. MISTRESS MARY.
LITTLE BOY BLUE. SIMPLE SIMON.
LITTLE BO-PEEP. OLD MOTHER HUBBARD.
JACK. SANTA GLAUS.
SCENE. A room at Mother Hubbard's; two doors, one sup-
posed to open to the outer air, the other to lead into another
part of the house ; also a cupboard with closed door.
Little Miss Muffet and Jack Horner disclosed, seated, as the
curtain rises.
Miss MUFFET. Can you tell me, Jack Horner, why
so many of us have been asked to come here to Old
Mother Hubbard's to-night ? What does she want of
us ? What is she going to have us do ?
JACK HORNER. Do f Why, I thought it was a sort
of a party, perhaps forfeits, and dancing, and stage-
coach, and so on. And afterward well, I have been
wondering whether we shall have ice-cream and cake,
or nuts and raisins and apples. [Rising and walking
153
154 ST. NICHOLAS PLAYS AND OPERETTAS
about discontentedly.} I declare, it 's a shame, Miss
Muffet. Do you know I am not to have any Christ-
mas pie this year ?
Miss MUFFET. Why not ?
JACK HORNEB. Oh, well, you know that old trick
of mine about the plums ; my folks thought it bad
manners, and so I am to go without my pie. [Sits
down again moodily.] And what 's Jack Horner
without a Christmas pie ?
Miss MUFFET. Well,! have n't any curds or whey,
either; but it was a very old-fashioned dish, and
doing without it does away with the spider, so I am
very well pleased. Boys are so queer always hungry,
always thinking of something to eat !
JACK HORNER. And girls are so very queer afraid
of spiders, shrieking at a mouse ! When a fellow is
asked out of an evening, I don't think it at all queer
he should expect a little something in the way of
refreshments.
Miss MUFFET. But this is n't to be a party. We
were asked here to help about something. And then,
to expect ice-cream at Mother Hubbard's ! Why,
she can't. It is n't nice to speak of it, but you know
that pitiful story about her dog.
JACK HORNER. Oh, well, there are better times
now. Yes, I know the old story. And that 's the
very cupboard over there. [Rising, ivith curiosity.]
I 've a good mind to just go peep into that cupboard
and see if it really is bare.
Miss MUFFET. [Speaking as he tiptoes across the
room.] What sort of manners do you call it, Jack
Horner, to go prying into other folks' cupboaa^s ?
CHRISTMAS EVE AT MOTHER HUBBARD'S 155
[As Jack lays his hand on the cupboard door a
horn is heard without, and he jumps back
guiltily.
Miss MUFPET. Who 's afraid now, I 7 d like to
know?
JACK HORNER. Who can it be ?
[The horn sounds again, and Little Boy Blue
enters.
BOY BLUE. Hallo ! here are two of you before me
old friends, of course; but I have n't met any
Mother Goose people in so long a time that I 'm
afraid I sha'n't know you all. Now, who are you,
ma'am, if I may be allowed to ask ?
Miss MUFFET. / am Little Miss Muffet.
BOY BLUE. Oh, yes who sat on a tuffet. Well,
then, now 's my chance to ask you about something
that has always puzzled me tremendously. What is
a tuff et ?
Miss MUFFET. [Jumping up from her stool and pla-
cing it before him.] That is a tuffet !
BOY BLUE. That ? Why, that ' s nothing but a
little footstool ! What makes them call it a tuffet ?
Miss MUFFET. Because "tuffet" rhymes with
" Muffet," stupid, and " footstool " does n't !
JACK HORNER. No, nor hassock, nor ottoman. To
be puzzled over an easy thing like that ! Where are
your wits, Boy Blue ? Are they under the haymow,
fast asleep ?
BOY BLUE. [Good-naturedly.] Well, Jack, my boy,
you will be pretending next that you are always sit-
ting about in a corner so as to make yourself rhyme
156 ST. NICHOLAS PLAYS AND OPERETTAS
with " Horner." Now, is n't it because you are just a
little bit lazy, and a little bit afraid of the weather?
JACK HORNER, [Jumping up testily.} See here, Boy
Blue, I don't like that !
Miss MUFFET. Oh, dear! if you boys go to quar-
reling and fussing, it will spoil our whole evening.
[Bo-peep knocks at the door with her crook,
and then enters.
BOY BLUE. [Advancing with a smile.] I called for
you, Bo-peep, and you had already gone.
BO-PEEP. Yes ; I stopped for Jill, but she and Jack
could n't start for a little while yet, and I came on
alone.
JACK HORNER. Won't you take my chair, Miss Bo-
peep? Was it snowing when you came in?
BO-PEEP. Oh, ifc is glorious winter weather. Hew
I do love the frost and cold ! It makes me feel
ready for anything ! Where 7 s Mother Hubbard ?
Miss MUFFET. She was called away just after Jack
Homeland I came, and she has n't been in the room
since. Why do you carry your crook in winter, Bo-
peep?
BO-PEEP. I like to have it when I 'm skating ; and
then, it 's pleasant to carry it it reminds me of the
summer-time.
JACK HORNER. Then you like the summer better
than winter? So do I.
BO-PEEP. Well, I like the autumn better still ; and
springtime that 's the best of all.
BOY BLUE. You and I love all the seasons, Bo-peep,
because we live so much outdoors. We know them
CHRISTMAS EVE AT MOTHER HUBBARD'S 157
all so well, and all their good times. As I was com-
ing along through the snow just now, I found myself
humming that "May Song" of yours.
Miss MUFFET. Oh, Bo-peep, sing it for us, won't
you?
BO-PEEP. Why, I will, if Boy Blue does his part, too.
BOY BLUE. All right. You begin.
MAY SONG 1
BO-PEEP.
Light is the heart of the young country lass
When May smiles " good day " through the wicket ;
Blossoms a- bloom in the tender green grass,
Birds all a-tune in the thicket.
Up and away at the first ray of morn,
Out where the sunbeams are playing !
Little Boy Blue, come blow your horn,
For we would be early a-Maying
(Horn] Tra-la-la, tra-la-la, tra-la-la, tra-la-la !
For we would be early a-Maying
(Horn) Tra-la-la, tra-la-la, tra-la-la-la !
BOY BLUE.
Gay is the lot of the young country lad
When decked is the May-pole for dancing,
Fiddlers all there and a-fiddling like mad,
Every one skipping and prancing.
Hie ! what a feast we shall have on the green,
Candy and cake and no paying.
BO-PEEP.
Oh, me, one would be like a king or a queen
If one could be always a-Maying !
Tra-la-la, etc.
1 For music, see "St. Nicholas Songs," page 172.
158 ST. NICHOLAS PLAYS AND OPERETTAS
But lassies and laddies must work, it is true ;
All is not pleasure and funning.
There 's baking and churning
BOY BLUE. and plowing to do,
BO-PEEP.
And errands to keep one a-running.
BOY BLUE.
Cows to be tended and kept from the corn ;
BO-PEEP.
Sheep that forever are straying :
So at sunrise, Boy Blue, come blow us your horn ;
We '11 to work, and have time left for playing
(Horn) Tra-la-la, tra-la-la, tra-la-la, tra-la-la !
There '11 be plenty of time left for playing
(Horn) Tra-la-la, tra-la-la, tra-la-la-la !
[At the close of the song a heavy fall and a
commotion are heard outside.
Miss MUFFET. [Running to tlie door.] What can be
the matter?
[Jack and Jill enter, the former hobbling,
and holding his head with a wry face.
BO-PEEP. Why, it 7 s Jack, and you too, Jill!
How 's this ? Have you had another tumble ?
JILL. Oh, Jack had to go and fall on a little slip-
pery place near the door. Trust Jack for finding
the slippery places !
JACK. Well, Mother Hubbard asked me to drop in
this evening, and I was trying to oblige her. Only I
dropped too soon. I was n't quite in. Whew !
did n't I give my head a crack, though !
JILL. Jack wants to join a baseball nine, but I
CHRISTMAS EVE AT MOTHER HUBBARD'S 159
tell him he 's too good a tumbler to make a good
pitcher.
JACK HORNER. [Trying to look important.] Pooh,
pooh ! Baseball, indeed ! That 's out of date, and
lawn-tennis, too. Golf 's your game ! Golf 7 s the
game for me !
BOY BLUE. [Patting Mm on the back.] There, there,
sonny ! you '11 grow up to them all. Croquet and
ring-toss are better for you, at your age !
JACK. Well, Jill will have her joke. And it 's
better to laugh than cry, say I.
JILL. Sing them that song you composed about all
your tumbles. It will make you forget your head-
ache.
JACK. Oh, it 's too long. It has forty-eight verses,
each about a separate accident, and then three or
four in which I give a sort of summing up and a
moral.
BOY BLUE. [Hastily.] Just give us the summing
up. Never mind about the other forty-eight verses.
JACK'S SONG l
If I J m walking on a level
Where you 'd think that I might revel
In the comfort and the safety of the way,
Then I 7 m bound to stub my toe,
And the first thing that you know,
Jack is on his back again, alackaday !
1 For music, see "St. Nicholas Songs," page 128, "There was
a little girl," etc. Use first verse of music for first and second
verses of song, and last verse of music for third verse of song
160 ST. NICHOLAS PLAYS AND OPERETTAS
Oh, I 've broken both my shoulders,
And the very smallest boulders
Are enough to twist my ankles all awry ;
Where the others dance and skip
I am always sure to trip,
Dislocate my collar-bone and bruise my thigh !
