GIFT OF

TLi!lI DEPT.

ST. NICHOLAS

BOOK OF PLAYS& OPERETTASPSYCH.
LIBRARY

ST. NICHOLAS

BOOK OF PLAYSOPERETTASYORK PUBLISHED II Y:

THE CE1STTITRY CO.

1905

Copyright, 1874.

1876, 1877, 1880, 1881, 1882, 1886, 1888, 1890, 1892, 1894,
1897. 1898, 1899,

by THE CENTURY Co.

Copyright, 1900, by
THE CENTURY Co.

Gift

J.

F.

TAPLEY GO.
New York

PUBLISHER'S NOTE
The plays and operettas here assembled were published originally in"

St. Nicholas," some of them a quar-ter of a century ago.

u

The Ballad of

Mary Jane" and certain others havebeen called for again and again, andfive or six

have been reprinted in
Their popularity has

pamphlet form.

suggested the making of the present
volume, which contains all of thepieces that have been in most demand.

CONTENTS
THE MODERN AND MEDIEVAL BALLAD OF MARY JANE
ACTING BALLADS

THE HOUSE OF SANTA CLAUS

....

PAGE
1

15
23

MOTHER GOOSE OPERETTA

36

THE LAND OF NOD

41

THE GIANT PICTURE-BOOK

72

SHADOW-PANTOMIMES

81

THE MAGIC SWORD

93

THE FALSE SIR SANTA CLAUS

....
....
....

A SIXTEENTH-CENTURY CHRISTMASCHRISTMAS EVE AT MOTHER HUBBARD'S

.

.

109
139

153

A LAWN DANCE FOR LITTLE PEOPLE

173

DICKY DOT AND DOTTY DICK180

AN OLD ENGLISH FOLK-SONG

190

HAYDN'S " CHILDREN'S SYMPHONY"...

A TOPSYTURVY CONCERTTHE CHANGELING

196

200
.

.

202

NICHOLAS BOOK OF
PLAYS AND OPERETTASST.

NICHOLAS BOOK OF
PLAYS AND OPERETTASST.

THE MODERN AND MEDIEVAL BALLAD
OF MARY JANE
BY HENRY BALDWIN
This is a shadow-play, which can be performed in any parlor.

A sheet is hung between the audience and the performers, who,by the proper arrangement of light (which can best be attainedby experiment), throw their shadows on the sheet. Somebody
hidden from the audience reads the ballad aloud.

IT was a maiden beauteous

Her name was Mary JaneTo teach the district school she walked
Each morning down the lane.
j[She passes and repasses behind the curtain.

Well skilled was she in needlework,
Egyptian she could speak,
Could manufacture griddle-cakes,

And jest in ancient Greek.
131\ NICHOLASPLAYS AND OPERETTAS

It was the stalwart Benjamin,

Who hoed his father's corn;

He saw the lovely maiden pass,At breaking of the morn.
[He enters at left.

Deep sighed that bold, admiring swain
The maid vouchsafed no look
She munched a sprig of meetin'-seed,;

And read her spelling-book.
[She enters at right, and halts.

THE STALWAKT BENJAMIN.

A low obeisance made he thenRight bravely did he speak" There is no rose so" As that;:

fair," he said,

upon thy cheek

!

" And

many a brooch and silken gown
Will I bestow on thee,
If thou wilt leave thy father's house

And come and marry me."THE BALLAD OF MARY JANE
Then proudly spake that lovely maid"

Thy corn-patch:

thou may'st till !

I haste to teach the infant mind,

On yonder lofty hill.

THE BEAUTEOUS MAEY JANE.
"

Though never golden brooch have I,
Though silken gown I lack,
I will not wed an husbandman,
So take thine offer backHE TORE IN"!

HIS RAVEN LOCKS."ST. NICHOLASPLAYS AND OPERETTAS

Oh, fiercely blow the icy blasts
When winter days begin!

But fiercer was the rage that filled
The heart of Benjamin!

He tore in shreds his raven locks,
And vowed he 'd love no more.
"

Smile on," he cried, " thou haughty maid

Thou shalt repent thee sore;"!

The lady turned she did not speak
Her tear-drops fell like rain;;;

[Tears represented by small pieces of paper.

Those plaintive words at last did pierce
The heart of Mary Jane!

II

Oh, blithely sang the soaring lark
The morning smiled again
Up rose the sun, with golden beams,;j

And up rose Mary Jane.
[The lark should be made of pasteboard, and astring, passed through his body, should be
stretched diagonally across the sheet.

By

another string fastened to his head, andrunning over the upper nail, he may be madeThe sun should rise by a string
to soar.
passed over a nail in the center, and at the
top of the framework on which the sheet is
stretched. The lark should be about as large
as the sun.

THE BALLAD OF MARY JANE

THE SOARING LARK.

HE SUN.

She gat her to her daily task,
As on the former morn
Alack she spied not Benjamin;!

A-hoeing of the corn.
[Enter Mary Jane.

No longer, as she trips along,
Her merry songs she sings
The tear-drops dim her pretty eyes,
Her lily hands she wrings.
1;"And art thou gone, sweet Benjamin?
Ah whither hast thon fled ?
!

My spelling-book has charms" no more
I would that I were deadj!

But soon her bitter moan she ceased;

She viewed her doughty knight,
Delayed not many leagues from thence,
And in most grievous plight.

ST.

NICHOLAS PLAYS AND OPERETTASFor as lie to his husbandryThat day would fain have passed,
A monster cow his path beset,
And sorely him harassed.

THE COW HARASSES BENJAMIN.

Upon the summit of a wall
He sits, and dares not flee;

The awful beast its sprangling horns
Doth brandish frightfully.
made of pasteboard, should befastened to a broom-handle, and poked in[The cow,from oneside.

The smaller the cow the

better.

"Oh, Mary Jane"!

he cried, " if you

But love me, do not stay
To weep, but lend a friendly hand,
And drive the cow away "!

Her apron then she quickly takes,

And wipes her streaming eyes;

Not quicker melts the morning dew
Than to her love she flies.

THE BALLAD OF MARY JANE
The monster turns at her approach,
It shakes its ample tailTake heart, O Benjamin thy love;!

Will neither quake nor quail.

MART JANE WAVES HER PARASOL.

Her parasol that venturous maid
Exalted o'er her head,
Thrice waved it in the air, and lo!

Straightway the monster fled.

Then tarried not that joyous pairFond vows of love to make,But to the house of Mary Jane
Themselves they did betake.
[As the cow runs away, Benjamin gets down
and approaches Mary Jane till almost close
to her.
Then, if both lean forward, theST.

NICHOLAS PLAYS AND OPERETTASRESCUED!

above affecting tableau is produced. They
then take hands, and the lamp is moved
slowly to one side and obscured;

this gives

them the appearance of walking, and allows
the father to enter;

after which the

moved back, and the lovers reenter.

And out spake grateful Benjamin"Forsooth, I had been dead,
Had Mary Jane not saved my life

And her I fain would wed."

Up spake her aged sire then;Full wrath fully spake he":

How darest thou, thou popinjay,
To ask such thing of me ?

" Forwert thou but a millionaire,

Then would I not demur;

Now thou art but an husbandman,
And shea school-teacher n!

:lamp isTHE BALLAD OF MAEY JANE
Oh, sorely, sorely, did they grieve

9!

The cruel parient's heart
Inflexible as stone remained,

And they were torn apart.
[He motions them apart.

THE AGED SIRE IS WRATHFUL.

Ill

And now has come Lord Mortimer,
A-suing for her handA richer nobleman than he;

Is not in all the land.

Upon his lordly knees he sank,On bended knee he fell
" And wilt thou
not, fair Mary Jane,;Within my castle dwell ?

10

ST. NICHOLASPLAYS AND OPERETTAS" Thou walkest now withweary feet,
But thou shalt ride in state
And dine and sup, like any queen,;

Off my ancestral plate."

LORD MORTIMER.

Right scornfully that angry maid
Her dainty nose upturned
She waved her lily hand, and thus
His tempting offer spurned!

:

1

GET HENCE!

AVAUNT!

I

SCORN THY GOLD."

THE BALLAD OF MARY JANE
" Get hence

11

I scorn thy gold,
avauntLikewise thy pedigree!

!

!

I plighted troth to

Benjamin,Who sails the briny sea."[Exit Mortimer;

enter father.

"Nay, verily," her father said
" Braidup thy golden hairPrepare to die, if thou wilt not;;

For nuptials prepare"!

[Flourishes a pasteboard knife.

THE FATHER ENTERS.

She braided up her golden hair

With jewels bright, eft soon
She clad her in her twice-dyed gown,j

And eke her thrice-patched shoon.
"

Oh, Benjamin"

Oh, BenjaminWas all that she could say
She wist not but that he was dead,!

!

j

Or thousand leagues away.

12

ST.

NICHOLAS PLAYS AND OPERETTASIVAlack for Mary Jane!

the knife

Hangs glittering o'er her head!

Before the altar, Mortimer
Waits his fair bride to wed.
"

Who knocks upon the outer gate ?
"Oh, father, quickly hie'T is but the grimy charcoal man!

'

We have no time to buy "!

HER SHRIEKS NO MERCY WIN!"" Methinks I hear the area-bell"

Oh, father, quickly speed" 'T
is but a pesky book-agent
Thou hast no time to read "
!

;

!

;

;

THE BALLAD OF MARY JANE
The fatal knife descends, descends
Her shrieks no mercy win!

!

When lo, a shout!

the door gives way!

In rushes BenjaminI!

NOW RETURN, A TRILLIONAIRE.""Full many a year, a pirate bold,
1

7

ve sailed the Spanish Main;

I now return, a trillionaire,"

To claim thee, Mary Jane!

Out spake her happy sire then" Can I
my eyes believe ?

:Upon your knees, my children dear,

My blessing to receive "!

Alas for luckless Mortimer,

Of love the hopeless dupe!

He gave up all his title-deeds,
And joined a circus troupe.

13

14

ST.

NICHOLAS PLAYS AND OPERETTAS

But merrily the bells did ring,
Loud was the cannon's din,Upon the day when Mary JaneWas wed to Benjamin!

[A low step-ladder, or table covered with acloth, may be used for the wall.
Mary Jane'sbonnet can be made of a newspaper. Her
father may wear a waterproof cloak, belted
in, if a dressing-gown is not obtainable.

ACTING BALLADS
BY AMY LOVELL
IN the long winter evenings, when lessons are alllearned, supper eaten, and while bedtime is still agood way off, there comes a pause which is (or should" known as the children's hour.'be)
Everybody is a7

Boys and girls stretch themselves again,
and wish there were something pleasant to do. Iflittle tired.

there

is

not anything pleasant to do, theyawns in-crease, the pause becomes first dull, then quarrelsome,and the evening ends unpleasantly, or the boys sidle
toward the door and invent errands to the store or
the post-office, which lays the foundation of a habitof being out, and of various mischiefs.
Now, there are plenty of pleasant things which canbe done to fill up this unoccupied hour. The boys
and girls can play at chess, backgammon, or cards.
Don't be shocked, dear papas and mamas, at theword " cards." Cards are not in themselves harmful,and almost all young people are likely to play themsooner or later. It is a thousand times better thatthey should do so at home as a permitted amusement,
than away from home, with the feeling that they are
indulging in a guilty pleasure which they must hidefrom you. There can be reading aloud from some
There are parlor games ofreally entertaining book.
all kinds, and some which tax the wits a little without
15

16

ST.

NICHOLAS PLAYS AND OPERETTASThere are candy-pulling, corn-popping,tiring them.
roasting apples by a string, telling stories round thefire, piano kaleidoscope, acting charades.
And, easierthan charades, and better fun, there is acting a ballad,about which I particularly want to tell, because it is

new to many of you, and in the long winter evenings
you may like to try it. ^Acting a ballad does not require as much preparation as acting a charade, because the movement is allin pantomime,

and is regulated by the movement of

the ballad chosen.

It is necessary, of course, that all

who act should know the ballad, or should read it
over carefully several times, so as to be prepared forwhat is coming, and ready to express by their gestures and faces whatissupposed to be going on.

Many who have not confidence to act in a charade
will find that they can do this easily, for no ready wit
is needed, and it often is much easier to follow acourse laid out for you than to invent one of yourown.
If there is a piano in the room, and any one who
can sing, the ballad should be sung slowly and distinctly, with an accompaniment which introduces animitation of the sounds of wars, storms, guns, orwhatever else may transpire in the ballad. If not, it

must be read or recited, taking care to pronounceThe
clearly and give due emphasis to the words.
characters must come in at the proper moment as thesinging or reading progresses, and time their movements to the movement of the story. The balladchosen should always be one in which there is little
relation and as much action as possible.
Campbell's

ACTING BALLADS
balladof " Lord Ullin's

Daughterof the sort of ballad to choose.

"

"

is

17
a good example

The Young Lochin-var " is another, and that pretty poem, " Old Mistletoe

Bough/ which is always successful, giving as it does
opportunity for quaint groups and sudden changes of7scene.
Others, which I have never seen acted, butwhich could not fail of effect, are Tennyson's ballads
of " The Lord of Burleigh " and " Lady Clare." Noneof these are funny ballads, although the improvised
scenery, dresses, and stage properties will naturally
lend a flavor of comedy to them as they are enacted.

In entertainments of this sort, grace should be consulted as well as comedy, and there is a wide difference between burlesquing a poem and acting it withjust that tender edge of fun which gives piquancy
without marring the intention of the poet.
As an example of comical ballad-acting, let us take
Campbell's "Lord Ullin's Daughter," a poem withwhich most of you are probably familiar. It requires
four principal performers, and two or three assistants,

who remain out of sight, or by the courtesy of theaudience are supposed to be so.

The curtain rises, revealing the ferryman in his
There is no need of an actual curtain; ablanket shawl hung on two gimlets answers the purpose perfectly, or if there are two connecting rooms adoor can be opened and shut. As real boats are notboat.

easily obtainable in parlors, it will be well to make a
substitute out of two large clothes-baskets, which
will furnish convenient accommodation for three per-sons.
There must be footstools or boxes for seats,
and beneath the boat large traveling- shawls or table-

18

ST.

NICHOLAS PLAYS AND OPERETTAS

cloths should be spread, which the assistants at thesides of the room can shake to imitate the movementof waves slightly at first, but more and more imThe boatman is
petuously as the story goes on.
naturally in shirt-sleeves or in a jacket or greatcoat,

while pokers or yardsticks will suffice for oars.

The other characters are the lady, her knight, andthe father.

The poem begins thus:

A chieftain, to the Highlands bound,"

Cries,

Boatman, do not tarry!

And I '11 give thee a silver poundTo row us o'er the ferry."

During the singing of this verse the chief and lady
The chief shows the boatman a piece ofmoney. He is dressed in hat and tall feather, with aenter.

plaid shawl arranged to represent the Highlander'splaid, and is armed with a bread-knife or pistols;
he also carries a valise, bandbox, and umbrella. The

lady should be attired in a wide hat and waterproof
cloak, and should carry a bird-cage, a work-basket,
and a parasol.

Second verse:" Now who beye, would cross Lochgyle,
This dark and stormy water?""
Oh, I 'm the chief of Ulva's isle,

And this Lord Ullin's daughter."This is all in pantomime, of course.

The boatmancalls attention to the stormy water, as the waves rise,ACTING BALLADS
and19

with gestures to dissuade them fromThird verse

strivescrossing.

:" And fast before her father's men

Three days we ve fled together
For should he find us in the glen,
My blood would stain the heather.";;

Here the lady isand shudders, looking
He goes on with muchterrified

imploringly at the boatman.
action through the next:

" His horsemen hard behind us ride;

Should they our steps discover,

Then who will cheer my bonny bride

When they have slain her lover?"The boatman consents to receive them, and bustles
The lady clings to her
Next verses
lover and looks anxiously behind.
about as preparing the boat.

:

Out spoke the hardy Highland wight"I '11 go, my chief I in ready.

:

;

;

It is not for your silver bright,

But for your winsome lady.

"And by my word!

the bonny bird

In danger shall not tarry ;So,though the waves are raging white,

I '11 row you o'er the ferry."

They hurry their luggage into the boat; the lady
gets in the chief and the boatman remain standing,and look back for the pursuers.
But now the storm increases; the gas should belowered, and the piano accompaniment should be a;

20

NICHOLAS PLAYS AND OPERETTAS

ST.

low, dull roll in the bass, with occasional nigh, wildnotes to represent the water-spirit.

By this the storm grew loud apace,
The water- wraith was shrieking;

And in the scowl of heaven each face
Grew dark as they were speaking.
But still as wilder blew the wind,

And as the night grew drearer,
Adown the glen rode armed men
Their tramping sounded nearer.

A tramping should be made in the hall, gradually
approaching"

the terror of all in the boat increases.

Oh, haste thee, haste"!

the lady cries,"Though tempests round us gather;I;

11 meet the raging of theskies,
But not an angry father."

The boat has left a stormy land,

A stormy sea before her
When, oh too strong for human hand,
The tempest gathered o'er her.
!

The lady clings to her bird-cage; the chief puts
down his umbrella wide open, and feebly assists in
The waves increase, and the tramping
the rowing.
approaches nearer.

And still they rode amidst the roar
Of waters fast prevailing.
Lord Ullin reached that fatal shore
His wrath was changed to wailing.
;

Here Lord Ullin rides in on a chair or cane, with
He is armed with a lance,

cloak and feathered hat.

ACTING BALLADS

21

which can be improvised from a yardstick. Seeing
the fearful situation of things, the distracted parent
rides frantically up and down, imploring their return,his steed curveting excitedly.
For, sore dismayed, through storm and shade,His child he did discover;

One lovely hand she stretched for aid,
And one was round her lover.

"Come back come back " he cried with grief,!

!

"Across this stormy water;

And I '11 forgive your Highland chief,
My daughter O my daughter "!

!

The gestures of the stern father must show how
intense is his anxiety.
The boat reels. One by one
the things are thrown overboard

umbrella, and work-basket.
in vain.

bird-cage, valise,

Even these sacrifices are

The boatman endeavors to turn the boat.
'T was vain

the loud waves lashed the shore,
Return or aid preventing
The waters wild went o'er his child,And he was left lamenting.
;

The entire boat and its contents toss and reel, until
they at last all topple over, and are supposed to besubmerged in the wild waters; the waves (shawls)
The father
rise, and finally cover them from sight.

remains frantically riding to and fro, wringing his
hands, and enacting the most intense despair. At
last he rides off, while the others emerge from theirwatery graves, and the curtain falls, let us hope, amid

"immense applause."

22

ST. NICHOLASPLAYS AND OPERETTASIngenuity is essential in converting to use matesome would think of no avail, but whichrials that

Thus an open umbrella becomes an apple-tree with an apple stuck on eachpoint, a shovel and poker make a fair violin, while aothers quickly adopt.

muff-box or a saucepan does duty as a military hat.
This is much better fun than to have the real things.
What is more amusing than the play in " MidsummerNight's Dream," where a lantern represents moonshine, and somebody takes the part of a wall, holding

up his fingers to make a cranny for the lovers towhisper throughBoth for winter and summer evenings ballad-acting
can be made an available entertainment. Even in thewoods at a picnic, one could be easily arranged, thebushes serving as screen and green-room for the characters, and the stage appointments being furnished!

out of the lunch-baskets and the wearing-apparel ofthe audience.

THE HOUSE OF SANTA GLAUS
A CHRISTMAS FAIKY SHOW
BY EDWARD EGGLESTONARRANGEMENT OF THE STAGE
The stage, shown in the diagram, is about fifteen feet deep by
twenty in width in its main portions. It may vary considerablyfrom these dimensions, according to the size of the hall or Sunday-school room. The room in this diagram is supposed to be
The stage should not be less than twelve feetforty feet wide.
in depth nor loss than fifteen in width.

The portions of the

Front of Stage.

PLAN OF THE STAGE.
stage represented at B and /may be on the same level of themain platform, or B may be higher or lower, and /an incline.
The beauty of the stage is greatly enhanced by surrounding itwith a fence of pop-corn. The upright posts should be bits oflath eighteen inches high, the lower end nailed to the edge ofthe platform, and the whole wrapped with strings of pop-corn.

Then draw two strands of the corn from post to post, to represent the horizontal rails. At * there should be a gate with a
23

24

ST.

NICHOLAS PLAYS AND OPERETTAS

pointed arch over the top. This should also be of lath, wrappedwith pop-corn. There should be three strands in the gate and

The pop-corn fence is not essential, but it isa great addition to the beauty of the scene, giving the stage aweird and fairy-like appearance, and contrasting finely with thea diagonal brace.

dark green behind.

At x, x, two small Christmas trees may beplanted.

The house A is nine feet in length and six in depth. It
should be about six feet high at the eaves. The frame is of

THE GATE.
studding, and it is

firstcovered with lath nailed six inches ormore apart. Cedar boughs are then so interwoven as to entirely
cover it. The roof is thatched in the same way. At e there isa chimney made by knocking out both ends of a packing-box

such as is used for shoes.
look like stone;

The box is kalsomined or painted tocleats are nailed around this chimney near the

The box is securely
top, to imitate ornamental stonework.
nailed to the timbers of the house, and there is a ladder inside
the house, so arranged that the lad who represents Santa Glaus

can put his head and shoulders out at the top.

At b there is a

THE HOUSE OF SANTA GLAUS

25

doorway two feet wide, in which is a door on hinges. Make it
an open frame covered with pink tissue-paper. The window
is two feet square and made like the door, but intersected with
Over the doorway b is a transstrings of pop-corn for sashes.
"parency like a transom. It reads Santa Claus," arid is lightedabehind.
lanternThe
houseshould be provided with abydoor-bell.
Every precaution must be taken against fire. The
house should stand about two feet from the wall, and the backmay be left open.
At a, a, two pumpkin faces illuminated are suspended or put
upon any support that may be found convenient.
At B there should be either a miniature tent or a dense arborof evergreens.
If the tent is used, a Chinese lantern may besuspended on the top outside.

c,

CHARACTERS, COSTUMES, ETC.

SANTA GLAUS should be a boy of fourteen or sixteen years ofage, -withgood acting qualities, especially a sense of drollery.

He should have any appropriate costume, wig, mask, etc. He
carries a snuff-box and a red or yellow handkerchief.
He isalso provided with a whistle.

The DWARFS are boys of ten or twelve years of age. They
wear masks and a red tunic of paper-muslin, stuffed, to givethem a hunchback appearance. They carry staffs, little tin
trumpets, stoop as they walk, and speak in a squeaky falTheir stations are just inside the house, at h, li. They
appear from behind the house in every case except the very
setto.

last.

The FAIRY QUEEN should be a little girl of from six to nine
years of age, dressed in gauze, with wings of the same material.
Stripes or stars, or spangles of gold paper, add to the effect ofher dress.
She wears a coronet and carries a wand.

The COMMITTEE should consist of three girls in ordinary dress.
They are represented by X., Y. and Z. in the following dialogue,
but their real names should be used instead of the letters. Z;

should be a rather small girl.

26

ST.

NICHOLAS PLAYS AND OPERETTASPRELIMINARY ARRANGEMENTS

The superintendent or pastor conducts the introductory exerfrom some point in front of the stage. No one must be

cises

seen on the stage until the dialogue begins.
At the time of beginning, the house A conceals Santa Clausand his two dwarfs, and a grown person who has charge of the

There is no light on the stage
lights and who acts as prompter.
except that in the transparency over the door, and that in the
There are a large number of tapers or lamps
inside the house, carefully arranged to avoid the danger of fire.

pumpkin faces.

