By Constance D'Arcy Mackay BOOKS OF PLAYS FOR CHILDREN DESIGNED FOR USE IN THE SCHOOLS Patriotic Plays and Pageants for Young People The one-act plays for young people contained in this volume can be produced separately, or may be used as links in the chain of episodes which go to make up outdoor or indoor pageants. There are full directions for simple costumes, dances, and music. Each play deals with the youth of some American hero. The plays are suitable for schools, summer camps, boys' clubs, historic festivals, patriotic societies, and social settlements and playgrounds. $i .35 net; by mail, $1 .45. The Silver Thread and Other Folk Plays for Young People Simplicity is the keynote of these eight plays. Each has a footnote on its origin, and full descriptions and directions for easily arranged costumes and scene- settings, especially designed to fit the limitations of the schoolroom stage. $1.10 net; by mail, $1.20. The House of the Heart and Other Plays for Children Ten one-act plays that have stood the test of actual production. $1.10 net; by mail, $1.20. "An addition to child drama which has been sorely needed." — Boston Transcript. HENRY HOLT AND COMPANY PUBLISHERS NEW YORK PATRIOTIC PLAYS AND PAGEANTS FOR YOUNG PEOPLE BY CONSTANCE D'ARCY MACKAY Author of " The House of the Heart and Other Plays for Children " and ' ' The Silver Thread and Other Folk Plays for Young People " NEW YORK HENRY HOLT AND COMPANY Copyright, 19 12, BY HENRY HOLT AND COMPANY Published March, 1912 No performance of these plays may be given without full acknowledgment of the author and publishers. Acknowledgment should be made to read as follows: " By Constance D'Arcy Mackay; from Patriotic Plays and Pageants for Young People; Copy- right, 1912, by Henry Holt and Company; Produced by arrangement with the pub- lishers." Amateurs may produce the plays in this volume without charge. Professional actors must apply for acting rights to the author, in care of the publishers. *. ' * l if • • • • •* • 1 • • « t » * PREFACE The one-act plays for young people contained in this volume can be produced separately, or may be used as links in the chain of episodes which go to make up outdoor or indoor pageants. There are full direc- tions for simple costumes, dances, and music. Each play deals with the youth of some American hero, so that the lad who plays George Washington or Ben- jamin Franklin will be in touch with the emotions of a patriot of his own years, instead of incongruously portraying an adult. Much of the dialogue contains the actual words of Lincoln, Washington, and Frank- lin, so that in learning their lines the youthful players may grasp something of the hardihood and sagacity of Washington, the perseverance of Franklin, and the honesty and dauntlessness of Lincoln, and of those salient virtues that went to the up-building of America — a heritage from the time " when all the land was young.'' The plays are suitable for schools, summer camps, boys' clubs, historic festivals, patriotic societies, and social settlements and playgrounds. The outdoor plays are especially adapted for a " Safe and Sane Fourth. All the plays have stood the test of production. iii )> iv PREFACE " The Pageant of Patriots " — the first children's patriotic pageant ever given in America — was pro- duced in Prospect Park, Brooklyn, N. Y., under the auspices of Brooklyn's ten Social Settlements, May, 191 1. The Hawthorne Pageant was first produced on Arbor Day, May, 191 1, by the Wadleigh High School, New York City; Pocahontas was given as a separate play at Franklin Park, Boston, by Lincoln House, and some of the other plays have been given at various schools in New York City. Thanks are due to The Woman's Home Com- panion, The Delineator, The Designer, The Normal Instructor, and The Popular Educator for their kind permission to reprint these plays. PATRIOTIC PLAYS AND PAGEANTS CONTENTS PAGE Patriotic Plays: Their Use and Value .... 3 PAGEANTS PAGEANTS OF PATRIOTISM The outdoor arrangement can be produced by a whole school or group of schools, by groups of social settlements, communities, and cities, in parks, armories, woodland spaces or meadows on such occasions as the Fourth of July, Decoration Day, Bunker Hill Day, Labor Day, during Old Home Week, or for any special city or town celebration. The indoor arrangement of the same pageant is also suit- able for whole schools, or groups of schools, groups of settlements, communities, villages, cities: in armories, school halls, assembly rooms, or small theaters on Columbus Day, Lincoln's Birthday, Washington's Birthday, or some day of special celebration. Pageant of Patriots (Outdoor) 7 Prologue by the Spirit of Patriotism .... 9 Princess Pocahontas 12 Pilgrim Interlude 27 Ferry Farm Episode 38 George Washington's Fortune 46 Daniel Boone: Patriot 59 Benjamin Franklin Episode 74 Abraham Lincoln Episode 88 v VI CONTENTS Liberty Dance Pageant Directions Pageant of Patriots (Indoor) . Prologue by the Spirit of Patriotism Dramatic Silhouette: Lords of the Forest The Coming of the White Man: Tableau Princess Pocahontas .... Priscilla Mullins Spinning: Tableau Benjamin Franklin: Journeyman George Washington's Fortune . The Boston Tea Party Dramatic Silhouette: The Spirit of '76 Abraham Lincoln: Rail-Splitter Directions for Indoor Arrangement THE HAWTHORNE PAGEANT Can be produced in park or woodland in its outdoor arrangement. Is suitable for co-educational schools, girls' schools, girls' Summer camps. Is appropriate for Haw- thorne's Birthday (July 4), Arbor Day, May Day, or any day during Spring and Summer. In its indoor form it can be given in school halls or in a small theater. In this form it is appropriate for co-educational schools, girls' schools, settlements. It can be given any time during the Autumn, Winter, or Spring. PAGE 98 99 105 107 109 no in 112 113 131 132 155 156 173 Hawthorne Pageant (For Outdoor or Indoor Produc tion) Chorus of Spirits of the Old Manse Prologue by the Muse of Hawthorne In Witchcraft Days (First Episode) Dance Interlude Merrymount (Second Episode) . Pageant Directions .... 175 177 178 180 198 199 220 CONTENTS vii LIST OF SEPARATE ONE-ACT PLAYS PAGE Abraham Lincoln: Rail-Splitter (Indoor) . . . 156 Can be produced in school, home, or small theater. Is suitable for schools, settlements, clubs, patriotic societies, and debating societies. Can be appropriately produced any time between September and March. Is especially appro- priate for Lincoln's Birthday. Benjamin Franklin: Journeyman (Indoor) . . . 113 Can be produced in a school, home, or small theater. Is suitable for schools, clubs, settlements, patriotic societies and clubs. Can appropriately be produced any time between September and June. Is particularly suited to Franklin's Birthday. The Boston Tea Party (Indoor) 132 Can be produced in school, home, or small theater. Is suitable for boys' schools, Boy Scouts, settlements, clubs, and patriotic societies. Can be produced on any holiday. Is particularly appropriate for Fall and Winter months — espe- cially the month of December. Daniel Boone: Patriot (Outdoor) 59 Can be produced in park, woodland, or village green. Can be given by boys' schools, clubs, settlements, and pa- triotic societies. Also by the " Sons of Daniel Boone " and the Boy Scouts. Is appropriate for any day during Spring, Summer, or Autumn. Can be given on the Fourth of July. George Washington's Fortune (Outdoor) ... 46 Can be produced in park, lawn, or woodland. Is suitable for schools, clubs, patriotic societies, and settlements. Is appropriate for any day during Spring, Summer, or Autumn, and is particularly appropriate for the Fourth of July. An indoor arrangement can easily be made for George Wash- ington's Birthday. viii CONTENTS FAGE In Witchcraft Days (Outdoor) . -., .., .. .180 Can be given in park, lawn, or village green or wood- land. Suitable for co-educational schools, girls' schools, girls' Summer camps, patriotic societies, settlements, and clubs. Appropriate for Arbor Day, May Day, or any day during Spring, Summer, or early Autumn. An indoor ar- rangement can be given for Thanksgiving in school halls. Merrymount (Outdoor) 199 Can be produced in park or woodland. Is suitable for co-educational schools, girls' schools, girls' Summer camps, and for clubs, settlements, and patriotic societies. Is appro- priate for Arbor Day, May Day, or any day in Spring and Summer. An indoor version of it can also be given. Princess Pocahontas (Outdoor) 12 Can be given in park, in woodland, or on lawn. Is suit- able for schools, clubs, and patriotic societies. Can be given on the Fourth of July, or any day during Spring and Summer. Indoor production is also possible. , . •„ > «. ' » ' ) I , » * 1 ,. ■ - . * . • - I , ' . ' - » - PATRIOTIC PLAYS: THEIR USE AND VALUE The primary value of the patriotic play lies in its appeal to the love of country, and its power to re- vitalize the past. The Youth of To-Day is put in touch with the Patriots of Yesterday. Historic per- sonages become actual, vivid figures. The costumes, speech, manners, and ideas of bygone days take on new significance. The life of trail and wigwam, of colonial homestead and pioneer camp, is made tangible and realistic. And the spirit of those days — the in- tegrity, courage, and vigor of the Nation's heroes, their meager opportunities, their struggle against des- perate odds, their slow yet triumphant upward climb — can be illumined by the acted word as in no other way. To read of the home life of America's beginnings is one thing; to portray it or see it portrayed is another. And of the two experiences the latter is the less likely to be forgotten. To the youthful participants in a scene which centers about the campfire, the tavern table, or the Puritan hearthstone will come an inti- mate knowledge of the folk they represent: they will find the old sayings and maxims of the Nation-Builders as pungent and applicable to the life of to-day as when they were first spoken. 3 4 PATRIOTIC PLAYS The -j>atriotie,p>ay< jias: manifold uses. It combines both . pleasure, and education. It is both stimulating attci instructive/ ; In its ' ind'oor form it may be the basis of a winter afternoon's or evening's entertain- ment, in its outdoor form it may take whole communi- ties and schools into the freedom of the open. It should rouse patriotic ardor, and be of benefit ethically, esthetically, and physically. It should wake in its participants a sense of rhythm, freedom, poise, and plastic grace. It should bear its part in developing clear enunciation and erectness of carriage. To those taking part it should bring the exercise of memory, pa- tience, and inventiveness. It should kindle enthusiasm for the things of America's past. In what way can national hero-days and festivals be more fittingly com- memorated than by giving a glimpse of the hero for whom the day is named? Thus the patriotic play is equally adaptable for Fourth of July, Washington's Birthday, Lincoln's Birthday, Columbus Day, and the hundreds of other days — not holidays — that lie in be- tween. If the patriotic play is produced in the right way it should contain the very essence of democracy — efficient team-work, a striving together for the good of the whole. It should lead to the ransacking of books and libraries; the planning of scene-setting, whether indoor or outdoor; the fashioning of simple and accurate costumes by the young people taking part ; the collecting of suitable stage properties such as hearthbrooms, Indian pipes, and dishes of pewter. The PATRIOTIC PLAYS 5 greater the research, the keener the stimulus for imagi- nation and ingenuity, two things that go to the mak- ing of every successful production. Fortunately, the patriotic play is inherently simple, its appeal is along broad general lines, so that it requires no great amount of money or energy to adequately produce it. And, as history is made up not of one event, but of a series of events, so an historical pageant is a logical sequence of one-act patriotic plays or episodes. The one-act patriotic play shows one hero or one event ; the pageant shows, through one-act plays used in chronological order, the development and upbuilding of America through the lives of her heroes. In its pageant form, the patriotic play, with dances, songs, pantomime, and spoken speech, lends itself to schools, communities, and city use, in park, in armory, and on village green: in its one-act form it lends itself to both indoor and outdoor production by schools, patriotic societies, clubs and settlements, and, last, but not least, the home circle. And in the hope of assisting teachers and producers to 'fit appropriate plays to appropriate occasions notes on the subject have been added to the individual plays in the table of contents. THE PAGEANT OF PATRIOTS (Outdoor) THE PAGEANT OF PATRIOTS EPISODES i. Prologue by the Spirit of Patriotism 2. Princess Pocahontas 3. Pilgrim Interlude 4. Ferry Farm Episode 5. George Washington's Fortune 6. Daniel Boone: Patriot 7. Benjamin Franklin Episode Scene 1. Benjamin Franklin and the Crystal Gazer (1720) The Dream Begins Scene 2. Benjamin Franklin at the Court of France ( 1781 ) The Dream Ends 8. Abraham Lincoln Episode 9. Final Tableau 10. March of Players PROLOGUE 9 Spoken by The Spirit of Patriotism People of , ye who come to see Enacted here some hours of Pageantry, Lend us your patience for each simple truth, And see portrayed for you the Nation's Youth. Spirit of Patriotism I. Behold How at my word time's curtain is uprolled, And all the past years live, unvanquished As are the laurels of the mighty dead. I am the spirit of the hearth and home! For me are flags unfurled and bugles blown. For me have countless thousands fought and died; For me the name of " Liberty " is cried ! I am the leader where the battle swings, I bring the memory of all high things. And so to-day I come to bid you look At scenes deep-written in the Nation's book. The youth of all the heroes you shall see — What lads they were, what men they grew to be. How honor, thrift, and courage made them rise By steps that you can learn if you be wise. 9 io THE PAGEANT OF PATRIOTS First, Pocahontas in a woodland green ; Then life among the Pilgrim folk is seen — Thrifty Priscilla, Maid o' Plymouth Town, In Puritanic cap and somber gown! For the next scene comes life in Southern climes — The Ferry Farm of past Colonial times. Then Washington encamped before a blaze O' fagots, swiftly learning woodland ways. Then Boone with Rigdon in the wilderness Dauntlessly facing times of strife and stress. Crossing the Common in the morning sun Young Benjamin Franklin comes: about him hung Symbols of trade and hope — kite, candles, book. The crystal gazer enters, bids him look At all the guerdon that the years will bring. The Vision next: Trianon in the Spring, And Franklin honored by the Queen of France With courtly minuet and festal dance. Lastly, a cabin clearing in the West, Where on a holiday with mirth and zest Lincoln's companions take their simple cheer. These are the scenes to be enacted here, Shown to you straightway in a simple guise. Youthful the scenes that we shall here devise On which the beads of history are strung. Remember that our players, too, are young. All critic-knowledge, then, behind you leave, And in the spirit of the day receive What we would give, and let there come to you The Joy of Youth, with purpose high and true. 1 I PROLOGUE 1 1 COSTUME The Spirit of Patriotism. The Spirit of Pa- triotism should wear a long white robe, with flowing Grecian lines, made either of white cheesecloth, or white cashmere. It should fall from a rounded neck. Hair worn flowing, and chapleted with a circlet of gold stars. White stockings and sandals. Carries a staff from which floats the Stars and Stripes. « • « e PRINCESS POCAHONTAS CHARACTERS Princess Pocahontas Chief Powhatan Captain John Smith Eight Young Indian Braves Eight Young Indian Maidens Two Indian Women Two old and withered Squaws Six or seven little Indian children. Other followers of Powhatan Time: Mid-afternoon on a mild day in i6og. Place: Virginia. Scene: An open glade showing a small Indian en- campment. At the opening of the scene the glade is deserted, the men of the tribe being engaged in a skirmish with the white men, while the women and children have gone foraging. There are two teepees, one at right, and one at left, their doors closed. By the side of teepee at left a pile of fagots, and a wooden block. Further front, facing audience, a great war-drum, gaily painted. A skin-covered drum-stick. At right, 12 PRINCESS POCAHONTAS 13 towards front, the smoldering remains of a fire. The ivhole appearance of the camp shows that it is not permanent — a mere pausing-place. The space between the teepees is absolutely unob- structed, but there are trees and bushes at the back and sides. By degrees the Indians who have been foraging be- gin to return. One of the Indian women enters carrying fagots. One of the older squaws rekindles the fire. Next come the children, with merry shouts, carrying their little bows and arrows. The Indian maidens enter gaily, carrying reeds for weaving. They move silently, swiftly, gracefully. Two of their num- ber begin to grind maize between stones. Two others plait baskets. An old medicine-man, with a bag of herbs, comes from the background, and seats himself near the drum, at left, taking an Indian flute from his deerskin belt, and fingering it lovingly. An Indian woman, arriving later than the others, unstraps from her back a small papoose, and hangs it to the limb of a tree. The Indian children stand towards the front of the greensward, shoot in a line their feathered arrows, run and pick up the