But it does n't so much matter
Just how many bones I shatter,
Nor how oft the nickname " Buttertoes " 1 7 ve heard ;
For our Jill says (bless her soul !)
That I keep my temper whole,
And I never twist the truth or break my word !
BO-PEEP. Well, Jack, I like that song. It 's just
fine!
BOY BLUE. So say I !
JACK. [Rubbing his head ruefully.] Singing it
did n't improve my head any.
Miss MUFFET. Poor boy ! Let me take you to
find Mother Hubbard, and she will have you lie
down a little while, and give Jill something to bathe
the sore spot.
[The three go out, leaving inner door open. A
gentle knock, and Mistress Mary enters at
other door. Bo-peep is facing the door,
and the newcomer holds her hands out
toward her with a smile. Bo-peep takes
them.
BO-PEEP. I feel as if you must be an old and dear
friend, and yet I cannot tell your name.
MISTRESS MARY. Why, I am Mistress Mary the
kinder gartner. And if you would like to know how
CHRISTMAS EVE AT MOTHER HUBBARD'S 161
my garden grows, I shall be delighted to tell you all
about it.
JACK HORNER. [Surprised.] You Mistress Mary?
And you look so pleasant and so cheery ! I thought
they used to say you were well, sort of oh, you
know
BOY BLUE. Contrary? Why, Jack, my fine fel-
low, where are your wits? That is just to rhyme
with "Mary." " Contrary " rhymes with Mary, and
"pleasant" does n't, nor "charming."
MISTRESS MARY. No ; they really thought me con-
trary, and very, very queer " cranky," I think they
would call it nowadays. But that was only because
they did n't understand the Frobel system. They
were-n't familiar with the "gifts and occupations,"
and they could n't see what silver bells or cockle-
shells or balls or cubes or cylinders had to do with
the training of the little maids in my kindergarten.
By the way, they did n't stand in a row at all, my
little maids, but in a circle, as they do to-day.
BOY BLUE. But if I may make bold to ask, what
have silver bells and cockle-shells to do with schooling ?
MISTRESS MARY. I can tell you best in a little
song we have made about them, if you would like to
have me sing it to you.
BO-PEEP. Please do. That will be delightful.
MISTRESS MARY'S SONG x
Now list while I tell
Of the small silver bell
1 For music, see "St. Nicholas Songs," page 110, "The
Singaway Bird."
11
162 ST. NICHOLAS PLAYS AND OPERETTAS
That rings in the year's early morning ;
The first flower we see,
It 's a-quiver with glee
As it gives to the others their warning :
" Ting- ting, it is spring, ting-a-ling !
Ting-ting, ting-a-ling, it is spring ! "
Up come the flowers at the jubilant knell
Of this small rising-bellsilver bell.
And this fair cockle-shell,
Once so happy to dwell
At the edge of the murmuring billow,
It will sound at your ear,
In a voice that you hear
As through dreams on a wave-cradled pillow :
" List ! list ! the sea murmuring.
List ! list ! the sea whispering."
It has tales that are wondrous to tell
In its dream-talk, this fair cockle-shell.
So the bell from the lea
And the shell from the sea
Hold marvels we fain would be knowing;
And they tell each in turn
What 't is lovely to learn,
Little maids, in my child garden growing.
" Ting-ting ! hear me ring ting-a-ling ! "
" List, list, to the sea whispering ! "
Whisper, fair shell ; ring for us, silver bell ;
For your message is fair fair to hear, fair to tell !
BOY BLUE. I think I would n't mind belonging to
your school myself.
CHRISTMAS EVE AT MOTHER HUBBARD'S 163
BO-PEEP. I would join it in a minute if I was n't
so big.
JACK HORNER. Here comes Mother Hubbard, and
who 's that with her ?
BOY BLUE. Why, it 's Simple Simon ! There 's a
scholar for you, Mistress Mary ! Even you could
not drum any wisdom into him.
MISTRESS MARY. If I had had him young enough, I
could have done it.
[Simon enters shuffling and sheepishly.
MISTRESS MARY. Good evening, Simon.
BO-PEEP. Was n't Mother Hubbard with you in
the passage ?
SIMPLE SIMON She was she was she assuredly was.
But just at the door here she heard the telusphone-bell
ring, and so she ran away again ran away again.
JACK HORNER. And how did you get into the
house without our seeing you ?
SIMPLE SIMON. I don't know. I must have mistook
the back door for the front. I reckon 'pears to me
BOY BLUE. / believe you saw some pies through
the kitchen window, and just went for them.
JACK HORNER. Pies? Pies? Say, I want one!
Has Simon got them ?
SIMPLE SIMON. Indeed, I have n't any.
BOY BLUE. So we 've heard before.
MISTRESS MARY. Now, boys, don't tease Simon;
and, Jack, don't be so greedy. What I want to ask
Simon is this : Has Mother Hubbard told you what
we are all to do for her here to-night ?
SIMPLE SIMON. No, she has not assuredly not.
She said to me : " Simon, you Ve come in the wrong
164 ST. NICHOLAS PLAYS AND OPERETTAS
door." And I says : " Yes, ma'am ; thank you
kindly, ma'am." And she says : " Come, Simon ; 1 '11
show you where the others are. I 'm ready to go to
them now, poor things ! " And then in the hall she
heard the telusphone-bell, and she said : " Oh, deary
me ! Get them to sing another song, Simon. You
sing a song with them, Simon ; and I '11 be there in a
minute in a minute."
ALL. A song ! Simon will sing a song !
BOY BLUE. Yes ; and we '11 join in.
SIMON'S SONG
If I had a penny,
A single little penny,
I would go at once and buy a pie buy a pie.
But I 've just got a nickel
OTHERS. [Jestingly.]
Well, you are in a pickle !
SIMON. [Seriously.]
Yes, a nickel 's not the price of a pie.
OTHERS.
From your nickel take a penny,
And buy one pie or many.
SIMON.
Oh, no, no ! 't is a sum too hard and high !
I never learned subtraction,
And before I 'd solve a fraction
I 'd go for weeks without a taste of pie oh, my !
CHRISTMAS EVE AT MOTHER HUBBARD'S 165
OTHERS. [Laughing.]
Ho, ho ! but this is funny ;
You '11 never spend your money
Unless you have a piece that 's just the price !
SIMON. [Triumphantly.]
Yes, I 've a plan, my sages :
I '11 ask for penny wages !
And that '11 be so handy and so nice so very nice!
[Mother Hubbard enters at last, followed by
Jack, Jill, and Little Miss Muffet.
MOTHER HUBBARD. Well, boys and girls, how do
you do? It is just too bad I have had to keep you
waiting so long. But I heard you singing, and
knew you were having a good time ; and when I
heard Mistress Mary's sweet voice I felt quite easy,
for I was sure she would n't let you get into any
mischief.
BOY BLUE. We have been amusing ourselves very
well, Mother Hubbard.
BO-PEEP. Yes ; but we are dying to know why you
have asked us all to meet here to-night.
MOTHER HUBBARD. Can't any of you guess I Jack
Horner, now, he 's a keen lad. What does he think ?
JACK HORNER. [Dubiously.] It is n't it could n't
it has n't anything to do with can candy, has it?
MOTHER HUBBARD. Oh, ho ! So that 's the way your
mind runs, is it ? [She looks at him sharply, and then
at the cupboard, toward which she goes a step or two.]
There has n't any one been peeping into my cup-
board, has there ?
166 ST. NICHOLAS PLAYS AND OPERETTAS
JACK HORNER. [Slipping behind Mistress Mary.} I
-I have n't ! It 's locked !
MISTRESS MARY. [Laughing and patting Jacks
head.] You know we would n't expect to find any-
thing there, Mother Hubbard !
MOTHER HUBBARD. You would n't, eh? Well,
there 's something better than bones in that closet
to-night. Children, what night is this ?
[They look at each other.
Miss MUFFET. Christmas Eve !
ALL. [Echoing Miss Muffet.] Christmas Eve !
MOTHER HUBBARD. And who is it comes visiting
about on Christmas Eve ?
[AlMook at each other again.
BOY BLUE. Santa Claus !
ALL. [Echoing Boy Blue.] Santa Claus !
MOTHER HUBBARD. Exactly so. And now let me
tell you he will be here, in this house, in this room,
in a very few minutes. (Sensation.} There has been
some delay, and I have been telephoning and tele-
graphing to him all the evening. At six o'clock he
left the North Pole, at seven he was rushing along
through Canada, at eight he had visited all the
northern United States, and by this time he is com-
ing straight for this house.
BOY BLUE. But I thought he did n't let any one
see him on his trips.
MOTHER HUBBARD. No, not ordinary people, my
boy; but Mother Goose people are not ordinary
people; and, besides, you have all been asked to
come here to help him.
CHRISTMAS EVE AT MOTHER HUBBARD'S 167
BO-PEEP. To help him ? Help Santa Claus ? How
could we help Santa Claus ?
MOTHER HUBBARD. That he will tell you himself
when he comes. Hark ! did I hear bells ?
MISTRESS MARY. I hear nothing yet. Let us sing
a song of welcome to help bring him.