These are not lighted until the signal is given in the dialogue.
The fairy queen is concealed in her bower at B, with some one
who has charge of her, and an automatic music-box, that stands
upon the floor of the platform, wound up and ready to be started
The committee of girls sit in the audience,at the proper time.
and not together.
After appropriate introductory exercises, a teacher rises in hisplace and speaks in substance as follows

TEACHER.

Mr. Superintendent,

:

I

see

some very

pleasant decorations here, but no presents or refreshments for the scholars. I move that a committee ofthree be appointed to go up to Fairyland and inquireof Santa Claus.

I would like to know

why this Sun-

day-school has been left out.

ANOTHER TEACHER.

I second that motion.

[Superintendent puts this question to vote, anddeclares it carried, in due form.

SUPERINTENDENT.

I

would appoint

letme see-girls are better at coaxing than boys, I think

appoint X., Y., and Z.

I will[catting the girls by their real

names], who will please come forward.
[X., Y., and Z. rise from their places in theirseveral classes, and come forward to thesuperintendent.

THE HOUSE OF SANTA GLAUS
SUPERINTENDENT.

Girls,

27

you see we are without

any candy or anything of the sort for our scholars.
Old Santa Glaus has forgotten us.

He never did so

Now I want you three to proceed to Fairy-

before.

land and see if you can find him. Tell him we musthave something. Don't come down without something.

We can't have all these children disappointed.
[The committee proceed by the steps to the
They stop to examine the first pumpstage.
kin face.

Wonder who it isZ.

What a strange faceY.

One of Santa's tricks, I suppose.

!

!

X. They do say that he 's full of fun. But thismust be his house. Let 's find the door. [All proceed
to the front]

Here it is.

Y. Is n't it cute ?
Z.

I 'd like to live here.

And play dolly-house?

X. Here 's a door-bell.

Santa Claus has all thelatest improvements, I declare.

Y. Ring it.

No, don't; I 'm afraid.
Don't
X. Pshaw! Santa never hurts anybody.
door?
over
the
name
After a[Rings.
you see hisheis n'tanswer.
I
he
don't
wonderMaybepause.]
Z.

at home.

Y, Gone sleigh-riding, as sure as I live
Z. I guess he 's gone to bed.
Maybe his!

mama

would n't let him sit up late.
X. Let 's look around, and see what we can find.
You two go around that side, and I '11 go around this.
See if you can't find him in behind the face that 's
hanging up there.

28

ST.

NICHOLAS PLAYS AND OPERETTAS[X. goes to the left, around the house, while Y.
and Z. go around to the right. They proceed
timidly to the back of the house, out of sightof the audience, whereupon the dwarfs blow

sharp blasts upon their horns, and the girls
all rush back to the front of the house.

X.

I 'm soY. AND Z.

X.

scared!

Oh, dear!

What could it be ?

that noise just for fun.

I 'm so scared!

Guess old Santa Claus madeI wish the superintendent

had come himself, or sent some of the boys
Y. I '11 bet the boys would run from that noise.
!

Don't you ?

X. Yes. Boys never are as brave as girls, anyhow.
But let 's go back again, and see what there is there.
Z.

I

7

m afraid.

X. Well, you stay here, and Y. will go that way,and I will go this way.
They
[X. again goes to the right, Y. to the left.
proceed more timidly than before to the rearTheof the house, disappearing behind it.
dwarfs blow their horns, the girls reappear,
crying out in alarm, and the dwarfs run out
The girls hurry back to the front
oneof the house, followed by the dwarfs
after them.

coming round one end of the house, the otherround the other. They speak in high, squeaky
tones.

FIRST DWARF. What do you want ?
SECOND DWARF. What are you doing here ?
X. We want Santa Claus. But we did not know
there were two Santa Clauses.
[The dwarfs laugh long and loud.

THE HOUSE OF SANTA GLAUS
FIRST DWARF.

29

We are not Santa Clauses. We are

the dwarfs that take care of Santa Claus's store-rooms,
full of goodies aud presents.

SECOND DWARF. But there
care of now.

Santa

7

s

7

s

nothing left to takegiven away all he had thisChristmas.

X. But we must see old Santa. Our Sunday-school
has been left without anything, and we want to seegood old Claus himself.
FIRST DWARF. But you can't. He >s asleep.
SECOND DWARF. He was out all night last night,
and now he s tired to death and sleeping like a top.
Thunder would n't wake him.
X. But we must see him.
;

Y. AND Z. Yes, we must.

SECOND DWARF.

If you 'dbeen riding over roofs

all night

And climbing down chimneys
SECOND DWARF. And filling stockings
FIRST DWARF. And Christmas trees
SECOND DWARF. And climbing up chimneys again
FIRST DWARF. And getting your hands and face all
FIRST DWARF.

over soot

SECOND DWARF. And driving reindeer they do
pullBOTH DWARFS. I guess you 'd be sleepy too.
X. But we must have something for the children.
Y. AND Z. We must have something.
FIRST DWARF. There is n't a thing left.
SECOND DWARF. Not a thing.
X. What will the superintendent say ?
Y.

What will the children say ?

30

ST.

NICHOLAS PLAYS AND OPERETTASWhat will the infant class say?
X. And what will the deacons say ?
Y. AND Z. Yes, what will the deacons say ?
Z.

BOTH DWARFS. Deacons!

Oh, myHa, ha!

!

[The dwarfs now give a blast apiece, and retreat
into their hiding-places.

X. Well, 1 'm going to wake up old Santa Claus.
Y. Maybe he '11 be cross.
X. But we must have something. \Rings.] I wonder he does n't answer.
Z.

Ring louder.

X. Well, here goes.

[Rings three or four times.][Santa Claus, appearing at the top of the chimney, blows his whistle.

X., Y., AND Z.

Oh, dear

SANTA CLAUS.

Who 's there ? Who rang my bell,!

know ? Pity if I can't sleep Christmas
when I 'm tired to death. Who 's there, I

I 'd like tonight,say f

X. Oh, you dear old Santa Claus!

Don't be angry.

Some of your little friends have come to Fairyland to
Come down.
see you.
SANTA CLAUS. Ha, ha, ha! Some of my little
friends come to see me[Bloivs his
Well, well!

!

Light up the house, fairies, light up thehouse.
[Whistles again, and then descends the chimney
and reappears at the front door. The house is lighted
How do you do, girls? How do you do?
within.]whistle. }[Shakes hands all round, and then, with great deliberation,
takes a pinch of snuff.}
Well, I 'm glad to see you.

What can I do for you ?

THE HOUSE OF SANTA CLAUS

31

X. Why, you see, Santa Claus, our Sunday-school
is left without anything this Christmas.
SANTA CLAUS.
[Sneezes and uses his bandana.]

What ?

You don't tell me so!

What 's the name ofyour school?
X. TheSunday-school.
SANTA CLAUS. Oh, yes And your superintendent
I know him like a book.
I 've filled?
is Mr.
his stockings many a time when he was a little fellow.
But
I don't know how I came to miss that school.
I
'm
old
and
see
forgetful.
gettingyou
Y. How old are you, Santa ?
Do you think I 'd tell you
SANTA CLAUS. Oh, now
!

!

that?

You must be as old as the Centennial.
I used to fill George WashSANTA CLAUS. Pshaw
he
was a little boy.
when
ington's stockings
Z.

!

No
Now, did you ?
SANTA CLAUS. Of course I did.
Y. What did you put in them ?
SANTA CLAUS. What did I put
Y.

!

in

littleGeorgie
Washington's stockings? Well, now, that 's morethan a hundred years ago, and an old mail's memory
I can't remember but one thing,is n't strong.

X. What's that?
SANTA CLAUS. A hatchet.
Y. Oh, my!
Z. That same little hatchet?
SANTA CLAUS. The very same

littlehatchet.

But I did not give him the cherry-tree.
[Laughs.]
X. Yes; but we must have something for ourschool,good Santa Claus.

32

NICHOLAS PLAYS AND OPERETTASST.

SANTA GLAUS. But you can't. 1 ve given away all
I had, and turned the reindeer out on the mountains
to pasture, and the times are so hard that I can't afford
7

to hire a livery team.

X. YesY. YesZ.

;;

but we must have something.
we must, dear old Santa.

Yes, indeed.

SANTA GLAUS. [Takes snuff and sneezes.] Well, what
is to be done ?
How many scholars have you got thisyear?
X. About.

SANTA GLAUS. So many!
Why, you must be
growing. I hope you have n't any Christmas bummers
among them folks that come to Sunday-school to getsomething to eat.
Y.

I hate that kind.

I don't think we have

many of that sort.

SANTA GLAUS. Well, I always did like that school,and now I 've gone and forgotten it
I wish some!

[Blows Ms whistle long and loud,Dwarfs, here
Drako, where are you ?

thing could be done.

and shouts.]
Krako, come!

!

Wake up!

[Whistles again.][Enter dwarfs, each blowing his horn.

SANTA GLAUS. Now, my little rascals, what have
Sunday-school?
you got for the
BOTH DWARFS. [Bowing very low.] Nothing, my lord.
SANTA GLAUS. [Takes snuff and sneezes.] I don't seethat I can do anything for you.

X. But we cannot go back without something.
The, children will cry.

SANTA GLAUS. Dwarfs, go and look again.
[They go back behind the house as before.

After a time they reappear.

THE HOUSE OF SANTA CLAUS
FIRST DWARF.

33

We cannot find a thing.

SECOND DWARF. Not one thing.
SANTA CLAUS. [Takes snuff.] Well, my little friends,
this is very

thing

embarrassing

but I have

very

n't

a

left.

X. But we can't go back. What will the superinWe must have something.
Y. Something or other.

tendent say ?
Z.

Yes, something.

SANTA CLAUS.

I '11

go and see myself.

[Exit into

After a considerable delay reenters.] Yes, I finda box of candy, nuts, and pop-corn in the closet.
house.

Good
Candy, nuts, and pop-corn
SANTA CLAUS. What have you got to put the things

X., Y., AND Z.

!

!

in?

X. Why, we have n't got anything.
SANTA CLAUS. Well, then, the children will have totake off their stockings and let me fill them.
X., Y., AND Z. Oh, Santa Claus we could n't, such!

a cold night as this.

SANTA CLAUS.

[Takes snuff, looks perplexed, ivalks

Well, I don't know what to do.

about the stage.]

X. Oh, dear!
Y. Oh, dear
Z. Oh, dear dear
!

!

!

lear

!

SANTA CLAUS. [Starting up.]
X. Have what?
SANTA CLAUS. An idea.

Now I have it.

An idea ?

What s an idea ?

X. Be still, Z.

Let 's hear what Santa Claus's ideaZ.

7

[Addressing X.]
Can you put candy into an idea ?

may be.
s

34

ST.

NICHOLAS PLAYS AND OPERETTAS
I know who will help

SANTA GLAUS.
trouble.

me out of this

There 's my friend the Fairy Queen.

X. The Fairy Queen
Y. Oh, myZ. Goody goody goody
!

!

!

!

!

[Santa Glaus blows three blasts on his whistle
and listens.
The music-box in the fairybower begins to play.

SANTA GLAUS. Listen
X. Fairy music
Y. ANDZ. Sh-h!

!

She 's coming!

!

[The fairy comes down from B, skipping andreciting or singing:

In the secret rocky dell,There the fairies love to dwell;

Where the stars on dewdrops glance,
There the fairies love to dance.

BOTH DWARFS. [Bowing to Santa Glaus.] The Fairy
Queen, my lord
SANTA GLAUS. [Bowing.] Hail, Queen of the Fairies!

X., Y., AND Z. [Bowing.] Hail, Queen of the Fairies

FAIRY QUEEN. [Bowing.]
little friends

Hail, Santa Glaus

!

!

!

Hail,

!

Oh, stocking-filler Santa Glaus,
what 's the cause?
I heard you whistle

You rough and shaggy children's friend,Why did you for a fairy send
SANTA GLAUS. [Talcing snuff.
a Sunday-school forgotten, -

\

J

?

Why, you sea, here 's-

hundred children
But they have n't
I want to give them something.
got anything to put it in.
!

THE HOUSE OF SANTA CLAUS

35

FAIRY QUEEN.

How would fairy stockings do ?
White or black or pink or blue ?
X. Fairy stockings
Y. Oh, myZ. Goody goody goody
FAIRY QUEEN. [ Waving her hand toward B.]
Whatever Santa Glaus shall say,That let Fairyland obey.
SANTA GLAUS. [Entering the house and Mowing hi*!

!

!

whistle.]

Fill

!

!

up the stockings, fairies;

fill

up thestockings.
[The dwarfs enter, this time by the front door,
and return, carrying between them a basket
full of little pink tarlatan stockings filledwith candy, nuts, etc., which are then dis-tributed to the children.

MOTHER GOOSE OPERETTA(In Three Scenes, Founded upon the Story of "Bobby Shaftoe")

BY G. B. BARTLETTCHARACTERS AND COSTUMES
Five or more pairs of boys and girls as peasants with brighthigh-crowned muslin caps, or any picturesque costumes for the girls knee-breeches with broad suspenders, and white shirts (no coats), straw hats with brightskirts, laced bodices,;

ribbons, for the boys.
HERBERT has a suit of same style as the other peasants, overwhich he has a short coat trimmed with yellow braid.

BOBBY SHAFTOE also has a coat, much plainer than Herbert's
he has light curly

hair,buckles at his knees.

;

and wears large tin or silver-paper

In Scene III he wears a sailor's suit.

MARIE, blue skirt, pink bodice, high cap with many ribbons.
All except Herbert carry covered baskets, which (if in season) can have vines of clematis hanging from them and fallingover the shoulders of the peasants, many of whom carry themon their heads. One table, three chairs, and one spinning-

wheel will be needed.

Ifthe actors cannot sing, the singing

may be performed by concealed persons.

SCENE I
The peasants are heard singing outside; the chorus grows
loud slowly, and they enter, march twice around, and form in asemicircle, and sing to the tune of "Dearest May."

It is the pleasant twilight, the sun is setting

slow,
36

MOTHER GOOSE OPERETTA

37

As homeward from our daily task with merry
step we go.
It is the close of day ;With hearts so light and gay,
In merry row, we homeward go,
To rest at close of day.
[After singing, they slowly march out, and themusic gradually dies away.
*

Bobby and Marie, who have remained as if in earnest con"Lightly Row,"versation, come forward and sing, to the tune of" Yankeebesuitedto the words.
that
other
or
may
any
Doodle,"BOBBY. Dearest, will you marry me ?

For you know how I love thee!

Tell me, darling, will you be

The wife of Bobby Shaftoe?
MARIE. Robert, pray don't make me say

What I 've told you twice to-day;

Let us true friends always stay

No more, Bobby Shaftoe
BOBBY.

!

If you will not marry me,
I will go away to sea,

And you nevermore shall be
Aught to Bobby Shaftoe!

MARIE. Dear Bobby, you will never go,

For you 've often told me so

You will not go far, I know!

!

Good-by, Bobby Shaftoe[Bobby runs away as if in anger.

!

Marie looks

after him, smiling, as if expecting him back,grows anxious, follows the way he went a few

38

ST. NICHOLASPLAYS AND OPERETTAS

steps, then turns and sadly goes in the opHerbert enters from theposite direction.
direction in which Bobby ran, and follows

Marie, as if he had been listening to theconversation.

SCENE IIMarie enters very sadly, goes to the table at left, takes up
knitting-work, throws it down impatiently, draws spinningwheel to the right of the room, and begins to spin and sing.

Toil is sweet when hearts are light,

Sunshine follows darkest night;

Always when the heart is right,
Trouble will not linger.
Peasant girl enters in great haste, and sings.

Marie, have you heard the news ?
Our dear friend has had the blues,

And has sailed upon a cruise
Our dear Bobby Shaftoe!

Marie rises in confusion, upsets the wheel, and sings.

Bobby Shaftoe gone to sea!

And no message left for me?
Oh, it cannot, cannot be
Dearest Bobby Shaftoe!

!

She cries, leaning her head on the shoulder of her friend, andthe two girls sing in duet.

Bobby Shaftoe 's gone to sea,
Silver buckles on his knee
But he '11 come back again to I
;

'

<

me,
Pretty Bobby Shaftoe!

MOTHER GOOSE OPERETTA

39

SCENE III
Three years are supposed to have passed. Marie sits very
Herbert enters and leans over her chair. Her-

sadly at work.
bert sings.

Marie, why so cold to me ?
I was ever true to thee.

Bobby Shaf toe 's lost at sea
Give up Bobby Shaf toe;!

MARIE. No, he is not lost at sea
Fate cannot so cruel be
As to tear away from me!

My own Bobby Shaf toe
HERBERT. Pray, consent my wife to be
For I know he s lost at sea,

!

!

7

And you '11 never, never be
Wife of Bobby Shaf toe!

Marie kneels down, resting her head on the chair, as if intears, and sings very sadly.

If he s dead or lost at sea,7

I can never care for theeLive or dead, I '11 faithful be,;

And true to Bobby Shaftoe
Bobby comes rushing in, dressed as a
toward him in rapture.

sailor.

!

Marie runs

BOBBY. Darling, 1 ve come back from sea
1 ve come back to marry thee,
7

7

For I know you 're true to me
True to Bobby Shaftoe

!

;

40

ST.

NICHOLAS PLAYS AND OPERETTASMARIE. Yes, I always cared for thee
And now you have come from sea,!

We shall always happy be,
Dearest Bobby Shaf toe!

Peasants enter and shake hands with Bobby, then form a ringaround him and Marie, and, after dancing, sing to the tune of"Dearest May."

We welcome home our comrade, who wandered faraway,

To love and peace and rapture upon this happy day
Oh, happy day!

!

with hearts so light and gay,

We joyous sing in merry ring,Oh, happy, happy day!

NOTE. In the dialogue, the first singer sings one half of theand the other concludes it.

air,THE LAND OF NOD(An Operetta for Young Folks, Portraying the Visit of Six Little
Sleepy-heads to the King of the Land of Nod, and the Wonders
Tlicy Saw at his Court.)

BY E. S. BROOKSCHARACTERS

THE KING OF THE LAND OF NOD.
THE SAND MAN
Cabinet Ministers.
JACK o' DREAMSTHE DREAM SPRITES.
THE DREAM GOBLIN.
THE Six LITTLE SLEEPY-HEADS.
THE DREAM PRINCE. THE GOBLIN CAN-AND-MUST.
MY LADY FORTUNE. THE QUEEN OF THE DOLLIES.
OLD MOTHER GOOSE. THE DREAM PRINCESS.
THE ROYAL PAGES.
.

>

His MAJESTY'S STANDARD-BEARER.

COSTUMES AND MOUNTING

The stage mounting and the costumes must depend entirely
upon the taste and facilities of the managers. The more carebestowed upon the preparation of the costumes and the dressing
If noof the stage, the more effective will be the presentation.
curtain is used, the scene should be set to represent a throneroom, with a tastefully draped throne at the rear center of
The only other properties really necessary are a wheelstage.

41

42

ST.

NICHOLAS PLAYS AND OPERETTAS

barrow; a hand- wagon; six couches

either small mattresses or

inclined frames (of this style), over which bright-colored afghans

may be thrown.

Soap-boxes,
shape and withsacking tacked across, would

cut todo for these couches.

thisStrings of artificial flowers for Dreamand a banner of crim-

Sprites, say thirty to forty inches long,son and gold (or some equally striking combination), bearing" To bedTo
conspicuously a big poppy, and the words,'!

bed!' says Sleepy-head."

The costumes, as far as possible, should be based on thefollowing:

THE KING. Velvet(orimitation)

trimmed with black and gold;

tunic of cardinal

trunks or knee-breeches

shoes with gold buckles

color;

long

long velvet (orimitation) robe and train-cloak of royal purple, trimmed withcardinal stockings;;

ermine gold crown, encircled with poppy wreathbeard scepter and crown jewels.
;;long white;

THE SAND MAN. Common working suit of ahouse-painter(overalls, shirt-sleeves, etc.), painter's white or striped apron,
and a sand-sprinkler or flour-dredger.

JACK o' DREAMS. Regular costume of a court jester, partycolored, with cap and bells, jester's rattle and bells.

THE DREAM SPRITES (not less than six, and more, if possible
all little girls).

Pretty white dresses, gauze wings, chainsof artificial flowers as above.

THE DREAM GOBLIN. Red goblin suittight-fitting suit withwings, red skullcap with short horns.

THE Six LITTLE SLEEPY-HEADS. Three little boys and threelittlegirls(the younger the better), with long white night-

gowns over their clothes, the girls with nightcaps.

THE DREAM PRINCE. Fancy court suit.

MY LADY FORTUNE. Classic Grecian female costume; goldin hair.
Wheel, about twelve inches in diameter, froman old bicycle, made to revolve, spokes and spaces between
them covered with cardboard and papered in different colors.
filletTHE LAND OF NOD

43

OLD MOTHER GOOSE. Short red petticoat, red stockings, slippers with silver buckles, brown or fancy overskirt and waist,high bell-crowned hat, red or purple cape, large spectacles, andbroom.

THE GOBLIN CAN-AND-MUST. Dull-brown, tight-fitting suit,brown skullcap and short horns, heavy chains on hands.
THE QUEEN OF THE DOLLIES.
gold crown, wandAny pretty, fancy costume,
she should have two or three prettily dressed;

dolls.

THE DREAM PRINCESS. Fancy court dress.
THE ROYAL PAGES. Two or four small boys in fancy court
suits.

THE STANDARD-BEARER.

Fancifully designed semi-militarysuit.

The costumes may most of them be made of silesia, which
has the effect of silk. The following ages are suggested forchildren taking part in the representation. KING stout, wellvoiced boy of about sixteen. JACK o' DREAMS, SAND MAN::boys of twelve or fourteen.
thirteen.

GOBLIN CAN-AND-MUST

THE DREAM PRINCE

:

boy

of

elevenor:

boy oftwelve.

DREAM GOBLIN boy of twelve or thirteen. PAGES boys of six.
STANDARD-BEARER boy of eight or ten. DREAM SPRITES girls
DREAM PRINCESS, MY LADY FORTUNE,of ten or twelve.
MOTHER GOOSE girls of ten or twelve. QUEEN OF THE DOL:

:

:

:

:

LIES

:

girl of eight.

LITTLE SLEEPY-HEADS:

children of fromfour to six.

Appropriate music should be played between parts, or whenever a pause occurs in which music would add to the effect.

Any part for which a good singer cannot be had may be spoken
Should all the parts be spoken, instrumental
music only would be required, and this could be performed behind the scenes.
instead of sung.

THE OPERETTAEnter in procession the King, preceded by Standard-bearer,Music" Fatinitza March," or any
King stands on the platform on which theand followed by the Pages.
other preferred.

44

ST.

NICHOLAS PLAYS AND OPERETTAS

throne is raised, and faces the audience. The Standard-bearer
steps back to one side, and the Pages stand on either side at
the foot of the throne.

All salute the King.

Music by W. F. SHBEWIN.

A la Militaire.

KINO.

m
-

the Realm of Dreams, The

1.

I'm the jol

ly

old

King of2.

Mycrown isa

3. Comehith - er,mygar - land of pop - pies bright, Thatbench - men, bold and true, Proud

THE LAND OF NOD

45

Espretsivo.