arrows, and acclaim in pantomime the one who shot the best. Then they go towards background, doing a childish imitation of a war-dance. The mother of the papoose, having fin- ished her duties in setting one of the teepees to rights, now takes down the papoose from the tree where it swings, and seating herself in the center of the green- sward, croons an Indian lullaby. The Indian maidens i 4 THE PAGEANT OF PATRIOTS group themselves about her, seated in a semicircle on the ground, swaying rhythmically. At the back of the stage one of the little Indian boys sees an Indian maiden approaching, clad in white doeskin. Cries aloud delightedly : " Pocahontas! " The Indian maidens and the squaws rise and fall back before the entrance of Pocahontas with gestures of salutation and respect. All (clearly and enthusiastically), Pocahontas ! [Pocahontas comes down center with a basket filled with branches that bear small red ber- ries. The children and two of the maidens gather about her, and then fall back as she begins speaking, so that she has the center of the stage. Greatest interest is evinced in all she does. Pocahontas (speaking slowly, as one does in an unfamiliar tongue, yet clearly and deliberately). I — Pocahontas — daughter of Powhatan, great chief, — speak — language of — paleface. Powhatan teach me. (Points to way from which she has come.) Yonder — I — went. Prayed to River God. [Makes gesture of worship, raising basket above her head. The semicircle about her widens PRINCESS POCAHONTAS 15 respectfully. A maiden then approaches and takes basket. Pocahontas smiles in sudden childlike delight, and holding out chain of beads that fall from her neck to her waist, says with pretty intonation: Beads. Jamestown. [Watches them for a moment as they glimmer in the sun. Then with sudden laugh seizes the Indian maiden nearest her, and by gesture summons the other Indian maidens. One of the very old squaws with a half-wry, half- kindly smile begins a swift tapping on the drum that has in it the rhythm of dance music. The Indian children withdraw to the doors of the teepees, and Pocahontas and the Indian maidens dance. The old medi- cine-man adds his flute-notes to the rhythm of the war-drum. The Indians being a notably silent people, this scene must be given mostly in pantomime. From the forest at right comes the faint sound of a crackling branch. Instant attention on the part of all. The dance stops. The In- dian maidens stand poised, listening. The women shade their eyes with their hands. A small Indian boy lays his ear to the ground, and then cries: "Powhatan!' Two ex- pectant semicircles are formed. All look to- 16 THE PAGEANT OF PATRIOTS wards right. Powhatan enters. Pocahontas runs to meet him. Tableau. Powhatan then indicates that others are coming from right. Young braves enter with John Smith in their midst. His hands are bound behind him, his face is white and drawn. Children at sight of him scamper to teepees. The rest show signs of curiosity. Pocahontas stands with clasped hands and startled eyes, m regarding Smith most earnestly. A brave bears Smith's weapons. Smith is led to right foreground. Block of wood is brought him for a seat. The Indian women, maidens, and children re- treat to the extreme background, where they sit in a semicircle, watching. Then Pow- hatan and braves withdraw to left, where they form a circle and confer, one brave at at a time addressing the rest in pantomime, with many gestures, some towards Smith, some towards the path by which they brought him. Occasionally the words " Algonquin," " Chickahominy," " Jamestown," " Opeckan- kano," " Washunsunakok " are spoken. When Powhatan speaks in pantomime the others listen with occasional grunts of satis- faction and approval. It is evident that the prisoner and the fate awaiting him are under discussion. Pocahontas alone remains near the center of PRINCESS POCAHONTAS 17 interest. She glances first at her father and the braves, sees they are deep in discussion, and then crosses to John Smith, with every sign of interest and awakening pity. She brings him water in a wooden bowl. He drinks thirstily. She then goes to one of the teepees, and brings him a cup of milk. This she holds for him to drink from, as his hands are bound. Pocahontas (gravely, as she puts down the cup). How! Smith (with equal gravity). How! Pocahontas (touching herself lightly). Pocahontas. Daughter of Powhatan. [Touches Smith questioningly. Smith (answering her). Smith. John Smith. Pocahontas (repeating it after him). John Smith. Smith. From Jamestown. 18 THE PAGEANT OF PATRIOTS Pocahontas (nods, says slowly). Pocahontas likes paleface. [Meantime the pantomimic discussion held by Powhatan and his braves is drawing near its close. There comes a shout of triumphant acclaim " Wah! Wahl Wall!' hoarse and loud. Powhatan, having in pantomime ren- dered his decision, now stands with arms folded, at left. Braves to right, and take Smith to center. Powhatan stands at the extreme left. The braves form a semicircle about Smith. The women and children in the background rise silently, and peer for- ward. Smith is forced to one knee. A brave holds aloft the hatchet. Pocahontas (looking from Smith to her father, and then running towards the latter with a cry). No! No! [Powhatan regards his daughter gravely, yet un- relentingly. Pocahontas, center, stretches out her arms in pleading. Powhatan shakes his head. Pocahontas then goes towards Smith, and again with animated pantomime, indicat- ing first Smith and then the way by which he has come, pleads for him. Powhatan PRINCESS POCAHONTAS 19 shakes his head. He is obdurate. Pocahon- tas bows her head dejectedly. Turns to go back to where she has been standing. Then changes her mind, runs to her father, and with every evidence of pleading and humility, falls on her knees before him, arms out- stretched. For a moment they are still as statues. Then Pocahontas takes from her neck her string of beads, and, by gesture, offers it as a ransom for Smith. Pocahontas (speaking slowly). Pocahontas, daughter of Great Chief, asks of Great Chief John Smith's life. [Tense pause. Powhatan, with arms folded, considers deeply. Then makes sign of assent, but gives back necklace to Pocahontas, who rises ivith pantomime of joy. Powhatan makes sign to braves to release Smith. Smith is un- bound. His weapons are given back to him. He chafes his wrists and presents his compass to Powhatan. Smith. Great Chief! (Turns first to Powhatan, and then to Pocahontas.) Great Princess! John Smith grate- ful! [Powhatan touches him on shoulder. 20 THE PAGEANT OF PATRIOTS Powhatan Umph! (grunting). [Indicates by gesture peace-pipe which has been lit at fire. All braves sit in semicircle facing audience, and pass it (not too slowly!) from one to another, including Smith and Pow- hatan. Then all rise. Smith (standing center). John Smith goes to Jamestown. John Smith friend of great chief, Powhatan. Palefaces always remember Powhatan! Always remember Pocahontas! Braves (all together). Wah! Wah! Wah! [Exit Smith, right. Smith is watched by the Indians in silence deep and respectful. Pocahontas (to Powhatan). Great Chief safely returned. Captive set free. Shall we go yonder? (Points.) Pray to River God? [Powhatan nods gravely. He and Pocahontas exeunt left. The braves follow next. The Indian maidens, women, and children form the end of the procession. The stage is thus left empty, and the scene ends. PRINCESS POCAHONTAS 21 COSTUMES Pocahontas. Pocahontas should wear the tradi- tional costume of " white doeskin with a scarlet mantle flecked with gold sequins." A great chain of pearls should be about her neck. Another chain which reaches to her waist should be of white and blue beads — large beads that will catch glitter from the sun. About her head a band of tan, and a white quill. The embroidery about the neck of her Indian robe is of pearls. The basket which she carries should be white, with a motif of rich blue and scarlet. She wears a tan (dressed deer- skin) girdle, heavily embroidered in red beads. Her stockings and moccasins are tan-colored also, the moc- casins embroidered in scarlet. The ends of her braids are bound in scarlet and gold. White canton flannel, skilfully slashed for fringing, will make the Indian dress, which should fall in straight lines from a square neck. It should reach to about three inches above the ankle, and should be heavily fringed. The robe, worn fastened at the shoulders, should be of scarlet cloth. The deerskin belt is of cotton khaki. The moccasins can be made of the same material, cut sandal fashion. Or low canvas ties without heels, bead-embroidered. Captain John Smith. Tan-colored costume of the seventeenth century. The coat of tattered, weather- stained brown velvet, the puffed sleeves slashed with tan satin that is soiled and frayed. Great tan boots coming to the knee. A white lace collar at neck, much the worse for wear. A brown leather girdle. 22 THE PAGEANT OF PATRIOTS Powhatan. Indian dress of tan (dressed deerskin), the neck and breast of it gorgeously painted with blue, green, and scarlet. Great chains of shells and beads. A huge head-dress of black feathers that hangs down his back almost to his knees. It should be the largest and most magnificent of all the Indian head-dresses, as it is the insignia of chiefdom. Tan stockings and tan moccasins. The material of his costume may be cotton khaki. (The imitation khaki is best, as the real material is too heavy.) The Medicine-Man. The medicine-man is old. He wears a wig of long, white, coarse hair. His cos- tume is of cotton khaki, decorated with beads, bits of looking-glass, and feathers. He wears no feathers on his head. A piece of fur is fastened to his shoulders. His blanket is black, with white cabalistic signs. It can be made of canton flannel. Indian Braves. The braves who follow Powhatan should wear costumes resembling those of the chief, save that they are less gorgeously painted, and wear fewer strings of beads and shells. Their head-dresses, too, are shorter. They should be of gray, black, and brown feathers. Their faces are, of course, stained brown, their arms and necks likewise. Red and black war- paint should also be on their faces. Unless wigs of long hair are to be worn, the boys wearing the feathered head-dresses should be careful to see that their lack of long hair is concealed from view. Often the Indian braves wore their long matted locks braided ; and black cheesecloth cut into strips and then braided and fastened PRINCESS POCAHONTAS 22 to a tight black cap will make a splendid wig of this sort — the braids of hair should hang in front of the ears. The Indian braves should carry bows, arrows, and tomahawks. The Indian Maidens. The Indian maidens should wear tan fringed dresses, of the same length and fashion as that of Pocahontas. Necklaces and bracelets of shells. The necks of the dresses em- broidered in beads and shells. They wear their long black hair in two braids, the ends of the braids bound either with scarlet, corn-yellow, or vivid blue. They have moccasins and tan-colored stockings. Their bead- embroidered footgear should be in striking color on a tan background. But their chief glory is their blankets. These should be barbarically glowing, since it is partly in their wild flare of color that the beauty of the Blanket Dance lies. The following designs for them are taken from the Indian motifs and colorings studied from the collections in various museums of natural history, and however startling they may seem at first, their color-scheme should be faithfully carried out, as much of the success of the scene depends on them. The material used may be canton flannel throughout. They should be the size of the average, every-day blanket. i. Blanket made of equal halves of deep royal pur- ple and pale turquoise blue. 2. Blanket of deep cobalt blue. Fastened in the center a great oval of orange. 3. Blanket made of equal halves of pale lemon and black. 24 THE PAGEANT OF PATRIOTS 4. Blanket made of equal halves of very dark green and very pale green. 5. Blanket made of equal halves of deep violet and white. 6. White blanket with disks of scarlet at each of its four corners. 7. Blanket of equal halves of royal purple and pale lavender. 8. Blanket of very pale green, with large white disk in center. Each Indian maiden should wear a band of gay- colored cheesecloth, red, green, or blue, bound about her forehead. This band should match the color that fastens her braids. In the back of the head-band should be fastened a quill of contrasting shade. It need hardly be added that the Indian maidens wear neither feather head-dresses nor war-paint. Their arms, necks, and faces should be stained light brown. The tan-colored stockings are to simulate bare skin. Squaws. The squaws wear the same cotton khaki costumes as the Indian maidens, save that their blankets are of more somber colors, and their headgear is either omitted altogether, or consists of black, bronze, or dull green. The Little Indian Boys. They should dress in exact imitation of the older braves, save that they wear no war-paint. Properties. For either an indoor or outdoor repre- sentation of this scene where it is impossible to have a real fire, have a pile of fagots and amongst them PRINCESS POCAHONTAS 25 place large bunches of joss-sticks bound together with thread. These will burn easily and safely, and the blue smoke from them will simulate a waft from wood- land embers. The log can be made of two small vinegar barrels fastened together, covered with brown burlap, and then flecked with green and brown paint. The teepees should be of canvas, unbleached cotton, or burlap fastened over three slender, strong poles, stuck into the ground. They should be equal to bearing the weight of the can- vas or burlap, and yet light enough to be removed and carried off the scene by the young Indian braves as they leave in the direction of the river when the scene ends. Dances. At the place indicated in the scene, the Indian maidens give one or more characteristic Indian dances. " The Blanket Dance," one of the most widely known and picturesque of the Indian dances, follows somewhat the lines of a Virginia Reel. The Indian maidens stand in a line facing each other, their blankets wrapped about them. The head couple, facing each other, spread wide their blankets behind them like great butterfly wings. Then they dance forward and back, forward and back, beckoning, retreating, gesturing, and finally dance off, with one blanket wrapped about two pairs of shoulders. Then the next couple, and so on. All sorts of fantastic steps, gestures, bendings, and swayings can be introduced. A wide space should be left between the dancers, so that all they do can be clearly seen. Dancing in great circles, like a mild war- dance, yet without the whoops and wild gestures of the 26 THE PAGEANT OF PATRIOTS latter, is another form that lends itself to the out-of- doors. Another dance is the Eagle Dance; with arms spread wide, holding their blankets at wing-like angles, the dancers circle about each other, the dance growing wilder and wilder. Still another dance is the sym- bolical one of the Four Winds — North, South, East, West — done by four Indian maidens. The South Wind gentle and swaying; the West Wind fantastic, with arms upraised ; the East Wind with streaming hair and rain-drops shining on finger tips; the North Wind wilder than them all, and finally driving them all be- fore her. Music. Piano: MacDowell's "An Indian Idyl," " From an Indian Lodge." These can be had orches- trated. For a band: " Tomahawk Dance," by Andrew Herman. " Indian War Dance," by Bellstedt. " The Sun Dance," by Leo Friedman. PILGRIM INTERLUDE PILGRIM CHANT (Tune: Oxford. To be sung off stage by the Puritan . maidens before they enter to take part in the episode.) Gone is now the sullen winter, Gone the famine and the snow; In the forest, like a promise, See the first white mayflowers blow. Fresh hope thrills us with their coming, They, too, braved the winter long; Then at Springtime took new leafage, Frail yet steadfast, small but strong. Cling we thus to our new country, Let us struggle and endure ; We have found a land of Freedom, And our heritage is sure. 27 ^Youthful Pilgrim Maidens 28 THE PAGEANT OF PATRIOTS THE SPINNING LESSON (A Pilgrim Interlude) CHARACTERS Priscilla Mullins John Billington ) Degory Martin \ Lads of Ply™™ th Town Ruth Patience Diantha Miriam Lettice Anne Star-of-Spring, an Indian maiden Natiqua, a squaw, her mother Forest Flower, another Indian maiden Heron's Wing, a young Indian brave Scene: A grassy glade at Plymouth in the Spring of 1 62 1. Trees right, left, and background. At the beginning of the scene the grassy stage is deserted. There presently enters from background Anne, a young Pilgrim maid of about fourteen, whose somber garb shows out darkly against the green background. She looks quickly about her, right and left, shielding her eyes with her hand. Then she calls back over her shoulder to her companions, Diantha and Lettice. PILGRIM INTERLUDE 29 Anne (calling). Come quickly, Diantha. Here is a fair spot for our corn-shelling, and not a prowling Indian in sight. [Diantha, slender, dark, and somewhat older than Anne, enters with Lettice. They carry between them an Indian basket of capacious size, in which are dried ears of corn. Diantha (clearly). Nay, we need have no fear ; for on one side Captain Miles Standish keeps watch, and on the other John Alden; so as for Indians Lettice (as they come to center). One Indian only have I seen this day, and to see him is ever a sign of good omen. Diantha. That means that Squanto is in Plymouth Town, our good, true Indian friend. He it was who taught us how to shell the corn, so many months agone ; he it was who taught us, this Spring, the manner of sowing it. Lettice (holding up Indian basket). And here is one of the Indian corn-baskets that Cap- tain Standish found buried in a strange wilderness spot when he first explored these forests. 