ALL. [Sing.]
Santa Claus is coming !
Joyful is the cry.
Spread by happy voices,
How the tidings fly !
All the air is humming
With the glad refrain,
Santa Claus is coming !
Shout it once again !
[A faint sound of sleigh-bells grows nearer
and nearer. A voice is heard without,
above the bells : " Whoa, there, Donner !
Hold up, Blitzen ! Whoa, Dancer ! Whoa,
Prancer ! Here we are ! " Santa Claus
enters.
SANTA CLAUS. Yes, here we are at old Mother
Hubbard's ; and here are all the lads and lassies
come to meet us !
MISTRESS MARY. And to help you, Santa Claus.
Mother Hubbard says we can help you.
SANTA CLAUS. And so you can so you can. Bless
your sweet face ! Now, here 's a likely lad. [Laying
hold of Jack, ivho has kept close to Mistress Mary.]
168 ST. NICHOLAS PLAYS AND OPERETTAS
He can help, I know. And what would you like for
Christmas, my fine fellow ?
JACK HORNER. A large Christmas pie, sir, very
full of plums.
SANTA CLAUS. Ho, hoJ A modest wish, surely,
for one of your size ! But, boys and girls, your
presents are to come last. You shall have them all
in good time, but first comes what you are to do for
me. And now I want you all to come near and listen
very seriously, for I am going to tell you a sad, sad
thing.
[All gather about him with breathless attention.
Santa Claus surveys them with a mournful
shake of the head.
SANTA CLAUS. [Solemnly, bending toward them.]
Santa Claus is growing old !
[They start back, surprised, and look at each
other doubtfully a moment.
BOY BLUE. [Bluntly.] Why, Santa Claus, we
thought you always were old.
SANTA CLAUS. [Feigning indignation.] Hey! what
d' ye say ? Always old, indeed ! Who would have
thought of such impertinence !
BO-PEEP. [Defending Boy Blue.} I am sure your
hair and beard have always been as white as they are
now.
SANTA CLAUS. And what of that? My hair turned
white when I was a mere stripling, just with the care
and brain-fag of inventing new Christmas toys every
year for all you boys and girls. But lately I have
felt I am really growing old, because now, don't go
CHRISTMAS EVE AT MOTHER HUBBARD'S 169
telling this to everybody because I am not so spry
as I used to be. It takes me a few minutes longer
every year to make my rounds which is most morti-
fying to my pride.
BOY BLUE. But there are more children and
chimneys than there used to be, Santa Glaus.
BO-PEEP. And so many more toys for you to
carry.
SANTA GLAUS. [Delighted.] Why, bless your hearts,
so there are ! The lad is a well-spoken lad, after all.
He '11 not be caught napping under a haymow or
anywhere else again, I warrant you. And this little
lady does n't go wool-gathering nowadays, I '11 be
bound. Yes, there are more chimneys, and a heavier
pack means a stronger back; and both my back and
legs get a little shaky now at Christmas. Last year
it took me the whole of January, tucked up in bed,
to get over my jaunt on Christmas Eve. And so,
boys and girls, I have sent for you this year to help
me do my work.
ALL. How? How?
BOY BLUE. Won't it be fun 1 Hurrah !
BO-PEEP. [Hurriedly.] What shall we do first?
Where shall we begin ?
SANTA GLAUS. Softly, softly. No hurry, no ex-
citement ! I have been all through the North, visited
the Eskimos and the Frozen Northites
JACK. Oh, Santa Glaus, do tell us ! Who lives at
the North Pole, and how do you get there? There
are so many people who want to know !
SANTA GLAUS. Oh, yes; I know all about your
Pearys and your Nansens and your Andrees, and all
170 ST. NICHOLAS PLAYS AND OPERETTAS
who have tried to find the Pole since the days Kane
was not able. Brave men they, but deluded de-
luded. Now, you can just tell any one who would
really like to know [the boys have drawn near, atten-
tively] that I live at the North Pole, and I never gossip
about my neighbors! And as for the way to get there,
the only way to be sure of reaching the Pole is [close
attention again from the boys] to go behind a team of
reindeer just like mine ; and mine are not for sale !
[Crestfallen looks, while Santa Glaus wags his head tri-
umphantly.} Now, what I was about to say was this :
you boys and girls are to go with me the rest of the
way to-night, and help me distribute my pack be so
many feet and fingers for me.
ALL. What fun! Hurrah!
JACK. How will you take us all ?
SANTA GLAUS. In my sleigh. Where there 's room
for a million or more of Christmas gifts a few boys
and girls won't count.
BOY BLUE. Hurrah ! Where shall we go first ?
SANTA GLAUS. We must finish the United States.
There are all the coast towns to do, and a perfect
grist of Sunday-schools in every one of them. We '11
do those first. And I have laid up a special little
store of presents for them here at Mother Hubbard's.
Now, Mother Hubbard, if you have the key we will
take a look into that cupboard of yours.
MOTHER HUBBARD. [Advancing proudly and smil-
ingly, key in hand.} Yes, the presents are in my cup-
board, children. It is bare no, longer. [Throws open
the door, and shoivs the shelves filled with parcels.]
What do you think of that ?
CHRISTMAS EVE AT MOTHER HUBBARD'S 171
SANTA GLAUS. Yes, what do you say to that ? I say
it 's worth a song.
JACK AND JILL. A song ! A song !
MISTRESS MARY. A song for Mother Hubbard !
Miss MUFFET. Let me join in the chorus.
SIMPLE SIMON. We '11 all singall of it sharps,
flats, accidentals, and all.
JACK HORNER. Sing it to my tune.
BO-PEEP. [Impatiently.] But have we time have
we time, Santa Glaus ?
SANTA GLAUS. Time! Let me tell you, my girl,
when Santa Glaus stops on Christmas Eve, and just
so long as he stops, all the clocks stop, too. They
would n't dare get ahead of him that way.
BOY BLUE. All right, then. A song for Mother
Hubbard, to Jack Horner's tune !
Old Mother Hubbard
Goes to the cupboard
To look for her Christmas store.
She puts in the key
As proud as can be,
And cries, " It is empty no more ! "
SANTA GLAUS. Now all go and get your loads.
[They crowd about the cupboard, and Mother
Hubbard fills their arms with packages,
books, boxes of candy, etc.
MISTRESS MARY. [During this distribution.] An-
other verse !
172 ST. NICHOLAS PLAYS AND OPERETTAS
Old Mother Hubbard
Shows us the cupboard,
Full from the bottom to top.
She loads all the boys
And girls with her toys
Till they cry, " Mother Hubbard, pray stop ! "
SANTA GLAUS. All out? All loaded? All ready?
Then let us make for the sleigh. Form a line,
youngsters. Sha'n't we have a jolly time ! All
down the coast over to Europe Asia Isia-Osia
and Africa ! What a night of it !
MOTHER HUBBARD. And where first ?
SANTA GLAUS. First to [Here may be inserted a
reference to the school or other company before ivhich the
play is presented.} Some of this special lot of bundles
is for them. Forward, march !
MISTRESS MARY. One minute, boys ! First a song
for Santa !
BOY BLUE. Santa Glaus forever !
JACK HORNER. Hurrah !
Santa Glaus forever,
Hurrah, hurrah, hurrah !
Friend of the children,
Hurrah, hurrah, hurrah !
[Santa Clans and his assistants descend among
the audience and distribute the gifts pre-
pared for them.
A LAWN DANCE FOR LITTLE PEOPLE
BY L. A. BRADBURY
Four boys dance in, one behind another, their hands on their
hips, and go to places at one side, while a group of singers sing
as follows :
(Air, "Sur le Pont d' Avignon.")
the fun just be - gun, They are
EEEJ
danc - ing, they are danc-ing! See the fun just be -
174 ST. NICHOLAS PLAYS AND OPERETTAS
t
(AZZ the bays bow to the company.)
Gen - tie - men all do like this,-
/7S
-t
(Boys bow to each other, tivo and two.)
And then they do like
this.
[The boys balance, or mark time, in their places,
while four girls dance in and take places
opposite the boys, at some distance; the
singers singing as follows, to the same music
as was sung for the entrance of the boys :
A LAWN DANCE FOE LITTLE PEOPLE 175
In the shade, in the sun,
They are dancing, they are dancing !
In the shade, in the sun,
They are dancing, every one !
All the ladies do like this.
[The girls curtsy to the company, and the boys
bow again.
And then they do like this.
[Girls curtsy to each other, two and two ; boys
bow in the same way. During the singing of
the next stanza the boys take hands, the girls
do the same, and the two lines dance toward
each other, meeting in the middle, where
they take partners and form a square (quad-
rille).
Oh, what joy ! Oh, what fun !
They are dancing, they are dancing !
Oh, what joy ! Oh, what fun !
They are dancing, every one !
All the dancers do like this.
[All bow and curtsy to partners.
And then they do like this.
[All bow and curtsy to corners. The music
then changes. During the singing of the
next stanza all join hands and go round to
the left.
176 ST. NICHOLAS PLAYS AND OPERETTAS
(1) Here they go a - round,
(2) Here in hand a - round,
round,
round,
i
Here they go to - geth - er,
Hand in hand to - geth - er,
Here they go
Here they go
m
round, round, Round - y
round, round, Round - y
round they go!
round they go!