-ysweet,

sleep

grow

in

the

knights

of

the

Land
Land
Land

of

Nod;

of

Nod;
Nod; '....

oflow the sun
van ishking'sdrive round the world the black hors - es
fol

-

ev

-

-

er

I

go,

-

and what -ev - er

-

And

I

For wher -ing beams,of night,

And

I

My

do,

Or

when his morn - ing
glo
ry streams, For
sometimes a night-mare the dreamers to fright, As I
roy - al old head must be guid - ed by you;Now,...

fly

1

Enter

right and left

the Sand Man and Jack o' Dreams,

who make each a low obeisance to his Majesty.

46

NICHOLAS PLAYS AND OPERETTASST.

am the drow - sy

I

god

Yes,

Nod,
n't that aw - fully odd ?

Theride to the Land
is

Nod;
odd?

Gas - tie-ypend up

(

Yes,

I

am the drow - sy
Land

of

ri - ous, funnyanddear, dreamy

cu -But I'm King of
the Night
And I wel - come the children,
For what -ev - er
I
do,

god!

sleep

of

in

I

of Dreams; The
King of the Land of
and white, As they come to the Land of

on
'

you,

'

^

my

all

Tho' I'm King of the Land of_

Use last four measures of introduction as an interlude.)

de

Nod!
Nod.
Nod.

THE LAND OF NOD
SAND MAN. [Bowing to the King.]
I
I am the Sand Man bold47!

And 1 m busy as busy can be,
7

For I work when it 's hot,

And I work when it s cold,
7

As I scatter my sand so free.
Close to the eyes of the children dear
I creep

and I creep;

I peerand I peerj

I peer as with barrow I

plod.
Then I scatter, I scatter the sand so free,
Till the children are

And oif we trot

s-1-e-e-p-y as s-1-e-e-p-y can be ;the children with me

To the King of the Land of Nod.
I

I

am the Sand Man bold!

I come when the night-shades falljThen up to the children my barrow I roll,

And the sand fills the eyes of em all.
7

[Bepeat last seven lines of first stanza.

KING.
Scatter and plod, Sand Man odd;

You 're a trusty old knight of our Land of Nod.
JACK o' DREAMS. [Bomng low to the King.}
I >m the sprightly young,lightly young Jack o;Dreams,And I caper the livelong night,
While my jingling bells, with their tingling swells,
Are the dear sleepy children's delight.
For I jingle them here, into each pearly ear,
And I jingle them there again
j

48

ST.

NICHOLAS PLAYS AND OPERETTASAnd the dreams come and go, and the dreams fall
and flow,

As I jingle my bells again.

And I dart, and I whirl, o'er their brains toss andtwirl,As I scatter the fancies odd;

I >m the child of the night, 1 'm the jolly young

spriteOf the King of the Land of Nod.
KING.

Well spoken, my henchmen bold and true,
Proud knights of the Land of Nod
But tell to me, Sand Man, what do you;

Bring now to the Land of Nod f
Just sample the stock of your latest flock

For the King of the Land of Nod.

SAND MAN.

O sire!

I bring to the Realm of Dreams

The sleepiest set of boys
That ever the sun-king's vanishing beams
Cut off from their daylight joys

The sleepiest, drowsiest, laziest set
In all my travels I ve met with yet?

;

And I 've picked out three as a sample, you see,A sample most funny and odd,
To show you the stock that comprises the flock
Of the King of the Land of Nod.
KING.

Ho fix the couches, Jack o' Dreams,
And you, O Sand Man odd,!

THE LAND OF NOD

40Roll in the boyswithout their noise

For the King of the Land of Nod.
[Low music. 1 Jack o' Dreams arranges andsmooths down the couches, and the Sand

Man returns, bringing in his wheelbarrow
three

littleasleep.

boys in their nightgowns, fast

He and Jack o' Dreams lift themout gently and place them on their couches.

King rises to receive guests.

KING.

[Joyfullij.]

Now nid, nid, nod, my bonny boys.
O Sand Man, it is plain
The stock you bring before your kingYour fealty proves again.
Sleep right, sleep tight, with fancies bright,
On Dreamland's pleasant sod;

The night 's begun, we '11 have some fun,
Says the King of the Land of Nod.

And what, O Jack o Dreams, do you
Bring here to the Land of Nod ?
7

Come let us know what you have to show
To the King of the Land of Nod.
!

JACK o' DREAMS.
Great King!

I bring the sweetest things

That ever you looked upon,
With bangs and curls, and frills and furls
The rosiest, posiest little girls
That ever romped or run;

1

Gottschalk's "Cradle""SlumberSong" (simplified edition); Heller's"
Good-night,"
Song"
Swing Song," by Fontaine""
by Loeschhorn Lange's Blumenlied"Nursery Tale," by
Or a lady may sing "Birds in the
Fradel, or other selection.
Night," by Sullivan.
;

;

;

;

50

ST.

NICHOLAS PLAYS AND OPERETTASThe tightest, brightest, sauciest lot
That ever in dreams I plagued.
I could n't pick better for you

no, not

If you begged, and begged, and begged.

And of these there are three that I wish you to seeThree sleepers so charming and odd
If Your Majesty please, shall I bring in these

For the King of the Land of Nod ?
KING.

Ay bring them in, young Jack o' Dreams,
And you, old Sand Man odd,!

Fix the couches all for the ladies who callOn the King of the Land of Nod.
[Low music, 1 while Jack o' Dreams draws in alittle wagon in which are three very little
girls, in their nightgowns, fast asleep.

He

and the Sand Man lift them carefully out
and lay them on the couches. King, in rapture, bends over each little girl in succession.

KING.

Oh, my pink

Oh, my pet!

You re the prettiest yet

!

7

!

Brave Jack o' Dreams so true,
7

T is very plain that never again

A fairer lot we

'11

view.

Sleep soft, sleep well, O girlies fair,

On Dreamland's pleasant sod,
While the Dream Sprites start in each young heart
For the King of the Land of Nod.
[Stands by the throne and waves his scepter.
1

See foot-note on page 49.

THE LAND OF NOD

61Cling, cling, by my scepter's swing,
beard so odd
By the wag ofmyjDream Sprites small, I summon you all
To the King of the Land of Nod!

Enter the Dream Sprites, each with a chain of flowers.

They

glide in and out among the little sleepers.

DREAM SPRITES.

[In concert.}

We weave, we weave our fairy chain
Roun^l each young heart, in each young brain,

Our dream-spell chain so sweet.
Bright Dream Sprites we, so gay and free
We come with tripping feet, with merrily;

tripping feet,

To dance on Dreamland's sod,
While we weave, we weave our fairy chain
Round each young heart, in each young brain,
That beats and throbs in the sleepy train
Of the King of the Land of Nod.
Enter the Dream Goblin on tiptoe, with finger raised.

DREAM GOBLIN.
But if some children eat too much,

Or on their backs recline,
I jump and bump on all of such,
Until they groan and whine.
'T is not my fault, you '11 all agree
I 'm naught but a goblin, as you see,

And I dance on Dreamland's sod.
But if children will stuff, why that 's enoughI know what to do, for I 'm " up to snuff,"
For the King of the Land of Nod.

jST. NICHOLAS

52

PLAYS AND OPERETTASKING.

Now weave your chains, ye Dream Sprites fair,
And call the Dreams from the misty air.
Stand back, O Goblin odd
Old Sand Man, scatter your sand apace
O er each drooping eye, on each little face
And Jack o' Dreams, jingle your merry bells
Till the tinkling tangle falls and swells,
While trooping from Dreamland's pleasant lanes!

7jCome the Dreams through the ring of rosy chains,
Come the Dreams so rare through the misty air,
To the King of the Land of Nod.

DREAM SPRITES' WEAVING SONGMusic composed by ANTHONY REIFF.l

Andante.

Copyright, 1880, by Anthony Reiff.

THE LAND OV NOD

53

fe$==tCome,

air;

Come

Come

to

to

these

chil

these chil-dren

come,

-

dren

fair.

come,

fair.

Soft

pp

and

low,

54

ST.

NICHOLAS PLAYS AND OPERETTAS

Soft

and

Sing

to

Dreams of

low,

Sing

to

each

list'ning

the

air,

each list-'ning ear,ear;

ap - pear!

Fall

Here

and flow,

ap - pear,THE LAND OF NOD

55

Da Capo dal Segno al Fine.

Here ap-pear, Dreams of the air, ap-pear!

KING.
Here, here, children dear!

Now, by my scepter's swing,
I hold you all in my mystic thrall,Fast bound in my fairy ringjEyes bright closed tight, rest ye on Dreamland's sod.
As your slumbers you keep, speak the language ofsleep

To the King of the Land of Nod.

Sfx* LITTLESLEEPY-HEADS.

[Sitting up in bed, facing

the audience, and nodding their heads sleepily.]

We arek Little Sleepy-heads just from the earth,

To visit the Land of Nod.
Our lessons are over, and so is our fun;

And after our romp, and after our run,
Right up to our beds we plodj

And when mama is kissed, and prayers are said,Why

we drowsily, dreamily tumble in bed,

And are off to the Land of Nod.
[Fall sleepily on their couches again.

56

ST.

NICHOLAS PLAYS AND OPERETTASKING.

Now raise the call, my subjects all,As ye gather on Dreamland's sod.
Bid the Dreams appear to the children here
And the King of the Land of Nod.
INCANTATION CHORUS [All sing]Music by ANTHONY EEIFPJ

is

_

.

s

Mer-ri- ly, mer-ri - ly

here

we

sing, Cheer-i-ly, cheer-i

1

-jg

p-

^

~!*T

Copyright, 1880, by Anthony Reiff.

-lyTHE LAND OF NOD

let

it

ring,

hith - erlightly,

0!

""' "

^*^^

'

I

Come

^

mist - yRing, ring thro' the3^S^5 ~r

Sprightly, 0!

67..

at our call; Hith-er

come, Hith-er come, one

and

all!

air;

_

come,

Hith-er come,d-tshith - ercome, Come to these chil-dren

fair.

:

cr

58

ST.

NICHOLAS PLAYS AND OPERETTASSECOND CHORUS.
4s

Glid - ing,

hast - en,

Dream-land's sod,

girl

and

slid - ing,boy.

Quickly, oh, quickly

A-sleep,

we

of

joy

a - sleep

on

full

bid

you come.

&
Drow - si - ly,pdrow - si -ly,Crooning with buzz and hum,

-*f-

^

=M

THE LAND OF NOD

tJ -To

"*'

'

'

-*
the King

Says the King of*'*of the Land of

the La_nd

*-

59

-*-

Nod, The King of the Land of

of

Nod.

Buzz-buzz,

EfEElfeEfeE

f

23E5==fBuzz - buzz,

Says

the Kingofthe Land

of

Nod.

60

ST.

NICHOLAS PLAYS AND OPERETTAS[As the buzz-buzz chorus is repeated, with nodding motion and music accompaniment, theSix Dreams silently enter and stand behindthe little sleepers.

THE DREAM PRINCE.

[Steps in front of first little girl ]I 'm the gallant Prince of the Fairy Isles

That float in the mists of story,1

7

m the glittering Prince of the Realm of Smiles,
And I tread the paths of glory.

I call the bright flush to each eager cheek,

As my deeds are read with rapture,
And the dangers I face and the words I speak
Are certain all hearts to capture.
Oh, I Ve danced in the brains of countless girls,
As they Ve read with joy the story

Of my wondrous treasures of gold and pearls,

And my marvelous deeds of glory.
I 'm the Prince who glitters on many a pageOf many a fairy story,
Ever young and brave, as from age to age
I reign in perennial glory ;And I come to-night at the call of my King,To dance through your sleep, dream-laden,

And many a happy thought to bring
To my rare little, fair little maiden.
[Shakes his sword aloft.

Here 's my strong right arm, that shall shield from

harmThis Queen of my Realm of Story;

I 'm your Prince so true, and I come to you,

Filling your dreams with glory.
[Steps behind her again.

THE LAND OF NOD

61

KING.

Right gallantly spoken, my brave young Prince
No knight of my realm has trod
More loyal than you for the pleasures true
Of the King of the Land of Nod.

MY LADY FORTUNE. [To first little boy.]With My Lady Fortune's wheel,
Turning ever, woe or weal,
Into every life I steal,

As to you, my boy.
Listen, while I tell to you
All I 'm able now to do,Ifmy aid you rightly sue,
For your future joy.

With my wheel, I '11 turn and turnAll the joys for which you yearn

High and leaping thoughts that burn
In your heart so bright.
Wealth and health, and honor, too,
All that 's noble, brave, and true,

With my wheel I turn for you
In your dreams to-night.
But, my boy, remember this
Guard your heart, lest Fortune's kiss
Turn your noble aims amiss
To the ditch of pride
Wealth and health may sometimes pall;

Pride e'er goes before a fall
With good luck be wise withal;j

Never worth deride.
Fortune comes from patient heart,

;

;

62

ST.

NICHOLAS PLAYS AND OPERETTAS

Pleasures, too, from kindness start.

Luck from pluck should never partSo, my boy, be strongEver to yourself be true
Help the needy ones who sue

;

!

,

j

Upright be and manly, too,
Victor over wrong.
KING.

Hurrah for My Lady Fortune's wheel!

May it turn full many a rod,
Never for woe, but ever for weal,
Says the King of the Land of Nod.

OLD MOTHER GOOSE.

[To second little girl.]

Over the hills and far away,
Sailing aloft on my broomstick gay,
Out from the Land of the Long Ago,
Out from the Realm of the Want to Know,
Scattering song-seeds high and low,
Travel I fast to the children.
Into your dreams I bring to-night

Snatches of song and of story bright,

Glimpses of what you know oh, so well
From the man who cries, " Young lambs to sell,"!

To the poor drowned kitty and ding-dong bell,

And dear old Mother Hubbard.
Old King Cole and his Fiddlers Three,
The Wise Men sailing their bowl to sea
Humpty-dumpty, the Mouse in the Clock,;THE LAND OF NOD

63

Taffy the Welshman, who got such a knock,
Little Bo-peep and her tailless flock,

And the House that Jack Built jumble.
Soon from your life I fade away;

Treasure, my dear, to your latest day

The songs I Ve sung and the truths I Ve taught,
The mirth and laughter that oft I Ve brought,
The sense my nonsense has ever wrought,
And the blessing of Mother Goose.
KING.

Dear Mrs. Goose, I 'm proud to see
You here on Dreamland's sod;

And ever to you my castle is free,
Says the King of the Land ofJNod.

THE GOBLIN CAN-AND-MUST.
Clank

!

clank

!

[To second little boy.]in my dungeon dank,

I live far down among chains and dust ;And I say to each girl, and I say to each boy,17

m the grim old Goblin Can-and-Must.

When they go to bed ugly, and cross, and bad,
Leaving mother and father so sorry ami sad,
Then I come and I stand and I say:[Shaking his finger.
Little boy, little boy, you are wrong, you are

wrong

!

And this is the burden of my song:

.What your parents say do should be easy foryou,

And you can and must obey.

64

ST.

NICHOLAS PLAYS AND OPERETTAS

Yes, you can and must do right, do right;And however you squirm and twist,
I shall come and shall stand in your dreams at night ;And they '11 never be happy, and never be bright,
Until love your heart has kissed,

And you 're ready to say, on the very next day,"

My parents I can and must obey."

Then away from your dreams to his chains and dust
Will vanish the Goblin Can-and-Must !

KING.

You 're out of place, Mr. Can-and-Must
From pleasant Dreamland's sod

!

Go

!

There 's not a boy
Can-and-Must shakes his head, andpoints to second little boy in proof of hisstatement.

[Here

What

no ?

Why,

sho

!

Says the King of the Land of Nod.

QUEEN OF THE DOLLIES.

[To third little girl]

Little one, pretty one,

Sleeping so sound,

Resting so calmly on Sleepyland's ground,Open your heart to a dream of delight,
Open your dream-lids for me, dear, to-nightOpen your dream-eyes to see what I bring,
Open your dream-ears to hear what I singj

List to me, turn to me, here as I stand,

The Queen of the Dollies

From bright Dollyland.

;

THE LAND OF NOD

65

Small dreamer, wee dreamer,
Into your heart

Now, with my fancies and visions, I dartj

Visions of dollies all satin and puff,
Visions of dollies in azure and buff,

Cloth of gold, silver thread, velvets so rare,

Gossamer laces, fair faces, real hair,
Bonnets, and bracelets, and jewels so grandOh, sweet are the dollies

Of bright Dollyland.
Precious one, little one,

Come, will you go
Off with the Queen to the wonders she '11 show ?
Make your own heart, then, a land of delight,
Fair with life's sunshine, with love's glances bright.

Then shall we float, dear, in dreams soft and sweet,
Oif to the joy-gates and down the fair street,
Into the palace, and there, hand in hand,
Reign both

Queens of Dollies

In bright Dollyland.

KING.

And I will go, too, fair Queen, with you,
To Dollyland's beautiful sod.
Yes, your Majesty bright, we will go to-night,
Says the King of the Land of Nod.

THE DREAM PRINCESS.

{To third little boy.]

Daisies and buttercups lowly bend-

Bend for me as I pass;

For the Queen of the Dreams to this boy doth send

66

ST.

NICHOLAS PLAYS AND OPERETTAS

His own little, sweet little lass.
roses bright, and violets, too,Rejoice as so swiftly I pass;
1 shall dance and nutter his day-dreams throughI 'm his own little, sweet little lass.

O Powers above!

In your infinite love,

Make him gentle, and brave, and strong;
Make him fearless and true, and manly, too,As ye hasten his years along.

O Prince of the Isles of Beautiful Smiles,
Send us pleasure and happiness rare
Send us favoring tides as our ship gaily glides;

Down Life's flowing river so fair.
KING.
Well, well, my brave boy, there '11 be nothing but

joy
In your pathway

so soon to be trod.

May this sweet little lass make it all come to pass,
Says the King of the Land of Nod.

JACK o' DREAMS. [Rushing in at right]
Great King the sun is on the run
The lamps of day to light.
!

'T is time to go, oho

!

oho

!

With the vanishing shades of night.
Dismiss your court, break off your sport'T is time that your way you trod

Around Cape Horn, ere day is born,
To the opposite Land of Nod.

;

THE LAND OF NOD

67

SAND MAN. [Rushing in at left.]
Great King, for you
Too true, too true
The horses of night I Ve hitched
To your chariot grand, and a fresh load of sandInto my barrow I Ve pitched.
!

So, let us be off!

be off!

be off!

To China's celestial sod,
To hold the court, and renew the sport,
Of the King of the Land of Nod.
[Spirited music "Racquet Galop," Simmons,"Full of Joy Galop," Fahrbach, "Boccaccio

March," or other selection.

KING.

[Rising.]

Gather and plod, gather and plod
Up and away from the Land of Nod;!

SAND MAN AND JACK o DREAMS. [Together.]
Goblins, sprites, and dreamy ring,r

Gather, gather round your King,

Here on Dreamland's sod.

Bound the world we now must go,
Ere the sun his face doth show
In this Land of Nod.
All the characters form in circle around the children, andall excepting the King sing or repeat together :Music by W. F. SHER WIN.

68

NICHOLAS PLAYS AND OPERETTASST.

To THE CHILDREN. Softly.

((

Chil dren dear, Sleep - ing
Pleasures bright Round you-

here,
light,m

Pare you, fare you
chil - drenHap - py

>

r~~*
I

To THE KING.

I

/

well!

Might

-

y

King,

Break

the

ring

all.

Might

-

y

King,

Break

the

ring

To THE CHILDREN.

THE LAND OF NOD

69

Wake! wake! the
i

spell

we break Of the Kingof the Land

of

Nod.

II

-&-

mv

=tH
-fr-

v
.
I

J
Vm

~*

fr-

T

.^
_ti::p-^=^I
'

r-^

<m

+^m

'

KING. [From his throne, using music of first song.}
1 m the jolly old King of the Realm of Dreams,
The sweet, sleepy Land of Nod.
7

But I fly from the sun-king's morning beams
To the Kingdom of Night and the Castle of Dreams
Far away in the Land of NodIn the Chinaman's Land of Nod
For 1 m no good at all when the sunlight streams
7

I am King of the Land of Nod!

[Descends from the throne.

70

ST. NICHOLASPLAYS AND OPERETTAS

Gather round me, henchmen bold and true,

Proud knights of the Land of Nod
Bear your monarch away round the world with you.
j

[To the children.]God-speed ye, dear children!

Whatever you do,Come again to the Land of Nod.
Wake, boys and wake, girls here 's the day shining!

!

through,
Says the King of the Land of Nod.
Standard-bearer

in procession,[All pass off

leading, followed by the King and his Pages,

Sand Man, Jack o' Dreams, Dream Sprites,
As they move off,
Dreams, and Goblins.
they sing in chorus the following:

GOOD-BY SONG
(Use the music of the Incantation Chorus, on page 56)
Tra-la-la, la-la-la, soft and slow,

Singing merrily, now we go
Off through the misty air.
Here is the dawn.
Waken, O little ones
Wake, with the flush of the rosy morn
Tingeing each cheek so fair.
!

Soft we go, slow we go;

now farewell.

Dreamers, awake, we break the spell.
Haste ye from Dreamland's sod
Good night Good morning say King and court.
;!

Rouse ye, O children!

!

waken to sport-

Farewell to the Land of Nod.

THE LAND OF NOD

71

Good-by! Good-by!
Says the King of the Land of Nod
Good-by Good-by
Says the King of the Land of Nod.

;

!

!

[When the last strains of the Good-by Song dieaway, and all is quiet, the Six Little Sleepyheads begin to stir and stretch. Low music,"Nursery Tale," by Fradel, or "Blumenduring which the Six Little
Sleepy-heads sit up on the edge of theircouches, rub their eyes, and finally become
wide awake.
lied," by Lange,

Six LITTLE SLEEPY-HEADS. [All together.]
What aWhat a beautiful dream
oh
Oh
!

!

!

see

the people!

Why!
Oh Mama Mama
!

all
!

Why, where are we?

!

[All run off hastily.

THE GIANT PICTURE-BOOK(A New Style of Tableaux Vivants)

BY G. B. BARTLETT
This curious novelty can be produced with very little trouble
in any parlor, by children, for theamusement of their friends,

or in a public hall.

A little girl dressed in white is discovered on a couch strewn
with picture-books and toys, as if she had fallen asleep at play.
She is dreaming of the pictures as they are shown in the greatbook which leans against the wall in the center at her right.
The Fairy Godmother rises from behind the couch, and stands
on a cricket above and behind the child. She is dressed in red(paper-muslin or some cheap material), with long pointed waist
over a black skirt. Her high, pointed hat and her shoes andstockings are red, and she wears a white ruff about her neck,and another inside her hat, which has a wide black band and agilt buckle.

She holds in her right hand a cane with a bar across the top,
and after saluting the spectators, she sings:

Sleep, darling, sleep!

My fairy watch I keep;

In dreamy visions I call to viewYour childhood's friends so tried and true
Sleep, darling, sleep!

The Fairy Godmother then springs down from her perch, andopens the picture-book (which will be explained hereafter),taking care to open the cover and fly-leaf together, and a lifesize picture is seen
after waiting a moment she shuts theplain or fly leaf, which she opens again as soon as the picture
has been changed and so on, until the effect produced resem;;

72THE GIANT PICTURE-BOOK
bles an actual exhibition of a great picture-bookover its leaves.