3 o THE PAGEANT OF PATRIOTS Anne (drawing near to Lettice). These forests — ! Oh, my heart! As night draws on how dark and fearsome they appear ! And now that Spring is in the land it sets me longing for English hedgerows. [Sits on ground, left, and begins to shell corn. Lettice (joining Anne in her work). Do you remember the Spring in Leyden, Diantha? DlANTHA (looking upward as she stands). Why, even here the Spring is very fair! Do not the sunlight, the blue sky, and the budding trees make your heart sing with joy? Anne. Sit, then, Diantha, and let us have a quiet hour. Diantha (standing behind them, half -gay, half -mo eking). A quiet hour — ! Hither come Patience and Miriam and Ruth, the greatest clatter-tongues in Plymouth. See! They have been gathering wild plum blossoms! [Enter Miriam, Patience, and Ruth from back- ground. They hasten towards Diantha. The exquisite white of the blossoms they carry makes them look like heralds of the Spring. PILGRIM INTERLUDE 31 Miriam (excitedly). Diantha, what dost think! Priscilla Mullins hath declared herself weary of spinning in her own door- yard, and since Squanto hath told us that we need not fear the Indians she hath besought Degory Martin and John Billington to bring hither her spinning-wheel. Patience (wide-eyed). Was ever the like known in Plymouth ! Ruth (as all look eagerly towards background). Hither she comes! Priscilla (clearly in distance). Have a care, Degory. Degory. Aye, Mistress Priscilla. Priscilla (as they emerge from background). Stumble not, John Billington. John Billington (sturdily). Not while I bear such a burden. [They set down the spinning-wheel, center. 32 THE PAGEANT OF PATRIOTS Priscilla. I thank you. Will you come for me when the shadows o' the pines grow long across my doorway? [The Pilgrim lads nod, and exeunt, left back- ground. Priscilla (to Pilgrim maidens). Well, and have you no word of greeting? Why, they are dumb with astonishment ! And is it so strange a thing to bring one's wheel outdoors? 'Twas out of doors that this wood first grew! (Touches wheel.) All day I have longed to be out in these wide spaces — and yet there was work to do. But see — now I weld heart's desire and work together! [She begins to spin. Meantime Pilgrim maidens group about her. Tableau. Miriam. You are ever one to see the bright side of things, Priscilla, and Look, Priscilla — an Indian! [At sound of that dread word all the maidens draw near to Priscilla. From the woods in right background appears Star-of -Spring, the little Indian maiden. She carries a basket of shell-fish on her head, steadying it with her hand. She is so intent on walking carefully that she does not see the group of Pilgrims until she is nearly upon them. There ensues a period of unflagging pantomime. Star-of- PILGRIM INTERLUDE 33 Spring, upon seeing the group of dark-clad maidens, starts back, half terrified. Pris- cilla rises, and as an overture of peace and good-will, takes a few steps towards her. Star- of -Spring retreats still further towards right. Priscilla returns to her wheel. Star-of -Spring, emboldened, takes a step to- wards the Pilgrim maidens. Pilgrim maid- ens, quite as wary of Star-of -Spring as she is of them, retreat a little way to left. At this Star-of -Spring's last fears vanish. She wishes to be friends. With pretty pleading she holds out to them her basket of shell-fish. Places it on the ground and then steps back, bow- ing, with arms wide and outstretched palms. Priscilla. She means we should accept it. Is that not truly generous ! ^ Diantha (reassured). It must be Star-of-Spring, the little Indian maid of whom Squanto has so often told us. [Diantha takes up basket. Pantomime of de- light on part of Star-of-Spring. She draws near to Anne, and with a quaint grace touches Anne's cap and kerchief. Tries on Anne's cap, and looks at herself in a barbaric bit of looking-glass that dangles from one of her many chains of beads. Then laughs, gives 34 THE PAGEANT OF PATRIOTS back the cap, and is in turn fascinated at the sight of Priscilla when she begins spinning. Star-of-Spring approaches the wheel with pantomime indicating awe and delighted curiosity. She first inspects it, and then be- gins to talk in dumbshow with quick, ani- mated gestures. The Pilgrim maidens are somewhat bewildered. DlANTHA (as the meaning of the scene dawns on her), Priscilla! She wishes to spin! Anne. Thou hast done many strange things in this new land, Priscilla; but I doubt not that the strangest of all is to give an Indian maiden her first lesson in spinning! [Priscilla rises. Star-of-Spring seats herself. Business of Priscilla's teaching her to spin. Haltingly and somewhat fumblingly she does at length manage to compass the first rudi- ments of her lesson. The Pilgrim maidens stand grouped about her. Tableau. Degory (from background). The shadows of the pines lengthen across your door- sill, Priscilla! [At sound of the new voice Star-of-Spring rises, PILGRIM INTERLUDE 35 and hastily retreats, right. Degory Martin and John Billington enter from background. DlANTHA. Only think, Degory, Star-of-Spring, an Indian maid, hath had a spinning lesson! Degory. The shadows are lengthening. Twilight comes apace here in the forest. 'Tis time you all came home. [The maidens of Plymouth follow him as he and John Billington take the spinning-wheel and spinning-stool with them. They make their exit at center background. Star-of- Spring, who has lingered at edge of trees, right, steals out to look after her departing play?nates. Stands at place where spinning- wheel was. Again shakes her head, as if in perplexity over the strange arts of the pale- faces. Finds on grass part of a skein of flax. Tosses it lightly in the air. Catches it again as it falls. Begins a characteristic dance, swaying, tossing skein, catching it. Each step of the dance takes her further into back- ground. Then she comes down center again, like a tossing bough or a blown flame. She does not perceive the group entering from left. Her mother (Natiqua), Forest Flower, and Heron s Wing. They also are so occupied with portage that they do not perceive Star* 36 THE PAGEANT OF PATRIOTS of-Spring until they are almost up to her. Heron s Wing and Forest Flower carry be- • tween them a birch-bark canoe. Behind them trudges Natiqua, bent beneath a double pile of fagots. They pass, in picturesque sil- houettej back of the spot where Priscilla had been seated with her spinning-wheel. Then they and Star-of-Spring become aware of each other. They stop. Natiqua frowns. Star- of-Spring points to place where Priscilla sat with her spinning-wheel, and by animated gestures portrays what has taken place. But neither Natiqua, Forest Flower, nor Heron s Wing is in the least interested. Natiqua shakes her head and frowns. It is evident that the wonders of the palefacgs are not to her mind. She lets slip from her back her double pile of fagots, then replaces one, and Star-of-Spring takes up the other. Then, in Indian file, they cross the scene to right, and slowly disappear from view. COSTUMES Pilgrim Maidens. The Pilgrim maidens should wear plain black dresses ankle length, with white cuffs and Puritan caps, and white kerchiefs. These dresses may be made of black cambric, worn with the glazed side turned in. The Pilgrim Lads. The Pilgrim lads wear black PILGRIM INTERLUDE 37 suits, with full knee-breeches, black stockings, and low black shoes with silver buckles. Their hair comes to their ears, and they have white collars turned down on their coats, and deep white cuffs on their sleeves. The Indians. The Indians wear costumes of cotton khaki, the necks gaily painted with Indian de- signs. Strings of beads and shells. Natiqua has a green and scarlet blanket. She and the Indian maidens wear their hair in braids. They also have a gay strip of cheesecloth — red, green, or yellow — bound about their brows, and a quill stuck upright in the back. Heron's Wing has a head-dress of blue-gray heron's feathers. All wear moccasins. (See description of In- dian costumes in " Princess Pocahontas.") FERRY FARM EPISODE CHARACTERS Lord Fairfax Mary Ball Washington George Washington Aunt Rachel Sambo >- Plantation hands Lucy Dinah Peter Nelly Susy Uncle Ned Scene: The lawn of Ferry Farm, 1748. A wide expanse of green. Trees right, left, and background. The trees in background supposedly screen the Colonial house from view. At the left the estate supposedly stretches to the highway. At the right, behind the trees, it is given over to flower and vegetable gardens. At the beginning of the scene the grassy space is deserted, but from the distance, right, comes the sound of singing. The sound swells louder and louder in She rhythm of one of the oldest of African songs, " Mary and Martha just gone 'long to ring those 38 FERRY FARM EPISODE 39 charming bells." The first verse is sung before the singers appear. With the second verse those who have been at work in the fields come into view, their gay and colorful costumes bright against the green back- ground. Two of the children run into sight first; then comes a group of nine or ten young people. Some carry be- tween them baskets heaped quite high with fruit and vegetables. One boy holds a hoe. A girl carries a^> rake. Another an armful of dried corn on the ear. Two more a low basket heaped with cotton. In the center of this group hobbles old Aunt Rachel, tur- baned, and leaning on a cane. By her side walks Lucy, carrying a great bunch of pink " Winter Roses." The third verse is sung as this group emerges into full view of the audience. The children stand looking at Aunt Rachel as they sing, as if they were catching some of the words from her. She beats time with her finger to see that they learn correctly. Other voices take up the song in right background, swelling it higher and higher. Uncle Ned, with his fiddle under his arm, comes slowly from right to join the group in foreground. The baskets are set down. The boy leans on his hoe, the girl on her wooden rake, rapt and happy. All are given over to the rhythmic joy of the music. Uncle Ned (with a sigh of happiness). I certainly do love music. Nothing cheers the heart like singing — unless it's the voice of the fiddle. 40 THE PAGEANT OF PATRIOTS Susy (hopping up and down). Play to us, Uncle Ned, play to us! [Uncle Ned tucks his fiddle under his chin and begins to play. At first the air is chant-like, and has a strain of melancholy, then it grows gayer and gayer, until it turns into a dance tune. The children first stand about Uncle Ned in a circle, listening. Then they begin to dance, with swaying bodies and cries of delight. Here and there a girl and boy dance opposite each other, hands on hips. There should be five or six dancing groups in all. Uncle Ned finishes with a flourish, and turns towards left. The Children. Play us another tune, Uncle Ned! Play us an- other tune ! Uncle Ned (to a little girl who is especially imploring). No, no, honey. There's work for me to do up yonder at the house. [Goes off, left background. Aunt Rachel (still swaying a little and nodding her head). It certainly does take the fiddle to make old bones feel young again. Where are you going, Susy? FERRY FARM EPISODE 41 Susy (taking up her basket and indicating left). Off to the stables. Aunt Rachel (center). And where are you going, Lucy? Lucy. Up to the house with this bunch of roses for Mistress Washington. Susy. Look ! Here comes Nelly from the house now. Nelly (running down from background). Have you-all heard the news? This is the day that Master George is leaving for his surveying trip with Lord Fairfax. See! Mistress Washington is coming to speak to us now! [All look in the direction of house. Madam Washington is seen approaching from the background, center, a stately figure in Colonial dress, her hair slightly touched with gray. Cries of "Good-morning, Mistress Washington ! Good-morning ! " Children skip up and down. Baskets, hoe, and rake are alike forgotten. Madam Washington stands in center, and the plantation children 42 THE PAGEANT OF PATRIOTS are grouped in a wide semicircle about her, so that all she does is in full view of audience. Lucy presents Madam Washington with a bunch of roses. Madam Washington takes them, bows, and smiles. Lucy drops a courtesy. Madam Washington. How is your fever, Aunt Rachel? Aunt Rachel. Better, better, I thank you. Lucy. Is this the day that Master George is starting for Peter (as he comes running down from background). Mistress Washington! Mistress Washington! Lord Fairfax has come, and Master George's horse is all saddled and waiting. [Madam Washington turns and follows Peter back to the house. Aunt Rachel (indicating left). Come, children! You can see the road from here. There he is on his horse! [Young George Washington, in tan-colored frontiersman's garb, is seen dimly through the FERRY FARM EPISODE 43 trees. With him a stately figure that is Lord Fairfax. They wave and bow in direction of house. Then George waves in direction of plantation group in foreground. Sambo (shielding his eyes with his hand), I can see him! I can see him! All (looking off towards left, waving, gesticulating), Good-by, good-by, Master George! Others. Come back soon, Master George. Good-by! Good-by ! Aunt Rachel (sadly shaking her head). He is gone ! How we will miss him ! [An instant's dejection falls on the group. They stand saggingly, joy gone from them. Aunt Rachel (brightening). It's only for a short time. Only for a short time. He'll be back. He'll surely be back. [The group brightens. A tambourine drops jinglingly. It is picked up. Baskets and hoe 44 THE PAGEANT OF PATRIOTS are resumed. The group starts towards background, leisurely, tunefully singing: (Air: Chorus of " Down Where the Cotton Blossoms Grow.") Bright shines the sun, the clover-fields are white, Through the woods the happy children go: As gay are our hearts as flowers swinging light, When balmy airs of Springtime blow. Gaily we work with spade and rake and hoe, Golden shines the burnished sun of noon ; Then in the fields the shadows longer grow, Time to be looking for the moon! Then twilight comes, and then the velvet night, Stars shine like a beacon through the gloam, The old cabin road is gray beneath their light, The long road that leads us to our home. [As they sing the darkies move towards back- i ground. The voices grow fainter and fainter. The scene ends. COSTUMES Lord Fairfax. Plum-colored velvet. Three- cornered black hat. White wig with cue. George Washington. Frontiersman's suit of cot- ton khaki, made on Indian lines, with Indian tunic, FERRY FARM EPISODE 45 and knee-breeches. Tan stockings, with strappings of khaki wound round them, and moccasins. Madam Washington. Dark green quilted petti- coat. Overdress and bodice of dark green, flowered in old rose. Elbow sleeves. White ruffles of lace. White lawn fichu. Powdered hair. The plantation negroes wear tropically bright colors. All the colors are solid. Aunt Rachel has a bright blue dress with a white apron and kerchief, and a black cloak across her shoulders. She wears a scarlet and yellow turban, and huge gold hoops in her ears. The negro girls wear red and blue and green cotton dresses with white kerchiefs, and colored aprons — a yellow apron with a red dress, and so on. Some of them wear gay little turbans. Their feet are bare. The boys wear black knee-breeches, and bright-colored shirts, open at the neck. Uncle Ned wears black knee-breeches, low black shoes, and a faded scarlet vest with gilt buttons opening over a soft white shirt. GEORGE WASHINGTON'S FORTUNE (Founded on a legend of his youth.) CHARACTERS George Washington, a Youthful Surveyor Richard Genn ) ^ 7 , , , . , _ I Young lads who serve respectively James Talbot v tt , . „ , „ ., „ i r _ (as chainmen and pdots Keith Carey J A Frontiersman Red Rowan, his daughter Scene: ^tz o/»e/z woodland glade that is part of the wilderness portion of Lord Fairfax's estate beyond the Blue Ridge Mountains in Virginia, 1748. Trees at right, left, and background. Trailing vines. Low bushes. Underfoot a carpet of rotting leaves. At the left, near foreground, a fire smolders. Near it are spread a bearskin used as a sleeping-blanket, some pine boughs, surveyors' tools, and a tin box. At the right a fallen tree-trunk, mossed, vine-covered. The time is mid-afternoon. The lads who enter wear the garb of frontiersmen; but when the play begins the forest glade 46 GEORGE WASHINGTON'S FORTUNE 47 is deserted until Richard Genns voice is heard from the woods in background. Richard Genn. Come on, then, Washington. Hurry there, Talbot! (Genn enters, carrying chains and a surveyor s pole, and comes quickly to the fire.) Why, the ashes have kept their heat since morning. We will not have to start another fire. James Talbot (entering with Washington from background). That's good hearing, for I'm famished. How say you, Washington? Washington (laughing and coming to fire). I could eat a wild turkey, feathers and all. This life in the wilderness makes one keenly hungry. What's in the box, Richard? Talbot (delving into tin box). Bacon. Some dry bread. Washington. Toast the bacon between the bread, and we'll have such a feast as is due to young surveyors who've tramped a good ten miles since morning. Now then, Richard. Here are some sticks. Let each lad toast his own. 48 THE PAGEANT OF PATRIOTS Talbot (helping to prepare). The very smell of it makes me ravenous. (To Genu.) I wonder where your Uncle is, and Colonel Fairfax ? Genn. Miles from here, doubtless. (Stretches.) But I am stiff! Washington. And where can Carey be? Talbot. Oh, Carey's lagged behind to get a shot at some grouse that he means to have for supper. Hark! Carey (in background). Lads! Lads! Where be ye? Washington (calling in answer). Here, Carey, here. (To the others.) That's he, now. Well, Carey, what luck? Carey (entering from background). Any luck but pot luck. Missed both times. No grouse for us. I almost wish I'd raided some frontiers- man's cabin. [Sits at fire, GEORGE WASHINGTON'S FORTUNE 49 Washington. " Get what you can get honestly." (Passes him the bacon.) " Use what you get frugally." That was an old saying I learned from my copybook, and even in the wilderness it seems to hold true. Richard Genn (as they sit about fire, eating). What's to be done when this meal is finished? George Washington. Naught that I know of. I can do no more till I receive further orders from Colonel Fairfax. Talbot. Well, then, we've a half-holiday. 