Home Pastimes; or Tableaux Vivants Part 10

No human hand the weighty gates unbarred, Nor could the boldest of our youth have dared To pa.s.s our outworks, or elude the guard.

POPE'S HOMER.

One Female and Eleven Male Figures.

This historical tableau represents Ethan Allen at the entrance of Fort Ticonderoga, ordering De la Place, the commandant of the fort, to immediately surrender, in the name of the great Jehovah and the Continental Congress. Around the door are gathered the soldiers of Allen. De la Place and his wife stand upon the doorstep, partially dressed, and, with looks of astonishment, inquire by what authority he demands the surrender of the fort. The number of figures in this picture is twelve. Ten of them represent American soldiers, and are dressed in the continental uniform, which consists of a blue coat, faced with buff, and ornamented with large bra.s.s b.u.t.tons, buff vest and breeches, white hose, low shoes, knee and shoe buckles, and black chapeau, and each furnished with military equipments. Allen's costume should be of finer material, with an addition of sash, epaulets, plume, and side arms. De la Place has on red breeches, with a gilt stripe, white silk hose, knee buckles, slippers, and wig, a red coat upon his arm, and a sword in his right hand, the handle of which is extended towards Allen. His wife is costumed in a white dress, a white cap on her head, and hair hanging loosely over her shoulders. The scenery of the piece consists of a frame covered with cloth, extending across the stage, and rising from the floor to the ceiling, with a door in the centre, and windows painted on either side, and placed across the stage in the background. Mrs. De la Place's position is on the door sill, her body inclined slightly forward, her left hand holding a candlestick, in which is a lighted candle, her right hand raised in front of her breast, eyes fixed on the face of Allen, while the countenance expresses surprise and fear. The commandant stands on the doorstep at the left of his wife, his left hand stretched out before him, the right holding his sword; his eyes are fixed on those of Allen, while his countenance expresses surprise and indignation.

Allen stands in front of him a little at the left, grasping his sword in the right hand, which he raises over the head of the commandant, whilst his left points to his soldiers; his countenance expresses sternness and authority. The soldiers are standing on each side of the door leaning carelessly upon their muskets. The accompanying music should be that of the drum and fife. The light must be of medium brilliancy, and come from the right of the stage.

THE GYPSY FORTUNE TELLER.

Seek not to know the future; be happy while you may, Nor cloud with dark foreknowledge the suns.h.i.+ne of to-day.

I see that you are hopeful, I read it in your eyes, And I can learn no more from the stars that gem the skies.

Trust not the outward seeming of all who speak you fair; What has been, maiden, may be--be watchful and beware.

I will not cheat you, maiden; my gypsy skill you seek; This only of the future the gypsy girl can speak: When flippant worldlings flatter, let then your doubts begin; Take, maiden, for your counsel the "still small voice within."

If weak the heart of woman, her stronghold too is there; Guard then the fortress, conscience! be watchful and beware.

CHARLES JEFFERY.

Two Female Figures.

This tableau is a representation of a gypsy fortune teller, in a rude tent, in front of which is burning a small fire. She is seated on the ground, and holds a pack of cards in her right hand; her left is pointed upward. Her head is turned towards a young and beautiful girl, who is stooping at her side, gazing with earnestness on the cards. The tent should be five feet high, four feet wide at the bottom, and terminating in a point at the top. It can be made of light strips of wood, covered over with cloth. An open s.p.a.ce in front, two feet wide, will answer for the door. The fire can be placed in an iron furnace, around which arrange stones or brushwood. Ignite the fire just as the curtain rises. Fill up the background of the stage with scenery representing a forest, or place a few spruce trees behind the tent.

The gypsy's costume consists of a bright crimson dress, velvet waist, laced across with pink ribbon in front, displaying a white robe beneath; rows of gilt b.u.t.tons on each side of the opening and around the bottom of the sleeves. The hair, which should be long and black, is allowed to hang carelessly over the shoulders; the face and other exposed parts of the body stained a light brown. The young lady must be of small figure, good form and features, and attired in a white dress, cut low at the top, a red sash around the waist, and a small straw hat placed jantily on the side of the head. The scene should be illuminated by a red fire, burned in small quant.i.ties at the side of the stage, and made to reflect on the group. Music soft.

PEACE.

Beautiful vision, how bright it rose!

Vision of peaceful and calm repose!

Well might it brighten the rapt seer's eye, And waken his heart to an ecstasy; 'Twas earth, glad earth, when her strife was o'er, Her conflict ended, and war no more.

ANON.

Eight Male and Twelve Female Figures.

This tableau is an allegorical representation of Peace. The number of figures necessary to form it is twenty. They are formed in six separate groups. The centre and princ.i.p.al group is a party of young ladies and gentlemen engaged in the merry dance. They are costumed in their holiday suits, and are formed in a circle around a May-pole. On a green bank in the background is seated a young lady playing the guitar, and a young gentleman playing the violin. This group is at the right. At the left is a young and beautiful girl, who represents the Queen of May; by her side stands a second female, about to place a crown of flowers upon her head. Between these two groups, and elevated a foot above them, stands the G.o.ddess of Peace. She holds in her right hand a sheaf of wheat, and in her left an olive branch. At the corners of the foreground are two groups, the one at the left representing a mother surrounded by three children; she holds a large Bible, which the children are reading. The group at the right represents a blacksmith standing at the side of an anvil,--a large hammer in his right hand,--engaged in conversation with a farmer, who holds a rake.