73
by turning

When all the pictures of one story or series have been shown,
the Fairy may shut the book, which will be the signal for thecurtain to be dropped, or for the folding-doors in front of thesleeping child to be closed. After all the pictures selected forthe evening have been shown, the characters, still in costume,are displayed in one group around the room, or stage, in asemicircle, which is opened in the center to allow the opened
book, still containing a lovely picture, to be shown also.
After they have remained still in tableau for one moment, theFairy, who has resumed her place upon the high cricket, waves
her cane and sings to some pretty lullaby tune the following
verse, in which all join ; during which the little girl wakes, rubs

her eyes, jumps off the couch into the center of the room, andmakes a bow to each one in orderall;they return her civility, andbow to the audience as the curtain falls.
Wake, darling, wake
For we our leaves must take,And go right back to our picture-book,
In which the little ones love to look.
Wake, darling, wake!

!

Now we must explain how the picture-book is made, as it canbe used hundreds of times for all sorts of pictures. By a littlechange of decoration on the cover, it can serve as a history inwhich historical pictures can be shown, or it can be made toillustrate miscellaneous selections, or some well-known story.
Place a long, solid table against the back wall in the exact center, and procure two boards one inch thick, six inches wide, andjust long enough to touch the ceiling when they stand upright,
leaning against the table. They must fit well, for they must be
firmly fastened to the floor, as well as to each of the front

Having found the exact height of theboards, lay them on the floor, and see that they are straight andFasten upon them
parallel and just four and a half feet apart.
corners of this table.

four strips of board six inches wide and five and a half feet long,

one at each end of the boards, one at thirty inches from theST. NICHOLAS

74

PLAYS AND OPERETTAS

bottom, and one six feet above the last-named. The strips mustbe fastened firmly with two-inch screws to each board, going

through one into the other. Tack white bleached muslin on
the upper strip, and draw it tight by tacking it to the strip next
below then fasten another piece from the lowest strip to theTack both pieces of cloth
strip which is thirty inches above it.
also to the outer edges of the long boards, and cover all thecloth and the boards which show with white or tinted printingpaper after this is done you will have an opening six feet highand four and a half feet wide. Then raise the whole until it isupright, and fasten it to the table by means of the second strip,
which will lean against it, as most tables are about thirty inches
high. If there should not be a chandelier near in front to lightit sufficiently, a gas rod with ten burners in it can be placed on
the inner side of the upper bar, and fed with an elastic tube,
which can be arranged by a plumber at a trifling expense but
unless a very elaborate exhibition is proposed, the ordinary
Shawls or curtains are hung onlight will probably answer.
each side of this frame to the corners of the room, which willallow a passage for the performers, and a chair is placed ateach end of the table so that they can step up and down out of
the frame, behind which a curtain of dull-green cambric istacked on the back wall. The performers are to stand in a line
behind the side curtains, at the right side of the hidden table,
ready to step into the frame the moment the fly-leaf is shut andthe former occupants have stepped down.
The fly-leaf must be made by covering a light wooden framewith muslin, on which printing-paper is pasted. It must be as;;;

high as the ceiling, and five and a half feet wide, and it is hungon common hinges at the right outer edge of the upright board
which forms one side of the frame. Behind these hinges a long
strip of board, two inches thick and the height from the floor tothe ceiling, is securely nailed, to hold the hinges of the cover,so that it can swing freely apart from the fly-leaf without interfering with its motion for although the fly-leaf is often opened
with the cover, it is closed by itself when the pictures are;changing, as the cover is only shut when one set of pictures is
ended. The cover is like the fly-leaf, only that it is decorated

THE GIANT PICTUEE-BOOK

75

with pictures or ornaments at the corners and margin, and if ina large room it might have the title of the story to be shown.
These titles can be made on strips of paper eight inches wide
and three feet long, with black or colored chalk crayons, andcan be changed whenever the curtain is shut. If for the entertainment of little children, the Fairy can tell the stories (which
are too well known to require any description here), or she canread any of the stories aloud if she has no gift at story-telling.
In the sketches of pictures introduced here the very effective

costumes and properties can be furnished in almost any housewith very little trouble or expense, and the skill and taste usedin preparing them will add much to the enjoyment.
Wigs can be made of black and white curled hair, sewed upona skull-cap made of four conical pieces. Beards can be contrived by fastening the same articles, or white llama-fringe, on awire frame, which goes under the chin to each ear, aroundwhich it is fastened.

SERIES No.

1.

CINDERELLAIn the first picture, Cinderella is crouching in the
her head is bowed, and her face is hid in
her hands, as if cryiog at her disappointment in havleft corner ;ing to stay at home from the ball. The Fairy Godmother is bending over the prostrate girl, as if about
to arouse her from her sad reverie, and is pointing up
with her stick, which she holds in her right hand.
Cinderella wears a loose brown robe, under which isconcealed a white muslin dress, richly trimmed withstars and fringe of gold-paper.
The Godmother's
dress and stick are described on page 68 the colors;of it may be altered if preferred.

Second Picture The same characters as in thesame positions, excepting that the Godmotherand Cinderella have changed sides. The loose robe:

first;76

ST.

NICHOLAS PLAYS AND OPERETTAS

has been pulled off, and Cinderella stands proudly inthe center, in a dancing attitude, contemplating withThe Godmother isdelight her beautiful ball-dress.
lifting up a large yellow pumpkin, as if showing Cinderella that her carriage will soon be ready; and abox lies at her feet, to represent the trap in which thehorses are stabled, ready for the trip.
Cinderella
should be a blond young lady, with small hands andfeet, and a graceful, slight figure.

Third Picture
if about to lead

The Prince and Cinderella stand as:

the dance, in the attitude of the old-

his right hand holds hers high, as
she holds her dress with the left. Their left feet are

fashioned minuet;

extended, and their heads turned toward each other.
The dress of the Prince can be made of light-bluesateen, trimmed with puffs of pink on the shoulders
and at the sides he has loose trunks of pink, with;

Two ladies, inlight-blue puffs and pink stockings.
court-dresses similar to those described at the foot ofpage 74, may be introduced, one at each side, to represent other dancers.

Fourth Picture:

Cinderella in terror is flying fromthe ball, her old ragged dress on, and a dingy handkerchief tied loosely over her head.

Fifth Picture
Cinderella is meekly asking thePrince to let her try on the glass slipper, which he
At the left, her angry
holds, standing in the center.
:

sisters turnaway in disgust because they could not
succeed in wearing the slipper. The sisters are dressedvery showily, but Cinderella still wears her old brown
costume, as she stands at the right of the Prince, withdowncast eyes and extended hand.
Sixth Picture:

Cinderella sits in the center.

TheTHE GIANT PICTUKE-BOOK

77

enraptured Prince kneels before her, with the footwearing the glass slipper resting on a foot-stool thecompanion glass slipper she has just drawn from her
The Godmother stands over them, having
pocket.
changed the old brown robe into a ball-dress by her
mystic power, and she seems to be waving her stickin triumph and after this picture has been shown for
one minute, the book is closed.
;;

SERIES No. 2.
First Picture:

JACK AND THE BEAN-STALK

A small boy stands looking up

into his mother's face in terror; her right hand israised above him in anger, as if she intended punish-

ing him for selling the cow to so poor advantage.
She wears a black dress with very high pannier over agray underskirt, a white kerchief over her shoulders,and a high, pointed white cap.
Jack wears red stockings, yellow trunks, a loose redjacket trimmed with yellow points.
left handHe holds in his

a round red cap, which is partly filled withbeans, some of which, being strung separately on fineblack silk, seem to be falling out of the cap.

Second Picture: Jack is climbing up the beanstalk, which is made of a rake-handle or long pole,
one end being fixed in the table, and the other out ofsight in the picture a cross-stick on which he stands
is made of an old broom-handle, two feet from the;bottom of the picture; another cross-stick, five feethigher, he clings to with his hands and all the sticks;

are covered with dark-green cambric.

Third Picture:

The Giant is seated at a table;

before him is the celebrated hen, and behind her sev-

78

ST.

NICHOLAS PLAYS AND OPERETTAS
These are easily

eral golden eggs lie on the table.

made by covering china eggs, or real ones, with gilt
paper, while the hen

is easily cut out in profile, as
is
one
side
seen, on which feathers are drawn
onlywith crayon or stuck with glue. The Giant is partly
concealed by the table, upon which he really kneels,and a large cloak covered with red calico and stuffedwith pillows makes him very large and his head ismade by covering a bushel basket with unbleachedmuslin, on which a face is drawn, red carpet-yarn
being sewed on the back to represent hair.
Fourth Picture: Jack and his mother sit one ateach side of a table, contemplating with wonder thehen and the two bags of gold. The table used in allthese scenes is only a board ten inches wide, covered
with a white cloth and furnished with rough legs
which do not show.
Fifth PictureJack is raising his hatchet to cut
down the bean-stalk, and by his side is an enormous;:

golden harp, which is made of pasteboard in profile,
covered with gilt paper.

SERIES No.
First Picture

3.

:

BEAUTY AND THE BEAST
The merchant is taking leave of

his daughters; Beauty is in the center, winding ascarf around the neck of her father, while her proudsisters standone at each side, with extended hands,

as if urging their father to bring them rich and costly
attire.

Beauty looks down, as if too modest to ask

for any gift but a rose.

The sisters weai silk dresses of as brilliant color as
they can find, with long trains and square necks which

THE GIANT PICTUEE-BOOK

79

are easily contrived by sewing a square of white muslin

upon the dress-waists of their mothers' dresses,

the skirts of which will do for court trains.

Their hair is rolled over a cushion, powdered, anddressed with feathers or flowers, which can be borrowed from bonnets. Beauty wears a plain loose
waist of white muslin over a plain black skirt.

Herhair falls loosely.

The father has a square-cut suit to arrange which,fold the skirts of a sack-coat away in front to form
square corners, which, with the lapels, must be facedwith white paper-muslin. The vest is covered, andalso lengthened a quarter of a yard in front, with thesame, and large flap pockets are added.
Pantaloons rolled to the knee do very well forbreeches, with long stockings and low shoes, and a

can be pinned into a chapeau by turning up
one side and fastening the other corner into a point.
Second Picture: The father is plucking the rosefrom a bush which stands in the center, covered withpaper roses. The Beast, with uplifted club, seems
about to destroy the old man, who stands with knees
together and hands down, in a comic attitude offelt hatdespair.

The Beast wears a fur cloak or mat over his shoulders, pinned around his waist and reaching to hisknees below the tops of long pink stockings. His
arms may be bare, and he wears over his face a mask,

which may be bought at a toy-shop, or made of brown
paper.

Third Picture:

The father introduces his daughterto the Beast, who stands as if bowing low at the right.

Beauty is at the left, drawing back and making a

ST. NICHOLAS

80

PLAYS AND OPERETTASShe is dressed as before, with the addition
courtesy.
of a shawl pinned over her shoulders, and a red handkerchief over her head.

Fourth Picture Beauty's return home, in which
scene she is embracing her old father, who seems in:raptures they are in the center, while the proud sisters stand one at each side, one looking off in anger,;

and the other gazing with envy at the happy pair.
Beauty has a rich silk dress of a style similar to thatshown in the first picture.
Fifth Picture: Beauty is asleep in her chair inthe center, while her sisters bend over her in triumph,

one holding a vial containing the sleeping-draught, ofwhich they have administered a dose in order to makeher overstay her time and break her promise to theBeast.

Sixth Picture:

Beauty stands weeping over the

body of the poor Beast, which is represented by a rollof dark shawls, around which the robe of the Beast is

wrapped, as his head and feet would be concealed by
the sides of the frame her face is covered with her
hands and she seems overwhelmed with grief.
Seventh Picture: A handsome prince is kneelingjat the feet of Beauty, who is overjoyed to find in him
her faithful Beast, restored to his form and rank
through her fidelity and truth. His dress can bearranged with a lady's velvet basque, with an opera
cape across the shoulders, a pair of white satin
breeches made of paper-muslin, long white hose, andlow shoes with large bowsleft;

a sash may cross from theshoulder to the waist, in case the basque is too

small to meet neatly in front.

SHADOW-PANTOMIMESBY HERMAN H. BIRNEY

YOUNG persons often wish to give an entertainment'which will be interesting without involving too muchlabor inits

Shadow-pantomimes

preparation.

1

an-swer this purpose admirably.

There are no speaking-parts to be learned, and any
boys and girls can do the required acting. As forobjects of scenery and striking points of costume, thesecan be cut out of cardboard, newspaper, or anything

shadow indeed, all the characters,
andsurroundings are shown only by theircostumes,
shadows.
These are cast upon large translucent
that will cast a;screens, or, better still, upon a sheet so suspended as
to divide the actors from the spectators.

A double doorway between rooms affords an excellent place for this screen, which should be stretched
If the sheet be wrung
across as smoothly as possible.

out of water before being stretched, it will dry smoothand tight. Where the space requires a larger surface,
two or more sheets may be stitched together to form
the screen.

Next in importance is the light, which may be anything from a magic lantern down to a tallow candle.

One person should be delegated to manage this lightbehind the screen, and another the lights in front of1

See also a shadow-play, "The Modem and Medieval Balladof Mary Jane," by Henry Baldwin, in this volume.
6

81

82

ST.

it ;

NICHOLAS PLAYS AND OPERETTAS

for the spectators' room must be darkened during

the performance.

The best way to "drop the curtain" is to obscure
the light behind the screen, and at the same time toturn up the lights in the spectators' room.

The light which is to cast the shadows should be atsuch height and distance behind the screen as willbring the shadows of the actors into the proper places
and make them of the desired size. The actors should
try to keep as close to the screen and as much in profile as possible
and care should be taken that their;arms, and any objects held in their hands, such as

pasteboard weapons, canes, baskets, etc., cast distinct,
characteristic shadows.
Let us take one performance in detail. Almost

any dramatic poem, song, or story may be chosen for
shadow-pantomime. It should be clearly sung or recited while the actors perform their dumb-show.
I
shall give you the well-known tragic story, " The Ballad of the Oysterman," written by Dr. Oliver Wendell
Holmes. This has been found easy to represent, andhas often proved to be a decided success.

While the words are being very distinctly sung or
spoken, the actors do their shadow parts to the bestof their ability.
The illustrations given with the ballad show some of the more striking situations, but thegestures will be found to add very greatly to theireffect.

In this, as in all other amusing performances,

liveliness of action must be tempered by moderation,and the acting must be in perfect keeping with thestory to be represented.
The effect of river-banks

may be given by tables,
one on each side of the stage, covered with any thickSHADOW-PANTOMIMES

83

Irregularities in the contour of the shores arecloth.

readily made by various objects placed on the tables

under the cloth, and near the screen, so as not to interfere with the actors when they are obliged to standon the tables.

Water is well represented by mosquito-

the sort without cross-bars

nettingor coarse tarla-tan, reaching from table to table, a few inches behindthe screen.

If

held at the upper corners by hidden

assistants, and very gently waved or shaken, the effectisimproved.
If it be desired to present the " tragedy " after themost approved style, the water is best arranged asfollows
screen,:on

Suppose
which

the
the

shadows are thrown, to be
stretched across a wide
Small screwdoorway.
pointed hooks should bescrewed about six inches
apart into the edge of thedoor- jamb, two on eachside, at the height intended

for the water-level in thefirstpart of the perform-

ance,

and two more oneach side at the water-level for the last verse.
A
triangular block of wood should now be hung byscrew-eyes to these hooks, as shown in the illustration,
the base of the block resting solidly against the wall,its

apex projecting.

Wires should be run from thecorners of this block to a similar piece on the opposite

Now the edge of a broad pieceof plain mosquito-netting should be sewed or threadedside of the doorway.

84

ST. NICHOLASPLAYS AND OPERETTAS

along the lower wire, and the rest of the netting
thrown over the upper wire from behind forward,
and allowed to fall to the floor, thus forming a slanting double layer of netting
above, and a perpendicularThis arsingle layer below.
inrangement gives,
shadow,
the effect of a perspective
view of the surface of thewater, and a perpendicularsection beneath the surface.
It

also

makes

it

easy

to

change quickly the depth of the water for the final
scene, by simply raising the blocks from the lower tothe upper hooks.

The fish, and other properties cut from pasteboard,

may be stationary or movable, as preferred. If fish
are to swim, they may be pulled along on strings orfine thread- wire.

The moon is cut from pasteboard, and suspended
The expression of the face can be changed, when desired, by asimple pivoted card, provided with threads for movby strong thread from above the door.

ing it up and down.

The eye may be made to wink

the " eyelid" being held up by a weak rubber-band,

which replaces it after a " wink."

As thefirst lineof the fourth verse is read, theoysterman should leap away from the screen at an

(SHADOW-PANTOMIMES

85

angle, so that his shadow is not seen to cross the
If the doorway be narrow, the table on whichriver.

the oysterman stood should now be pulled to one side,and the other table be brought farther out to give
more room to those who act upon it.
Before the last verse there is a necessary intermission of a few minutes in order that the scenery may

be changed. For this last scene everything should
be in perfect readiness to be put in place the momentthe " curtain is dropped' in the manner previously
7

suggested.

THE BALLAD OF THE OYSTERMAN

1

Words by OLIVER WENDELL HOLMES.
Arranged for Pantomime by H. H. BIRNEY.

1.

LBjt

v*

was

There
p

j_

._pi

by

the

riv

on

the

m

m

-

a

gay young oys - ster - man lived

^^

__|

ii"rz:q^nrhrzzirriside ;

His

er

bank,

a

-

The daugh - ter

was

boat

his

of

it

shop

a

on

fish

was

the

r er - man,

up

tide.

she

Accelerando.

jRitardso straight and

slim,

Lived

o

-

ver

on

the

The words of this ballad are printed by kind permission of
Houghton, Mifflin & Co. The music is used by permission of
Oliver Ditson & Co., owners of the copyright.
1

86

ST.

oth

-

NICHOLAS PLAYS AND OPERETTAS

-

-

him.

er

shore, righta

Rook - che - took, che - took - che - took - che,

op

po

to

site

1
With

Whack!

fol

-

lol

-

did

-

die

-

lol

-

la

-

day.

II

I

THERE was a gay young oysterman lived by the riverside;

His shop it was upon the bank, his boat was on thetide.

The daughter of a fisherman, she was so straight andslim,

Lived over on the other shore, right opposite to him.

CHORUS.

SHADOW-PANTOMIMES

87

III

It was the pensive oysterman who saw the lovely maid,

Upon a moonlight evening, a-sitting in the shade;IV

He saw her wave her handkerchief, as much as if tosay," I 'm allaway.

alone, young oysterman, for daddy 's

gone
CHORUS.

88

ST. NICHOLASPLAYS AND OPERETTASVThen spake the gallant oysterman, and to himself saidhe,"I guess I '11 leave the boat at home, for fear the folks

might seej

VI

I 've read it in the story-books, that for to kiss his

dear,

Leander swam the Hellespont, and I will swim thisCHORUS.
here."SHADOW-PANTOMIMES

89

VII

Then he has leaped into the flood, and swum the shining stream,

And he has clambered up the bank, all in the moonlight gleam,vm

And there were kisses sweet as dew, and words assoft as rain j

90

ST.

NICHOLAS PLAYS AND OPERETTAS
IX

But they have heard her father's

steps,

leaps again.

Out spake the ancient fisherman,
that,

u; T

"

and in he
CHORUS.

Now, what was

my daughter?"

was nothing but a pebble, pa, I threw into thewater."SHADOW-PANTOMIMES

91

XI

"

And what is that, pray tell me now, that paddles off
so fast?"" 'T

is nothing but a porpoise, pa, that 's been a-swim-

CHORUS.

ming past."

xn

Then spake the ancient fisherman":

Go, bring me

my harpoon
my fishing-boat, and fix the fellow soon."!

I '11 jump into

92

ST.

NICHOLAS PLAYS AND OPERETTAS

Down fell that lovely innocent, as falls the snow-whitelamb,

Her hair dropped round her pallid cheeks like seaweed round a clam.
CHORUS.

XIII

Alas for those two loving ones she waked not fromher swound,And he was taken with the cramp, and in the stream!

was drowned
But fate has metamorphosed them in pity of their;woe,

And now they keep an oyster-shop for mermaids
down below.

CHORUS.

THE MAGIC SWORDBY KATHARINE PYLE
The jars of candy, Noah's Ark, and music-box for the firstact are painted scenery, and should be in such proportion to
the actors as the real ones would be to the toys that is, five or
six feet in height.

The

doll's-house furniture in the second

should be of the usual

and third scenes

but copied as closely as possible

size,from toy furniture.
The gestures and movements of the actors should be stiff andmechancial, as toys might be supposed to move.
The BEAR'S costume can be hired at a good costumer's but
if this is not convenient, a suit may be made of brown Canton
flannel, sewed into a loose shape, somewhat like that of a little
child's night-garment, the sleeves and legs ending in mittens
and stockings of the same material. Make a mask of cardboard
resembling in shape a blunt cornucopia, cover with Canton flanSew ears ofnel, and end it in a hood that draws over the head.
A bearskin rug may be fasflannel on in the proper places.
tened about the body over this costume, and the whole sewed;

up the back with large stitches that will rip easily.
JACK wears a mask, and in the first scene a harlequin suitand stiff, pointed cap. In the second scene he wears a long,narrow gown of checked calico, and a pointed cap of the samematerial, mask, and white beard.
ROSALINE has a blond wig her cheeks are painted very red,and her eyebrows are painted, highly arched. Her costume forthe first scene is a slip of white paper-muslin, trimmed withcoarse lace, through which are run pink ribbons. In the second;

scene she wears a pale-pink slip.

The OLD DOLLS are dressed in stiff, old-fashioned silk frocks,
93

94

ST.

NICHOLAS PLAYS AND OPERETTAS

cheeks very red, eyebrows arched, and have smoothly banded
black wigs.

The TOY SOLDIERS are costumed in imitationof the wooden

soldiers that may be bought at any toy-shop.

ACT I
Shelf in Old Mother Candytop's toy-shop.

SCENE.

Jars ofdifferently colored stick-candy, a Noah's Ark, and a music-box
in the background.
Wooden Soldiers are standing in a row.

There is a harlequin Jumping- Jack, and against the wall leansa beautiful Doll, wrapped up as high as the arms in brown
paper and twine.

A clock strikes twelve.
as it was;For an instant afterward all remains
then the music-box plays for a short time, the Toy

Soldiers present arms, and the Doll turns her head stiffly fromside to side, and looks about her.

Now the mother of the toys is fast
the shop is shut up so that people could

JUMPING-JACK.
asleep in bed;

and we toys canhave things all our own way. Hey, there you soldiers, what are you about ?
TOY CAPTAIN. Don't interrupt us. I must keep mysoldiers in good drill, for who knows but that we may
be sold almost any day ?
JUMPING-JACK. Stupid things
Just as if it would
make any difference if you were
You would have to
as
if
were
in
still
the
keep justyounursery as you are

not come in to buy if they wished to

j

!

!

!

here.

TOY CAPTAIN. Attention
Forward, march

arms

!

!

Present arms!

Shoulder!

[Toy Soldiers march off.

JUMPING-JACK.

How I hate them all!

They are

THE MAGIC SWORD
so stupid

!

Now I

'11

95

make a face at that doll, andscare her.
[Makes a face.