'Tis the first idle time we've had in three weeks. Up before dawn, and to bed before star-rise! I tell you it makes the hours spin fast. How shall we pass our leisure? Carey. I'm going back for those grouse. [Rises. Talbot. I've seen the bronze of a wild turkey's wing. [Rises. Genn (smacking his lips). I'd like to have that same turkey wing here before the fire! (Rises.) I'm with you, Talbot, for what- 5 o THE PAGEANT OF PATRIOTS ever a sportsman's luck may bring. And you, Wash- ington ? Washington. I'd best wait here to see if a message comes from Colonel Fairfax. If in one hour the message does not come, I'll join you. Genn (ready to start). Well, then, Talbot. ^ ^ ^ ^ Washington (to Carey). I wish you luck! May you flush a grouse at every ten yards! [Lads laugh, and exeunt, background. Wash- ington looks after them a moment, and then takes surveying paper from his pocket. Washington. Now for my wilderness chart! [Pores over it. From the distance comes the sound of a frontiersman s ax, which he is too absorbed to notice. Red Rowan enters from the right, a wild, picturesque young figure in a scarlet cloak. Washington (to himself, as he bends over his chart). 'Tis not so easy as Little Hunting Creek! GEORGE WASHINGTON'S FORTUNE 51 Red Rowan (approaching him). Nothing is easy in the wilderness! Washington (starting up, gazing at her, and then brushing his hand across his eyes). I thought I was studying before the fire; but in- stead I've been dreaming . . . dreaming! Red Rowan (shaking her head). No dream! Only a woodsman's daughter. You can hear my father yonder, felling oaks. I saw the glimmer of your fire and came. Washington (with a boyish courtesy and shyness). Will you — will you not be seated ? Red Rowan (seated on bearskin, looking at fire). Folks call me Red Rowan. Washington. My name is Washington. George Washington. Red Rowan (still looking at the fire). You have a shrewd fire, and the air is chill in these mountains. 52 THE PAGEANT OF PATRIOTS Washington. Will you not have some bacon and bread? I wish there were more to offer you. Red Rowan. I'll have a taste of the bacon and a morsel of bread. (Washington begins to prepare them). I thank you. Washington (toasting bread and bacon). The wilderness must be rough-seeming to you. Red Rowan. I'm well-used to deep forests and long, hard jour- neys, for the love of a trail is in my blood. My grandfather was a gentleman rover, and my father a frontiersman, and my mother, was — a gipsy. Washington (surprised). A gipsy? Red Rowan (nodding). Aye, but she died when I was little, and lies buried oversea. 'Tis ten years now since my father came from England, and brought me with him. Washington. You have known little of a roof, then. GEORGE WASHINGTON'S FORTUNE 53 Red Rowan. Aye, or of schooling. But forests are kind teachers, and have given me much. There is a lore deeper than the lore of books. You too must know it. For with lonely campfires and winding roads and sharp, white, frosty stars one comes to gather wisdom. Schoolbooks may give you the past, but it is in my blood to know Washington (as she pauses). The future — ! Red Rowan (slowly, gazing at fire). Or so I tell myself. I must ofttimes make up fan- cies to help the long days pass. (Rises.) Come, for a jest, let me read your palm, Master Washington. And in after years you may say: " Why, so Red Rowan told me!" Washington. Would you have me put faith in witchcraft? Red Rowan (offended). Do I look like a witch? Nay, but you know right well I do not. Come, let me read your hand. 'Tis a mere jest, and will do no harm, and you need not be- lieve a word I say. 54 THE PAGEANT OF PATRIOTS Washington. I will not, if it is flattering; for I have learned afore- time that humility is the forerunner of advancement.* Red Rowan (seated on mossy log, as she reads his hand). What would you wish to be ? Washington (simply). When I grow older, a man of deeds, not words.* Red Rowan. Well, then, give hither. (Reading his hand.) Your name is Washington, and you come from beyond Blue Ridge. All this I know. For the rest, let me read. You are well versed in woodcraft, but not so well in books. Washington. There I must mend me. Red Rowan. Aye. You are a notable horseman: your wrist is quick at the foils; you can swim, climb, and fight, if need be. You are strong, and your valor equals your strength, your courtesy, your bearing. The line of truth is here. You smile? # Washington's own words. GEORGE WASHINGTON'S FORTUNE 55 Washington. I was thinking of the matter of a hatchet and a cherry tree! Red Rowan (still reading). Through all your life, success will smile upon you. Here are the marks of battles. Here are the lines of hardships and of victories. And all these little lines — see, marches, marches, marches! You'll be a colonel, and perhaps a general. You laugh? Some day you'll see! 'Twill all come true! You'll fight in a great cause. Washington (puzzled). What cause is there to fight for? Red Rowan. That I do not know. But here 'tis clearly written. And you will win. Your name will be on all men's tongues. 'Tis a long road, and all up hill. But at the summit — triumph! Remember that. Upon the summit is triumph. Washington (half -soberly). And for the rest? Red Rowan. You'll be upon a farmstead with great, rolling acres. 56 THE PAGEANT OF PATRIOTS Washington. Forest or farmstead, I care not which. That part is true enough, Mistress Rowan. There was a time when I wished to go to sea; but now I hope to spend my life at Ferry Farm. Red Rowan (rising). Part of it will be spent far otherwise. Remember that I told you. Washington (courteously). Aye, I'll remember, tho' 'tis but a jest. Red Rowan (pausing). Aye, a jest wrought of gipsy magic. I wish you well, Master Washington, and I thank you for your hospitality. Frontiersman's Voice (calling from right). Rowan ! Red Rowan (answering). I'm coming, father. (To Washington.) Remem- ber, Master Washington, that I told you. [Exit Rowan, quickly and lightly. GEORGE WASHINGTON'S FORTUNE 57 Washington (smiling to himself). Remember! Why, 'tis the merest jest. Carey (from background). Time's up, George! There's wondrous sport. Are you not coming? Washington (to Carey). Aye, I am coming. (To himself.) But the merest jest! " To fight in a great cause — ! " " A long hill, and a hard, and at the summit — triumph ! " (Shaking off the spell the words have cast on him). The lads would laugh, did I but tell them! (Calls, in answer to impatient steps, and crackling of leaves in back- ground.) I come! [He makes his exit into background, running blithely, and the play ends. COSTUMES George Washington. Frontiersman's suit, modeled on Indian lines. The suit is tan-colored, supposedly made of dressed deerskin. The breeches and tunic are fringed, Indian fashion. There is neither paint nor beading upon the suits. Moccasins. The other lads wear suits of the same kind. The material 58 THE PAGEANT OF PATRIOTS can be cotton khaki. The moccasins can be made of the same, and beaded. Red Rowan. Dress of leaf-brown homespun made rather short, and quite plain, open at the neck, the sleeves coming to the elbow. A cloak of vivid scarlet, gathered in simple folds at neck, and falling to the ankles. Both dress and cloak may be made of cambric, using the unglazed side. Tan stockings. Moccasins. The latter may be made of cotton khaki, and beaded. DANIEL BOONE: PATRIOT CHARACTERS Daniel Boone, a pioneer. Roger Kenton, a lad Allan Rigdon, another Blaize Pritchard, a trapper Edward Bryan James Colby Black Fish, an Indian Chief Hawk Eye, a young Indian Brave Eagle's Feather, another Other Pioneers, Trappers, Indians (Note: The events comprised in this play cover a longer period of time than is suggested here.) Scene: An open woodland. Place, the Blue Lick Springs, Kentucky, 1778. Trees right, left, and back- ground. A slightly worn path leads to background where the salt springs are supposed to be. Tall poles with skins on them. A large kettle swings over the fire in right foreground. Near it are other kettles, iron saucepans, and sacks for salt. In center back- ground a hollow tree with swinging moss covering its opening. A fallen log near the kettles serves as a seat, 59 60 THE PAGEANT OF PATRIOTS The play begins by young Allan Rigdon coming out of woods, left, with a few fagots which he feeds to the fire, bending over it, and looking in the kettle. James Colby comes by the half-worn path from background, carrying a bucket of water. Colby (calling). How comes the salt, Rigdon? If 'twere not that these licks give it in such abundance, 'twould try a lad's patience sorely. 'Tis like a girl's work — tending kettles! And hardly a man's work — carrying water from a spring. (Puts down pail of water.) 'Faith, my arms are stiff, and my fingers also! If an Indian sprang at me from a thicket I could not so much as cock my gun! What shall I do next? Carry more water? The rest are still drawing it — more girl's work, if you'll leave me call it so ! (As a slight sound is heard at left.) Heaven's mercy! What's that? (Seizes gun.) Is it Indians? Boone (quietly approaching from left). And if it were, would your work be only girl's work, Colby? It shows you but a foolish lad to speak of it thus lightly. With all Boonesborough in need of salt, with our cattle and horses half-perishing for the want of it, with the way that lies to the licks a very wilder- ness road for danger, 'twould hardly be called girl's work to tend these kettles — brave as our frontier DANIEL BOONE: PATRIOT 61 women are. 'Tis mens work, Colby, although you be but lads who do it. Rigdon. The wilderness makes men of lads right quickly ; does it not, Master Boone ? Boone (seated on log). Aye, that it does. If it were not for the stress of the times, and the scarcity of men to keep watch, you should be back in Boonesborough, and not here, my lads. But 'twas for your courage and skill that I chose you. How comes the salt, Rigdon? Rigdon. Finely, sir, finely. And the hunting? Boone (shaking his head). Scarce enough to keep a fox alive. I must start forth again. There should be plenty of bison fat and deer meat for the days that are coming. (Enter Kenton with bucket of water. He puts it down, and salutes Boone.) Well, Kenton, what news from the springs? Kenton. The same as ever, sir. Blaize Pritchard and Edward Bryan stand guard while the rest of us carry water. The camp is as you see it. There's not been a sign of an Indian since you left us yesternight. 62 THE PAGEANT OF PATRIOTS Boone. You do not ask what I've brought back with me, Kenton. Kenton. I know, sir, that if there were game to be had you would have bagged it. But since we've come to the Blue Lick Springs the buffalo and deer seem to have gotten wind of us. There's not so much as a rabbit scampering across the grass. It seems as if nature her- self were in league against us. Boone. Nonsense, lad. There'll be game enough soon, when I've foraged further. Such times as these were sent to us to see whether we be of iron or putty. Kenton. All the same, sir, I'll be glad when the boiling is done and we can pack our salt, and start through the forest for home. Long as the trail is, I would sooner have it than Boone (clutching rifle). Hark! The crack of a branch — in the forest. On the defense, lads. I'll investigate. [Goes into woods at right. DANIEL BOONE: PATRIOT 63 Kenton (in a low voice, as the lads seize their rifles). If it should be those venomous Shawnees! Before we left Boonesborough 'twas said that they'd already passed the war-pipe through their villages. They have been still so long, 'tis time for an uprising. (Approach- ing footsteps are heard.) Who comes? Colby (on the alert). Just Boone himself. What signs, sir RlGDON. Boone. No signs at all, unless for the first time in their lives the Indians are shrewder than the Long Knives. There's not so much as a broken branch, or a newly fallen leaf. Now, lads, off to the spring with you. I'll tend this last kettle, and when 'tis boiled, I'll start on the trail again. There must be bison and deer for the followers of Daniel Boone. Lads, stay! If be- cause we are unmolested you should sometimes think that tending the kettle is work for girls — remember that we and our guns are all that stand between the In- dians and the fort at Boonesborough, where all the women and children are. Will you remember? 64 THE PAGEANT OF PATRIOTS All (speaking vehemently). Aye, sir. Boone. And as I take the trail I will remember the lads who've lived on dry bread and the paring of bacon rinds, and who've tasted naught but parched buffalo meat in three weeks. Rigdon. You've gone hungry yourself, sir. Boone. Well, lads, 'tis all in the day's luck. We'll not suffer for meat if I can shoot an elk or a bear. (Lads exeunt through trees in background, Boone watching them.) Brave lads they are, and true! [He tends the kettle, facing audience. After a moment Indians stealthily appear in back- ground. Eagle's Feather (as two of the braves seize Boone). Long Knife, surrender! [There is a brief struggle between Boone and the braves; but the former finds that it is useless to resist. DANIEL BOONE: PATRIOT 65 Hawk Eye. Shawnees on warpath. Long have watched Boone and tried to trap him. Now have got him. Boone show trail to Boonesborough. Boone (to himself, in a tense whisper), Boonesborough ? Black Fish (majestically). What answer does Long Knife Boone make? If Long Knife joins tribe, Long Knife will be treated with honor. All at Boonesborough will be killed; but Boone's life will be spared if he joins tribe. What answer does Long Knife Boone make? [Boone considers deeply for a moment. His gun has been taken from him; but he is so closely surrounded that his arms are left free. He considers deeply for another moment, arms crossed on breast, head bowed. Looks up for an instant. Gives a searching glance at the Indians. Considers again for a moment* Then raises his head. Boone. Long Knife says — yes! [Holds out his hands, smiling. 66 THE PAGEANT OF PATRIOTS All Indians (delighted at pantomime of acquiescence), Wah! Black Fish (waving tomahawk in air). Long Knife's brothers — over by spring! All Indians (in chorus). Kill! Kill! Boone. Wait ! Black Fish try to kill Long Knife's brothers. Long Knife's brothers fight back. Kill maybe one brave. Maybe two braves. Maybe three braves. But — Boone speak to his white brothers. They sur- render to Black Fish. No fighting. No braves killed. What does Black Fish answer? Black Fish. Black Fish answers: Long Knife show great wis- dom. Black Fish do as Long Knife says. [Some of the Indians start in the direction of the spring. Hawk Eye Umph! (grunting). [Kenton is suddenly brought in by two braves who have captured him. As his eye falls on Boone his voice shrills with terror. DANIEL BOONE: PATRIOT 67 Kenton. Oh, they have caught you! They have — [The rest of the pioneers begin to appear from background, closely guarded by the Indians. Colby (as all of Boone's little band are brought in as captives). What's this? Not Boone a traitor? Boone. Hush! (To the other white men.) No use to fight. We are surrounded. (To Black Fish.) Does Black Fish give me leave to speak to my comrades apart? [Black Fish nods assent. Boone and his band withdraw to left. The Indians withdraw to right. Each side holds a conference. That of the Indians is in pantomime, Boone (to his band). No use to fight, lads. Put up your guns. (Indicates Indians.) Half a score more are in the woods behind us. If we surrender, we may gain some time. If we refuse, we're lost. They'll march at once on Boones- borough. Kenton. Wilson 's gone free, sir. He'll take Boonesborough the news of our capture. 68 THE PAGEANT OF PATRIOTS s Boone (rapidly). Aye; but he cannot take them the news of what Black Fish means to do. No one in Boonesborough knows that the Indians are on the warpath. A mas- sacre is planned. The fires are lit. The tomahawks are ready. We must gain time. 