The costume of the village girls should be white dresses, decorated with flowers, and garlands on their heads. The gentlemen should be dressed in light pants, white vests, and dark coats. The G.o.ddess of Peace has on a long white dress, bound around the waist with a green ribbon; a wreath of dried gra.s.ses and wheat encircles the head. She must stand perfectly straight, and look directly forward, with a pleasant expression of countenance. The gentleman who plays on the violin is costumed in a dark coat, red breeches, white hose, low shoes, knee and shoe buckles, buff vest, a plaid scarf, draped across the shoulders, and tied at the right side, and a small Scotch cap, with a white plume, placed jantily on the head. The costume of the lady at his side consists of a red skirt, over which is worn a white skirt that is looped up at the side, and ornamented with small bunches of evergreen and spruce; a velvet waist, open in front, and laced across with pink ribbons; short sleeves; hair hung in ringlets, and ornamented with ribbons; the countenances of both expressing pleasure.

The May Queen's costume consists of a white robe, trimmed with garlands of flowers. Her attendant is also dressed in white, with a scarf of plaid draped across the breast. The queen is kneeling on a low cus.h.i.+on, holding a small bouquet, the head turned slightly to the right, eyes raised to the ceiling. The lady in the foreground has on a blue silk dress, a white ap.r.o.n, trimmed with green ribbon, and hair arranged to suit the performer's taste. The children's costumes may be of various styles, bright colors predominating. The lady should sit quite low, and hold the Bible with her right hand; the left pointed to the pages. The children and mother sit facing the audience, and all look pleasant and happy. The blacksmith's costume consists of dark pants, blue woollen s.h.i.+rt, sleeves rolled up to the elbow, a low-crowned hat on the head, and leather ap.r.o.n tied around the waist.

He stands facing the audience, and is engaged in conversation with the farmer, who is dressed in a long blue frock, buff pants, straw hat, and heavy boots; the right hand holds a rake, the left is placed on the side of the body. The four groups at the corners should be as compact as possible, giving the greater portion of the room to the dancers in the centre. The bank in the background must be three feet in height, and covered with green bocking, and also the floor of the stage. Make the May-pole as high as the s.p.a.ce will admit, and cover it with green cambric, decorated with garlands of flowers. The light should be quite brilliant, and come from the right side of the stage.

Music inspiring.

WAR.

'Twas man himself Brought Death into the world; and man himself Gave keenness to his darts, quickened his pace, And multiplied destruction on mankind.

First Envy, eldest born of h.e.l.l, imbrued Her hands in blood, and taught the sons of men To make a death which nature never made, And G.o.d abhorred; with violence rude to break The thread of life, ere half its length was run, And rob a wretched brother of his being.

PORTEUS.

Twenty Male and Six Female Figures.

This tableau is a vivid representation of some of the effects of war.

The foreground of the picture represents a battle field after the combat has ended.

"'Twas the battle field; and the cold, pale moon Looked down on the dead and dying; And the wind pa.s.sed o'er, with a dirge and a wail, Where the young and the brave were lying."

The ground is strewn with the dead and wounded soldiers, broken cannon, muskets, flags, swords, and portions of torn and tattered uniforms. In the background, there is a representation of a breastwork of stone; on the extreme right are two females weeping; at the extreme left is a mother and two children. The mother lies across the breastwork, dead. The children stand by her side, looking with wonder into her face. Standing on the centre of the breastwork is the G.o.ddess of War. In one hand she holds a torch, which is raised above her head; the left grasps a standard and sword. The number of figures in the piece is twenty-six. Twenty young gentlemen must be costumed in various styles of military suits, while many should have wounds painted on various parts of the body. The costume of the G.o.ddess of War consists of a crimson dress, black velvet waist, trimmed with gold, hair hanging loosely over the shoulders, and a red French military hat on the head. The two ladies at the right are costumed in mourning. The mother should be attired in a white dress; the children in bright-colored costumes, with hair hanging in ringlets. The stage must be formed like an inclined plane, beginning at the footlights, and rising towards the background, and covered with green bocking. The soldiers should be grouped about the ground in various positions, and the cannon and guns scattered about in a promiscuous manner. The two ladies in mourning sit on the top of the breastwork, side by side, their heads bowed down, and hands covering their faces. The mother is seated at the other end of the breastwork, head thrown back, and eyes closed. The children are standing by her side, clasping their hands and gazing into her face. The G.o.ddess of War should stand with her left side to the audience, body bent forward, the head slightly turned towards the battle field, the countenance expressing animation and determination. A small quant.i.ty of smoke should be seen rising behind the breastwork, while the whole scene is illuminated by a red light burned at the side of the stage. The booming of distant cannon and martial music may be imitated behind the stage.