DOLL. [Covering her face with her hands.] Oh, oh!
There is that dreadful Jumping-Jack again
I hate!

the sight of him.

me

Please stopmaking

faces

at

!

JUMPING-JACK. Then why don't you come and talkwith me ?
DOLL. You 're so wicked that I 'm afraid.
You
made such faces at the plaster cat that it split all down
the back, and had to be thrown out on the ash-heap.

JUMPING-JACK. Then you 'd better take care,maybe I '11 make faces at you.
DOLL. No, no you must n't, you wicked toy

or

!

;

JUMPING-JACK.
talk with me.

[Fiercely.]

Yes, I will

unless you

He is dressed in a

[Enter the Fairy Prince.

tunic of shimmering silk, and wears a sword
at his side.

FAIRY PRINCE.
Star gleam,

And moonbeam!

Quick as a flash I slip through the window, and here
I am
But what a strange place it is[Looking at
the Noah's Ark.]
Never before did I see a house likethat no bigger than a fairy's house might be.
[Examining the music-box, which plays for a moment or tivo.]
And such a queer chest, with music coming from in!

side of it!

!

[Sees the Doll]

Who are you
DOLL.

I

?

am a doll.

Oh, you beautiful fairy!

PLAYS AND OPERETTAS

ST. NICHOLAS

96

A dollFAIRY PRINCE.

What is a doll ?

!

Pray,

tell me.

JUMPING- JACK.

A poor thing made of wax and clothand sawdust.
FAIRY PRINCE.

O beautiful Doll, come with me tothe court of the Fairy Queen, and she will change you
into a real fairy;

and you shall be named Rosaline;

for your cheeks are as pink as rose-leaves, and not a
fairy in all the court is so beautiful as you.

DOLL. Indeed, I will gladly go with you.
JUMPING- JACK. Ah, but wait a bit for I shall havesomething to say to that first.
FAIRY PRINCE. You ?
JUMPING-JACK. Yes, I, the Jumping-Jack of the toy
I have frightened the toy horse till he could
shelf
not stand I have made such a face at the toy cat that;!

;and if you try to take the Doll away I will
make a face at her, too and then aha
FAIRY PRINCE. Then out, my Magic Swordit split ;

!

;

!

[He draws his Magic Sword arid points it at theJumping-Jack.

Magic blade, and hilt of gold,

Work the charm as thou art told!

Let his face be stiff as if made of wood, so that hecannot stretch or twist it
JUMPING-JACK. Ow Ow He has bewitched me so!

!

!

that I cannot move my face at all

FAIRY PRINCE.

!

And now, beautiful Doll, let

us

away.
I am so wrapped up in paper
DOLL. Yes, but see
and tied about with string that I cannot move.
!

THE MAGIC SWORD

97

FAIRY PRINCE. Then come once more, my Magic

Sword

!

[He cuts through the string, and lays the sword

down beside him, while he helps

the Doll

unwrap and step from the paper. Thenhe drops on one knee and takes her hand in
At this moment the Jumping-Jackhis.
creeps up toward them and steals the Magicto

Sword, hiding it behind him.

FAIRY PRINCE. There

away

!

You are free.

And now

away to the court of the Fairy Queen!

KP
JUMPING-JACK. But first let me see if the Magic
Sword will not work for me as well as you. [Pointing
ittoivard them.]

Magic blade, and hilt of gold,
Work the charm as thou art told

1

98

ST.

NICHOLAS PLAYS AND OPERETTASLet the Doll sleep and forget everything until to-morrow night, when the toys awake again!

DOLL. Oh, I am going to sleep I feel that I 'm
going to sleep
My eyelids weigh like lead. Farefarewell!
well, Fairy Prince, farewell!

[She sleeps.

FAIRY PRINCE. [Springing toward the Jumping-Jack.]
Give me back my sword.
Ah, wretched toy!

JUMPING- JACK. [Pointing the sword at the Prince.}
Stop! [The Prince stands, unable to move.} What fateis there bad enough for you ?
You shall be changed
into a mechanical bear and in that shape you shallwander through the world until you hold the fairy
sword in your hand once more, and when that timecomes you may turn its shining blade toward me.
Ha! ha!
;[The Fairy Prince shrinks back in dread andthe Jumping-Jack stands, holding the Magic
Sword triumphantly above him, while themusic-box plays in the background.
;

ACT IIThe doll-house. The Old Dolls are sitting in a row
wooden chairs. Tlxe New Doll, Rosaline, sits in
the rocking-chair beside the table. At one side of the room
SCENE.

in three redlarge square chest covered with green-and-whiteehecked paper, and fastened with a hook like that of the well-stands aknown toy jack-in-the-box.
The cuckoo-clock is heard crying the hour of twelve in the
There is a moment of silence, and then the
Old Dolls rise stiffly, and the New Doll turns her head from side
to side, and looks about her.
nursery outside.

NEW DOLL. Where am I?

OLD DOLLS. This is the doll-house.

THE MAGIC SWORD

99

NEW DOLL. And how did I come here ?
OLD DOLLS. You were brought here all done up in
paper, just as we were long ago for yesterday was;

Christmas.

NEW DOLL. And am I to live here always ?
OLD DOLLS. Yes, you will live here until you breakand you will be the mistress of the whole house, because you are so beautiful and new.
NEW DOLL. [Sighing.] Ah, me
FIRST OLD DOLL. Why do you sigh ?
NEW DOLL. I sigh when I think of the Fairy Prince,and how he, too, told me that I was beautiful.
FIRST OLD DOLL. We have never seen a fairy
prince; but we have as neat and tidy a little dollhouse as any one would wish to see.
SECOND OLD DOLL. Yes and look at the little tables
and chairs, and the little gilt clock that almost looks
;

!

;

real.

NEW DOLL. Yes;

it is very lovely.

Prince could but see it

FIRST DOLL.

Ah, if the Fairy!

And look at the sideboard full of little

china dishes, pink china ham, and china chicken, andshiny china bread.

NEW DOLL. And what is in that box over yonder?
SECOND DOLL. That we don't know. It was a Christmas present, too, and it does n't belong in the doll-house.
NEW DOLL. Then why was it put here ?
SECOND DOLL. That we don't know, either.

NEW DOLL. Let us look in it.
is something in it that is

the restIt

may be that there

more beautiful even than all

something such as they do not have even in

Fairyland.

100

ST.

NICHOLAS PLAYS AND OPERETTASOLD DOLLS.
JACK.

Better not open it.

[Anxiously.][Sings inside the box.]

Open the lid!

Open the lid!

Here inside of the box 1 'ru hid.
Oh, what a wonderful sight you '11 see
If you only will open the lid for me!

NEW DOLL. Whatever it may be inside there, it isasking me to let it out.
OLD DOLLS. Do not open it
JACK.

!

[Sings inside the box.]

Everything in the house is thine.
Open, then, beautiful Rosaline!

NEW DOLL. Do you hear ? Whoever it is is callingme by the name that the Fairy Prince gave me. And
now indeed I must open it for who knows but what
it may be the Fairy Prince himself ?
;[She unhooks the lid. The Jumping-Jack flies
up with a squeak. The Dolls shriek.

JACK. Not the Fairy Prince, beautiful Rosaline;
but nevertheless it is one who carries the prince's

magic sword.

Don't you remember an old friend likeme?

NEW DOLL.

Alas!

I remember you indeed.

You

are the Jumping-Jack.

JACK. Yes, the Jumping-Jack himself.

With theprince's sword I made myself a box, and fastened
myself in, and followed you here and it was only
necessary that you should let me out for me to haveyou in my power once more;!

10?;CEOIfAS PLAYS/AND OPERETTAST;(OLD DOLLS. Shut the lid
fasten him in once more

Oh, shut the lid, and!

!

[Jack steps out of the box. He is dressed ina long, tight dress of green-and-whitechecked calico, and wears a pointed cap.

JACK.
[TurningI

can close theto the Doll.]

and fasten

lid

it

myself.

Ah, lovely Doll, you thought

you had escaped me but it is not so easy to freeyourself from Jumping- Jack, ugly and despisedthough he may be. [The Dolls hide their faces, tremNot quite so beautiful here as in the fairy's
bling.]
court, perhaps; but still it will do as a makeshift.
;

And we will live here always, just as the Dolls said
and you shall be my servants for I am still the mas;ter of the Magic Sword.

ACT IIISCENE.

The doll-house.

Jack is eating at the table.

The

Dolls are serving him.

JACK. [Pushing back his chair.] My spring andwhiskers but that was the best meal I Ve had formany a long day. A china ham, a china chicken, and!

a whole china loaf!

Here, you lazy Dolls, youmay

put the dishes away now. [Stretches and gapes.] How
Just the place
Oh, what a soft sofa
sleepy I feel
at
shall
sit
for a nap and, Rosaline, you
my head and!

!

;sing me to sleep.
[He stretches himself on the sofa.

The New

Doll sits at his head.

ROSALINE.

[8ings.]

The shelf was gay, and the moon was bright,
When I saw the Fairy Prince, one night.

THE MAGIC SWORD

103

Now sadly I think of him, and weep
Jumping- Jack, are you yet asleep ?
[Jack yawns.

His eyes were as bright as bright could be,
Like the shining balls on the Christmas tree;

But he vanished away while I slumbered deep
Jumping- Jack, are you yet asleep ?
[Jack snores.

ROSALINE.

Hark!

A soft knocking is heard at the door.
Some one is knocking.
[Soft knocking again.

BEAR. [Singing outside.]Black and grim in my hairy hide,
I wander over the nursery wide.

What care I if I sleep or wake ?
Ah, if my stitches would but break!

ROSALINE. There is some one singing outside.
Look from the window, and tell me who it is but stepjsoftly, for the Jack is asleep!

FIRST DOLL. I see nothing but the great nurserywindow, and the mantelpiece high up above the housetop and I hear nothing but the ticking of the cuckoo;

clock in the nursery outside.

BEAR.

[Sings.]The nursery 's dark and the nursery s wide,
And my works they grumble and growl inside.
Who would guess, as the} look at me,
How bright and slender I used to be f
7

7

104

PLAYS AND OPERETTAS

ST. NICHOLASROSALINE. ThereI!

Look once

hear it again.

more, and tell me, do you still see nothing ?
SECOND DOLL. I see nothing but the pattern of thenursery carpet, and the two great, black, hollow shoesthat the child Ann took off last night.

BEAR.

[Sings.]As fair she was as a doll could be;

Her cheeks were red, and she smiled at me.

Would she know me under this hair of mine
The beautiful waxen Rosaline?
Now I can bear it no longer

ROSALINE.

see for myself

!

I

must

who is singing outside, even if theJack should waken.
[She goes on tiptoe to the door and opens it.
The Mechanical Bear stands without.

ROSALINE.

Ah!

What a terrible bear!

shut the door, but he slips his[Shehairy paw within so that it will not close.
tries toBEAR. Wait but a moment, beautiful Rosaline.
ROSALINE. What do you want here ?
BEAR. Only to come in and rest awhile.
ROSALINE. No, no that you cannot do for if mymaster were to waken and find you here, he would be;;in a fine rage.

BEAR. But I will step so softly on my padded feetthat he will not so much as turn in his sleep.
ROSALINE. Then come in.
[She opens the door, and the Bear enters.

OLD DOLLS. Oh, how ugly he is!

BEAR. Ah, I seemed fine enough to you, Rosaline,
when we met on the shelf in the toy-shop
!

106

ST.

NICHOLAS PLAYS AND OPERETTASROSALINE. Who are you ?
BEAR. Alas have you so soon forgotten the Fairy!

Prince ?

ROSALINE. But you are not the Fairy Prince
BEAR. Yes, I am he and it was because of you thatthe wicked Jumping-Jack turned me into a mechani!

;

cal bear.

ROSALINE. Alas alas that it should be sofor the Jumping Jack is here
fly, Fairy Prince
!

!

But

!

!

;

BEAR. Here?
ROSALINE: Yes he is asleep on yonder sofa.
BEAR. [Eagerly.] Then he must have my Magic;

Sword with him.
ROSALINE. I have not seen it.
BEAR. We must look for it for if I can only find it,;all

may yet be well!

ROSALINE. But if he should waken
BEAR. We will move about very softly.
!

[They all hunt about.

BEAR. What is in that chest ?
ROSALINE. That is the chest the Jack came in.
[Bear works and works at the lock with hishairy paws.

BEAR. Alas!

I cannot unhook it with these clumsy

paws.
[Rosaline unhooks the box. The Bear throws
back the lid, and with a glad cry lifts fromit hisBEAR.

Magic Sword.

My Magic Sword!

My Magic Sword!

And

are you once more mine ?
[The Jack begins to stir and waken.

ROSALINE.

He is awakening!

We are lost!

THE MAGIC SWORD

107

Take the Magic Sword,
BEAR. Not yet. Quickand rip up the stitches along my back!

!

Ah, I cannot do thatROSALINE. [Shuddering.]

BEAR. Quick, or we are indeed lost!

!

[Rosaline takes the sword and cuts the stitches.
The Fairy Prince throws aside the bearskin,and steps forth.
Jack rises, and stands,
staring at him stupidly.

ALL. The Fairy Prince
FAIRY PRINCE. And now let us see whether the
Magic Sword will still serve me.
!

[He points it toward the Jack.

Magic blade, and hilt of gold,

Work the charm as thou art told!

[The Jack springs toward him with a cry, andthen stands as though bewitched.

FAIRY PRINCE. Henceforth you shall have no power
You shall have no home but thechest and you shall be known, not as the Jumpingto twist your face.
;

Jack, but as the Jack-in-the-box.
JACK. No, no!

FAIRY PRINCE. Now, into the box with you!

[Bewailing and wringing his hands, the Jackclimbs into the box, where he stands stiff
and motionless as plaster.

FAIRY PRINCE. And now, lovely Rosaline,

let

us

away.

OLD DOLLS. But shall we never see you again?
ROSALINE. Yes, yes when I am a fairy I will often
come to see you. You will see me come slipping in
;

108

ST.

NICHOLAS FLAYS AND OPERETTAS

through the window on a moonbeam, to tell you of
the happy life in the fairy world.

[A cock crows.

FAIRY PRINCE. Hark
The cock crows
Thehousemaid stirs, and the night-moth is looking for ahollow where he may hide.
PRINCE AND ROSALINE. Away away to Fairyland!

!

!

THE FALSE SIR SANTA GLAUS(A Christmas Masque for Young and Old)

BY E. S. BROOKSThis masque is designed to precede the Christmas tree at a
Christmas party. Its action may call for the help of the entire

company to assist at the choruses.

All the children in the room

may, if desired, be massed on the stage, and the chorus of parents may be given by the audience from the seats they occupy,
provided they are led by a few ready voices near the piano. No
The action should
special decoration is needed for the stage.
take place near the Christmas tree, which should, if possible,
stand behind a curtain, or be screened by the folding-doors,
until the end of the masque, when it should be suddenly disclosed with all its blaze and glitter. The "properties" aresimple, and none of the costumes need be elaborate, but thesetting can be as greatly diversified and elaborated as the inLet theclination and facilities of the managers permit.
choruses and speaking parts be rendered with spirit. Much of
the text can be sung to familiar airs, which will readily suggest
themselves to the musical directors.

CHARACTERS
MR. MONEYBAGS (afterward the False Sir Santa Glaus). Hard
as his dollars, and "down on children."
SANTA GLAUS. Positively the Only Original article. No connection whatever with the spurious imitation above.

JACK FROST AND HIS WIFE. Firm friends of the Only Original.
JACK o' LANTERN. The pugnacious young page of the False Sir
Santa Glaus.

THE FAIRY BOUNTIFUL.

All glitter and spangles.

109

110

ST.

NICHOLAS PLAYS AND OPERETTASRED RIDING-HOOD'S WOLF
\ rni_
The base and__.
) The False Four.
THE BIG BUGABOO
,.
...
f
^
>
hireling policemen of the False
THE WHOOPING-COUGH MAN [V
Sir Santa Glaus.
THE WANDERING JEW
j
,

DICK

.

,.

.

^
> Who do the talking for the rest of the children.

ETHEL

CURLY-LOCKS )THE CHORUS OF CHILDREN. THE CHORUS OF INDULGENT PARENTS.
COSTUMES AND PROPERTIES

MR. MONEYBAGS may be a "grown man" or a big boy. May
be dressed in street costume at first. When he appears as the
FALSE SIR SANTA GLAUS he should wear a full-dress suit of
fashionable cut, with opera hat, white kids, big watch-chain,trim white wig, white mustache and side-whiskers as great acontrast as possible to the conventional Santa Glaus.

SANTA GLAUS should be made up, as customary, "in fur fromhis head to his foot, a bundle of toys flung on his back," etc.
Another " grown man " or big boy should be selected for thispart.

JACK FROST (boy of fifteen) and his WIFE (girl of thirteen).
Pretty ice-and-snow suits of white Canton flannel with swan'sdown trimming, sprinkled with silver powder. They carry silver wands.

JACK o' LANTERN. Agile boy of twelve, in tight-fitting fancy
or jester's suit.

THE FAIRY BOUNTIFUL.
wings, and spangles;

Girl of sixteen.

Fancy white dress,

silver wand.

RED RIDING-HOOD'S WOLF. Boy of sixteen, in fur robe
coat, with wolf's-head mask,orand movable jaws, if possible.

THE BIG BUGABOO. Tall youth of sixteen or eighteen, withdemon's mask or some ugly face. Dressed in close-fitting red
suit.

THE WHOOPING-COUGH MAN. Boy of sixteen, doubled andbent, with basket and crook, whitened face, and light clothes.
THE WANDERING JEW. Big boy in old black suit, shocking
bad hat, and bag full of "old clo'es."
DICK.

A bright boy of fourteen.

THE FALSE SIR SANTA GLAUS

111

ETHEL. A bright girl of twelve.
CURLY-LOCKS. A pretty little girl of six or eight.

As the curtain rises, the children rush in pell-mell, singing
Moderate.

ESEE=1

P-*--4--fc=tEtC=3b=

thePlease clear

Please clear the

$
y-a-*

1
1

r^4H
1

way
ir

for

T^3
1

1

las

us,

t1

r

1

I1

-

way

sie

'

and

^

for

lad.

r

i

us,

:

112

ST.

NICHOLAS PLAYS AND OPERETTAS

Here

are

no wea - ry ones, Here arenodrear-y ones,^bj=^zp^^=g=^^:^^^

i=r=taChrist -mas has come, andChrist - mas has come,

and

we

we

chil -dren arechil - dren

glad;

are

THE FALSE SIR SANTA GLAUS

113

CHORUS OF INDULGENT PARENTS [In audience]
Clear voices ring it out
Sing it out
lassieand lad.
out
Ringyour glee, every
Under the holly, now, sing and be jolly, now;

Shout it out!

!

Christmas has come and the children are glad!

!

CHORUS OF CHILDREN

We 're in a flurry all
Scurry all
We 're in a flurry, with happiness mad.

Hurry all!

!

!

Gaily we sing to you welcomes we bring to you
Christmas has come and we children are glad;;!

[Enter Mr. Moneybags, account-book in hand.
He shakes his fist at children.

MONEYBAGS.

What a rumpus!

What a clatter!

Why, whatever is the matter ?
All this rout and shout and riot is distracting to

my brain.
You ve disturbed my computations
7

With your singing and gyrations,

And you Ve mixed my figures up so, I must add'em all again.
ETHEL. Oh, stupid Mr. Moneybags, where are yoursenses, pray, sir?

DICK.

Why, don't you knowof course

you do!

that this is Christinas Day, sir ?

CURLY-LOCKS.

'T is Christmas, sirday!
ETHEL, DICK, AND CURLY-LOCKS.
And please to understandfingers.]

the children's[Shaking their

114

ST.

NICHOLAS PLAYS AND OPERETTASALL THE CHILDREN. We 're waiting here for Santa
Glaus to come from Somewhereland.
CHORUS OF INDULGENT PARENTS
Don't scold them, Mr. Moneybags, for, please tounderstand,
They 're waiting here for Santa Claus to come from

Somewhereland.

MONEYBAGS. [Much disgusted.}
For what ? For whom 1 For Santa Claus ?
;T is past my comprehension

That, in this nineteenth century,
Such foolishness finds mention!

For Santa Claus ? No bigger fraud
Has ever yet been planned!

There is n?t any Santa Claus,

Nor any Somewhereland!

[Consternation among the children.

ETHEL.

Oh,[Indignantly.]bags, how can you be so cruelwicked Mr. Money-

!

DICK.

Why, Christmas without[Pathetically.]

Santa Claus is weak as watered gruel
ETHEL AND CURLY-LOCKS. [Sorrowfully.]!

believe you

We can't!

And we won't!
AND
CURLY-LOCKS.
[With warning
ETHEL, DICK,
DICK.

finger][Vehemently.]

So please to understand

ALL THE CHILDREN.

[

Vociferously.}

We 're wait-

ing here for Santa Claus to come from Somewhereland.

THE FALSE SIR SANTA CLAUS

115

CHORUS OF INDULGENT PARENTS
They can't believe you, and they won't, for, please tounderstand,

They 're waiting here for Santa Glaus to come from
Somewhereland.
MONEYBAGS. [Aside.]
It seems to me it would be wise

To stop this superstition
To open these young eyes to fact
Would be a useful mission.
j

So I '11 devise a little scheme,
And try it, if I 'm able,

To bring these folks to common sense,

And burst this foolish fable.
now I 'm off[Aloud.] Well, good-by, youngsters!

;

I really cannot standThis trash you talk of Santa Claus

Who comes from Somewhereland.
[Exit.

DICK.

[Turning

No Santa Claus
CHILDREN.
Claus

to

children, with uplifted

hands.}!

[Lifting

hands in dismay.]

No Santa!

CURLY-LOCKS. [Tearfully.] I never did did you?
ETHEL. [To children, hands lifted.] No Santa Claus
No Santa
CHILDREN.
[Lifting hands solemnly.]
!

Claus

!

ALL. [In audible tears.]Boo-hoo, boo-hoo, boohoo
ETHEL. [Spitefully] I just believe he 's telling
!

fibs.

116

ST. NICHOLAS

DICK.

[Surlily.]

ETHEL.

PLAYS AND OPERETTASOf course!

[Dejectedly.]

It seems tomeThis horrid Mr. Moneybags
Is mean as mean can be

DICK.

[Decidedly.]!

Of course he 's fibbing.

CURLY-LOCKS. [Indignantly.] Course he is.
ETHEL. He does it just to tease us.
DICK.

He 's down on children so, you see,He never wants to please us.
CURLY-LOCKS. [Anxiously.] Oh, dear why does n't;!

Santa come?
DICK. Let 's wish him here.
CHILDREN. [Incredulously.] That
DICK.

;

s

quirky.

[Stoutly.]?

T ain'tEthel saved a wish-bone up
From last Thanksgiving's turkey.
!

CHILDREN. All right
Who '11 pull it ?
ETHEL. [Producing the ivish-bone.} Dick and I.
!

DICK.

It 's dry enough.
[Examining it.]
hold
wish
Catch
when, boys.
here, Ethel

Say!

CHILDREN.

Now, pull!

[Dick and Ethel snap the wish-bone.

ETHEL.

Dick 's got the lucky end, boys!

CHORUS OF CHILDREN!

Come to us, come to us, here as we singCome to us, come to us, Christmas bells ring.
Come to us quickly nor loiter, nor pause
Come to us, come to us, old Santa Claus
;

j

!

i

Try, for air,"

Nelly Bly."