'Tis all that we can do. We must surrender. I'll break through when I can. (Loudly.) Think well, my brothers. Here is freedom offered you, if you surrender. What do you say? Pritchard (loudly). I say that we surrender. [Boone, turning, makes a gesture to the spot where their guns lie piled, then towards the Indians as one would say: " We give in" Black Fish. My brothers, we, too, have had a council. Far in the North the British pay much gold for paleface prisoners. Pritchard (involuntarily). Oh, Boone, we're sold! Boone (quickly). No! Saved! The British will take a ransom, and Boonesborough will pay it to the uttermost farthing. DANIEL BOONE: PATRIOT 69 (In a low voice.) Come, strategy! Strategy! I will break through to-night. Pritchard. Great Chief Black Fish, to you we have surrendered. With your braves we will take the trail to the British encampment. Black Fish (grunting with pleasure). Umph! Much money for paleface prisoners. (To Hawk Eye). Give prisoners bison meat. Water. See they not die on road. No want to lose money they bring. Braves march now. Boone not go. Boone stay with us. [While Black Fish has been speaking the braves and their prisoners line up for departure. Meantime, from the woods in background other Indians have joined the group. Those who have captured Boone describe the feat in dumbshoiv. The newly arrived Indians bear food, a blanket or so, a war-drum, pipes, etc. Boone (striving to speak gaily). A good journey, my lads. I shall be thinking of you. Edward Bryan (low: aside, full of commiseration). You will be here alone! 70 THE PAGEANT OF PATRIOTS Boone (hurriedly, seeing that Bryan s remark has been over' heard by the Indians). With my kind brothers! (Quickly, seeing that Black Fish's back is turned.) March bravely, lads. Remem- ber Boonesborough ! Pritchard (moved). Your hand, Boone. Boone (clasping Pritchard 's hand). My comrade! [They look at each other a long moment. Then the line, Indian-guarded, and led by Hawk Eye, marches out, left. Black Fish Now we make a great feast. Celebrate. [They all sit on ground. War-pipe is passed. Gourds with grape ivine. Dried fish. Dried fruits. General hum of excitement and pleasure. Animated and colorful groups. Boone smokes the ivar-pipe when it is passed to him. Drinks and eats freely with the others. Through it all, now soft, now loud, sounds the drone of the war-drum. Now and again a young buck yells jubilantly, or ejaculates a shrill " E-yah ! " of pleasure. They rise from feasting to dance in a war- DANIEL BOONE: PATRIOT 71 circle about the drum, right. Boone does a few steps with them, and then retreats to left of stage. More dances. Speeches with short guttural words and grunts. Waving of tomahawks. Shrill cries. Another circle is formed about the war-drum. Attention drifts away from Boone. Finally, after a second dance about the war-drum Eagle's Feather gives a sudden cry of " Boone! Boone gone!' Intense excitement. Cries of rage. General search as Indians exeunt right and left. One or two lag behind and look in bushes. Eagle's Feather pulls back swinging moss from hollow tree and looks within. Then the baffled Indians dart off stage, right. A moment later Boone enters from left. Looks warily about him, right, left, and background. Then darts into hol- loiu tree. A moment later the Indians, headed by Eagle's Feather, enter right, left, and background. They gesticulate with cries of " Boonesborough ! " Some urge taking the way at left, others the way at right. Eagle's Feather is among the latter. The way at right is ultimately decided upon. With a final yell of "Boonesborough!" and great swinging of tomahawks, all the Indians exeunt right. The drone of the war-drum begins, and grows fainter and fainter as they go into the forest. The gourds and blankets and 12 THE PAGEANT OF PATRIOTS pipes they have collected and taken with them as supplies for the march. Boone (coming triumphantly out of his hollow tree). They have taken the wrong trail! I am free to warn my people! I can gain the fort ere the Indians reach it! Boonesborough is saved. [Exit Boone, running left. The grassy space is left vacant, and the scene ends. COSTUMES Daniel Boone. Daniel Boone and his followers wear suits of buckskin made on Indian lines. (Cotton khaki imitates the tan color of the buckskin.) Long breeches, the buckskin tunic coming about to the knee. It is fringed. There is no adornment on the tunics such as Indians wear. The lads of the party wear buckskin breeches of knee-length, and tan strapping over tan-colored stockings. They should all wear moc- casins, or imitation moccasins made of khaki, and em- broidered in beads. The Indians. The Indians wear suits resembling those of Boone and his followers, save that they have painted insignia and bead and shell embroidery. Black Fish has a great black fish painted on his khaki costume. All wear moccasins. All have feathered head-dresses and war-paint. The war-paint of Black Fish is scarlet and black, and he wears an immense DANIEL BOONE: PATRIOT 73 black head-dress of feathers that is longer and hand- somer than those of any of the others. Eagle's Feather wears a scarlet head-band and one huge gray eagle's feather in it, stuck upright. For further description of Indian finery see description of braves in " Princess Pocahontas." The blankets and baskets can be the same in this play as in that one. Properties. The hollow tree can be made of two halves of barrels fastened together, and stood upright by means of props put behind it. It should be painted dark brown inside and out, or covered with dark-brown * burlap flecked with black and white for lichen. Green vines can be hung about it, and it should stand well in the background, resembling a rotting and blasted tree as much as possible. BENJAMIN FRANKLIN EPISODE CHARACTERS Young Benjamin Franklin An Old Woman SCENE I Boston Common on a Summer afternoon, IJ20. The Common is an open grassy space, wide to the sun and sky. There are trees right, left, and back- ground. Their shadows fall like a wavering tracery across the grass. At the beginning of the scene this grassy space is deserted. It is the far end of the Common, a place not much frequented by loiterers. The first person to cross it is young Benjamin Franklin, who comes slowly in from right. He wears knee-breeches, a loose white shirt, silver buckles on his square-toed shoes, and a three-cornered hat on his head. He is reading from a book which he holds in his right hand, while on his left arm hangs a basket of tallow candles. Slung across his left shoulder is a kite, its string trailing. He walks slowly, pausing every now and then to turn a page. The old woman enters from right, and 74 BENJAMIN FRANKLIN EPISODE 75 comes quickly towards Franklin. She is wonderfully keen-eyed and light of foot, and is clad in a green quilted petticoat, with a green bodice, a touch of white at neck, and a green double cape. A white cap is perched on her snow-white head. She also carries a small market- basket, and a gold-headed cane. Her stockings are scarlet, her low black shoes have gold buckles. She is, withal, arrestingly picturesque, and there hangs about her a slight air of mystery, that is well in ac- cordance with her profession, which is that of sooth- sayer. Frank } in is so deep in his book that she soon catches up with him, passes him, looks back, and sees that he does not perceive her. Then she stands still and lets him pass her, still staring at him. Then she comes briskly up behind him, and taps him on the arm with her cane. The Old Woman. Fare not so fast, young sir. If your book makes you so blind to customers, 'tis not many candles you'll be selling. Franklin (at first somewhat startled, then looking up quite calmly). And if I do not mind my books, 'tis naught but candles I'll be selling all my life. The Old Woman. Well spoken, tallow-chandler's son. Whatever your calling, I see that your wits are not made of wax. 76 THE PAGEANT OF PATRIOTS Give me a shilling's worth o' candles, and tell me what good your toil is like to bring you. Franklin (putting down book, kite, and basket, and selecting candles). I have ambition to become a printer. The Old Woman (paying him and putting candles in her basket). So! Franklin. And if I do not apply myself, how am I like to learn? There are no gains without pains, and heaven gives all things to Industry.* The Old Woman (holding up her hands). To hear him! (Chuckling to herself.) Keep on! Keep on! You'll ne'er be sorry for it! Aha, Master Franklin, 'twill take no gazing in the crystal to see that the future of a wise and industrious lad is made of gold. What's that you're carrying as carefully as if 'twas your book ? Franklin (dropping book and basket, and showing kite). My kite. To-day was a half-holiday, and I've been flying it on Beacon Hill till the wind hath made me sleepy. *From "Poor Richard's Almanac." BENJAMIN FRANKLIN EPISODE 77 The Old Woman (keenly). You've fastened a little key to it. Franklin (with a burst of candor). Sometimes I think I'll fly it in a thunderstorm and gather up the lightning. The Old Woman (tappirg the ground vigorously with her cane). Those are bold words, Master Benjamin Franklin. Are you not feared to speak them? (Looks half-fear- fully over her left shoulder.) Folk might think you were in league with — with strange powers! (There is a touch of the eighteenth-century beldame in her as she speaks these words). Franklin. How is it that you know my name, and yet I do not remember you? The Old Woman (mysteriously). Perhaps there are too many soothsayers passing, or perhaps you have not looked well about you. Aha, aha! (Nodding and blinking.) There are many things folk do not see. 78 THE PAGEANT OF PATRIOTS Franklin (shrewdly and bluntly). That's true. My father says that all the witches were not hanged on Salem Hill. The Old Woman (finger upraised). S-ssh! Never that word! Never that word, Mas- ter Franklin! Come, I am for crossing the Common, and for your good-will, and because you are a wise lad, I'll lend you my crystal. [Gives it to him. Franklin (putting book in basket with candles, and turning crys- tal to the light). How it shines in the sun! The Old Woman (with cane upraised and wand-like for a moment). Look in it. Look deep in it. 'Twill give you dreams, Master Franklin, all good, good dreams. Dreams o' the future, Master Franklin! [Franklin stands still in background, looking at the crystal as the Old Woman goes on her way. The branches of the trees under which he stands cast wavering shadows about him. It is cool after the glare of the sun. He yawns, stretches, and throws himself at foot of tree. BENJAMIN FRANKLIN EPISODE 79 Franklin (musing aloud). Of all the strange old women! (Looks at crystal again.) A pretty toy, truly! All — shining — in — the — sun (Falls asleep.) The Old Woman (stealing back for a moment out of background, and raising cane as before). Dream! Dream deep! [Tosses over him half of her double cloak, then .nakes her exit into background, with finger on lip, and disappears from view. There is a pause of some length, during which dream music is played, a soft, swaying rhythm. Then comes the Dream. SCENE II PEOPLE OF THE DREAM Dr. Franklin, the statesman John Adams Marie Antoinette, Queen of France The Duchess of Bourbon Mademoiselle de Pernan Mademoiselle de Tressau Ladies in Waiting. Pages. Courtiers. Rose Minuet Dancers. Shepherdesses and Milkmaids from the Petit Trianon. Little Flower Girls. Rose Bearers. \ I 80 THE PAGEANT OF PATRIOTS The setting is the lawn of Versailles on a Summer afternoon, 1781. There are trees at right, left, and background. The entrances of all taking part in the scene are made from middle background. The dream music of the previous scene having ceased, a stately march is played off scene. Queen Marie Antoinette enters, her train held by four little pages in white satin. She is followed by Miles, de Pernan and de Tressau, who wear white brocade with pale yellow roses. Following them comes a less formal group, ladies in waiting, who wear dark green and silver-flowered bodices and overskirts over still darker green quilted petticoats: amber costumes of the same, threaded with gold, and dark purple over white satin. The Queen, who is in white, with a long train of scarlet velvet, has the only touch of scarlet that is worn in the scene. The French courtiers are in flowered coats with buff, blue of a deep shade, and white and amber- brown predominating. The Queen, having crossed the sward, stands at right, and the Miles, de Pernan and de Tressau stand immediately behind her, and by them the pages. A little further back, in a stately, yet not too formal a semicircle, stands the court. Just as they are taking their places there comes from the background a sedan chair borne by four chairmen in black velvet, with pow- dered wigs. This chair is set down in center of sward. The Duchess of Bourbon alights: approaches the Queen, courtesies deeply and kisses her Majesty's BENJAMIN FRANKLIN EPISODE 81 hand. Then joins the group behind the Queen. The chair is carried to the back of the group during this ceremony. Music off -scene plays " Hail Columbia " and Frank- lin and Adams appear from background, Adams fol- lowing Franklin. Benjamin Franklin is in black, with unpowdered hair. His famous spectacles are on his nose. The Queen extends her hand, over which he bows. Adams, with three-cornered hat on breast, bows just behind him. Queen. You horor France in honoring us by your presence, Dr. Franklin. Mr. Adams, we greet you, not only because you come from America, but because you are the friend of wisdom and sagacity. Franklin (bowing low: ditto Adams). Your Majesty does us too much honor! Queen. The honor we do you to-day is to be gay, festive, joyous. We have delighted to plan a fete for your pleasure wherein you shall behold Versailles and Trianon, court ladies, milkmaids, shepherdesses! But, first, the verses! [According to the custom of eighteenth-century France in honoring a philosopher, the Miles, de Pernan and de Tressau face Franklin and the Queen, courtesy deeply, recite a verse, courtesy again, and return to their places. 82 THE PAGEANT OF PATRIOTS Mlle. de Pernan. " We come to honor, one by one, Benjamin Franklin, Freedom's son, Who comes to us from oversea, Champion of light and liberty." Mlle. de Tressau. " Learned and just, benignant, wise, You draw the lightning from the skies: Printer and Statesman — here we see What man through his own wit may be ! " [Throughout the revels that follow the Queen and Benjamin Franklin stand at right, while the dancers enter from left background. As soon as one group has finished dancing, center, they move to the left, and stand in a line facing Franklin and the Queen. Thus color is added to color, till the whole has a rainbow effect. The first group to enter is the pale-violet group, ladies-in-ivaiting, who wear pale-violet bodices and overdresses over white. They dance a gavotte, and retire to a line at left. The stage on which the dancing is done must afford ample space, so that there is no crowding. The second group enters. Court ladies in pale- yellow bodices and looped overdresses over BENJAMIN FRANKLIN EPISODE 83 white. They dance a gavotte, and then stand at left of stage. The third group enters. Young maids of the court, dressed as shepherdesses. Pale sea- foam-green bodices and overdresses over white. White crooks, with pale-green satin streamers fastened to them. They dance a minuet, and retire to left. The fourth group enters. Young maids of the court dressed as milkmaids. Pale-blue bodices and looped-up overdresses over white. Each milkmaid carries a small white, wooden .nil king-pail. They dance a minuet, and re- tire to left. The fifth group enters for the Rose Minuet. First come ten little girls walking two and two. They wear bodices and overdresses of the very palest pink, flowered with deep-pink roses. Their fichus and petticoats are white. Each couple carries between them a half- hoop of pink roses. When they come to a halt the rose hoops, held high, form a rose bower through which the rose-dancers ap- proach. They are maids of the court, who. wear rose-pink bodices and overdresses over white. Wreaths of tiny pink rosebuds on their powdered hair. With the little girls with rose hoops forming figures and groups in the center of the sward, the minuet dancers go through a minuet ivhich should differ from 84 THE PAGEANT OF PATRIOTS the other minuets, its figures being somewhat more elaborate and complicated. The final figure of this fete should be a huge minuet, with the rose-dancers in the center of the sward, the other dancers joining in. After a figure or two, the tempo of the music should change, and the dancers, headed by those who have done the rose minuet, should march off the field into the background. First the pink group, then the blue group, then the green, yellow, and violet groups. With the same march music still sounding, the Queen and Franklin, followed in stately fashion by the court, should leave the field, and thus end the scene. COSTUMES The costumes of the first scene have already been in- dicated in the text. That of the crystal-gazer can be made of cambric, with the glazed side turned inward. Her cap and kerchief should be of white lawn. Costumes in Scene II Marie Antoinette. White satin petticoat. Over- dress and bodice of white silk brocaded with scarlet roses. White lace ruffles and fichu. Long train of scarlet velvet, lined in white satin. Hair dressed high and powdered. Gold crown. Shimmering necklace. If a costume as ornate as this is not procurable, let BENJAMIN FRANKLIN EPISODE 85 the young player wear a long white muslin dress that just touches below the ankle. A bodice and over- dress of white cretonne flowered with red roses. White lawn fichu with ruffles. A long train of scarlet cam- bric with the glazed side turned outward to represent satin. This is lined in white cambric which should also be satiny-looking. The train is fastened at the shoulders, and borne by two pages. Crown and jewels of gold and silver paper. White slippers and stockings. Brilliant buckles. Franklin. Suit of plain black velvet. Vest of black satin. Stockings and low shoes of black. Three- cornered black hat which he holds under his arm. His hair falls to his collar, and is unpowdered. A pair of square spectacles on his nose. Adams. Suit of plum-colored velvet, trimmed with gold lace. White satin waistcoat. White