[On the repetition of the music (2), partners
cross hands and promenade, going to the
right. All face partners, give right hand,
and pass by, giving left hand to the next
person, and so on round to places again
(grand right and left), while the singers
sing as follows :
A LAWN DANCE FOE LITTLE PEOPLE 177
(1) Right hand and left hand and right hand a -
(2) Right hand to la - dy, and gai - ly they
gam,
go,
Right hand and left hand, this and the
Turn with the left hand, nim - ble and
oth - er,
read - y,
Right hand and left hand and right hand a -
Right hand to la - dy, and gai - ly they
gain, Dane - ing a mer - ry Eng - lish chain,
go, Mer - ry go round and turn me, oh!
12
[On the repetition of the music (2), girls cross
right hands in the middle, swing half round,
give left hand to opposite boy, and turn ;
girls cross right bands again, swing half
round, and turn partners.
178 ST. NICHOLAS PLAYS AND OPERETTAS
[Music as at first. During the singing of the
first part of the music (1), all balance and
turn partners, then form a line, facing the
company.
f_2 , ,. 1 ^
^_=4= _ m ^
4 1 * "
(1) Rath - er tired, al - most
(2) La la la, la la
done, They are
la, La la
r -t- - m 3
ra - J s -3- -j-* =3* j
danc-ing, they are danc-ing! Rath-er tired, al - most
la la la la la Ja, La la la, La la
#=3 == T^= ^^
sh=+^ zzrb^ -I 1
FINE.
-*- % T=-r ^ II
^^ f-^Brik^-3"
done, They are danc - ing,
la, La la la la
* ^-1-J MJ
ev - 'ry one!
la la la!
fe:rrfcjE*=r=H
-t ! -J- 1 ~-\\
/?N
TOJ J^~ ~ ~~ ~~J~ ?
J / 1
All the danc - ers do
like this,
?-- to 1
A LAWN DANCE FOR LITTLE PEOPLE 170
I), c. above.
-ft
/*,
1 -,-.
-3^:*:
IT
&=
And then they do like this.
s?\
--*= -=*!
[All bow and curtsy to partners, and then to the
company. After making their bows and curt-
sies, the children dance off in single file,
while the singers sing "La, la, la," etc., to
the first part of the music.
NOTE. The costume for the children may be as elaborate as
one pleases. A court dress of the last century satin and velvet
embroidered, brocades, silk stockings, white wigs, and patches
would be quaint and handsome ; dress of clown and colum-
bine would be striking ; but the simplest change from ordinary
wear is here represented : broad neck-ruffs and sleeve-ruffles for
the boys, mob-caps for the girls ; the ruffs may be of mosquito-
netting, and the mob-caps can be of a simple pattern.
DICKY DOT AND DOTTY DICK
BY E. S. BROOKS
CHARACTERS
DICKY DOT boyish and buoyant.
DOTTY DICK matronly and maidenly.
ARABELLA, the doll non-committal.
Let the characters be taken by two as bright little children
as can be selected for the parts; the younger the better;
DOTTY, a little girl of six or seven, and DICKY, a little boy of
seven or eight. The only properties necessary are the doll and
doll-carriage, with afghan and small umbrella. Dress in tak-
ing costumes of to-day, with ulsters and large hats, if possible,
for better effect. DICKY, at least, should have an ulster and hat.
Caution the children to speak slowly and distinctly.
Dotty enters, right, wheeling Arabella in doll-carriage ; stops
at center.
DOTTY. [Disconsolately.]
Oh, dear ! oh, dear ! a mother's cares are really very
wearing ;
I did so want to rest but, no j this child must have
an airing.
[Convulsively.]
Why, Arabella Florence Dick, you '11 catch your death
o' danger !
How dare you throw that afghan off !
[Leans down to adjust it, and sees Dicky outside.
180
DICKY DOT AND DOTTY DICK 181
My goodness ! there 's a stranger.
Why, no ! why, yes ! it 's Dicky Dot, a-prancing and
a-dancing.
He 's got a brand-new ulster on my ! does n't he
look entrancing?
And does n't he think he just looks fine ! In boys it 's
too distressing
To see them thinking of their clothes we girls must
mind our dressing.
[Enter Dicky, at the left, lifting his hat.
Good morning, Mr. Dicky Dot ; I hope you 're well
and hearty.
DICKY. [Taking his hat off politely.]
Oh, thank you, Mrs. Dotty Dick ; I 'm quite a healthy
party.
And how are you, and [bending over carriage] how 's
the child Miss Arabella Florence?
DOTTY. [Dolefully.]
I 'm well enough but oh, that child ! I just could
weep in torrents !
She does enjoy siich feeble health, I 'm in a constant
fever !
I hardly dare to take her out I can't go off and leave
her;
And so, you see, I 'm tied at home ; it 's such a wear
and bother !
Oh, Mr. Dicky Dot, be glad that you are not a mother.
DICKY. [Thankfully] I 'm sure I 'm glad.
DOTTY.
Ah yes ! our lives are just a lot of worry ;
While all you boys have easy times all fun and play
and hurry.
182 ST. NICHOLAS PLAYS AND OPERETTAS
DICKY. Oh, no, we don't.
DOTTY. Oh, yes, you do.
DICKY. We have to work for true, though.
DOTTY.
Well, so do we, and worry, too ; that does n't trouble
you, though ;
You walk around in pantaloons
DICKY. [With an injured air.] Only one pocket,
though, ma'am.
DOTTY. A brand-new ulster
DICKY. \Proudly.] Aint it nice ? I 'm really quite
a show, ma'am.
DOTTY.
And here I have to tend and mind a dreadful fretty
baby.
I 'm just a nurse-girl, I declare !
DICKY. [Consolingly.] She '11 soon get better.
DOTTY. [Dubiously.] Maybe.
DICKY. [Seriously.] You 're only play-mad ; are n't
you, now?
DOTTY.
Of course ; it 's " nothings " worry ;
But that 's the way my mama acts when she 's all in
a flurry.
DICKY. [Hopefully.] Some day we '11 both be big
folks, too.
DOTTY. [WtYA satisfaction.] I '11 wear my dresses
longer.
DICKY.
And I '11 wear boots, and big high hats, and be a great
deal stronger.
And you won't care for dolls !
DICKY DOT AND DOTTY DICK 183
DOTTY. [Expostulatingly.] Oh, yes !
DICKY. [Stoutly.] Oh, no !
DOTTY. [Decidedly.] I '11 always love them.
DICKY. [Patronizingly.]
Oh, not when you 're a lady, Dot j
'Cause then you '11 feel above them.
DOTTY. [Thoughtfully.} And what will you be,
Dicky Dot? A butcher or a teacher?
DICKY. [Considering.] Oh, neither, Dot; I think
I '11 be a prince or else a preacher.
DOTTY. I 'd be a prince, if I were you all spangles,
gold, and rattle.
DICKY.
I think I '11 be a general, and lead my troops to battle.
What would you say to see, some day a-galloping
and rearing
Me Major-General Richard Dot and hear the people
cheering ?
DOTTY. [Coolly.]
I s'pose I 'd say, " Why, goodness me !
What is that Dicky trying ?
I 'm sure he '11 fall and hurt himself ! "
And then you 'd tumble, crying.
DICKY. [Indignantly.]
I guess I would n't, Dotty Dick why generals never
tumble.
I '11 be a man then.
DOTTY. So you will.
DICKY. [Contemptuously.] And you '11 be scared
and humble.
DOTTY. [Energetically.] Oh, no, I won't j for then
I '11 be a queen so grand and glorious.
184 ST. NICHOLAS PLAYS AND OPERETTAS
DICKY. [Incredulously.] You? Dotty Dick?
DOTTY. [Magnificently.] Yes me ! I '11 be Queen
Dora, the victorious !
DICKY. [Dumfounded.] Well well!
DOTTY.
And then the kings will crowd to beg my hand in
marriage.
And I will say
[Haughtily.]
" Ah General Dot, just order up my carriage ! "
DICKY. [ Taken all aback by this grandeur.]
Well I must say of all the girls that plague, and
tease, and tickle us
You are about the Dotty Dick, I really am
DOTTY. [Sarcastically.] Jte-dick-alous !
Oh, Dicky Dot ! Oh, Dicky Dot ! do you think only
you, sir,
Can grow up big, and grand, and fine? What you
do, I can do, sir !
So why can't we be partners then, the same as when
we 're playing?
You be the general J '11 be queen, whom all the
world 's obeying.
And you will be so brave and strong that none can
ever humble me.
DICKY. [Bombastically.] Yes, 7 '11 protect you !
DOTTY. [Starting suddenly away from carriage.] Oh !
what 's that? a dreadful, horrid bumblebee !
DICKY. [Running away.] Look out ! he '11 sting you !
[Opens umbrella, and holds it before him.
DOTTY. [Piteously.] Drive him off !
DICKY DOT AND DOTTY DICK 185
DICKY. [Backing farther off.}
I can't ! he '11 sting a fellow.
Come under the umbrella quick ! He 's there by
Arabella.
[Dotty runs under the umbrella, and they both
sit on the ground, central, under cover of its
protection. Then they cautiously put their
heads out, at opposite sides, and afterward
look at each other.
DOTTY. [Sarcastically.] Well, Major-General Rich-
ard Dot, you are a brave defender !