THE FALSE SIR SANTA CLAUS

117

CHORUS OF INDULGENT PARENTS
Santa Claus

Santa Glaus!

Hark to them!

!

Jolly old saintList to their plaint.
;

Hear to them!

All wistful they standBroken the wish-boneCome to them, Santa Claus, from Somewhereland!

[A loud clang and clash outside.

!

Enter, withdouble somersault or long jump, Jacko' Lantern.
The children start, amazed.

JACK

LANTERN.

o'[With comic posture.}Whocalls for Santa Claus, I 'd like to know 1[Surveying him curiously.]

ETHEL.
dia-rubber

We, Mr.

In-!

JACK o' LANTERN. [Laughing derisively.] Ho, ho, ho[Turns a double somersault,!

some otheror

nimble contortion, and, striking a comical
attitude, says:

With a clash and a clang, and a rattle ty- bang

And a bumpity-jump rather risky,With a jounce and a bounce, Santa Claus I announce!

I 'm his page, Jack o' Lantern so frisky.

See where he comes stand all here close at hand,Enter Sir Santa Claus of Somewhereland;!

!

[Enter Moneybags as the False Sir Santa Claus,
dressed in full-dress suit, as indicated in

The children start back,surprised at seeing a person so different fromtheir idea of Santa Claus in dress and apcostume directions.

pearance. Moneybags surveys them throughhis eye-glass sourly.

MONEYBAGS.
youngsters

you say ?

!

[Gruffly.]

Heigh-ho,

Well, how do you do ?

youwhat didthere,

H'm

118

ST.

NICHOLAS PLAYS AND OPERETTASETHEL. [Timidly.] Oh, we only said oo-oo-oo
MONEYBAGS. Well, why this surprise ? Why thisstaring and stir ?
!

CURLY-LOCKS. [Showing Mm her toy look.}
looked for that kind of a Santa Glaus, sir.

MONEYBAGS.

[We

TaMng look and examining it criticallythrough eye-glass.]

Hey ? what kind ? Oh, thatto look!

Ah, permitme;Why, Santa Claus, child, does n't live in a book!

[Reading quickly.]

H'm" little

old driver"pshaw!

"sleigh full oftoys""Down the chimney"

that's nonsense, you know,

girls and boys.

[Reading again.]" He

was dressed all in furs, from his head to his
foot,And his clothes were all tarnished with ashes andsoot;

A bundle of toys he had flung on his back,And he looked like a peddler just opening his pack.
His droll little mouth was drawn up like a bow,

And the beard of his chin was as white as the snow
And the stump of a pipe he held tight in his teeth,
And the smoke it encircled his head like a wreath.
He had a broad face"
Oh, that 's nonsense, I say
I have n't looked that way for
I dress in the fashion ; I 'm

many a day!

solemn in speech,

And detest all the folly that fable would teach.

jjTHE FALSE SIR SANTA CLAUS
I hate to be bothered with children

119

and toys,

And I 'm down on this Christinas Day worry andnoise.

ETHEL.

[Anxiously.]

DICK.

[Dubiously.]

And yonr sleigh ?
And your reindeer?

MONEYBAGS.

They were quite out of date

All sold long ago.
too old-fashioned andslow.

What with steamships and railways and telegraphwires,

And stores overcrowded with sellers and buyers,
And modern improvements in every land,
There 's no use for Santa Glaus now

understand?

[Sings.]I 'm a thrifty old merchant

who lives at the Pole,A sleep-loving, ease-loving, saving old soul
1

7;

m healthy and wealthy and wise now, because

I Ve done with the nonsense of old Santa Claus

CHILDREN.

x!

[Singing poutingly.]

He 's a selfish old merchant who lives at the Pole,A skinflint old miser, as mean as a mole;

But he '11 never siicceed if he tries to pick flaws
In the joys of the children

this old Santa Claus!

INDIGNANT PARENTS. \Singing snappishly.]
He 's a heartless old merchant who lives at the PoleFor his comfort and ease he would barter his soul.

Come away from him, children;

don't trust him, be-cause

He s a fraud and a miser
7

1;

this old Santa Claus

Try, for air, "The Campbells are Coming."

!

120

ST.

NICHOLAS PLAYS AND OPERETTASMONEYBAGS [Bomng loiv, in mock humility.}Thanks for your compliments, kind friends, indeed;

I '11 not forget your praises ;'T is pleasure rare to hear and heed

Such kind and courtly phrases.
But this I know you 11 soon, with speed,
Give up these Christmas crazes.
DICK.

[Emphatically.]Well, is n't this dreadful ?

ETHEL. \Tearfully.] Oh, dear, I could cry!
MONEYBAGS.
Threateningly.]
You 'd better leave that for the " sweet by and by."If there 's one thing I hate, in this bedlam appalling,
It is to hear children a-screaming and squalling.
So, if you attempt it, I know what to do
CURLY-LOCKS.
Oh, what does he[Anxiously.]
[

!

mean?
ETHEL.

ALL

I don't know.

THE

CHILDREN.

[

Boo-hoo-

Vociferously.]hoo!

MONEYBAGS.

[

What, ho, there!

Wrathfully.]
Hallo, there

These children are cranky

My trusty police,!

this nonsense must cease.

Come in here, my beauties, these children to tell
Sir Santa Claus knows how to manage them well.
[Enter the False Four, one by one.
nation on the part of the children.

Conster-

MONEYBAGS. [Checking them off as they enter.]Here 's Red Riding-hood's Wolf
Here 's the Big Bugaboo
Here s the Whooping-cough Man
Here 's the Wandering Jew
!

!

7

!

!

THE FALSE SIR SANTA CLAUS

121

Are n't they sweet? What 's the matter? You
quiver and quake so,
One would think you were frightened to see you all
shake so.
DICK.

What horrid, ugly people!

ETHEL.

Did you ever, ever see
Such dreadful folks invited to a lovely Christmas
tree?

MONEYBAGS.
Speak up,my gentle serving-men, and tell thesechildren, now,

What parts you play on Christmas Day

and when

and where and how.

RED RIDING-HOOD'S WOLF.

[Snappishly.]

I 've great big ears, and I 've great big eyes,

And I 've great big teeth, because
Oh, yes, you 've heard the story beforeJust look at these beautiful jaws!

[Opening mouth very wide.

THE BIG BUGABOO.
I 'm the Big Bugaboo[Solemnly.]!

And I live in the dark,
And I wish to remark,With my grin and my club.

I know all the bad boys, and I 'm looking at you !

So, don't you forget I 'm the Big Bugaboo

THE WHOOPING-COUGH MAN.

!

[Astlimatically]

am I am
Man so breezy

I 'm the Whooping-cough Man, yes, I
I 'm the Whooping-coughAnd the bad boys I fill, yes, I willj

I willWith my choke and my strangle so sneezy.

And the little girls, too, yes, I do

I do

122

ST.

NICHOLAS PLAYS AND OPERETTAS

If I find them at all uneasy,

Why

I take their breath off

With the coughthe cough.

I 'm the Whooping-coughTHE WANDERING JEW.
"

Old clo'es

Old clo'es!

Man so wheezy!

[Seductively.]!

Cash paid for old clo'es"!

I sing through the streets of the city,

And the people they bring every ragged old thing
When they hear the sweet strains of my ditty.
[Impressively.]

But the bad girls and boys, if they make too muchnoise,

Or if words with their betters they bandy,

Why, I ups with their heels,

And I smothers their squeals
In my bag of " old clo'es " so handy!

[More consternation among the children.

MONEYBAGS.

{Alluringly.}

They sometimes give boxes at Christmas, you know,
Instead of the stockings and trees.
A nice Christmas box would be jolly to show

You each shall have one, if you please.
Come, gather around me, and I will explain.
[The children draw near in anticipation.

My

meaning I '11 make very clear:[Ominously.]
If children are cranky, I don't speak again,

But give thema box on the ear!

[Tries one on Dick, with bewildering effect.
The children retire in dismay, and sing dolefully:THE FALSE SIR SANTA GLAUS
Slowly.

123

K J

,

Dis - mal, dole-f ul

*L_J

PP_\

chil

dren, Dole - f ul chil-dren

-

.

,

|

,._4___JS__J^_^+-V-F-*

-

'-'

Gone

is

all

our pleasure, Gone

all

our

--

-- --

--

Day

is

is

J

-

glee

**- -^-*- ft*-- -t"

Sing-ing turns tosigh-ing;

dark be -124

NICHOLAS PLAYS AND OPERETTAS

ST.

He

cause...

issuch anaw - ful,_

hor-rid San-ta^ __ _ _ __r

ggp=gzi=^==i=g^|-r

Faster.

be-cause

Please to go, please to go, please to go

Glaus....

Faster.

You're not what we look'd form old San ta Glaus.
-

^

*;

-

.

I

i

-

1

1

^

U

&f~
^=&

n

fr

n

1

"'l^'

I

-,

THE FALSE SIR SANTA CLAUS

125

CHORUS OF DISTRESSED PARENTS
Worried, flurried parents, worried parents, wePleasure's sun is clouded, gloomy is our glee.

!

Christmas ends in crying, hopes are dashed, because
He is such a horrid, hateful Santa Claus
Please to go, please to go, please to go, because
You 're not what they looked for in old Santa Claus!

!

MONEYBAGS.

Go 1 Ah, no the children want me badly,
The darling, snarling, doleful little dears

What

!

;

;

If I should leave, I know they 'd miss me sadly;

I know they love me, so I '11 spare their tears.

What!

Go?

stand

Ah, nonot whileI;ve strength to;Why, I 'm Sir Santa Claus of Somewhereland
THE FALSE FOUR. [In derisive chorus.}
What! Go? Ah, no not while we 've strength to
!

stand

;

Why, he 's Sir Santa Claus of Somewhereland!

JACK FROST AND HIS WIFE. [Singing behind scenes.]
Out from the kingdom of ice and of snow,
Rollicking, frolicking, frisking we go
Rollicking, frolicking, singing in gleej;

Oh, who so merry and cheery as we ?
Clear rings our song, all the day long,
All the glad Christmas Day, Christmas Day long.
Shout the gay glories of Christmas so grandShout for old Santa Claus of Somewhereland;!

[Moneybags and the False Four start in surprise at the sound of this singing, and lookat each other anxiously.

126

ST.

NICHOLAS PLAYS AND OPERETTASMONEYBAGS.
Say, who be these that sing so blithe and free ?
Quick, Jack o' Lantern, find this out for me!

JACK o' LANTERN. [Reluctantly.]
Excuse me, I beg I 'm suspicious of dangers,

And it ruffles my nerves, sir, to interview strangers.
JACK FROST AND HIS WIFE. [Singing nearer.]
Racing and chasing, from sunset to light,
Painting the windows with traceries bright
Dancing with sunbeams, all sparkle and life,
Oh, who so gay as Jack Frost and his Wife ?
;Oh, who so gay, all the glad day,All the glad Christmas, the glad Christmas Day ?

Shout the gay glories of Christmas so grandShout for old Santa Claus of Somewhereland;!

Lantern clutches Moneybags by the[Jackarm and drags him to the front.
o'

JACK o' LANTERN. [Hurriedly and emphatically.}
Jack Frost and his Wife, sir,
Oh, run for your life, sir
!

They

'11

stir up a strife, sir,

And interview you.
They 're Santa Claus folks, sirHave done with your jokes, sir;!

You '11 be pinched and poked, sir
And frost-bitten, too!

MONEYBAGS.

[Defiantly.]

Who s afraid
Here on my rights I 11 stand
Pshaw

7

?

!

7

I

!

am Sir Santa Claus of Somewhereland!

[Enter Jack Frost and his Wife, briskly.

THE FALSE SIR SANTA CLAUS

127

JACK FROST.

How are you, youngsters ?
I

Full of fun and life ?

am Jack FrostAnd I 'm his loving wifeHis WIFE.
JACK FROST.

[Looking at the children anxiously.]

What 's the matter ? Where are your shouts of glee ?
Where 's Santa Glaus ? And where 's your Christmas
tree ?

There '11 be no tree
[Ruefully.]
ETHEL. [Dolefully.] And Christmas glee is o'er.
CURLY-LOCKS. [ With a great sigh.] Oh, Mr. Jack
Christmas will come no more.
DICK.

!

Why, who says that, you curly little

JACK FROST
elf?

Oh, don't you know?

CURLY-LOCKS.
Claus himself

JACK FROST.
DICK.

all

[Looking

Where?

here?

Old Santa!

[Pointing to Moneybags.]

MONEYBAGS. [Pompously.]of Somewhereland
JACK FROST.

Old Santa

around.]Not among. that band

!

There

!

I am Sir Santa Claus

!

You ?

Well, I guess not
You, sir ? Oh, no, no
You Santa? Ho, ho, ho
That s a good joke
MONEYBAGS. There, that will do
Be off, now
Pack
Scatter
JACK'S WIFE.
We get away ? I guess not
Will
?
Jack
we,
JACK FROST. [Dancing derisively before Moneybags.]
!

!

7

!

!

!

!

!

!

!

No, not for such a fat old fraud as you
This False Sir Santa Claus is[Then to children.]!

fooling you

!

128

NICHOLAS PLAYS AND OPERETTASST.

MONEYBAGS.
Quick, now, my good policemen, clear them out!

I will not have such vagabonds about.

THE FALSE FOUR. [Closing around Jack and his
Move on, now Come move on You re in
Wife.]
the way here
;

!

!

!

JACK FROST.

[

With hand to ear, sarcastically.}

1 'm

What 's that you say, here ?

just a little deaf.

THE WHOOPING-COUGH MAN. Grasping Jack Frost's
arm roughly.] Move on, I say[Jack Frost touches[!

him with his ivand.]

JACK FROST.

Ah[Slyly.]!

Well, now what7s

the mat

ter?

DICK.

[Touching the Whooping-cough Man, ivho
He 's frozen stiff

motionless as a statue.}is!

[Jack Frost suddenly touches the Big Bugaboowith his wand.

Oh, how my teeth do chatter

THE BIG BUGABOO.

!

[He also stands motionless and stiff-

ETHEL.

Oh, see there, Dick

JACK FROST.

Bugaboo!

Feel him!

He 's frozen, too.

DICK.

Jack'smagic wand froze the Big!

JACK'S WIFE.

They both are frozen up, too stiff to wink
They '11 let us stay here now awhile, I think
But is n't he
ETHEL. [Pointing to Moneybags.]!

Santa Glaus ?
JACK FROST.

MONEYBAGS.
JACK FROST.

He ? Bless you, no
H'm how will you prove it?
!

!

That 's easy to show.

THE FALSE SIR SANTA CLAUS

129

MONEYBAGS. Well, show it
I will
JACK FROST. I will, sir
don't you fret
JACK'S WIFE. Oh, False Sir Santa Claus, we '11 beat!

!

you yetMONEYBAGS.

!

!

[Snapping his fingers contemptuously.]

What can you do ?
JACK FROST.
Oh, quite enough, I think
We '11 do enough, I know, to make you shrink.
I '11 summon up each fairy, gnome, and elf
I '11 callI '11 call old Santa Claus himself
I '11 tell him
no for first I '11 stop this strife,
Or we will (won't we, dear?) Jack Frost and Wife
;

;

!

!

[They rush with their magic wands to Red Riding-hood's Wolf and the Wandering Jew,
who are at once frozen to statues and stand
stiff and rigid.
Jack o' Lantern runs off.

DICK.
as a stake

ETHEL.

Hey

The Wandering Jew

!

7

s

frozen stiff

!

So

's

What

Eed Riding-hood's Wolf!

nice statues they make!

ALL THE CHILDREN. [Exultantly.]
And now, hip, hurrah
Let Jack go, if he can,For this horrible, terrible Santa Claus man!

!

[Jack Frost and his Wife,

dancing aroundMoneybags, pinch and poke him, while hewinces and dodges and shivers, and the children jump for joy.

JACK FROST AND HIS WIFE.
We '11 nip his nose and tweak his toes
With cold he '11 shake and shiver
We '11 twinge his ears and freeze his tears
Until he '11 quake and quiver.
;

!

130

NICHOLAS PLAYS AND OPERETTAS

ST.

We

'11

cover him nice with a coat of ice,

While he '11 shiver and sneeze and stumble
No Santa Glaus he
A fraud he must be
He 's nothing but glitter and grumble. 1
MONEYBAGS. [Aching with cold.]
Br-r-rI 'm cold
Oo-oo-oo
Oh, hold there, holdDo save me from this ice man.
Ah, boo I freeze
My nose My knees
;

!

!

!

:

!

!

!

there 's a nice man

Do stop it

!

!

!

[Enter Jack o' Lantern hastily, with a stick
painted to look like a red-hot iron bar.

JACK o' LANTERN.
Here 's a red-hot bar I Ve brought, sir
Heat will thaw you so it ought, sir;
Now I '11 try what heat will do, sir.
[Pokes Moneybags with the bar.

That 's for you!

[Lays it on Jack Frost's back.

And that 's for you, sir
MONEYBAGS.

Ouch

!

[Jumping with pain, but relieved.}
what a pelting[Growing limp and drooping as the hotthat 's better

JACK FROST.

!

!

iron thaivs him out.}
I 'm limp and melting
Wifey, quickCome, with magic wand revolving;!

Here 's your Jacky fast dissolving!

!

JACK'S WIFE.

Courage, Jacky

My

!

There
1

;

here I come, dear;

you 're getting thin and numb, dear.
!

I '11 stop this in a trice, sir.

[Touching Jack o' Lantern with her wand.
" Grandfather's Clock/'Try, for air,THE FALSE SIR SANTA CLAUS
Jack o' Lantern, turn to ice, sir

131!

[Jack o' Lantern becomes a frozen statue.
Noise of sleigh-bells heard, and then Santa
Glaus is heard shouting, behind scenes.

SANTA CLAUS.

Now, Dasher
Vixen[Outside.]Now, Dancer!

!

Now, Prancer and!

On, Donder and Blitzen
On, Cupid
To the top of the porch, to the top of the wall,

On, Comet!

!

Now, dash away dash away dash away, all
!

!

!

!

[The children listen, amazed and delighted.

CHORUS OF CHILDREN 1

Hark we hear the jangle, jingle
Hark we hear the tangle, tingle
!

;

!

j

Hear the jingle and the tingle of the sleigh-bells sweetand strong.

Welcome, welcome, rings our greeting
Joyful, joyful, is the meeting
Sweet the greeting and the meeting, sing the welcome
loud and long.
;;

Jingle, jangle, tingle, tangle,

Christmas joy shall know no pause.
Tangle, tingle, jangle, jingle,

Welcome to you, Santa Claus!

CHORUS OF HAPPY PARENTS
Jingle, jangle, tingle, tangle, etc.

SANTA CLAUS. [Entering with a rush, shaking snow off.
I hope I 'm on time
Merry Christmas
With the rivers I cross and the mountains I climb,
Hello

!

!

1

Try, for air, the"Galop" from "Gustavus."!

]

ST. NICHOLAS

132

PLAYS AND OPERETTASWith the roofs that I scale and the chimneys I dropdown,

By the day after Christmas I 'm ready to flop down.
But what if I do get so tired with trotting fYour joy gives new strength for my planning andplotting.

My reindeer are fleet, and

Hello

!

What 's the mat-ter?

Something 's wrong here
hatteror else J'm as mad as a!

Why is Mr. Jack Frost, there, so slimpsy and droopy
Who are these funny statues so cold and so croupy
Why are not all these little folks happy and hearty?
And well bless my stars
Who 's that pompous

?

?

!

old party ?

MONEYBAGS.

!

SANTA GLAUS.

Ho

am Sir Santa Glaus

I\Admncing.]of Somewhereland[Quizzing him.]

Well, old fellow, here 's my hand
So you 're Sir Santa Glaus? Well by the by!

are you ?

If you are hewhy, bless me!

!

who am I?

MONEYBAGS. [Loftily.] I have no doubt, sir, you 'resome low impostor.
I '11
SANTA GLAUS. Well, come, that 's friendly!

look up the roster.
But, still,

I think,

as far as I am able,

I ; ve been old Santa Glaus since the days of fable.

How is it, little folks

?

We

'11

To say which is the False one
DICK.

\Detidedly.]

CURLY-LOCKS.
SANTA GLAUS.

leave to you

which the True?

Oh, you 're the true one

Certain sure!

[Inquiringly.}

Because?

!

THE FALSE SIR SANTA CLAUS

133

We know that he's the False Sir SantaETHEL.
Glaus.

SANTA GLAUS.
Well, well;that 's logic!

Then, by your decree,

What shall the sentence of this culprit be ?
DICK.

[

ETHEL.

Vindictively.]

Let 's tar and feather him

And freeze him, too

SANTA GLAUS.
say you ?
CURLY-LOCKS.

Well,

little!

!

and what

Curly-locks,[Reflecting.]

He 's been so dreadful naughty, I should say
It 's best to make him good again to-day.

If ive are good to him, why, don't you see,He '11 have a chance to try and gooder be ?
SANTA GLAUS.

Why, bless you for a rosy little saintYou 've found the cure that 's best for his com!

plaint.

What, Mr. Moneybags, shall your answer be,
Now that you 've heard this little maid's decree ?
Do you appreciate the magnanimity
Extended you by this small judge in dimity ?
MONEYBAGS. [Dropping humbly on one knee before
Curly-lochs.}
I 'm conquered completely, as you

may see,
And I bow to your gentle sentence
And I humbly beg, on my bended knee,;Your pardon

with true repentance.

1 have been such a horrible,

cross old bear,

With never a soul above dollars
But I promise you now, if my life you spare,
To be one of your happiest scholars.
;

134

ST.

NICHOLAS PLAYS AND OPERETTAS

Hereafter my days shall have more of glee;

With the children I '11 frolic and roam, ma'am,

And I '11 give one half of my fortune, free,To the Destitute Children's Home, ma'am.
SANTA GLAUS. [Clapping Mm on the back.]
Bravo
Now joy-bells ring out clear and free!

;Come with me, children, to the Christmas tree!

[Enter the Fairy Bountiful, with a burst ofmusic. All stand surprised.

THE FAIRY BOUNTIFUL.
One moment tarry, ere, with wonders sweet,
The tree shall make your Christmas joys complete.
One thing remains
List, while I tell to you:

What Fairy Bountiful would have you do.
In the old days, when Valor, Truth, and Right

Would fight the Wrong and conquer wicked Might,
The champion brave his sure reward would see,And by his king or queen would knighted be;And, as his shoulders felt the royal blade
Give the glad stroke they called the " accolade,"
These welcome words came, as his guerdon due""
Rise up, Sir So-and-so, good knight and true:!

Without old Santa Claus, the children's fun
At Christmas-tide could never be begun.
In their glad hearts the champion he '11 stand
Their good old friend, who comes from Somewhereland.
Let, then, the title that this False one bore
Come to the True, with love in goodly store.

Kneel down, old Santa Claus, while with ready blade
Sweet Curly-locks shall give the " accolade "!

THE FALSE SIR SANTA CLAUS

135[Santa Clans kneels before Curly-locks, whotouches him lightly on the shoulder with the
fairy's wand.

CURLY-LOCKS.

Good knight and true!

Dear to the girls and boys,

Friend of their fun and helper in their joys,
Receive this honor from the children's hand.
Rise up, Sir Santa Glaus of Somewhereland
SANTA GLAUS. [Rising.]
Thanks, thanks to you, Curly-locks gentle and true!