stock, and lace jabot, and sleeve-ruffles. Black shoes with gold buckles. Black stockings. White powdered wig worn in a cue. With the other costumes, cretonne and cheese- cloth can be substituted for silk and satin; but the color scheme that has been already described should be strictly adhered to. The Miles, de Pernan and de Tressau should wear white dresses, with looped-up paniers of white cretonne flowered in yellow. The Duchess of Bourbon, a white dress with looped paniers of pale blue, flowered in pink. White fichu and ruffles. Very inexpensive yet effective costumes can be made for the dancers by having each girl wear a white dress 86 THE PAGEANT OF PATRIOTS that comes below the knee. Over this dress may be worn a deep girdle of cheesecloth of a solid color. Then looped-up paniers of cheesecloth of the same color at each side. A white fichu of cheesecloth or lawn may be worn with this costume, and all the girls taking part in the dances should have their hair powdered, and worn in a pompadour fashion. White shoes and stock- ings for all the dancers. Older girls taking part should wear their dresses ankle-length. If a more satiny look than cheesecloth gives is wished, let the overdresses be of light-colored cambric with the glazed side turned outward. Cheesecloth is the softest, most pliable ma- terial, and the most easily managed. The dancers who carry the rose hoops should wear pale-pink cretonne flowered in deeper pink. The rose hoops may be made of ordinary hoops of a good size cut in half, covered with green cheesecloth, and then decorated with pink paper roses, put on so thickly that the green is almost hidden. The pages and sedan chair-bearers wear black velvet, with black waistcoats and white neck-pieces and ruffles. Black stockings and low black shoes. Hair powdered and worn in a cue. Black suits, basted back to give the effect of an eighteenth-century coat, white neck- cloth and ruffles of lawn will make good substitutes for the more ornate costume. For the white wigs, a tight-fitting skull-cap of white muslin. Basted to this w bite cotton batting, shaped to fit the head, and hav- ing a cue in the back tied with black velvet ribbon. For the sedan chair, if a real sedan chair cannot be BENJAMIN FRANKLIN EPISODE 87 had, have a chair fastened to a stout platform of wood. Handles for the bearers to hold should be fastened to the chair. A boxed-in canopy of heavy white card- board covers this, the cardboard fastened to a light framework. Over the cardboard should be pasted pale- yellow wallpaper, or white-flowered wallpaper. The inside of the chair should be covered in flowered cretonne. The handles should be gilded. Music (for band, orchestra, or piano) : For the Dream Music: Minuet, by L. Boccherini Gavotte: Gavotte Favorite de Marie Antoinette (1774), by Charles Neustedt. Minuet: Minuet from Don Juan, by Mozart. ABRAHAM LINCOLN EPISODE LINCOLN CABIN SCENE CHARACTERS Abraham Lincoln Nancy Lincoln John Lincoln Amy Roby Tom Bush Francois, a young French-Canadian Andrew Smith, a fiddler Red Plume, the chieftain of a small Indian tribe Dark Cloud, an Indian brave Sky-of-Dawn, an Indian maiden Other young people, friends of Lincoln, Indian braves, Indian maidens Scene: A clearing beyond the Lincoln cabin, Little Creek, Indiana, 1823. When the boys and girls who are to take part in the outdoor merrymaking begin to appear, it is seen that the boys wear moccasins, and buckskin is bound in strappings to their knees. They wear, for the most part, dark knee-breeches. Their shirts are dark-blue, dark- red, and dark-plum flannel — any dark flannel shirt will 88 ABRAHAM LINCOLN EPISODE 89 do. These shirts are open at the neck, and a gay handkerchief is twisted about them, tied with loose ends. Franqois betrays his French ancestry by a red sash tied at the side. The girls wear short dark calico, homespun, or wool- len dresses of solid color, dark-blue, dark-brown, dark- gray. These dresses should have square necks, which show the throat. The dresses themselves are not much seen, because each girl wears an old-fashioned cloak, gathered at the neck, and falling to the edge of the dress. The cloaks are gay in color — forest-green, red, bright blue; in shape something like the well-known ' Shaker " cloaks. Some of the cloaks have hoods that lend an air of quaintness. Several of the girls wear bead chains, evidently the work of their own fingers. The scene opens with the entrance of Nancy and John Lincoln, and Tom Bush. The rest follow from background. It is evident from their attire and smil- ing faces that this is a gala occasion. Tom Bush car- ries a kettle to right, near a fallen log. Then he and the other boys kindle a fire, erect a rude tripod, and swing the kettle not far from where the log lies. Much business of blowing, lighting, etc. A battered tin coffee-pot is produced, ready for making the coffee. Tom Bush (calling back over his shoulder, as the preparations begin). Come, Nancy, we've found a fine place to swing the kettle. go THE PAGEANT OF PATRIOTS Amy Roby (at right, stooping over basket). And here's a splendid spot for unpacking the baskets! [Nancy Lincoln runs first to the fire, to see how the work is going forward, and then re- turns to Amy, who is busily unpacking baskets, with the assistance of the other girls. Nancy takes some of the contents of the baskets, and then hurries to Tom Bush with them. Nancy Lincoln. Here are some potatoes and corn-dodgers to put on the ashes. Francois (to Andrew Smith). It is mos' time that you had better be tuning up your fiddle, Andrew! Amy Roby (to Nancy, who stands center, shielding her eyes, and looking towards background). Isn't Abe coming? Nancy Lincoln (shaking her head). No, Abe isn't even in sight yet. But he'll surely be here as soon as he has finished splitting those rails. ABRAHAM LINCOLN EPISODE 91 One of the Little Girls (joyfully). Andrew is beginning to play! [Andrew Smith's fiddle gives out the first notes of a reel. Those who are bending at their various occupations begin to nod and trip. In an instant everything is dropped, and the young people are all for merriment. They begin, center of sward, a grand right and left. Andrew Smith stands at right fid- dling with the greatest possible gusto. 'As *he dance ends, Andrew Smith points with his fiddle-bow to a figure seen approaching from the background, a tall, lank, kindly- faced boy, dressed like the others but with an ax over his shoulder. All (with a loud cry — intense delight — at the very top of their lungs). Lincoln! Abe Lincoln! [They run to meet him. He comes down center with an admiring group on each side, Nancy Lincoln (looking up at Abe). It wasn't really a holiday till you came. [Lincoln smiles at her, and then turns to Tom Bush. 92 THE PAGEANT OF PATRIOTS Lincoln (as he and Nancy and Tom Bush form a group at fire: the rest up stage, left). What have you been doing, Tom? Tom Bush. Fixing the fire, and now I'm going to see about get- ting the right sort of wood for the floor of a squirrel- cage. I caught a squirrel yesterday, and I Oh, I forgot! You wouldn't be interested in that. You said yesterday that if you were me you would let the squirrel go. Lincoln (looking straight before him to something far beyond the narrow world of Little Creek). I don't like to see things in cages: I like to see 'em free. I believe in freedom for everything living! Amy Roby. (breaking in upon the group). Come, Tom, there's another dance beginning! [Lincoln sits on log, near fire, and begins to roast some ears of corn which the boys have stacked near by. The young people beckon Lincoln. He shakes his head, watches them, smiling. A Virginia Reel is started at left. Lincoln, who is still seated on log, and those who are dancing the reel, are so absorbed that they are oblivious of a group of Indians ABRAHAM LINCOLN EPISODE 93 stalking down from right. The Indians draw near to Lincoln, and stand motionless, watching the dance, their beads and head- gear glittering in the sun, their blankets a brilliant blotch of color against the green. When the dance ends, Lincoln and his com- panions are aware of the Indians. But the In- dians, although their desire is to trade the skins and furs they are carrying, cross to left, feign- ing entire indifference, and seat themselves in a semicircle. Red Plume in passing Lincoln has given him a grave "Howl* to which Lincoln has returned "Howl' with equal gravity. The settlers stand in a group at right, a little towards the background, watch- ing the Indians. The Indians continue to sit in a grave circle. An old Indian smokes. Two of the Indian maidens appear to chatter. Finally Dark Cloud rises with a bundle of skins in his hand. The young settlers come down to right foreground. Dark Cloud puts the bundle of skins on the ground. Asks them, by gesture: " What will they give 1 ? * Tom Bush offers a penknife for one of the skins. Dark Cloud stands with arms haughtily folded. Tom Bush adds a gay handkerchief to the penknife. Dark Cloud shakes his head, and stalks back to his circle. Sits with his brother Indians. Much con- ferring and shaking of heads. Equal panto- 94 THE PAGEANT OF PATRIOTS mime on part of settlers. Lincoln is keenly watching the scene, but still apart from it all. Suddenly Red Plume rises and, with slow dignity, approaches Lincoln. How! How! Red Plume. Lincoln. Red Plume {with indicatory pantomime). Red Plume know Lincoln. Lincoln heap square. Lincoln heap just. Honest Abe decide. [Lincoln rises, and comes to center foreground. Dark Cloud rises from his circle and brings skins. He stands at Lincoln s left. The other Indians rise slowly, cross, and stand behind Dark Cloud. At Lincoln's right stands Tom Bush, and back of Tom Bush the youthful settlers. They have gathered to- gether things they wish to trade, such as a fine blanket that was brought with the pic- nic blankets, hatchets, etc. Tom Bush is the first to start the trading. He adds to the hand- kerchief and penknife which he showed be- fore a small hatchet. Both Dark Cloud and Tom Bush, after they have laid their pos- sessions on the grass, look at Lincoln. Lin- coln nods. The trade is made. Through all that folloius Lincoln stands center, as a court ABRAHAM LINCOLN EPISODE 95 of appeal. No trades are consummated until he has given the signal of an affirmative nod. The Indians offer furs of various descriptions. Franqois trades off his red sash to Red Plume. Amy Roby trades her chain of beads for an In- dian basket. Red Plume signifies interest in Andrew Smith's fiddle. He takes it up. At this the Indian maidens laugh amongst themselves. Red Plume tries the fiddle. It makes a very hideous squeak. At this two of the Indian maidens laugh outright. But Red Plume continues to be enamored of the instrument. He offers to exchange more and more skins for the fiddle, but Andrew Smith shakes his head. So no trade is made. Red Plume re- luctantly relinquishes the fiddle. A back- woods lad trades off a blanket for some of Red Plume's furs, and the chieftain appears mollified. Now that the trading is over both settlers and Indians appear to be pleased with their possessions. Through all that has transpired, Lincoln has been the central figure, appealed to again and again. The In- dians solemnly exeunt with their new posses- sions towards background. Nancy Lincoln (turning to Abe). You don't know how proud I am to hear them call 96 THE PAGEANT OF PATRIOTS you " Honest Abe." I shouldn't be surprised if some- day you did something wonderful and splendid! Lincoln (smiling at her enthusiasm). " Someday 's " a long way off, Nancy! Nancy Lincoln (with conviction). Well, I believe that even if a boy is poor, and was born in a cabin, if he's as honest and hard-working as you are, Abe, he's sure to come out finely. Now, let's go home ! [Lincoln, ax on shoulder, exits towards middle background, Nancy and John and all the rest following, with the fiddler playing gaily. The merrymaking is over, the grassy stage is left vacant, and the scene ends. COSTUMES The costumes for the young settlers have already been indicated in the episode itself. Francois, the young French-Canadian, wears a cotton khaki suit, cut on Indian lines. That is, the breeches of the suit are fringed, and he wears moccasins. He wears a tan shirt, open at the neck, and a scarlet sash belt. The costumes for the Indians are of cotton khaki, cut on simple Indian lines. (See description of Indian costumes of " Princess Pocahontas.") Gay painting at ABRAHAM LINCOLN EPISODE 97 neck. Beads. Shells. Wampum. The Indian maid- ens and some of the braves have blankets. They should be striped in gay colors — red and green, orange and blue — the stripes very wide. A few blankets of solid color. Long pipes for the Indians to smoke. Head- dresses of brown and gray feathers. Dark Cloud wears a black feather head-dress. Red Plume wears a head- dress of brilliant scarlet feathers. LIBERTY DANCE This dance is for a pageant given on a very large scale. It is formed of commingled groups of the young people of all nations, and is symbolic of the Old World coming to the New. The peasant costumes of Ger- many, Russia, Italy, Ireland, Scotland, France and Sweden should be worn, and the dances should be the folk dances of the various nations, with their appropri- ate music. 9 8 PAGEANT DIRECTIONS Care should be taken in choosing the pageant site. The actual stage should be a level sward, with close- clipped grass that will make it as easy as possible for the dancers. It is ideal if the background and sides of this stage can be picturesquely wooded, and present a vista through which the pageant players can be seen approaching. It will be well if the pageant stage itself has a tree or so. This stage should vary in size ac- cording to the number of people in the cast. A small cast requires a smaller and more intimate stage. In this way scenes in which a crowd of supernumeraries are needed will give the effect of having more people than are actually there. On the other hand, a large stage is needed for big effects, where a great number of people are used. Too small a stage makes a great number of players seem a huddled mass, and through this pantomimic effects are lost. The pageant players should, if possible, have the sun at the side. It is very difficult to play facing a strong light. Choice of the time of day in which the pageant is given has much to do with its effective- ness. Late afternoon (from four o'clock on) is by far the best time for outdoor drama. The earlier hours are somewhat garish, — the light too high, the contrasts 99 ioo THE PAGEANT OF PATRIOTS too sharp and unvaried. But from four o'clock on the light mellows, the shadows become long and sweeping, the outdoor effects grow more and more beautiful. It is as if the first hint of sunset were the signal for ringing down a magic curtain on a scene where nature herself was pageant mistress. This is true of all out- door plays as well as pageants. Those who direct the pageant should see to it that the youthful players make a finished exit; that is, that one scene and set of players disappear entirely from view before another set of players begin to come on. Off stage the players should be in groups, arranged in the order in which they are to appear, so that as one group leaves the stage, the next is ready to ap- pear, and confusion is avoided. No talk should be al- lowed off stage. On a still Summer day sounds carry: a murmur is confusing to the players. The players should not be dependent on words alone for their cues. Very often a word may fail to carry out of doors ; but a gesture can always be seen. There- fore, gesture cues can be used at many of the climaxes. These cues can be quite simple and natural, and while perfectly understandable to the players themselves, need not be at all obvious to the audience. The players and their director can decide upon the cues, and will find them of immense help. Thus, by an upraised arm, or by tossing back a braid of her hair, Pocahontas can signal to Powhatan that her talk with John Smith is finished. Washington shielding his eyes with his hand can be a signal to Carey that it is time for him to PAGEANT DIRECTIONS '• 161 enter, etc., etc. Of course, in many cases the ending or beginning of a dance, or the entrance of some principal character will be cue enough in itself. In the final procession (if the players choose to have a procession), The Spirit of Patriotism should march first, and behind her should follow the other players in the order of their scenes. This preserves the order of the epochs also, and makes an excellent color scheme — the tawny yellows and reds of the Indian garb, the dark Puritan costumes, the pinks and blues of the Colonial period as against the more somber colors of the settler's homespun, etc., etc. In order to give such a procession its full effect it should not seem too stiff and premeditated. Let some of the players march two and two, and then have some important character walk- ing alone. Sometimes it may be possible to have a group of three, or a tall young player with two smaller and younger players, following her. Or again a line of Indians single file. The properties should be car- ried in the procession to add to its effectiveness. The canoe, as if it were still a matter of portage ; the sedan chair of the Duchess of Bourbon ; the Indian war-drum used in " Princess Pocahontas," etc., etc. Needless to say these properties are carried in the group and epoch in which they belong. If the pageant is given on a very large scale which includes the Liberty Dance at the end, all those who took part in the dance should form the end of the procession. There should be a space be- tween them