DICKY. [Apologetically.} I 'm 'fraid of bees.
DOTTY. [Critically.} But generals ought n't to be
quite so tender!
DICKY. [Starting bravely to his feet.] Queen Dora,
shall I charge the foe ?
DOTTY. [Rising, but guarding herself with the open
umbrella.]
Do, general, I implore you !
He 's at my daughter ! Oh, see there ! Save her,
and 1 7 11 adore you !
DICKY. [Putting off his hat, and charging manfully
toward the carriage, beating the air as if he were striking
down a bee.] Be off, you traitor ! [Dodging him.] No,
you don't ! Ha, ha ! I 've killed him, Dotty ! [Clap-
ping his hand to his mouth.] Oh, oh ! he 's stung me !
DOTTY. [ Dropping the umbrella, and rushing to Dicky's
side, full of sympathy.] Dicky ! Where ?
DICKY. [Jumping in pain and showing his hand to
Dotty.} O-o-o ! There !
DOTTY. [Examining it critically.] How white and
spotty ! Say, will it kill you ?
186 ST. NICHOLAS PLAYS AND OPERETTAS
DICKY. [Dubiously.] I don't know. I s'pose there 's
poison in it !
DOTTY. [In tears.] Oh, dear ! Oh, dear ! And all
for me ! Oh, why did I begin it ?
DICKY. [Consolingly.] Now, Dotty, darling ! don't
you fret ! I '11 o-o-o-o ! I '11 try to bear it.
DOTTY. Poor Dicky ! let me wrap it up [stripping
the afglian off the carriage and surveying it critically].
Oh, dear ! I '11 have to tear it.
DICKY. [Putting it back.] No, no ; your handker-
chief will do.
DOTTY. [Siveetly.] I '11 kiss it !
DICKY. That 11 cure it !
[Dotty kisses the stung hand.
It don't pain half so badly now ; I think I can endure it.
DOTTY. [ Wrapping Dicky's hand up in her handker-
chief]
Oh, what a brave boy, Dicky Dot ! You ? re gen-
eral no longer.
If I 'm the queen, then you be king : you 're nobler,
sir, and stronger.
And Arabella she shall be the fairy who shall lead
us
To where our golden palace stands, with lords to
serve and feed us.
DICKY. But we 've not got our king-clothes on
't will set the folks a-staring.
DOTTY. I think I 'd rather see my king his brand-
new ulster wearing.
DICKY. [Utterly captivated] Oh, are n't you nice !
DOTTY. [Siveetly.] And so are you.
DICKY DOT AND DOTTY DICK 187
DICKY. [ TJw ughtfully. ]
My papa said, this morning,
'T was manlier to rule yourself than be a throne
adorning.
DOTTY. [Puzzled.] What did he mean ?
DICKY. [Still thoughtful] I s'pose he meant a cow-
ard 's mean and sniffy !
DOTTY. You 're not.
DICKY. [Accusingly.] I ran.
DOTTY. [Emphatically.] But then you killed that
buzzer in a jiffy !
DICKY. [Confidingly.] Well, Dotty, something said
right here [putting his hand on his heart] :
u H'm ! you 're a pretty fellow,
A-hiding from a bumblebee behind a big umbrella !
A general that 's 'fraid to fight will fail unless he 's
bolder.
If you 're a 'f raid-cat now, you '11 be a 'f raid-cat when
you 're older."
And so I up and. killed him dead.
DOTTY. [ShaMng her head.] He 's stung you badly,
maybe.
DICKY. [Stoutly.]
I 'd rather be hurt awful bad than be a coward-baby.
How's Arabella?
DOTTY. [Examining Arabella carefully.] She 's all
right.
DICKY. No stings on hand or f ooty ?
DOTTY. Oh, no ; she 's just mussed up a bit j I 7 11
fix her nice and pretty.
[Shakes Arabella out, and rearranges her in the
carriage.
188 ST. NICHOLAS PLAYS AND OPERETTAS
DICKY.
Let 7 s play the bee was monstrous big and had a
dragon's head on,
And you two be the princesses, such as they 're always
fed on.
I '11 be the prince who 's galloped up, at just the lucky
minute,
And killed the dragon dead and left my sword a-
sticking in it.
DOTTY. [Enthusiastically.]
Oh, yes. Well, I 'm the princess, then just like the
fairy story ;
And we '11 live happy all our days, with lots of gold
and glory.
DICKY.
All right. And as the dragon's dead, let 's play
there 7 d come to meet us
A big procession, with the king and all his court, to
greet us.
DOTTY. [Grasping the doll-carriage.] Then let
Prince Dicky lead the way.
DICKY. [Shouldering the umbrella.]
Let Princess Dotty follow,
With Arabella, off of whom the dragon took a swallow.
DOTTY. She 's in the chariot oh, so ill !
DICKY.
Move on now to the palace.
Guns boom, flags wave, because we 've all escaped the
dragon's malice.
DOTTY. [Stopping him and taking his hand.\ But,
'fore we go, we ought to thank these friends who 've
listened to us.
DICKY DOT AND DOTTY DICK 189
[Both face the audience.
DICKY.
If you are pleased, then we are glad such good your
smiles can do us.
And if, sometime, you come to court, just ask
DOTTY. We '11 come out quick
[Both join hands.
DICKY. For Prince and General Dicky Dot.
DOTTY. And Princess Dotty Dick.
[Both bow majestically.
NOTE. If no curtain is used the children can then march off
Dicky, with umbrella, in front, and Dotty, rolling doll-car-
riage, following.
AN OLD ENGLISH FOLK-SONG
(Arranged for Recitation with Musical Accompaniment) 1
BY EDGAR S. KELLEY
There was an old woman
1 The words of the text are to be recited throughout, except
the line, " Lawk 'a' mercy on me, this is none of I ! " which may
be sung ad libitum.
190
AN OLD ENGLISH FOLK-SONG 191
I ; ve heard tell, She went to the market her eggs for to sell ;
=?^
gy
fe
She went to the market all on a market day, And she fell asleep
on the king's highway. [The peddler approaches.]
'. H E?_l. JU : ^^
There
a poco.
crescendo.
192 ST. NICHOLAS PLAYS AND OPERETTAS
came by a peddler whose He cut off her petticoats
name was Stout ;
all round about ; He cut off her petticoats Which made the
up to the knees, old woman to
PP
%
shiver and freeze. Now when the old woman did first awake,
She began to shiver and she She began to wonder and she
began to shake ; began to cry,
AN OLD ENGLISH FOLK-SONG 103
mf
II
f J IJ=
"Lawk 'a' mer - cy on me, this ia none of I!
But if it be I, as I hope it be, I 've a little dog at home,
eLz
and he '11 know me : If it be I he '11 wag his little tail ;
194 ST. NICHOLAS PLAYS AND OPERETTAS
If it be not I he '11 loudly bark
and wail."
Faster.
iH ll
nf
SS-
-- ft-pS *--,
7T i.
Slow.
[The little old woman
p 8va.
rvends her way homeward. _,
<
t
Home went the old woman all in the dark,
Up got the little dog and he began to bark.
Faster.
AN OLD ENGLISH FOLK-SONG
195
He began to bark, and she began to cry,
=* =* , 7* , => Tempo I. ^
^st
Lawk'a' mer - cy on me, this is none of I!"
^=^1=^=^==^=^
mf
^+
2.
HAYDN'S "CHILDREN'S SYMPHONY"
BY JAMES JUDSON LORD
Do you know that Haydn, the great musical com-
poser, wrote a symphony for the special delight and
exercise of children a real symphony, wilder and
sweeter than the chorus of a thousand birds? The
children required to perform it need not be trained
little musicians. They must only be attentive, and
possessed of a quick, true ear for music, and able to
keep the dimples quiet while the very funny yet beau-
tiful performance is going on. Now, you shall have
full directions for getting up the symphony. The
music can be obtained at almost any first-class music
publisher's, and the toy instruments at any importing
toy-house.
To perform the "Children's Symphony "successfully,
an experienced musical director is required, and four
instrumental performers, with first and second violins,
violoncello, and bass-viol. Then eight children, with
toy instruments, viz. : The cuckoo, with two tones,
G and E. (The violins and bass-viol must be tuned
by this instrument.) The whistle is a large clarionet-
shaped toy, which must be in G. The trumpet, a large
196
HAYDN'S " CHILDREN'S SYMPHONY" 197
metallic toy, must also be in G. The part for the
drum (a full-grown toy) is identical with the trumpet.
For the quail (if a proper quail-pipe cannot be ob-
tained) a second whistle can be used, which must be
in F. The night-owl, a mug-shaped instrument, with
an orifice in its side, through which a whistle is in-
serted, when used, is partly filled with water, to give
the tremulous owl-hoot sound. The common rotary
rattle and an ordinary triangle are used. The cym-
belstern is an upright standard, with two horizontal
rings of different diameter, on which are fastened
many bells, various in shape and tone.
The four leading instruments, playing in concert,
seem to inspire the timid toys with confidence, and
with persuasive and kindly notes to draw them out,
each in its proper place, so that " Cuckoo ! cuckoo !
cuckoo ! n appears as harmonious among the peerless
notes of the great master as in the beautiful twilight
of the summer sky, and the shriek of the night-owl as
weird and gloomy as at midnight hour in the dark
recesses of its woodland haunts. When we see one so
eminent bending his heavenly art, like the rainbow
touching the earth, to meet the capacity and to make
glad the hearts of children, we can well believe that
his own soul must have been touched with the spirit
of Him who took little children in his arms and
blessed them.