Thanks

all,

girls

and boys, for

this

;

honor fromyou.
I '11 be loyal and leal to your joyous young cause.

Health and wealth to you all says your friend Santa!

Glaus.

Now, rally all, rally all, rally with me,
Round the wonders and sights of the bright Christmas
tree.

Give a cheer and a shout and a chorus because
We have routed and conquered the False Santa
Glaus

!

During the chorus that follows, in which the parents should
slowly open and disclose theChristmas tree, around which the children, with Santa Glaus at

join, the curtain or doors should

their head, should march as they sing:

Modf,rato.

&

:

J____

-*-

-1-g-

?__&.

136

NICHOLAS PLAYS AND OPERETTASST.

When the chil-dren are safe

inthe Land ofNod, All

Scherzo.

sleep-i

-

ly

snug

in their plac-

es,Then o - ver thechimney-tops, jol-ly and odd, Old San-ta Glaus rushes and

CHOKUS.

rac

-

es;

Then ring out and sing out the wel - come weTHE FALSE SIK SANTA GLAUS

love hegive, Our

will al - ways command.

137

Hur-

>i

-'=

rah for San-ta Glaus! long may he live
J

\.

I

At

his

castle in1

rt=Somewhereland; Hur-rah!

H=t:

Hur-rah!

for

138

NICHOLAS PLAYS AND OPERETTAS

ST.

m

-fe

f

-(*r

ta

Glaus

!

i

long

i

m

may he

y

At

live

>
^j=r.-

H

--

-+

:

^=^W^=^EE^
*y

-^-

--

-(&-

i
i

his

castle inSomewhereland.

ff

While Christmas-tide comes with its laughter and glee,
Our hearts shall keep green as the holly,
If there in the circle with smiles we may see
Old Santa Glaus merry and jolly.
CHORUS. Then ring out, etc.
Then round the glad Christmas tree rally with joy
Let Love's happy sun shine in gladness.

Sing it out, every girl, sing it out, every boy
Old Santa Claus banishes sadness.
CHORUS. Then ring out, etc.
Distribution of Gifts and General Jollity.

;;

A SIXTEENTH-CENTURY CHRISTMASBY CHARLES A. MURDOCKINTRODUCTORY

The purpose of this entertainment is to reproduce a Christmas scene of Shakspere's time, both for its own sake and as
an attractive setting for the delightful old Christmas carols
which never can wear out.
It is especially adapted to a church choral society, or to theolder pupils of a Sunday-school or an academy, and it also
brings in a good number of the younger children.
It admits of any desired changes as to the music designated,though the quaint old carols should be adhered to. The Waits,
if possible, should be a well-trained male quartet.
The costumes should be carefully consistent, and pains must
be taken to secure effective grouping of the company. The
picture will be finer if the gentlemen generally stand and theshort benches on which most of the ladies may sit should be of;varied heights.

SIR TRISTRAM and LADY GERALDINE should occupy antiquechairs on a dais at the side of the stage, and the JESTER, whilemoving freely around, will be in place near their feet.
The company should move about as opportunity offers, rising
to sing, and avoiding stiffness and indifference to what isgoing on.
of Misrule" and his followers must be verymaking a whirlwind of fun and noise during their

The "Lord
spirited,

brief appearance.

CHARACTERSSIR TRISTRAM, an English gentleman.

LADY GERALDINE, his wife.
139

140

NICHOLAS PLAYS AND OPERETTASST.

LADY BEATRICE, a guest, who sings.
LITTLE EDITH, the grandchild.

MASTER RIVERS, another tuneful guest.

A JESTER.
GREGORY, a servant.
HUGO, a servant.
Waits, ladies and gentlemen, the "Lord of Misrule"and his merry band, children, etc.
SCENE.

An old English hall.

Curtain rises, discovering two servants and a jester.

GREGORY. By the mass, this is the merriest
Christmas I e'er did see. Didst ever know suchgoings on ? Such eating, and drinking, and frolicking ? What a dinner had we the day and odsbody, what a pudding was that
They perforce left
for
us
to
feast
withal.
enough!

!

HUGO. Ay, that they did, and right royally. I
Gregory, we do well to live in these daysof good Queen Bess, when there s plenty to eat andtell thee,7

drink.

I

warrant thee those knavish knights wehear of oft went hungry.

GREGORY. The moreglory.

As

I carenot forthe merry play-actor saith, "I

am onefools they.

that am nourished by my victuals, and would fain
have meat."Ah, Hugo, that 's a rare play; itmaketh one to laugh mightily. The master goeth
oft to see it, and he delighteth in that merry Launce.
Marry, thou shalt see anon how pat I '11 do 't themaster saith, Christmas or no Christmas, I shallpresent Launce and his dog.
HUGO. The feasters soon shall come, I trow. 'T is
How now, fool? Why art thoueight o' the clock.
;

142

ST.

NICHOLAS PLAYS AND OPERETTAS

Whence these doleful dumps?
drowsy?
and give us a taste of thy drollery.
JESTER.
to'T is sad enoughOh, give o'er, I prithee.

show folly to the wise.

Awake

My pearls are not forswine.

HUGO. Swine ! Thou unmannerly knave
whack thee soundly an thou mind'st not.
JESTER.

!

We

'11

Nay an thou canst not be civil, I '11 take;myself away.

I 'd fain

be still.

I'm grinding at

my mill 'gainst the Yule-tide.
GREGORY. What mean'st thou, boy ?
JESTER. Dost think we men of mind can forthwith

do our task as ye can lift a trencher?

Aforetimemust we store the jest that seemeth struck like flashof steel. E'en now I 'm sitting on the jokes I '11
hatch anon.

GREGORY. Ho, ho thou art rare, Sir Fool.
Then leave me lest I be ivell done withsuch a scurvy fire as you would give.
GREGORY. My life, but thou art quick. I Avould I
had your wit.
!

JESTER.

Thou art

JESTER. Oh, covet it not, good Gregory.
fool enough without it.

HUGO. He hath thee "on the hip," as
Jew.

Hark

!

saith theI hear the steps of the gentles.

Let usto our posts.
[Enter the Christmas company.

SIR TRISTRAM. This way, good friends. I pray
you be merry and at ease make our home your own.
My sweet wife, here, and my chicks will look to 'tjthat a Christmas in old England shall not see you

A SIXTEENTH-CENTURY CHRISTMAS

143

want for anything. In our simple English way we
bid you welcome to Yule-tide.

LADY GERALDINE. Find seats, dear hearts. We 'dhave such a Christmas Eve as would drive all thoughts
but happy ones far from you. 'T is a blessed time,
for the good will the angels sang of yore gains apace,and in this fair land, far from those lonely heights
where the shepherds watched their sheep, we gather
to praise Christ's name, and show each to each thelove we bear.

SIR T. Ay, she speaketh well. I own 't is true;
but I fear me ye may not be merry. My wife is unco
guid, as the canny Scots would say, but
1 7

m yet a sinner

Who loveth dinner,
And fain would see you gayj

I fear not folly,
I 'd e'er be jolly,

Nor work when I can play.
JESTER. Oh, nuncle, thou mak'st me weary.
SIR T. How now, gentle Jester, why dost repine ?
JESTER.

It is

my sweet privilege to play the fool,and it likes me not when you begin.
SIR T. You rascally lout, what mean you ?
JESTER.

Know you not there is a time for all

things? The mistress would have us gay, but shehath sense to know that they only can be truly

happy who are truly good.
You, my wicked lord, nor I, nor no man
E'er can happy be as noble woman.

144

ST.

NICHOLAS PLAYS AND OPERETTASWOMEN. Hear, hear good for the Jester.
!

MEN.

Oh, oh[Derisively.]
SIR T. Ah, you sly dog, you!

know how to makefriends where friends are worth the having.

LADY G. Thank you, boy. None need have fear
we shall be too serious. And now, to begin, let us
sing The First Nowel."
SIR T. One moment, an it please you. [To Jester.}[Whispers to Jester, who runs out.]
Boy, come hither!

no offense, but at the last Yule-tide thehopewords of these same Christmas carols slipped sovillainously from our minds that we sang but illy,
and it is no marvel, for we sing them but once theso I bethought me to send to London, andyear,
Master Evans hath, sent me here the words, in good
I

it is

fair type, that all may read, and, not- fearing to slip,

may sing right lustily.

Boys, give out the songs.

Now will we sing " The First Nowel."[They sing.

JESTER. Nuncle, that
freshethmy spirits.

Ifa goodly song. It reyou had a soul, I think it
iswould do it good.
SIR T. If I had a soul, blockhead!

and why have

I not?
I know not why.
I give it up.
SIR T. But what proof hast thou that

JESTER.

I

have

not?
JESTER. Art a philosopher and askest me to provea negative? It resteth for thee to prove that thouhast.

SIR T.

And how can it be done, my pretty knave ?

A SIXTEENTH-CENTURY CHRISTMASJESTER. Marry

145[Sings.]Now, mark me do!
But show a ray
Of love for me,!

It goetli far

To prove thy soul.
Now, say not la !
But let us seeYour cake 's not dough.
SIR T. Good, fool! By all the saints, this isadmirable nonsense. Thou hast earned the cross,and shalt bear it.
[Giving money.

JESTER. Oh, no I 'm not musical for nothing. I
cannot draw silver music from a heart of flint. Not I,
T is the caitiff wretch that bideth roundforsooth.
;?

the corner.

SIR T. Now, let the frolic begin. Ho, Gregory
go bid my hinds bring hither the Yule log.
!

Hugo

!

[Exeunt G. and H.] Now, friends, bethink you thatcare s an enemy of life. As saith young Hamlet
7:"What should a man do but be merry?"

Master"Shakspere giveth us another good text in RichardLet
II " " Be merry, for our time of stay is short."
us all stand up and shout for Yule-tide joy.
:

[All stand and hurrah.
chiefs.

Ladies wave handker-

Log brought in.

Come, bring with a noise,
My merry, merry boys,
10

146

ST.

NICHOLAS PLAYS AND OPERETTASThe Christmas log to the firing,
While my good dame she
Bids ye all be free

And drink to your health's desiring.
LADY G. Let us raise our voices in the grand old" FromFar Away."carol,SIR T. Ah, goodwife, thou choosest well.

I lovethat same old song.

LADY G. Be seated, all. Frame your minds tomirth and merriment, for now t is seasonable.
SIR T. Boy, cannot you sing? Too much carol;

maketh me sad.

I fain would

have a stirring ditt}Tor a rollicking ballad.

JESTER, Ah, master, Heaven is not so partial toany mortal as to make him beautiful and wise, andthen to gild him with the power of song. I 'm nonightingale, nor be I a lark (though perchance attimes I aid one but that is apart).
LADIES.
declineOh, sing, sweet youth.
ill beseemeth me tosay you nay.

Tomayhap were more inglorious than to fail,

JESTER.

It

but i' faith I cannot. I 'm coltish to-night.
SIR T. Coltish ? What rnean'st thou ?
JESTER. Why, a little hoarse. An it please you
ask Master Rivers to sing. He hath a marvelous finevoice, and knoweth a ballad 't would make ye merry
to hear.

LADY G. Thou speakest well. Good Master Rivers,
favor us, an thou wilt, with thine antique song.
MASTER R. An it please you, my lady, I '11 singfrom now till Michaelmas.

A SIXTEENTH-CENTURY CHRISTMASJESTER.

Oh, not so long, good master.
our love.

147

Be brief,

if you would win[Master Rivers sings"The Leather Bottle,"from "Pan Pipes."

All clap hands and cry"Good!"

SIR. T.

The performance
had thy voice andMy thanks, good friend.
woulddoth theecredit.

thy years.

Well, sweet wife, 't

I

I

is

thy choice next.

148

ST. NICHOLASPLAYS AND OPERETTASWhat wilt thou offer to our guests and the general
LADY G. Good my lord, our little grandchild,
Edith, hath a verse. Brief is it, but beautiful.
'T was writ by Master George Herbert, and " Lovejoy" calls he it. Come hither, Edith. Now, sweetchild, say thy little lines.

EDITH.

[Recites.]

on a window late I cast myeye,

saw a vine drop grapeswith J and C

Anneal'd on every bunch.
One standing by
Ask'd what it meant. I (whoam never loath

To spend my judgment) said
" It seem'd to:me

To be the body and the letters both
Of Joy and Charity." " Sir, you have notmissed,"The man replied.
SIR T.

" It

figures Jesus Christ.''" Sweet invocation of achild,and most pathetics!."

most pretty

Now will we have a bit fromMy servant, Gregory, is no Burbage,
but he doth something smack; he hath a kind ofa bright play.

and will now give you the"The Two Gentlemen offromspeech of Launce,'T is " in his mind's
not.
seeVerona." The dog you
taste for the player's art,eye."

Sirrah, stand forth.

A SIXTEENTH-CENTURY CHRISTMAS

149[Gregory recites Act II, Scene 3. Applause.
Singing without: "God Rest Thee, Merry
Gentlemen."

LADY G.

'T is theWaits singing from door to

When they have done we will bid them enter.
[Waits conclude their carol.} Good my lord, may wedoor.

not call them in to share our festivity ?

Jester, bid you the mincome in and sing for us again. They discourse most excellent music.

SIR T. Marry, will we.

strels to[Waits enter and sing again: "The Boar's
Plead Carol," or some carol for male voices.

SIR T. 'T

isWaits are dry.
sooth

am

I.

well

't
;

is

very well.

Belike youall

Perchance themay be, for so in

Hugo, bring hither the loving-cup.

150

ST.

NICHOLAS PLAYS AND OPERETTASBreak this respectful stillness.

You have been staid

too long.
[General talk, very brisk and voluble.

Loving-cup passed.

SIR T.

[Resuming seat.] Now, neighbors all, again
We '11 have another Christmas song.

let quiet reign.

[Waits sing "What Maid was This?" from
"Christmas Carols Old and New."JESTER.

Sir Twistem, methinks that song was e'enas good as the other one.

SIR T. No more, my sweet fool. Thou need'st
not think to match thy crossed shilling.
JESTER. Ah, good my lord, think not I care forthy silver: 't was the winning gave me joy. But I
love music my soul longeth for
;

1

it.

suck

sweet melancholy

from a song as thou suckest
a dull brain from thy potations.

Sirrah, thou abusest
I care not for
thy privilege.

SIR T.

nor is my brain befogged.
JESTER. Then, speaking of silver, canst thou tell me why aale,boxed rat is like a man becoming
short of money ?

SIR T. Beshrew me, boy, I
cannot answer.
JESTER. Because, look you, it will be a-gnawing to
get out.

SIR T.

Go to!

annoying.

A villainous jest,i'faith.

A SIXTEENTH-CENTURY CHRISTMAS151

JESTER. Nuncle, where hadst thou this fine ale ?
SIB T. Of Master Davenant at the Crown Inn,sirrah.

JESTER.

Of Master Davenant!

Then why is the

Crown Inn like Jacob's Well ?
SIR T. I know not that, either.
JESTER. Because, hark ye, "he brews drink there.
SIR T. Go to, thou art too subtle for me. He
brews drink !

'T

ispassing good

!

[

Wipes

tears.]

wonder not that themelancholy Jacques would fain wear motley. By
the way that same sad man reminds me[Addresses
Hebrews drink

Waits.]

to be sure.

I

My good friends, could ye sing for us thatfine song the huntsmen sing in the forests of Arden,

as 't is done at the Curtain Theater!

WAITS. Ay, good my lord, that can we.
SIR T. We must have a little spice withal, or the
carols will pall upon our taste.
[Waits sing "What Shall He Have who Kills
the Deer ? " from the Boosey collection.

The

bystanders in the scene applaud.

LADY G. Lady Beatrice, wilt thou not sing for usthat quaint old ballad that I love so well ?

LADY B.

If it is thy pleasure, I cannot decline.
""[Lady B. sings O Mistress Mine or
lida Flouts Me," from "Pan Pipes."" Pliil-Noise

without.

LADY G. Good my lord, what noise is this without ?
SIR T. It must e'en be those merry roisterers who
follow the Lord of Misrule.
are but

somewhat rude.

Fear them not; they

They '11 do no ill.

Some

152

ST.

NICHOLAS PLAYS AND OPERETTAS

there are, poor souls,

who know no way to show

their joy but by making a monstrous noise.
[Enter the Lord of the Misrule and followers,
with music, hobby-horse, etc. They danceand distribute papers,
ceive pennies.
Christmas box.

forwhich theyre-A poor child comes with a

LADY G. Ah dear little mouse. Bring hither thy
Soon may t be full.
!

Christmas box.

7

[Roisterers exeunt.

JESTER.

[Yawning.]

I havean exposition of sleep

come upon me, nuncle. Is to-day to-morrow or yesterday? If too full we fill one day, 't will spill andI fain would niggard with a little
spoil the next.
rest.

Christmas joys are well, but

A surfeit of the sweetest things
The deepest loathing to the stomach brings.
SIR T.

Thou art not altogether a fool.

The time

draws near, " so I regreet the daintiest last to makethe end most sweet." Dear heart, what shall be thefinal act in this our Yule-tide play ?
LADY G. Glad are our hearts. Peace, plenty, andjoy smile upon all. Let our last act on the birthdayof our Lord be the union of our voices in praising
Let us sing " Gloria in Excelsis."
his name.
[All sing.

Almost all the songs named in the text can be obtained by ordering through music-dealers, and most of the waits
and carols are to be found in the "English Melodies" and"Sacred Series" of the collection called the " Choralist."
Of course, when necessary, other old songs and carols may besubstituted at will for those mentioned here.
NOTE.

CHRISTMAS EVE AT MOTHER HUBBARD'S(A Christmas Play for School or Parlor Entertainment)

BY S. J. D.
CHARACTERS
LITTLE Miss MUFFET.
LITTLE JACK HORNER.
LITTLE BOY BLUE.
LITTLE BO-PEEP.

JILL.

MISTRESS MARY.
SIMPLE SIMON.

OLD MOTHER HUBBARD.
SANTA GLAUS.

JACK.
SCENE.

A room at Mother Hubbard's; two doors, one sup-posed to open to the outer air, the other to lead into anotherpart of the house also a cupboard with closed door.
;

Little Miss Muffet and Jack Horner disclosed, seated, as thecurtain rises.

Miss MUFFET. Can you tell me, Jack Horner, why
so many of us have been asked to come here to Old

Mother Hubbard's to-night ? What does she want of
What is she going to have us do ?
JACK HORNER. Do f Why, I thought it was a sortof a party, perhaps forfeits, and dancing, and stageAnd afterward well, I have beencoach, and so on.
we shall have ice-cream and cake,whether
wonderingor nuts and raisins and apples.
[Rising and walking

us ?

153

154

ST.

NICHOLAS PLAYS AND OPERETTAS

about discontentedly.}
Muffet.

I declare,it'sa shame, MissDo you know I am not to have any Christ-mas pie this year ?
Miss MUFFET. Why not ?
JACK HORNEB. Oh, well, you know that old trickof mine about the plums my folks thought it badmanners, and so I am to go without my pie. [Sitsdown again moodily.]
And what 's Jack Horner;without a Christmas pie ?

Miss MUFFET. Well,! have n't any curds or whey,
it was a very old-fashioned dish, anddoing without it does away with the spider, so I ameither; butvery well pleased. Boys are so queer
always thinking of something to eat

always hungry,!

JACK HORNER. And girls are so very queerof spiders, shrieking at a mouse!

afraidWhen a fellow is

asked out of an evening, I don't think it at all queer
he should expect a little something in the way ofrefreshments.

Miss MUFFET. But this is n't to be a party. We
were asked here to help about something. And then,
to expect ice-cream at Mother Hubbard's
Why,
she can't.
It is n't nice to speak of it, but you knowthat pitiful story about her dog.
JACK HORNER. Oh, well, there are better times
now. Yes, I know the old story. And that 's the!

very cupboard over there. [Rising, ivith curiosity.]
I 've a good mind to just go peep into that cupboard

and see if it really is bare.
Miss MUFFET. [Speaking as he tiptoes across theWhat sort of manners do you call it, Jack
room.]
Horner, to go prying into other folks' cupboaa^s ?

CHRISTMAS EVE AT MOTHER HUBBARD'S 155[As Jack lays his hand on the cupboard door ahorn is heard without, and he jumps backguiltily.

Miss MUFPET.

Who 's afraid now, I

7

d

like

to

know?

Who can it be ?

JACK HORNER.

[The horn sounds again, and Little Boy Blue
enters.

BOY BLUE. Hallo!

here are two of you before me

old friends, of course; but I have n't met any
Mother Goose people in so long a time that I 'm
afraid I sha'n't

know you all.

Now, who are you,ma'am, if I may be allowed to ask ?
Miss MUFFET. / am Little Miss Muffet.
BOY BLUE. Oh, yes who sat on a tuffet. Well,then, now 's my chance to ask you about something
What isthat has always puzzled me tremendously.
a tuff et ?

Miss MUFFET. [Jumping up from her stool and plaThat is a tuffet
BOY BLUE. That ? Why, that s nothing but acing it before him.]!

'littlefootstool!

Miss MUFFET.
"

What makes them call it a tuffet ?
BecauseMuffet," stupid, and""tuffet"rhymesfootstool " does n't

with

!

JACK HORNER. No, nor hassock, nor ottoman. To
Where arebe puzzled over an easy thing like that
Blue
?
Are
under
the
wits,
Boy
haymow,
your
they
!

fast asleep ?

BOY BLUE.

my

Well, Jack,[Good-naturedly.]
boy,
will
be
are
sitnext
that
pretendingyou
alwaysyouting about in a corner so as to make yourself rhyme

156

ST.

NICHOLAS PLAYS AND OPERETTAS

with " Horner."
littleNow, is n't it because you are just a

bit lazy, and a little bit afraid of the weather?

JACK HORNER, [Jumping up testily.}Blue, I don't like that

See here, Boy!

Miss MUFFET. Oh, dear! if you boys go to quarreling and fussing, it will spoil our whole evening.
[Bo-peep knocks at the door with her crook,and then enters.

BOY BLUE.

[Advancing with a smile.]

I called foryou, Bo-peep, and you had already gone.
BO-PEEP. Yes I stopped for Jill, but she and Jack
could n't start for a little while yet, and I came on;alone.

JACK HORNER. Won't you take my chair, Miss BoWas it snowing when you came in?

peep?

BO-PEEP. Oh, ifc is glorious winter weather. Hew
do love the frost and cold
It makes me feel
Where s Mother Hubbard ?
ready for anything
Miss MUFFET. She was called away just after Jack
Homeland I came, and she has n't been in the room
since.
Why do you carry your crook in winter, BoI

!

7

!

peep?
BO-PEEP.

I like to have it when I

then, it 's pleasant to carry itit'm skating andreminds me of the;summer-time.

JACK HORNER. Then you like the summer better
than winter? So do I.
BO-PEEP. Well, I like the autumn better still
springtime;

andthat 's the best of all.

BOY BLUE. You and I love all the seasons, Bo-peep,
We know thembecause we live so much outdoors.

CHRISTMAS EVE AT MOTHER HUBBARD'S 157
all

As I was com-so well, and all their good times.

ing along through the snow just now, I found myself

humming that "May Song" of yours.
Miss MUFFET. Oh, Bo-peep, sing it for us, won'tyou?
BO-PEEP. Why, I will, if Boy Blue does his part, too.
BOY BLUE. All right. You begin.