and the last of the settlers, as there is be- tween the past and the present. In this space should Wl THE PAGEANT OF PATRIOTS walk a figure symbolizing Hope and Joy — a young girl in draperies of the palest green, and hair bound with a Greek fillet. In her hands she carries a great laurel wreath. When the Pageant of Patriots had its first produc- tion in Prospect Park, Brooklyn, the youthful players marched around the great oval outside which the audi- ence sat, and having circled it once, marched off the scene. If, however, the future producers of this pageant wish to reverse this order, it can easily be done, by having the march end in the final tableau. It is merely a matter of choice. In the Final Tableau The Spirit of Patriotism should stand on the stage in the middle foreground, center, and grouped about her should be the young folk of the various centuries. This scene should be well mapped out and rehearsed beforehand, so that the ensemble will be splendidly significant and glowing in its effect, and there should be no clashes in the color scheme. The notes of " America " should be sung with tremendous fervor and power. In many cases the pageant will, of necessity, have to be rehearsed indoors. Outdoor places to rehearse in are not always obtainable, nor weather always pro- pitious; moreover, with young people the out-of-doors has too many distractions. Armories or halls are ex- cellent places to rehearse in; so are gymnasiums. The episodes should be rehearsed separately. Rehearsing in a small room is fatal. It gives the youthful performers a tendency to huddle, from which they seldom recover. PAGEANT DIRECTIONS 103 Their motions are cramped, and they lose all sweep and freedom. There should be understudies for all the principal parts, and there must be at least one full-dress rehearsal. The ages of the young people taking part in the pageant should be from eight to eighteen. The principal parts will, of course, be intrusted to the older boys and girls where the occasion demands. John Smith, Powhatan, and others need a certain amount of height and dignity. The number of young people taking part in The Pageant of Patriotism will be determined by circum- stances. From two hundred to five hundred young people may take part in it. It should be kept in mind that a Children's or Young People's pageant differs widely from a pageant given by older actors. It should have about it an at- mosphere of entire simplicity. There should be no striving for effect. Naivete is to be desired rather than ornateness. Scenes filled with crowds of young players should alternate with scenes where solitary little figures appeal by their quaint remoteness, their sug- gestion of innocence and candor. The Pageant of Patriots is not only a pageant of country but of life's springtime, and interwoven with its episodes should be the glamor of the youth of the world. THE PAGEANT OF PATRIOTS (Indoor) THE PAGEANT OF PATRIOTS (Arrangement of Indoor Episodes) i. Prologue by the Spirit of Patriotism 2. Dramatic Silhouette: Lords of the Forest 3. The Coming of the White Man (Tableau) 4. Princess Pocahontas 5. Priscilla Mullins (Tableau) 6. Benjamin Franklin, Journeyman 7. George Washington's Fortune 8. The Boston Tea Party 9. Dramatic Silhouette: The Spirit of '76 10. Abraham Lincoln: Rail-Splitter 11. Final Tableau 12. Procession of Players PROLOGUE Spoken by The Spirit of Patriotism People of , ye who come to see Enacted here some hours of Pageantry, Lend us your patfence for each simple truth, And see portrayed for you the Nation's Youth. Into times dim and far I bid you gaze, Down the long vista of departed days, Of hope and aspiration, woe and weal, Famine and hardship, strife and patriot zeal. Back further still our march of years shall go To times primeval : The first scene will show In shadow silhouette the sagamore, The braves and chieftains of the days of yore, Lords of the forest, kings of stream and hill, Of trail and wigwam: masters of the kill! The white man's coming next — while curiously A youthful Indian, pausing, peers to see What strangers tread the shores that he calls home, What white-winged ships have braved the wild sea- foam. Prows of the Norsemen, etched against the blue! Helmets agleam! Faces of wind-bronzed hue! 107 108 THE PAGEANT OF PATRIOTS On roll the years, and in a forest green The Princess Pocahontas next is seen; And then in prim white cap and somber gown Lovely Priscilla, Maid o' Plymouth Town. Benjamin Franklin supping at an Inn, A 'prentice lad with all his world to win. Then Washington encamped before a blaze O' fagots, swiftly learning woodland ways. Next the brave times of 1773 When Boston folk would pay no tax on tea. And then with urge of fife and roll of drum In shadow silhouette behold them come — The Patriot lads who for their country died, Who rose and followed when my name was cried — ! Leaving the farm and forge and village street — Our hearts still echo to those marching feet! Spirit of '76! Thy deathless fame Burns for us yet, a sacrificial flame! Years pass. Behold a cabin in the West Where on an Autumn night, with mirth and zest, Lincoln's companions take their simple cheer. These are the scenes to be enacted here. Shown to you straightway in a simple guise : Youthful the scenes that we shall here devise On which the beads of history are strung. Remember that our players, too, are young. All critic knowledge, then, behind you leave, And in the spirit of the day receive What we would give, and let there come to you The Joy of Youth, with purpose high and true. DRAMATIC SILHOUETTE: LORDS OF THE FOREST A white curtain of sheeting, or other similar ma- terial. A strong light placed behind the curtain throws into high relief the figures as they pass in significant procession. They are shadow silhouettes of a time long gone, of a race who now are shadows. Care should be taken that they move in exactly the right space, so that the shadows will not vary greatly in height or in bulk. First a chieftain passes, wonderful in feathers. Next a young brave, who, standing alone a moment, tries the taut string of his bow. Next an Indian maid, with a basket poised on her head. Then two young braves with fish slung on a pole between them. Then a group of Indian maidens. An Indian child or two. A squaw with fagots on her back. Another with a papoose. Then two Indians with a canoe, representing the portage of a canoe. Then a final group of young braves. The music, which begins as the chief passes, continues throughout the procession until the last Indian has passed, then ebbs and dies, growing fainter and fainter, till it ceases. Mac- Dowell's " From an Indian Lodge " is suitable for this. 109 THE COMING OF THE WHITE MAN: TABLEAU This tableau represents a woodland scene, and is supposed to symbolize the coming of the Norseman. A young Indian brave, with skins about his shoulders and hips, his black hair flying, his brown arms bar- barically braceleted, stands poised, listening, and look- ing at a spot where the Norsemen are supposed to be making a landing, off stage. With one hand he shields his eyes. With the other he holds his bow. The tableau should suggest the wild freedom of an un- tamed spirit. For music, some bars of Grieg's Norse airs. no PRINCESS POCAHONTAS For this pageant episode see page 12 of the Out- door Arrangement of the Pageant of Patriots. in PRISCILLA MULLINS SPINNING: TABLEAU The same woodland setting as has been used for Pocahontas. In the center of the stage Priscilla and her spinning-wheel. The scene is outside her dooryard at Plymouth, Mass., in the Spring of 1621. The tableau should be held a full minute. Appropriate music: Senta's "Spinning Song"; or Solvig's "Spin- ning Song " from Grieg's " Peer Gynt Suite." 112 BENJAMIN FRANKLIN: JOURNEYMAN CHARACTERS Benjamin Franklin, a young printer Roger Burchard, a Quaker Elizabeth Burchard, his wife Deborah Read William, an inn boy Scene: A room in a tavern. Place: Philadelphia. Time, October, 1723. The room is a private one in the tavern known as The Crooked Billet. It has a neat, cheerful, welcom- ing aspect. At left a small fire glimmers on the brass andirons of a well-kept hearth. A brass kettle rests on a hob. On the shelf above the hearth candles are alight. All across the background are a series of small win- dows curtained in chintz. By these windows a table set for supper, with a white linen cloth and delicately sprigged china. Quaint chairs with spindle legs. Against the right wall a secretary with a shelf full of handsomely-bound books. Near this two chairs with 113 ii4 THE PAGEANT OF PATRIOTS high backs that would screen from view any one sitting in them. There is a door at right background opening into the hall Another door at left near background, opening into another room. At the rise of the curtain Roger Burchard is dis- covered seated at the table, on which a generous supper lies spread; while Elizabeth, his wife, is bending at the hearth. Elizabeth. The kettle hath not yet boiled for thy second cup, Roger. 'Tis slow, yet I do not worry, for 'tis only twilight, and there is a good hour yet ere we are due at the special meeting of the Friends, and Deborah Read is to come with us. Does thee know, Roger, I some- times think that for all her saucy ways Mistress Deborah Read is half a Friend at heart. When I do speak she listens to me most attentively. Roger. Thee should not force belief upon another, Elizabeth. Elizabeth (demurely). I did not force: I did but talk to her, Roger. Thee knows I am not over eloquent. How should a worldly maid of Philadelphia give ear to me? [Crosses to Roger: the kettle lies forgotten. BENJAMIN FRANKLIN: JOURNEYMAN 115 Roger. How, indeed! Does thee know, Elizabeth, that in so quiet a room as this I can scarce believe that a great city lies about us? 'Tis so still that I can hear the ticking of the clock. Elizabeth. For myself, I am glad of a little rest after our jour- ney up from Brookfleld to the city. I find myself scarce used to city ways. Roger. No more do I, Elizabeth, no more do I. I cannot think this lavish life is seemly. This table, now! Does thee note its profusion? More bread and honey and cheese and chicken pie than we can eat. Sheer waste — unless we can share it. If there was but some poor traveler in this inn whom we might bid to sup- per, and [A knock on the door leading to hall. Elizabeth. 'Tis William, the inn boy, with tea cakes. [Elizabeth opens the door. William enters with tea cakes on tray. He deposits the plate of cakes on table. Roger. As I was saying — if there was but some traveler in this inn to share our evening meal — some one with pockets that were well-nigh empty u6 THE PAGEANT OF PATRIOTS Elizabeth. Perhaps the inn boy knows of such a one. (Ta William.) Does thee not, William ? Some one whose purse is not too over-burdened? William (sturdily). Aye, that I do. A lad came here this noon from Boston. A journeyman printer so he says he is, and I'll warrant he has not above four shillings with him. (To Roger.) He's come to search for work in Phila- delphia, and says he was directed to this tavern by a — by a Quaker, sir. Elizabeth. Directed here by a Quaker — ! (To Roger.) Then, Roger, all the more reason why we should bid him in. What is his name? William. He says his name is Franklin. Roger. Then ask friend Franklin if he'll sup with us. Tell him we, too, would hear the news from Boston — that he'll confer a favor if he'll come. And mind, no hint about an empty purse! I fear at first I put the matter clumsily. Give him my later message. That is all. William. I will, sir. [Exit, with a flourish, right background. BENJAMIN FRANKLIN: JOURNEYMAN 117 Roger. I hope he comes. Elizabeth (fondly). 'Tis ever like thee, Roger, to have a care for the friendless and forlorn. William (knocking, opening door from hall, and announcing). Benjamin Franklin, Journeyman! [Enter Franklin, shabby, travel-stained, and boyishly appealing. Exit William. Roger (stepping hospitably forward). I bid thee welcome, friend Franklin. I hear thee is from Boston, and come to search for work in Phila- delphia. Will thee not sup here ? We are ever anxious for news such as travelers may bring. This is my wife, Elizabeth Burchard, and she will make thee welcome. I mind me of the time when I was once a stranger. Will thee not do us the pleasure to sup with us? Franklin. I scarcely, sir, know how to thank you for such kindness. All Quakers must be kind, I think, for it was a Quaker who directed me hither. [Franklin crosses to fire, Roger taking his hat from him. In brief pantomime behind Frank- lin's back Roger has indicated that Franklin u8 THE PAGEANT OF PATRIOTS is to take his place at table, and that he him- self will sup no further. During the con- versation that follows Elizabeth is taking fresh silver out of a quaint basket that is on the table, Franklin stands at fire, and Roger is seated at right. Elizabeth. Perhaps my husband can advise thee further where best to look for work upon the morrow. Franklin. I thank you. I will hear him gladly. He that can- not be counseled cannot be helped.* Roger. Thee means to seek for work at once, I see. Franklin. Lost time is never found again,* and since time is of all things the most precious, I am loth to lose it. Roger. There is a wise head upon thy shoulders, friend. (Indicates table, and rises.) Sit thee down, lad. Sit thee down. Elizabeth (hurrying to hearth where kettle stands), Alas! I have forgotten the kettle! The tea is not * From Franklin's " Poor Richard's Almanac." BENJAMIN FRANKLIN: JOURNEYMAN 119 yet ready. (To Roger.) Do thee and Benjamin Franklin talk while I prepare it. Show him the volumes lately come from London. Thee knows the print and paper is most pleasing. [Roger Burchard and Benjamin Franklin sit at right in the high-backed chairs, the volumes upon their knees. That they are true book- lovers is instantly apparent. They are lost to everything that goes on about them. They sit with their backs towards the door at left, quite screened from the view of any one enter- ing there. There is a pause. Then Deborah Read taps softly at the door at left. Eliza- beth turns and opens the door. Deborah (finger on lip). S-ssh! Not a word! (Glances towards the back of Roger s chair.) I've crept up the stairs on tip-toe! Elizabeth. Sweet rogue! Thee startled me to the point of dropping the kettle ! Yonder is my husband so deep in a book that the crack o' doom would scarce rouse him. And with him is a young printer whom we have bid to be our guest. Roger and I have finished our even- ing meal, so perhaps thee will keep our young guest company while I prepare for meeting. 120 THE PAGEANT OF PATRIOTS Deborah (holding up warning finger). Primp not too much for meeting, fair friend Eliza- beth! A grave demeanor goes with Quaker bonnets! (Laughs.) Yes, yes, I'll serve your printer, play hostess, or aught else that will please you, and you can call me when 'tis time to leave him. (Throws off her cloak, and sits by hearth on footstool.) La! such a day! This very morn I saw the strangest sight! I went to the door to get a breath of air, and as I stood there what should I see approaching down the street but a lad with dusty clothes and bulging pockets — nay, wait, Elizabeth! The drollest part is yet to come! I vow he had stuffed one pocket full of stockings, and from the other protruded a loaf of bread! And in his hand was a great fat roll, and he was eating it! Gnawing it off, an you please, as if there were no one to see him! Then he looked up, and Elizabeth (shocked). Deborah! Thee did not laugh at him! Thee did not mock at him ! Deborah (wiping tears of mirth from her eyes). Mock at him? Oh, lud! I laughed till my sides ached ! (Rises, as she happens to see that Roger Burch- BENJAMIN FRANKLIN: JOURNEYMAN 121 ard and his guest are rising, yet continues gaily.) And when he caught sight of my face [Just as Deborah utters these words she and Franklin perceive each other. Deborah is utterly taken aback and quite speechless, Roger (seeing nothing amiss). Welcome, Deborah Read. I present to thee Benja- min Franklin. [Franklin bows. Deborah drops a fluttering courtesy, and then clings to Elizabeth Burchard. Deborah (quaveringly). I — I feel somewhat faint, Elizabeth. Elizabeth (seeing nothing amiss). Then sit at the table, dear Deborah, and a cup of tea will revive thee. Deborah (protesting). No — ! No — ! I — I will help you to dress. Elizabeth. Then who will serve Benjamin Franklin? Thee promised that thee would be hostess, so unless aught is amiss 122 THE PAGEANT OF PATRIOTS Deborah (recovering herself, and suddenly displaying a haughty self-p ossessio n) . Naught is amiss, Elizabeth. I will serve tea if you bid me. [Deborah sits at one end of the table, Franklin at the other. Elizabeth. Thee knows the Friends' special meeting to-night is at the same hour as that of the other churches, so when thee hears the church-bells ringing 'twill be time to prepare, sweet Deborah. Deborah (with a gleam). I'll not forget the time. I promise you that, Eliza- beth. Elizabeth. Come, Roger. Thee must wear a fresh neck-cloth. [Roger and Elizabeth exeunt left. There is a very long pause. Deborah. Will you have tea, Master Franklin? Franklin. If it pleases you, Mistress Read. BENJAMIN FRANKLIN: JOURNEYMAN 123 Deborah. Cream ? Sugar ? Franklin. I thank you. [She passes him his cup. There is another long pause. Franklin (with a great sigh). 'Tis a silent place, Philadelphia! [Another pause. Franklin. Will you have some bread, Mistress? Deborah (coldly). I thank you, no. Franklin (bluntly). Have you ever pondered, Mistress, that pride that dines on vanity sups on contempt ? * Deborah (outraged). Master Franklin! Franklin. I know right well that my poor coat offends you ; yet in truth, Mistress Deborah, why should I dress in finer cloth when silks and satins put out the kitchen fire.