The origin of the beautiful symphony is not gener-
ally known, but it has been pleasantly told by a Ger-
man writer.
Would you like me to give a free translation of the
story ? Here it is :
198 ST. NICHOLAS PLAYS AND OPERETTAS
PROLOGUE TO HAYDN'S CHILDREN'S SYMPHONY
Near Salzburg, once, good Father Haydn
Some leisure spent at Berchtesgaden
(A rustic hamlet, cheered by mountain rills,
Perched like a birdling's home among the hills),
Where, with much thrift, the villager employs
His gentle time and skill in making toys,
As drums and trumpets, such as swell the din
Of mimic battles fought with swords of tin,
And tiny lutes, whose notes full oft inspire
In after years to string the charmed lyre :
No trifler's art. (The maxim here unfurled
Is, Please the child and you will please the world.)
Once, as he lingered in the village street
To sport with children he had chanced to meet
(For in his nature he was pure and mild ;
Like all the truly great, himself a child),
Good Father Haydn to himself thus spoke :
u Oft has your ardor for the grand awoke
Such strains as might a worldly mind elate,
And please the learn'd, and men of high estate :
Now wake a grander symphony to please
And move the hearts of such dear ones as these ;
And with such instruments their hearts to move
As in their childish habits they approve.' 7
The morning brought the " Children's Symphony "-
Eight tiny trinkets chiming in their glee,
Led by the abler, as you see at school
The master foremost with his rod and rule.
HAYDN'S " CHILDREN'S SYMPHONY" 199
The rattle, whistle, and the cymbelstern
Rattled and piped and clattered in their turn ;
The cuckoo, quail, and night-owl l could be heard,
Whooping their best to be the better bird ;
And drum and trumpet, with much clamor blest,
Were not a whit more bashful than the rest.
First an allegro, brisk as song of bird,
In which a cuckoo's cheering notes are heard,
And then a trio and a minuet,
Their graceful tones like sparkling jewels set ;
And then a presto comes to close it all,
Which cannot fail to please both great and small.
Although upon such playthings, still the part
To be performed will be no less an art.
And should some small affrighted trumpet shriek,
Or bashful whistle loose its voice and squeak,
Or some presumptuous little would-be drum
Should be puffed up, and then collapsed and dumb,
Don't let such little things excite your wonder j
You know, dear friends, great artists sometimes
blunder.
1 Cuckoo, quail, and night-owl are names of German toy
instruments.
A TOPSYTURVY CONCERT
BY GEORGE BRADFORD BARTLETT
THIS is one of the funniest entertainments ever seen,
and one of the easiest to prepare.
It needs only a screen or a curtain stretched across
any room.
The height of the curtain may be determined by
the size of the children who sing in the concert, for
they stand in a row behind the screen or curtain.
It is well to have these singers nearly of the same
size, as the screen or curtain should conceal all of
their bodies except the head and neck.
The only preparation required is that the arms and
hands of each should be covered with stockings, and
that shoes be worn upon each hand, with the soles of
the shoes pointed forward, so that the toes will be
turned toward the spectators, who are seated in front
of the curtain at a little distance. At the conclusion
of each verse the singers stoop down all together and
very quickly, and each, lowering the head, elevates
the arms above the curtain.
200
A TOPSYTURVY CONCERT
201
The effect thus produced is that all the singers
seem to be standing on their heads.
They keep time with their feet (or rather hands) to
the music of the song, and the sudden changes, when
done simultaneously, will never fail to amuse.
The idea of this unique performance probably
originated in the fertile brain of a Frenchman but it
has been adapted for the use of children, and will
prove an enjoyable addition to the holiday merrymak-
ings.
THE CHANGELING
A FLOWER AND FAIRY MASQUE
BY HARRIET PRESCOTT SPOFFORD
CHARACTERS
LITTLE Jo. THE LITTLE MEN IN GREEN
THE ROSE-SPRITE. (three).
THE NIGHT-MOTH. THE MAIDENS OF THE MIST
BEES'-WINGS. (three or more).
WHITE OWLET. THE LOST TOYS (three).
FLITTER-FLUTTER. THE BROKEN DOLLS (three).
THE DAY-DREAM. THE FAIRY LADY.
HONOR, THE MAID.
FAIRIES :
JACK-O'-LANTERN. QUAKER-LADIES.
COCKSCOMB. MOURNING-BRIDE.
MONK'S-HOOD. SNAPDRAGON.
WAKE-ROBIN. SWEET-WILLIAM.
MARIGOLD. SWEET-PEAS.
PRINCE'S-FEATHER. LITTLE MIGNONETTE.
THE FAIRY HERALD.
THE VOICE OF CHANTICLEER.
PLACE. A garden terrace.
TIME. Between sunset and twilight.
Music. Cornet and clarinet. If a piano, then an accompa-
nist who can modulate from one key to another for the various
songs and choruses. The clarinet will always support the solo.
COLORED LIGHTS. Toward the last. Pale rose for the dances ;
pale blue for the Fairy Lady's apparition.
202
THE CHANGELING 203
DRESSES. Cheese-cloth, tarlatan, and other inexpensive mate-
rial, arranged according to the part. The Little Men in Green
entirely in green, with pointed caps, and spears representing
grass. The Maidens of the Mist wrapped in white tarlatan, a
long piece loosely folding one and passing to the next, folding
her and passing to the other. If there are but few to take parts,
those who have already appeared may represent the Maidens of
the Mist by winding the long piece of white tarlatan round their
other costumes, and afterward hanging it on bushes in the fore-
ground. The Fairy Lady in any dress, shrouded with flowing
white, transparent stuff. Flitter-flutter in a long, clinging,
primrose-colored gown, with very large wings. Little Mignon-
ette with a waist looking like one bunch of mignonette, from
which her head and shoulders rise. Day-dream, in skirts like
the scarlet poppy-petals, black bodice, and scarlet silk scarf to
wave. The Night-moth in black, thin material, the rather long
skirts spangled in rows of gold and silver, stomacher all spangles,
angel sleeves, long, narrow wings, black ostrich-feathers over
the head. The Rose-sprite in very full and rather long pink
skirts, cut in large scallops and unhemmed, to be lifted and
held out at one side in dancing ; wreath of roses round the top
of the half-high green corsage ; hat like the petals of a huge
wild rose, on one side of the head ; tan-colored stockings and
boots. These dresses may be varied according to individual
taste. All the lesser fairies are not indispensable. The Broken
Dolls, if unable to sing, may make jerky motions, the chorus
giving the words. The Lost Toys may represent a Jumping-
jack, a Ninepin, a Kite. The dancing is to be done like Queen
Elizabeth's "high and disposedly," but with abandon.
A band of Fairies come dancing on the green in opposite
directions, each keeping to the right after passing, thus circling in
a ring, led by the Night-moth and the Rose-sprite, who presently
withdraw inside the ring, still singing while the others dance.
CHORUS.
(No. 1.) Air: "We are dainty little fairies." "lolanthe,"
No. 1, Act I. (Repeat the first part of the tune for the last
verse.)
204 ST. NICHOLAS PLAYS AND OPERETTAS
Are we flowers or fairy people, always springing, al-
ways singing?
When the sun forsakes the steeple, when the evening
breezes fan,
Look across the last ray slanting, purple mist your
eyes enchanting;
THE ROSE-SPRITE.
Are we flowers or fairy people ? You may answer, if
you can !
Many a night-moth flits before us ; gayest laughter
follows after.
[Laughter behind the scenes.
Bees belated blunder o'er us ; whippoorwills send
warning cries.
THE CHANGELING 205
When you hear our airy whistles, down that 's blow-
ing off from thistles,
[Whistles behind the scenes.
You may deem us, you may dream us but the sun-
set 's in your eyes !
From the roses faint and heavy, softly stooping,
swiftly trooping,
From the brambles in a bevy, from the blossoms,
from the bells,
Whether it is pansies springing, whether it is blue-
birds winging,
Or canary-bird flowers singing, is a thing white
magic tells !
[The fairies are still dancing when the Rose-
sprite separates from them, comes forward,
and sings.
ROSE-SPRITE.
(No. 2. ) Air : " She wore a rose in her hair." George Osgood.
All day I slept in the rose,
And I hardly know myself
So sweet is the breath that blows
If I be flower or elf.
[The Rose-sprite whirls back among the others,
and the Night-moth steals forward, and sings
to the same air.
NIGHT-MOTH.
(No. 3.)
I curled in the lily's cup
The livelong summer day,
Till she folded her petals up,
And I slipped like the dew away.
206 ST. NICHOLAS PLAYS AND OPERETTAS
[As the Night-moth slides
back, Bees'-wings comes
swiftly zigzagging across,
pauses, and sings.
BEES'-WINGS.
(No. 4.) Air: "If I were king."
Adolphe Adam. (Beginning
at second bar, singing
nine bars, omitting the
next twenty-five, sing-
ing four, omitting all
the rest.)
I was just a big
brown bee,
Buzzing home,
hey, nonny,
nonny !
When the fairies cap-
tured me,
Stole my sting, and
kept my honey !