THE RESCUE.

Presence of mind and courage in distress Are more than armies to procure success.

One Female and Eight Male Figures.

This tableau is one that can be produced without much trouble or expense. The scene is taken from a historical incident that occurred during the revolutionary war. At the close of one of the hard-fought battles between the Americans and British, an American officer, having fought long and well, was obliged to seek safety in flight, hotly pursued by a company of British soldiers, led on by their captain. He takes refuge in the mansion of a tory in the vicinity of the battle ground, and prostrates himself at the feet of the lady of the house, who has risen from her chair on hearing the tumult at the door, and with her arm extended and eyes flas.h.i.+ng, sternly bade the British officer and his followers to quit the house. The British officer is standing within a few paces of the American, with sword extended, ready to pierce his body. In the rear of the British officer stands a platoon of soldiers, with muskets ready to charge. The furniture of the room consists of chairs, carpet, tables, small sofa, pictures, &c.

The lady who personates the tory housekeeper should be tall, with good figure and features; her costume consists of a showy silk dress and velvet waist. Position is, at the right of the stage, near the front.

A small table is placed at her side, on which are a work box and piece of embroidery; behind her is a large chair; her right hand is extended towards the British officer; the left is placed on her waist; her countenance expressing anger and command. The American officer should be costumed in Continental uniform, which consists of a blue coat, decorated with large gilt b.u.t.tons, and faced with buff, buff breeches, white hose, low shoes, knee and shoe buckles, red sash, epaulets, chapeau, and side arms. In his right hand he grasps a broken sword.

The position is, kneeling two paces front of the lady, body bent forward, and eyes cast down to the floor. The British officer and soldiers are dressed in similar costumes, with the exception of the coats, which are scarlet. The British officer's position is, standing in the centre of the stage, with sword pointed towards the American officer, and eyes directed to the lady. The lights for the piece should be of medium brightness, and come from the side of the stage opposite the lady. The background must be partially shaded, while the foreground is light. For music, drum and fife are adapted to the piece.

SOLOMON'S JUDGMENT.

"A mother's love."

If there be one thing pure, Where all beside is sullied, That can endure When all else pa.s.s away-- If there be aught Surpa.s.sing human deed, or word, or thought, "It is a mother's love!"

ANON.

Three Male and Two Female Figures.

This Scripture tableau is taken from the third chapter of the Book of Kings. The scene is at the moment when Solomon pa.s.ses his judgment between the two women. These two women each had a child of the same age, and resided together. The children resembled each other so much that when one of them died, there arose a dispute as to whom the living child belonged; and one woman said, "The living is my son, and the dead is thy son." And the other said, "No; the dead is thy son, and the living is my son." Then said the king, "Bring me a sword." And they brought a sword before the king, and the king said, "Divide the living child in two, and give half to one and half to the other." Then spoke the woman whose the living child was unto the king, "O my lord, give her the living child, and in no wise slay it." But the other woman said, "Let it be neither mine nor thine, but divide it." Then the king answered and said, "Give her the living child, and in no wise slay it, for she is the mother thereof." The number of figures in this tableau is five. The scenery consists of a platform four feet square and two feet high, covered with red cloth, which should be placed in the background, at equal distances from the sides; on this is placed a large, showy chair, with a canopy over the top. Seated in the chair is Solomon. His costume consists of a dark velvet suit, trimmed with gold and silver fringe; a large cloak, trimmed with ermine, is worn on the shoulders; black hose, reaching to the knee, crossed with crimson ribbon; red sandals, ornamented with gold; a showy crown on the head, and his face covered with a heavy white beard, reaching down on his breast; his right hand is pointed towards the soldier who holds the child; the eyes are also directed that way, while the countenance appears stern and commanding. The soldier's costume consists of a suit of armor such as can be procured at theatres and costumers; but, if preferred, a military suit of any kind will answer. His position is, near the platform, the left hand grasping the child, while the right holds a sword, which is raised above it; his body faces the audience, his head turned towards the king, the countenance stern and forbidding. On the other side of the throne stands the king's guard, a man dressed in a blue frock, trimmed around the skirts, sleeves, and front with red; white hose, reaching to the knee; black knee breeches; low shoes; knee and shoe buckles; lace collar and wristbands; low black Kossuth hat, with gold band and plume. The right hand grasps a long spear. Position is, facing the audience, the body erect, and eyes directed straight forward. At the corner of the platform, near the soldier, kneels the mother of the child, in position so that a side view is had of the face; the hands are clasped and raised in front of her breast, head thrown back, and eyes directed to the king, countenance expressing hope. She is dressed in deep mourning, her hair flowing loosely over her shoulders. On the other side of the throne, opposite the guard, stands the other woman, her arms folded on her breast, eyes directed to the soldier, countenance calm. Her costume consists of a white dress, cut low in the neck, and encircled around the waist with a colored belt; hair arranged in heavy braids, and ornamented with showy hair pins. The lights should be of medium brilliancy, and come from either side of the stage. If desirable, a few paintings and statuary can be arranged in the background. Music soft and plaintive.