* * From "Poor Richard's Almanac." 124 THE PAGEANT OF PATRIOTS Deborah. 'Tis not your coat offends me, 'tis Franklin. 'Tis that I am neither the son of a gold-laced gov- ernor nor a wealthy merchant but only a poor journey- man printer. Then, Mistress, you have yet to learn that he who hath a trade hath an estate, and he who hath a calling hath an office of profit and honor.* Deborah (with spirit). There you read me wrong, Master Franklin, I have supped with printers before this. Franklin. Then 'twas the printer's loaf you mocked this morn- ing, Mistress Deborah; and not the printer. Yet in truth, why should eating in the street displease you, since 'twas a matter of necessity. Ere fancy you con- sult, consult your purse,* and my purse was not over full. But — diligence is the mother of luck, and heaven gives all things to industry.* Deborah (with a toss). You speak as if you and Industry were boon com- panions. *From "Poor Richard's Almanac." BENJAMIN FRANKLIN: JOURNEYMAN 125 Franklin. And what better companion could I have? Heaven helps them that help themselves. Deborah (witheringly). 'Tis a fine thing to have high hopes, I doubt not. Franklin (blithely). Oh, I have more than hopes, Mistress Deborah; for he that lives upon hope will die fasting.* To apply one's self right heartily is to do more than hope. Sloth makes all things difficult ; but industry all things easy.* You are not eating, Mistress Deborah. (She rises.) Have my blunt ways offended you? Have I again dis- pleased you? Deborah (with chilling dignity). You could not an you tried, Master Franklin. I was but going to fetch the tea-kettle. Franklin (starting up). If I can help you * From " Poor Richard's Almanac." 126 THE PAGEANT OF PATRIOTS Deborah (still frostily). I thank you, I am in no need of help. A-ah ! [With a cry she drops the kettle. Franklin. You have burned yourself, Mistress Deborah! The poor little hand! (He tears up his handkerchief.) Let me bandage it for you! It is sorely blistered! Deborah (tears in her voice the while she submits her hand to him). I can tolerate blisters, Master Franklin. They are far less irksome than — than Franklin (gravely bandaging her hand). Than journeymen printers who eat their bread in the street. Perhaps you are right, Mistress Deborah. I trust that the blisters will soon heal; and that the memory of the journeyman printer will not trouble you further. Deborah (as the church-bells begin to ring without). The memory of a chance traveler is easily forgot, Master Franklin. BENJAMIN FRANKLIN: JOURNEYMAN 127 Elizabeth (outside door, left). Come, Deborah, we shall be late! Come quickly, child! (Deborah snatches up her cloak.) Bid Ben- jamin Franklin to wait my husband's return. He would talk to him further concerning books. Come, Deborah ! [Exit Deborah, left, without a glance at Franklin. Franklin (dropping into chair by secretary, right). Do blisters burn as keen as words, I wonder? "Chance travelers . . . easily forgot!" (Sits with bowed head.) [Deborah stands again in doorway at left, sees him, comes to him swiftly and remorsefully. Franklin (raises his head; sees her). Is it Deborah. 'Tis naught — naught but Deborah Read come to say to you — to say to you — that she should have remem- bered that you were a stranger in a city full of strangers. (Pleadingly.) Indeed, indeed I did not mean to hurt you! I do not mind your rusty clothes; I do not mock your — your faded hat. I — I have been full of foolish pride. Will you forgive me? 128 THE PAGEANT OF PATRIOTS Franklin (rising; amazed). Deborah ! Deborah (hurrying on). I had not meant to laugh at you this morning. Will you forgive that, too? Franklin (moved). Deborah ! Deborah. I know I sometimes judge by foolish standards. Will you forgive? Franklin. With all my heart, my friend. (They clasp hands on it.) And will you, Deborah, forgive me my blunt speeches? I knew not how to please you. I meant no harm. Deborah (earnestly). I forgive all. Franklin. And we are friends for life — for all our lives, Deborah. Elizabeth (speaking somewhat impatiently frojn beyond the door at left). Deborah! Child! BENJAMIN FRANKLIN: JOURNEYMAN 129 Deborah (prettily). Yes! Yes! I'm coming! [Hastens out the door with a friendly backward glance at Franklin. He stands for a moment where she has left him. Crosses to secretary, takes book, seats himself, opens it slowly, looking after her. Then sits a-dream in the fading fireglow. Presently he looks at the book again, and reads the first line upon which his eye chances to fall. Franklin (reading) . 11 Count thyself rich when thou hast found a friend." (The curtain slowly falls.) COSTUMES Benjamin Franklin. Travel-stained suit of dark- brown, guiltless of braid or ruffles, coat and knee- breeches being of the same color. The material either of corduroy or homespun (woolen). A white vest flowered with brown roses. A white neckcloth. Black stockings. Low black shoes. A three-cornered black hat, which he carries under his arm. Hair worn long and unpowdered. Roger Burchard. Coat and knee-breeches of the same style as Franklin's, made of homespun, and 130 THE PAGEANT OF PATRIOTS Quaker-gray in color. A Quaker-gray vest. White neckcloth. Gray stockings. Low black shoes with silver buckles. Unpowdered hair. Elizabeth Burchard. Dress of gray satin, sim- ply made, with a crossed kerchief of snowy white lawn. Gray stockings. Gray slippers with silver buckles. Hair worn simply, and unpowdered. (Gray glazed cambric for her dress if satin cannot be had.) Deborah Read. Quilted petticoat of pale-blue satin. Colonial overdress and bodice of white, brocaded with pale-blue roses. Fichu of white lawn. Black picture hat with black plume. Black cloth cloak lined in pale-blue. Black stockings. Low black shoes with gold buckles. Unpowdered hair, worn pompadour. (If satin and brocade cannot be had, have blue glazed muslin and cretonne instead. Or flowered muslin worn over a white dress.) Black patches. Black velvet ribbon at neck. White lace mitts, or black gloves com- ing to the elbow. William. Maroon suit, of a heavy woolen ma- terial. Gold buttons down the front and two in back. Cream-colored vest. Neither braiding nor ruffles. Black stockings. Low black shoes without buckles. A white neckcloth. Unpowdered hair worn in a cue. GEORGE WASHINGTON'S FORTUNE For this pageant episode see page 46 of the Outdoor Arrangement of the Pageant of Patriots. 131 THE BOSTON TEA PARTY CHARACTERS Richard Stockton John Corey Ned Peabody Phil Amesbury Jefferson Winwood Frank Wharton Thomas Rigby, a tavern-keeper Egbert Penrose ) . . _ . Sidney Marsh } Young Brltish Lieutenants Scene: The tavern known as The Golden Pheasant. Place, Boston. Time: Six o'clock on a December evening, 1773. The tavern-room is low-ceilinged and ivainscoted with dark woodwork. There is a door in middle back- ground, and ivindows on each side of it. At the right, towards foreground, a chimney-place, with smoldering fire. Above is a shelf on which are iron candlesticks and short bits of candles that shoiv economy. Against the right wall a round mahogany table. On it another iron candlestick, which has been lighted. A punch-bowl. Cups. A ladle. Also a 132 THE BOSTON TEA PARTY 133 brass bowl beneath which a small charcoal flame burns, keeping hot the lemonade. Beyond this table a dark wooden chest with a heavy lock. Under the window in left background a similar chest. By the hearth, facing audience, a long seat with a high back and pew-like ends. At the rise of the cur- tain, Thomas Rigby, the rubicund landlord, is light- ing with a taper the candles that stand on the mantel- shelf, the buttons on his plum-colored ivaistcoat twinkling in the gleam. He has only lighted one when the door is pushed open, and there enter two young British lieutenants, ilfere lads, whose scarlet cloaks, exaggerated lace wrist ruffles, and brilliant gold braid- ing make a fine showing. But Thomas Rigby shows no look of welcome. Marsh. Hey, landlord! Brrrr! It's cold! Give us some- thing to warm us. Penrose (foppishly). Aye, and be brisk about it. I do not wish to be served in a loitering fashion. [Rigby makes as if to speak; but restrains him- self, and, with a look of quiet scorn, serves them hot lemon punch. Penrose is by the fire. Marsh by the window. Marsh. It promises to be a chilly eve after a cloudy morning. 134 THE PAGEANT OF PATRIOTS Penrose (with a shiver). More snow and bitter weather ! Marsh (looking out the window). Nay, not so bitter. The window-panes are clear and unfrosted. The twilight gathers quickly. The streets are gray, and there's scarce a gleam in the dark- ness of the harbor. Penrose (as Marsh leaves window for fire). Not e'en a light in the rigging o' Francis Rotch's ships? The sailors must be supping at the taverns. They're weary now of staying harborbound. There'll be rejoicing when the tax is paid, and the stiff-necked Yankees bring the tea to land. Marsh. There be some who call themselves patriots, and swear they'll never pay it. Penrose (sipping). Not pay it? They'll defy us? Pooh! We could bring them to time with a twist of the wrist did we but wish to! (Looking with approval at his own ap- parel.) A mere handful of men with scarcely any lace for their ruffles, and tarnished buckles for their shoes! They defy us? You're jesting! No, no, my THE BOSTON TEA PARTY 135 dear Sidney! In spite of all their protests and town meetings they'll be glad enough to give in at the end, and to pay the tax right speedily. For, mark you, in spite of all the rumors of defiance that we've heard, the town to-night lies as quiet as a church. Marsh. Aye, so it does. Penrose (rising). Too quiet for my spirits. Let's seek another tavern where there's more revelry than there is here. Marsh (draining his glass). We'll not find shrewder lemon punch at any. On my way back I'll have another glass. [Tosses money at Rigby, who lets it lie where it falls. He shakes a clenched hand after the retreating figures of the two lieutenants, and then goes back to lighting his candles on the mantelshelf. Marsh and Penrose exeunt. After a moment there comes from without the sound of a halting step, the door is opened, and Richard Stockton enters, a lad with the eyes of a dreamer, and the bearing of a doer of deeds. Thomas Rigby, at sound of the entering step, turns, taper in hand. 136 THE PAGEANT OF PATRIOTS Richard (coming forward). 'Tis only I. Go on with the candles, landlord. Rigby (joyfully). Only you, Dick Stockton! Zounds! There's none whom I'd sooner see! Quick! Tell me the news! These be stirring days, and here am I tied to this tavern-room, and afraid to leave it lest those brawling red-coats loot it while I'm gone. To leave a tavern- room empty is to invite disaster — and yet — what pa- triot should bide indoors on days like these! 'Faith! I'm torn 'twixt necessities! Come! Your news. Sit by the fire and out with it! What's to become of the tea we won't pay taxes on? Richard. Give me breath and I'll tell you! There's news to make your blood boil. I've been at the town meeting in the Old South Church all day. What think you — ! The governor at Milton has refused a pass to Francis Rotch, and the tea ships cannot leave the harbor. The British have sworn they'll make us pay the tax or wring our scurvy necks. Rigby (outraged). Zounds! There are necks I'd like to have the wring- ing of! What else, lad, what else? THE BOSTON TEA PARTY 137 Richard. The Old South Church could not hold half the pa- triots who wish to talk and listen. Such speeches ! Oh, they'd stir your blood if you could hear them! RlGBY (eyes a- gleam). 'Tis stirred enough already! Go on, lad, quickly! Richard. Josiah Quincy is presiding at the New Old South. 'Twas he who thought of sending word to the gov- ernor. And now the governor has refused, and if there's nothing done we're beaten — beaten, Tom Rigby, we who so love freedom! Rigby. Tut ! Tut ! Lad ! The night's not done yet. Are they still at the meeting? Richard. Aye, and are like to be for the next hour. 'Tis scarcely six — just candle-lighting time. Rigby. You look white, lad. Have you eaten? Richard. Eaten! On such a day as this! 138 THE PAGEANT OF PATRIOTS RlGBY. Nonsense, lad. You must keep up your strength. (Crosses to serving-table where bowl stands.) Here! If you will not eat, at least you can drink a cup of steaming lemon punch. No lads who come to my tavern get anything stronger — unless, mayhap, a cup of apple juice. Youth is its own best wine. Cider for you. Burgundy for your betters, eh, lad? (Gives Richard a cup and takes a cup himself.) Here's to taxless tea! (Drinks.) Richard (joining him in the toast). And the confounding of the British ! And now, since there are no red-coats about, I may tell you that the Old South Church is not the only place that's to hold a meeting. There's going to be one here. Rigby (surprised). Here? Richard. In less than half an hour the lads will meet me. We call ourselves " The Younger Sons of Freedom." Rigby (somewhat severely). All that I have is at your service ; yet 'tis only lately that lads have been allowed to rove past curfew time. THE BOSTON TEA PARTY 139 Richard. Such days as these lads grow to men right quickly. Do you think we waste our time with games and — and snowball forts, Tom Rigby? No! The Younger Sons of Freedom have learned to fight and fence, to run and swim, and to swarm up a ship's ladder if need be. How could any lad be idle these last nineteen days, with fathers and brothers patrolling the wharves day and night to keep the tea from landing; when patriot sentinels are stationed in every belfry; and when all Beacon Hill is topped with tar-barrels ready to blaze out into signals at a moment's notice. I tell you — my very dreams are of defiance! But my deeds — what can a lad do when he goes through life halting? A maimed foot makes a maimed ambition, unless — unless as I would fain believe, the spirit is stronger than the body. It is the will that counts. Rigby. You're wiser than most lads, Richard. You've a head on your shoulders. I've known you long; but you have never spoken — until to-night. It was your will that took you through your puny childhood, fatherless, motherless, and made your stern old uncle proud of you. Why now be down-hearted? I've heard you spoken of as a lad of spirit by Dr. Warren, aye, and by Paul Revere. _. Richard. There's a patriot for you! Would I could do such deed? as he can do. Oh, all I think of is to serve my country — my city and my country! 140 THE PAGEANT OF PATRIOTS RlGBY. That's all I think on, too. Richard (amazed). You, Tom Rigby? Rigby (somewhat bitterly). Did I seem to you only a waistcoat with buttons? Nay, don't protest! 'Tis how most folks think of me. What have I to do with valor? I'm Tom the landlord, Tom the tapster, Tom the tavern-keeper ! How should they guess in me Tom the patriot, Tom the hero- worshiper? And yet there's not one bit of my coun- try's past, not one smallest Indian war but what has meaning for me. What do you think those chests are full of? Trophies! Richard. Trophies ! Rigby. From all the wars we've had. (Unlocks chest at right wall, excitedly.) Look! Tomahawks. Head- dresses. (Taking things out of chest.) Feathers. A war-knife. An Indian robe taken in Philip's war. Richard (delighted : interested). In Philip's war. THE BOSTON TEA PARTY 141 RlGBY. (with emotion). They're more to me than a king's ransom ! [He pauses, looking over contents of chest. Richard (going back to seat by fire, and speaking to himself as he sits by it). A king's ransom! What have we to do with kings, who cannot even thwart the tyrant who would rule us! If there was but some way [Sits, lost in thought. RlGBY (putting trophies back in chest, looking at them fondly, and singing softly for the sheer joy of touching them). " Oh, a seaman's life is a jolly life — Trol de rol, de rol ! " Wampum. A woven blanket. A peace- pipe. (Sings.) I had a goodly old sea-chest, 'Twas filled with — India dyes. Oh, wide the harbor, deep the sea, Five fathoms down it lies! Five fathoms down it lies! Richard (half-hearing Tom's voice, and repeating to himself). " Five fathoms deep it lies " (In a suddenly 142 THE PAGEANT OF PATRIOTS electrified voice.) Tom! Tom'Rigby! I have the way ! Your song has given it to me ! I have the way ! [He has rushed to Rigby. Rigby (as sounds of approaching footsteps are heard ivithout). Hush! Here come the Sons of Freedom! (Door u flung open. Rigby' s professional manner asserts itself.) Welcome, my lads. Come in! Come in! Winwood (to Richard). Are we on time? What have you planned for us, Dick? My hands and heart are ready for a night's work! (Offering his portion of cider in loving-cup fashion.) Some cider? Richard. No. I've supped on revolution! Winwood. Would there were something stirring! Richard (throughout with growing excitement). Are folk still in the Old South Meeting-house? Winwood (impatiently). Aye, still talking of what's to be done. Hancock and Paul Revere are at a coffee-house. THE BOSTON TEA PARTY 143 Corey (as the lads gather about table). Come, Dick, you've heard the governor's reply. How would you deal with the taxers? Richard (at table, center, one foot on table and one on chair). I'd set their tea to brew! All (amazed). What! Richard. In a monstrous teapot! Peabody (jesting). As big as Rigby's bowl. Richard (flaming with excitement). Oh, larger! Larger! Amesbury (indicating large cockade). Or as Frank Wharton's hat. Richard (inspired). Larger by far! 144 THE PAGEANT OF PATRIOTS Amesbury. You mean Richard (impassioned) . I'd take the ocean ! ocean ! All.