[Runs off.
CHORUS OF FAIRIES.
[ With mischievous
glee.]
He was just a bim-bome-bim,
Buzzing home, hey, nonny, nonny !
When the fairies captured him,
Stole his sting, and kept his honey !
[The dance continues, the fairies swinging one
another, moving in and out, and Flitter-
flutter floats forward, singing.
FLITTEK-FLUTTER.
THE CHANGELING
207
FLITTER-FLUTTER.
(No. 5.) Air: Trio, "Every journey has an end." "lolan-
the," No. 8, Act II.
Flittering, fluttering out of the sky,
Primrose-petal or butter-
%,
Flittering off on the wind
1 go,
Wherever its soft breath
cares to blow.
[Floats back.
FAIRY
CHORUS. [Blow-
ing kisses into the air.
Flittering, fluttering,
off she goes,
Wherever the fragrant
south wind blows.
[The fairies join hands,
and run in a ring,
leaving out Day-
dream, who sings to
the same air.
DAY-DREAM.
(No. 6.)
The splendid poppy, to make
my tent,
His scarlet silken curtains
*^ n * j THE FAIKY LADY.
208 ST. NICHOLAS PLAYS AND OPERETTAS
There all day long did I
drowse and sleep,
And my dreams were
soft, and my dreams
were deep.
[Bugle in the distance.
FAIRY HERALD. [Run-
ning on.]
Recitative.
Hark ! Sound retreat !
Beat quick, ye fairy
drums !
[Trills on base notes of
instruments.
Haste, haste ! Hush,
hush ! This way a
mortal comes !
[Mingles with the fair-
ies. All show fear,
and huddle to-
gether. Enter Lit-
tle Jo, in his nightgown, waving a butterfly-
net, hurrying on, and stopping suddenly in
surprise.
LITTLE Jo. [Speaks.]
Why, I was sure I saw them ;
I actually thought
That if I had been down here
A butterfly I 'd caught.
FAIRIES. [In chorus, softly, all stooping toward Mm
from the background in the right.]
THE NIGHT-MOTH.
THE CHANGELING
209
(No. 7.) Air: "Yet
Britain won," cho-
rus to Lord Mount-
ararat's song.
"lolanthe," No. 3,
Act II. (Changed
to 4 time.)
Ha, ha, ha ! he really
thought
That he a butterfly
had caught !
[Jo listens, start-
led, but re-
sumes as if
convinced he
had not heard
anything.
BEES'-WINGS.
LITTLE Jo.
Now, could it be a
fairy
That I saw flitting by,
As I leaned from the window
Or just a butterfly 1
FAIRIES. [In chorus, turning to one another, amused.]
(No. 8.) Air : Same as No. 7.
Ha, ha, ha ! went flitting by,
Nothing but a butterfly !
LITTLE Jo.
I did n't wait to dress me,
For I 've been sent to bed.
I hurried just like wild-fire,
And 'most forgot my head !
14
210 ST. NICHOLAS PLAYS AND OPERETTAS
FAIRIES. [In chorus, quite uproariously.}
(No. 9.) Air: Same as No. 5.
Ha, ha, ha ! Fairies, hear !
He quite forgot his head, we fear !
LITTLE Jo.
I wish I had some fern-seed
They say it never fails ;
Or the salt that catches birdies,
If you put it on their tails.
FAIRIES. [In chorus, very affirmatively.]
(No. 10.) Air: Same as No. 7.
Ha, ha, ha ! it never fails
If you put it on their tails !
LITTLE Jo.
Perhaps I had been dreaming
I guess I was ; but then,
If I should wait a moment
They may come back again.
FAIRIES. \In chorus, more
boldly.]
(No. 11.) Air: Same as No. 7.
Ha, ha, ha ! just wait, and then
Surely they '11 come back
again !
LITTLE Jo.
I wonder whether fairies
You really don't believe,
When Honor talks of fairies,
That she 's laughing in her
LITTLE jo. sleeve ?
THE CHANGELING
211
FAIRIES. [Indignantly.]
(No. 12.) Air: Same as No. 5.
Oh, oh, oh ! yon don't believe
Honor 's laughing in her sleeve !
LITTLE Jo.
growing tired and
There 's no such
It 's all a story !
[Looking about,
vexed.]
thing as fairies !
So!
THE DAY-DREAM. [Amazed looks among
the fairies.
I wish I am so sleepy
[Yawns.
I don 7 t believe I oo oh !
[Yawns again, stretches, sinks down and sleeps.
FAIRIES. [Crowding round.} Oh, oh, oh, oh!
[Tiptoeing, and singing one by one.
212 ST. NICHOLAS PLAYS AND OPERETTAS
(No. 13.) Air : "Down the shadowed lanes he goes." George
Osgood. (Beginning at "As she strayed and as she sang.")
Is n't he a little dear ?
Just the sweetest ever seen !
Let us take him
for a Change-
ling!
Take him to the
Fairy Queen !
is a shame he
should be mor-
tal!
Turn him, turn
him to a fay '
Wave your charms,
and weave
your dances,
Sing your spells
away, away !
[All together, in
a ring, dancing
round him and
concealing him
while he slips
off his night-
gown to show
costume be-
neath, repeat
to the same air
as before.
Is n't he a little dear ? Just the sweetest ever seen !
Let us take him for a Changeling! Take him to the
Fairy Queen !
PKINCE'S-FEATHEK.
THE CHANGELING
213
'T is a shame he should be mortal ! Turn him, turn
him to a fay !
Wave your charms, and weave your dances, sing your
spells away, away !
[The fairies break
the ring, and
Little Jo is
seen in tights,
trunks, pea-
cock wings,
and antenna).
He looks him-
self over, gazes
about him, nut-
ters his wings,
looks over his
shoulder at
them, springs
to his feet, and
sings.
LITTLE Jo.
(No. 14.) Air: "Lit-
tle Bo-peep." -
"Mother Goose's
Melodies," by El- .'.
liott.
SNAPDKAGON.
Why, there are such things as fairies !
And if any one says there are not,
Take the dart of a bumblebee,
And shoot him on the spot !
[Meanwhile the fairies are mustering into ranks.
FAIRY CHORUS. [Little Jo shoivs that he listens to the
fairies' singing ivith more and more pleasure.]
214 ST. NICHOLAS PLAYS AND OPERETTAS
(No. 15.) Air: "Henceforth Strephon." "lolanthe."
Where the summer reigns serene,
Where the winds are always low,
Spicy dells are always green,
Into Fairyland he must go !
Into Fairyland he must go !
Into Fairyland, etc.
[Fairies withdraw to the sides, still singing.
LITTLE Jo. [Bending over and slapping his knees
with delighted emphasis, sings.]
Into Fairyland I will go !
[The fairies now return, coming on from oppo-
site sides with the steps of " Dancing in the
Barn," as they sing.
FAIRY CHORUS.
(No. 16.) Air: "Dancing in the Barn, "adapted. (The first
sixteen bars.)
Who is half so happy now, half so gay, as we are ?
Riding on the rainbow, flashing in the foam,
Sunbeams are our coursers, east to-day and west to-
morrow.
Hear our bridles jingle as we lead the fireflies home !
Just a tear would drown us, just a sigh would slay.
We think of nothing, dream of nothing, to annoy.
Mortals, we believe it, are only made of sorrow ;
We are made of perfume, of music, and of joy !
[During this chorus Little Jo has caught sight
of Little Mignonette, a tiny fairy, and has
been following her in and out among the
groups, the shrubs, and vases, followed by
White Owlet and Bees'-wings, exclaiming,
THE CHANGELING
215
and buzzing in his face at every meeting.
He pauses as he darts across the scene, as if
to take breath, and sings.
LITTLE Jo.
(No. 17.) Same air as No. 15 (but without the refrain),
"Henceforth Strephon."
If there is a flower that blows
Sweeter than the budding rose,
7 T is when dew is sparkling yet
On darling Little Mignonette !
WAKE-KOBIN.
BEES'-WINGS. [At one side.] Buzz !
WHITE OWLET. [On the other side.] Tu-whoo !
[Little Jo continues the pursuit. As he runs, the
Little Men in Green start up from the grass.
THE CHANGELING 217
THE LITTLE MEN IN GREEN.
(No. 18.) Air: "When darkly looms the day." (Ten bars.)
When moonlight floods the fields,
And mighty shadow shields
The glades and glens and wealds,
If you 're awake,
The Little Men in Green
Perhaps you may have seen
Haunting the silver sheen
Of bog and brake.
O'er dale and dingle far
Our hunting knows no bar,
By defile and by scar,
O'er briers and thorns ;
Through midnight far and near,
If you 're awake you '11 hear
In what wild tunes and clear
We wind our horns.
[Music to represent horns behind the scenes.
They disappear with their horns at their
mouths as the Maidens of the Mist pass
slowly and sing.
THE MAIDENS OF THE MIST.
(No. 19.) Air: "Sounds from the Ball."-Gillet. (Trans-
posed into the key of D.)
The lonely Maidens of the Mist,
Year in and out our threads we twist,
And, moving o'er the meadow-side,
Rose-leaves to blushes for the bride
We twirl, or distaffs drop and weave
Moonbeams to satin for her sleeve,
218 ST. NICHOLAS PLAYS AND OPERETTAS
WHITE OWLET.
Or scatter jewels as we sail
Where the gossamer spider spins her veil.
[As they pass, the fairies muster into ranks
again, having been frolicking in and out the
place, and sing, the Night-moth and the Rose-
sprite, at the right and left of the scene,
marshaling them. As each fairy's name is
called, he or she appears and does obeisance.
FAIRIES. [In chorus.]
(No. 20.) Air: Duet of Phyllis and Strephon, "If we 're
weak enough to tarry." "lolanthe," No. 10, Act II.
(Sixteen bars.)
Why the hours do we waste ?
Homeward, fairies, homeward haste !
Jack-o'-lantern, lead the way ;
Cockscomb, follow quick, we pray !
Come, Wake-robin, play no pranks
With the Monk's-hood in our ranks :
THE CHANGELING
219
Marigold and Prince's-feather,
Fondly wander off together !
Quaker-ladies, Mourning-bride,
Throw your modest mask aside ;
Give Snapdragon his adieu,
For Sweet-william goes with you.
Sweet-peas, spread your wings for flight.
Hurry ! it is almost night !
Come, dark Night-moth, don't forget
Darling Little Mignonette !
LITTLE Jo. [Catching
Little Mignonette
at last, sings.]
(No. 21.) Air: "The
Mistletoe Bough," sung
in quick time.
1 7 ve followed you far,
and I 've followed
you long ;
I Ve caught you at
last I will sing
you my song.
For you 're bright as a
drop that the sun
sparkles through,
And you 7 re only an
atom of sweet
honey-dew !
BEES'-WINGS. Buzz !
WHITE OWLET. Tu-
whoo ! A QUAKER-LADTC,
220 ST. NICHOLAS PLAYS AND OPERETTAS
FAIRIES. [In chorus, dancing with a long swing, first
on one foot and then on the other, facing the front, and
supporting the Broken Dolls, who come staggering on and
sing jerkily.}
THE BROKEN DOLLS,
(No. 22.) SONG OF THE BROKEN DOLLS
Oh, the lone - ly, long and lone - ly way to Fair - y - land,
we 've found it! Dust-y, must-y cob - webs on - ly,
>i - m E=p: -
wea - ry, drear-y gar -rets bound it! When our lit- tie
m
moth-ers lost us, in the cor-ners where they tossed us,
AH our hearts were bro - ken, and our heads were, too!
THE CHANGELING
221
Oh, had they kissed us, had they missed us, 't would assist us,
- J-* =?=
5^^=*==*=^
in our trav-el! Queer-ly, cheer - ly we would twist us
as the cu-rious paths un - rav - el. Fair - y ways are
it-
hard and hoi - low when you have no nose to f ol - low,
One foot gone, and gone the eyes that were so blue.
[As they withdraw, the Lost Toys come limp-
ing on, singing.
(No. 23.) Air : " Virginia Keel."
When the days are quite canic-
ular,
And the sunshine perpendicular,
If you are at all particular,
You should go to Fairyland.
There 7 s moonlight there to tease
you, and
There 's strawberry-ice to freeze
you, and
You think of what would please
you, and
It 's yours, in Fairyland ! LITTLE MIGNONETTE.
222 ST. NICHOLAS PLAYS AND OPERETTAS
For no one cares
a scapple there
With any task to
grapple there;
In your inouth
the very apple
there
Drops, when in
Fairyland.
You never need
articulate
A wish, but just
gesticulate,
When once you
do matriculate
Inside of Fairy-
land!
MONK'S-IiOOD.
[They stagger off, and the music changes, and
soon in the distance is heard "Annie
Rooney." Little Jo, who has been sitting,
whispering to Little Mignonette, in the center
of the scene, turns and listens, presently
hums, and at the right point sings.
LITTLE Jo.
(No. 24.) Air: The chorus of Annie Rooney."
She 's iny airy, fairy, oh,
She 's my darling, I 7 m her Jo ;
Soon we 11 vanish, won't we, pet ?
Little-little-
\
iitfiipi:
^Jlli^p' i
'.',' I
/ft I {
'.'.' 1 1
;'>-
224 ST. NICHOLAS PLAYS AND OPERETTAS
[Speaks.]
Little-
[Looks about won-
deringly, and ex-
claims :
Dear me ! that sounds
familiar ;
I 've heard that
strain before
In some other star, per-
haps,
On some other shore.
It seems to me that
really
[ With recognition.]
Oh, they play it on
the square,
They play it in the par-
lor,
They play it every-
where !
[Little Mignonette turns entirely around, still
sitting, and stares amazed at him.
But whatever has become of me ?
[With surprise.]
They Ve changed me ! I Ve got wings !
[With fear.]
What in the world these waggles are
[ With anger.]
There they go, the horrid things !
[Tears off his antennce.]
A SWEET-PEA.
THE CHANGELING
[Little Mignonette makes off in terror.
I can't be some one else, you know
[Bewildered.]
I 've dreamed some dream or other-
Why don't you see I 'm all outdoors
[ With alarm.]
Oh 7 I want to see my mother !
[The fairies, who have
been in the back-
ground, moving
about restlessly, and
then creeping for-
ward, now sing
mockingly,
FAIRIES. [In chorus.]
(No. 25.) Air : Same as
No, 7.
Ha, ha, some dream
or other !
Oh, he wants to see
his mother !
LITTLE Jo.
[Crying loudly
and beseech-
ingly.]
Oh, you voices ! Oh,
you people !
Oh, how cruel is
your joy !
I don't want to be a
fairy !
15
MOUENING-BKIDE.
226 ST. NICHOLAS PLAYS AND OPERETTAS
[With exasperation.}
I would rather be a boy !
FAIRIES. [Angrily.]
(No. 26.) Air: Same as No. 5.
He '11 destroy all our joy
He would rather be a boy !
SWEET- WILLIAM.
LITTLE Jo.
Mother, help me ! Help me, Honor !
What in the world am I to do ?
Oh, you know I love you so
Come unf airy me ! Boohoo !
THE CHANGELING
FAIRIES. [Wringing their hands,]
(No. 27.) Air: Same as No. 7.
What in the world are we to do ?
We can't unfairy him ! Boohoo !
227
JACK-O'-LANTEEN.
BEES'-WINGS. Buzz!
WHITE OWLET. Tu-whoo !
[Melancholy music in the distance.
CHORUS OF FAIRIES. [Dejectedly.]
(No. 28.) Air : " The Lorelei."-Friedrich Silcher. (Repeat
the first nine bars for the second stanza, and then continue
for the third.)
228 ST. NICHOLAS PLAYS AND OPERETTAS
We cannot stay where tears are j
They melt us quite away
Into the bubble's breaking wreath
And the water-gleam's pale ray.
Oh, call, oh, call our lady !
Call with your weirdest rune.
Call to the star-swale on the sea,
And the halo round the moon.
[All kneel, having softly surrounded Little Jo
in a ring as they sang. A grown-up and
beautiful figure, the Fairy Lady, appears,
pauses, extends her arms a moment toward
the imploring fairies,
and passes while they
continue singing.
Sovereign of the
World of Dreams,
Reverse the spell, and
then,
Great Fairy, make this
Changeling
Only a boy again !
[As they separate, on aris-
ing, Little Jo, in his
nightgown, is seen lying
asleep in the foreground.
The Night-moth comes
stealing across the scene,
COCKSCOMB. singing as she moves.
THE CHANGELING
229
NIGHT-MOTH.
(No. 29.) Air: "I can-
not tell what this
love may be." "Pa-
tience." (Nine and a
half bars.)
Vanishing into the
sunset bars,
Sister of mystical
wings and of stars,
When twilight kin-
dles a silver spark
I must go vanish-
ing into the dark.
[As she disappears,
the Rose-sprite
enters from the
other side droop-
ingly, and passes,
singing to the
same air.
ROSE-SPRITE.
(No. 30.)
Soon I shall fail, I shall faint, I shall die,
As the color fades from the evening sky;
Life were too lovely ever to close
If never, if never, one lost the rose.
FAIRIES 7 CHORUS. [Led ~by the Rose-sprite and the
Night-moth, ivho reappear.]
(No. 31.) Air : Same as No. 15.
Where the Will-o'-the-wisp takes flight,
And the Firefly skims with the Shooting-star,
Where the light of other days burns bright,
And the yesterdays and to-morrows are,
MAEIGOLD.
230 ST. NICHOLAS PLAYS AND OPERETTAS
Where the Elfin Knight rides, always young,
Over the fields where the wild oats grow,
To the tune of the songs that never were sung,
HONOK, THE MAID.
Into Fairyland we must go !
Into Fairyland we must go !
Into Fairyland, etc.
BEES'-WINGS. Buzz !
WHITE OWLET. Tu-whoo !
[Exit fairies.
THE CHANGELING 231
HONOR. [Running on, picking up Little Jo, speaks.]
Oh, Master Jo, I am that quaking !
For when I found ye gone, me heart was breaking !
Sure it 's the lad's own luck that Honor found ye
Before the little fairy people bound ye !
LITTLE Jo. [Half looking up, as if talking in his sleep,
speaks.]
I thought I saw them, Honor, did n't you ?
[Exit in Honor's arms .
VOICE OF CHANTICLEER. [In the distance.]
Cock-a-doodle-do !
/1FKFPAT. I TUB AP V
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