MAY SONG

1

BO-PEEP.

Light is the heart of the young country lass
When May smiles " good day " through the wicket
Blossoms a- bloom in the tender green grass,
Birds all a-tune in the thicket.

Up and away at the first ray of morn,
Out where the sunbeams are playing!

Little Boy Blue, come blow your horn,

For we would be early a-Maying(Horn] Tra-la-la, tra-la-la, tra-la-la, tra-la-la
For we would be early a-Maying(Horn) Tra-la-la, tra-la-la, tra-la-la-la!

!

BOY BLUE.
Gay is the lot of the young country lad

When decked is the May-pole for dancing,
Fiddlers all there and a-fiddling like mad,Every one skipping and prancing.
Hie what a feast we shall have on the green,
Candy and cake and no paying.
!

BO-PEEP.

Oh, me, one would be like a king or a queen
If one could be always a-Maying!

Tra-la-la, etc.
1

For music, see "St. Nicholas Songs," page 172.

;

158

ST.

NICHOLAS PLAYS AND OPERETTAS

But lassies and laddies must work, it is true
All is not pleasure and funning.
There 's baking and churning
BOY BLUE.
and plowing to do,;

BO-PEEP.

And errands to keep one a-running.
BOY BLUE.
Cows to be tended and kept from the corn;

BO-PEEP.

Sheep that forever are straying
So at sunrise, Boy Blue, come blow us your horn
We '11 to work, and have time left for playing:(Horn)

Tra-la-la, tra-la-la, tra-la-la, tra-la-la;!

There '11 be plenty of time left for playing(Horn) Tra-la-la, tra-la-la, tra-la-la-la!

[At the close of the song a heavy fall and acommotion are heard outside.

What can be

Miss MUFFET. [Running to tlie door.]
the matter?
[Jack andJill

enter,

theformer hobbling,and holding his head with a wry face.

Why, it s Jack, and you too,
How 's this ? Have you had another tumble ?
BO-PEEP.

7

Jill!

Oh, Jack had to go and fall on a little slippery place near the door. Trust Jack for finding
JILL.

the slippery places!

JACK. Well, Mother Hubbard asked me to drop in
this evening, and I was trying to oblige her.

Only I
Whew
dropped too soon. I was n't quite in.
did n't I give my head a crack, though
JILL. Jack wants to join a baseball nine, but I!

!

CHRISTMAS EVE AT MOTHER HUBBARD'S 159
tell

him he 's too good a tumbler to make a goodpitcher.

JACK HORNER. [Trying to look important.] Pooh,That 's out of date, andBaseball, indeed

pooh

!

!

Golf 's your gamelawn-tennis, too.
game for me

Golf

!

7

s the

!

BOY BLUE.

[Patting

Mm on the back.]

There, there,

you '11 grow up to them all. Croquet andring-toss are better for you, at your age
sonny

!

!

JACK. Well,

Jill

will

have her joke.

And it 's

better to laugh than cry, say I.
JILL.

Sing them that song you composed about all
It will make you forget your head-

your tumbles.
ache.

JACK. Oh, it 's too long. It has forty-eight verses,
each about a separate accident, and then three orfour in whichIgive a sort ofsumming up and amoral.

BOY BLUE.
up.

[Hastily.]

Just give us thesumming

Never mind about the other forty-eight verses.
JACK'S SONG l
If I Jm walking on a level

Where you 'd think that I might revel
In the comfort and the safety of the way,

Then I m bound to stub my toe,7

And the first thing that you know,
Jack is on his back again, alackaday!

For music, see "St. Nicholas Songs," page 128, "There wasa little girl," etc.
Use first verse of music for first and second
1verses of song, and last verse of music for third verse of song

ST. NICHOLAS

160

PLAYS AND OPERETTAS

Oh, I 've broken both my shoulders,

And the very smallest boulders
Are enough to twist my ankles all awry
Where the others dance and skipI;

am always sure to trip,

Dislocate my collar-bone and bruise my thigh!

But it does n't so much matter
Just how many bones I shatter,

Nor how oft the nickname " Buttertoes " 1 ve heard
7;

For our Jill says (bless her soul !)That I keep my temper whole,

And I never twist the truth or break my word
BO-PEEP. Well, Jack, I like that song.

It

!

's

just

fine!

BOY BLUE. So say I
JACK.

[Rubbing

his

!

head

ruefully.]

Singingit

did n't improve my head any.

Let me take you toMiss MUFFET. Poor boy
will have you lie
shefind Mother Hubbard, and
Jill
a
and
down little while,
give
something to bathe!

the sore spot.
[The three go out, leaving inner door open.

A

gentle knock, and Mistress Mary enters atother door.
Bo-peep is facing the door,
and the newcomer holds her hands out

toward her with a smile.

Bo-peep takesthem.

BO-PEEP.

I feel as if

you must be an old and dearfriend, and yet I cannot tell your name.

Why, I am Mistress Mary the
And if you would like to know how

MISTRESS MARY.
kinder gartner.

CHRISTMAS EVE AT MOTHER HUBBARD'S 161

my garden grows, I shall be delighted to tell you allabout it.

JACK HORNER. [Surprised.] You Mistress Mary?
I thought
And you look so pleasant and so cheery!

they used to say you wereknow
BOY BLUE. Contrary?

well, sort ofoh, you

Why, Jack, my fine fel-low, where are your wits? That is just to rhyme
with "Mary." " Contrary " rhymes with Mary, and"pleasant" does n't, nor "charming."
MISTRESS MARY. No they really thought me con"cranky," I think they
trary, and very, very queer
would call it nowadays. But that was only because
they did n't understand the Frobel system. They
were-n't familiar with the "gifts and occupations,"
and they could n't see what silver bells or cockleshells or balls or cubes or cylinders had to do withthe training of the little maids in my kindergarten.
;

By the way, they did n't stand in a row at all, mylittle maids,

but in a circle, as they do to-day.

BOY BLUE. But if I may make bold to ask, what
have silver bells and cockle-shells to do with schooling ?

MISTRESS MARY. I can tell you best in a little
song we have made about them, if you would like tohave me sing it to you.
BO-PEEP. Please do. That will be delightful.

MISTRESS MARY'S SONG x

Now list while I tell
Of the small silver bell
For music, see "St. Nicholas Songs," page
Singaway Bird."
1

11

110,

"The

162

ST.

NICHOLAS PLAYS AND OPERETTASThat rings in the year's early morning;

The first flower we see,It 's a-quiver with glee

As it gives to the others their warning"

it is spring,

Ting- ting,

Ting-ting, ting-a-ling,:

ting-a-ling

it is spring !

!

"Up come the flowers at the jubilant knell
Of this small rising-bellsilver bell.

And this fair cockle-shell,
Once so happy to dwell
At the edge of the murmuring billow,
It will sound at your ear,

In a voice that you hear

As through dreams on a wave-cradled pillow
"

List

List

!

!

list

list

!

:

the sea murmuring.

!

the sea whispering."

It has tales that are wondrous to tell

In its dream-talk, this fair cockle-shell.

So the bell from the lea
And the shell from the sea
Hold marvels we fain would be knowing;

And they tell each in turn
What 't is lovely to learn,
Little maids, in""my child garden growing.

Ting-tinghear me ring!

"ting-a-ling

List, list, to the sea whispering!

"!

Whisper, fair shell ring for us, silver bell
For your message is fair fair to hear, fair to tell;;!

BOY BLUE. I think I would n't mind belonging to
your school myself.

CHRISTMAS EVE AT MOTHER HUBBARD'S 163
BO-PEEP. I would join it in a minute if I was n't
so big.

JACK HORNER. Here comes Mother Hubbard, and

who 's that with her ?
There 's a
BOY BLUE. Why, it 's Simple Simon
scholar for you, Mistress Mary
Even you could
not drum any wisdom into him.
MISTRESS MARY. If I had had him young enough, I!

!

could have done it.
[Simon enters shuffling and sheepishly.

MISTRESS MARY. Good evening, Simon.
BO-PEEP. Was n't Mother Hubbard with you in
the passage ?

SIMPLE SIMON She was she was she assuredly was.
But just at the door here she heard the telusphone-bellran away again.
ring, and so she ran away again

JACK HORNER. And how did you get

into thehouse without our seeing you ?
SIMPLE SIMON. I don't know. I must have mistook
the back door for the front. I reckon 'pears to me
BOY BLUE. / believe you saw some pies throughthe kitchen window, and just went for them.
JACK HORNER. Pies? Pies? Say, I want one!

Has Simon got them ?
SIMPLE SIMON. Indeed, I have n't any.
BOY BLUE. So we 've heard before.
MISTRESS MARY. Now, boys, don't tease Simon;
and, Jack, don't be so greedy. What I want to ask

Simon is this Has Mother Hubbard told you what
we are all to do for her here to-night ?
:SIMPLE SIMON. No, she has not assuredly not.
She said to me " Simon, you Ve come in the wrong
:

164

ST.

NICHOLAS PLAYS AND OPERETTASAnd"

thank youYes, ma'am"
And
ma'am."
she
1 '11
Simon
says
kindly,Come,show you where the others are. I 'm ready to go tothem now, poor things " And then in the hall sheheard the telusphone-bell, and she said " Oh, dearyme
Get them to sing another song, Simon. Youasingsong with them, Simon and I '11 be there in adoor."

I

says

:

;

:

;

!

:

!

;

minuteALL.

in a minute."

A song!

Simon will sing a song!

BOY BLUE. Yes and we '11 join in.
;

SIMON'S SONG
If I had a penny,

A single little penny,
I would go at once and buy a pie

buy a pie.

But I 've just got a nickel
OTHERS.

[Jestingly.]

Well, you are in a pickle

SIMON.

!

[Seriously.]

Yes, a nickel 's not the price of a pie.

OTHERS.

From your nickel take a penny,
And buy one pie or many.
SIMON.

Oh, no, no 't is a sum too hard and highI never learned subtraction,!

!

And before I 'd solve a fraction
I 'd go for weeks without a taste of pie

oh,

my

!

CHRISTMAS EVE AT MOTHER HUBBARD'S 165
OTHERS. [Laughing.]
Ho, ho but this is funny
You '11 never spend your money
Unless you have a piece that 's just the price!

SIMON.

;!

[Triumphantly.]

Yes, I 've a plan, my sages
I '11 ask for penny wages:!

And that '11 be so handy and so niceso very nice!

[Mother Hubbard enters at last, followed byJack, Jill, and Little Miss Muffet.

MOTHER HUBBARD.

Well, boys and girls, how do

bad I have had to keep you
I heard you singing, andwaitinglong.
knew you were having a good time and when I

you do?

It is just too

But

so

;

heard Mistress Mary's sweet voice I felt quite easy,
for I

was sure she would n't let you get into any

mischief.

We have been amusing ourselves very
MotherHubbard.
well,
BO-PEEP. Yes but we are dying to know why you
have asked us all to meet here to-night.
MOTHER HUBBARD. Can't any of you guess I JackBOY BLUE.

;

Horner, now, he 's a keen lad.

JACK HORNER.
it[Dubiously.]

What does he think ?
It is n't

has n't anything to do with can

MOTHER HUBBARD. Oh, ho
mind runs, is it ?

itcould n't

candy, has it?

So that 's the way yourlooks
athim sharply, and then[She!

a step or two.]
There has n't any one been peeping into my cupboard, has there ?
at the cupboard, toward which she goes

166

ST.

NICHOLAS PLAYS AND OPERETTASJACK HORNER.

-I have n't
MISTRESS!

[Slipping behind Mistress Mary.}

It 's locked

MARY.

and patting[LaughingJacks

You know we would n't expect to find any-

head.]

thing there, Mother Hubbard!

MOTHER HUBBARD. You would
there

I

!

's

to-night.

n't,

eh?

Well,

something better than bones in that closet
Children, what night is this ?
[They look at each other.

Miss MUFFET. Christmas Eve
ALL. [Echoing Miss Muffet.] Christmas Eve!

!

MOTHER HUBBARD. And who is it comes visiting
about on Christmas Eve ?
[AlMook at each other again.

BOY BLUE. Santa Claus
ALL.

!

[Echoing Boy Blue.]Santa Claus

MOTHER HUBBARD. Exactly so.

!

And now let me

you he will be here, in this house, in this room,
There has been
in a very few minutes.
(Sensation.}tellsome delay, and I have been telephoning and telegraphing to him all the evening. At six o'clock heleft the North Pole, at seven he was rushing along
through Canada, at eight he had visited all thenorthern United States, and by this time he is coming straight for this house.

BOY BLUE. But I thought he did n't let any one
see him on his trips.

MOTHER HUBBARD. No, not ordinary people, myboy; but Mother Goose people are not ordinary
people; and, besides, you have all been asked tocome here to help him.

CHRISTMAS EVE AT MOTHER HUBBARD'S 167
BO-PEEP. To help him ? Help Santa Claus ? How
could we help Santa Claus ?
MOTHER HUBBARD. That he will tell you himself

when he comes. Hark did I hear bells ?
MISTRESS MARY. I hear nothing yet. Let us sing!

a song of welcome to help bring him.

ALL.

[Sing.]

Santa Claus is coming!

Joyful is the cry.

Spread by happy voices,

How the tidings fly
All the air is humming!

With the glad refrain,
Santa Claus is coming
Shout it once again[Afaint soundand nearer.

!

!

of sleigh-bells grows nearer
voice is heard without,A"

Whoa, there, Donner
Hold up, Blitzen
Whoa, Dancer
Whoa,
Prancer
Here we are " Santa Clausabove the bells

:

!

!

!

!

!

enters.

SANTA CLAUS. Yes, here we are at old Mother
Hubbard's and here are all the lads and lassies
come to meet us
MISTRESS MARY. And to help you, Santa Claus.
Mother Hubbard says we can help you.
SANTA CLAUS. And so you can so you can. Bless;!

your sweet face!

Now, here 's a likely lad.

hold of Jack, ivho has kept closeto[Laying

Mistress Mary.]

168

ST.

NICHOLAS PLAYS AND OPERETTASHe can help, I know.

And what would you like for

Christmas, my fine fellow ?

JACK HORNER.

A large Christmas pie, sir, veryfull of plums.

A

SANTA CLAUS. Ho, hoJ
modest wish, surely,
for one of your size
But, boys and girls, yourpresents are to come last. You shall have them all!

in good time, but first comes what you are to do for

And now I want you all to come near and listenvery seriously, for I am going to tell you a sad, sadme.

thing.
[All gather about him with breathless attention.

Santa Claus surveys them with a mournful
shake of the head.

SANTA CLAUS. [Solemnly, bending
Santa Claus is growing old

towardthem.]!

[They start back, surprised, and look at eachother doubtfully a moment.

BOY BLUE.

[Bluntly.]

Why, Santathought you always were old.
SANTA CLAUS. [Feigning indignation.]d'ye say ?

Always old, indeed!

Claus,

weHey! what

Who would havethought of such impertinence
BO-PEEP. [Defending Boy Blue.} I am sure yourhair and beard have always been as white as they arenow.
SANTA CLAUS. And what of that? My hair turned
white when I was a mere stripling, just with the care!

and brain-fag of inventing new Christmas toys every
year for all you boys and girls. But lately I havefelt I am really growing old, because
now, don't go

CHRISTMAS EVE AT MOTHER HUBBARD'S 169
because I am not so sprytelling this to everybody
It takes me a few minutes longer
as I used to be.
every year to make my rounds which is most mortifying to my pride.
BOY BLUE. But there are more children andchimneys than there used to be, Santa Glaus.

And

BO-PEEP.

somany more

toys for you tocarry.

SANTA GLAUS. [Delighted.] Why, bless your hearts,
The lad is a well-spoken lad, after all.

so there are!

He '11 not be caught napping under a haymow or
anywhere else again, I warrant you. And this little
lady does n't go wool-gathering nowadays, I '11 be
Yes, there are more chimneys, and a heavier

bound.

pack means a stronger back; and both my back and
Last year
legs get a little shaky now at Christmas.
it took me the whole of January, tucked up in bed,
to get over my jaunt on Christmas Eve.
And so,boys and girls, I have sent for you this year to help
me do my work.
ALL. How? How?
BOY BLUE. Won't it be fun 1 Hurrah
BO-PEEP. [Hurriedly.] What shall we do first?
!

Where shall we begin ?
SANTA GLAUS.
citement!

Softly,softly.

No hurry, no ex-

I have been all through the North, visitedthe Eskimos and the Frozen Northites

JACK. Oh, Santa Glaus, do tell us
Who lives at
the North Pole, and how do you get there? There!

are so many people who want to know!

SANTA GLAUS. Oh, yes; I know all about yourPearys and your Nansens and your Andrees, and all

170

ST.

NICHOLAS PLAYS AND OPERETTAS

who have tried to find the Pole since the days Kane
was not able. Brave men they, but deluded deluded.
Now, you can just tell any one who would
like
to know [the boys have drawn near, attenreallyI
live at the North Pole, and I never gossip
thattively]about my neighbors! And as for the way to get there,
the only way to be sure of reaching the Pole is [close
attention again from the boys] to go behind a team ofreindeer just like mine and mine are not for sale!

;[Crestfallen looks, while Santa Glaus wags his head triumphantly.} Now, what I was about to say was this:you boys and girls are to go with me the rest of theway to-night, and help me distribute my pack be somany feet and fingers for me.
ALL. What fun! Hurrah!

How will you take us all ?
SANTA GLAUS. In my sleigh. Where there 's room
for a million or more of Christmas gifts a few boys
and girls won't count.
Where shall we go first ?
BOY BLUE. Hurrah
SANTA GLAUS. We must finish the United States.
There are all the coast towns to do, and a perfect
JACK.

!

We

'11
grist of Sunday-schools in every one of them.
do those first. And I have laid up a special little

store of presents for them here at Mother Hubbard's.

Now, Mother Hubbard, if you have the key we willtake a look into that cupboard of yours.

MOTHER HUBBARD.

[Advancing proudly and smil-

Yes, the presents are in my cupIt is bare no, longer.
[Throws open

ingly, key in hand.}board, children.
the door,

andshoivstheshelves filled

What do you think of that ?

with parcels.]

CHRISTMAS EVE AT MOTHER HUBBARD'S 171
SANTA GLAUS. Yes, what do you say to that ? I say
it 's worth a song.
A song
JACK AND JILL. A song
MISTRESS MARY. A song for Mother Hubbard
Miss MUFFET. Let me join in the chorus.
!

!

!

SIMPLE SIMON.

We

'11

all

singall of it

sharps,flats, accidentals, and all.
JACK HORNER. Sing it to my tune.
BO-PEEP. [Impatiently.] But have we timehave

we time, Santa Glaus ?
SANTA GLAUS. Time! Let me tell you, my girl,when Santa Glaus stops on Christmas Eve, and justso long as he stops, all the clocks stop, too.
would n't dare get ahead of him that way.

BOY BLUE.

A song for MotherAll right, then.

Hubbard, to Jack Horner's tune!

Old Mother Hubbard
Goes to the cupboard
To look for her Christmas store.
She puts in the key
As proud as can be,
And cries, " It is empty no more

SANTA GLAUS.

They

"
!

Now all go and get your loads.

[They crowd about the cupboard, and Mother
Hubbard fills their arms with packages,
books, boxes of candy, etc.

MISTRESS MARY. [Duringother verse

!

this

distribution.]

An-

172

NICHOLAS PLAYS AND OPERETTASST.

Old Mother Hubbard

Shows us the cupboard,
Full from the bottom to top.
She loads all the boys
And girls with her toys
Till they cry, " Mother Hubbard,
pray stop"!

SANTA GLAUS. All out? All loaded? All ready?
Then let us make for the sleigh. Form a line,
Sha'n't we have a jolly timeAll
youngsters.
down the coast over to Europe Asia Isia-Osia!

and Africa
What a night of it
MOTHER HUBBARD. And where first ?
SANTA GLAUS. First to [Here may be!

!

inserted areference to the school or other company before ivhich theplay is presented.} Some of this special lot of bundles
is for them.
Forward, march!

MISTRESS MARY. One minute, boys
for Santa
BOY BLUE. Santa Glaus foreverFirst a song

!

!

!

JACK HORNER. Hurrah!

Santa Glaus forever,
Hurrah, hurrah, hurrah
Friend of the children,
Hurrah, hurrah, hurrah!

!

[Santa Clans and his assistants descend among
the audience and distribute the gifts pre-pared for them.

A LAWN DANCE FOR LITTLE PEOPLE
BY L. A. BRADBURY
Four boys dance in, one behind another, their hands on theirhips, and go to places at one side, while a group of singers singas follows
(Air,

:

"Sur le Pont d' Avignon.")

the

fun

just

be

-

gun,

They

are

EEEJ
danc

-

ing,

they

are

danc-ing!

See

the

fun

just

be

-

174

ST. NICHOLASPLAYS AND OPERETTASt(AZZ the bays bow to the company.)

Gen

-

tie

-

men

all

do

like

this,-/7S-t(Boys bow to each other, tivo and two.)

And

then

they

do

like

this.

[The boys balance, or mark time, in their places,
while four girls dance in and take places
opposite the boys, at some distance; thesingers singing as follows, to the same musicas was sung for the entrance of the boys :A LAWN DANCE FOE LITTLE PEOPLE

175

In the shade, in the sun,

They are dancing, they are dancing
In the shade, in the sun,
They are dancing, every one!

!

All the ladies do like this.
[The girls curtsy to the company, and the boys

bow again.

And then they do like this.
[Girls curtsy to each other, two and two ; boys
bow in the same way. During the singing of

the next stanza the boys take hands, the girls

do the same, and the two lines dance toward
each other, meeting in the middle, where
they take partners and form a square (quadrille).

Oh, what joy!

Oh, what fun!

They are dancing, they are dancing
Oh, what joy!

Oh, what fun

They are dancing, every one

!

!

!

All the dancers do like this.
[All bow and curtsy to partners.

And then they do like this.
bow and curtsy to corners. The music
then changes. During the singing of thenext stanza all join hands and go round to[All

the left.

176

ST.

(1)
(2)

NICHOLAS PLAYS AND OPERETTAS

Here
Here

they
in

-

a
a

go
hand

-

round,
round,

round,
round,

Here they
Here they

go
go

i

Here they

Hand

in

go
hand

to

-

to

-

geth
geth

-

er,
er,

m
round,
round,

round,
round,

Round
Round

-

-

round
round

y
y

they
they

go!
go!

[On the repetition of the music (2), partners
cross hands and promenade, going to theright.

All face partners, give right hand,and pass by, giving left hand to the next
person, and so on round to places again(grand right and left), while the singers
sing as follows:

A LAWN DANCE FOE LITTLE PEOPLE

(1)
(2)

Right
Right

hand
hand

and

left

to

la

dy,

gam,

Right

hand

and

left

go,

Turn

with

the

left

Right hand andRight hand toleftoth - er,read - y,

gain,
go,

Dane - ing
Mer - ry

a

and
and

hand
-

la

hand
right
gai
ly

they

this
and
nim - ble

and

hand,
hand,

-

177

a

-

the

hand and right hand a dy, and gaily theymer - ry

go round andEng - lish
turn

me,

chain,oh!

[On the repetition of the music (2), girls crossright hands in the middle, swing half round,give left hand to opposite boy, and turngirls cross right bands again, swing halfround, and turn partners.
;

12

178

ST.

NICHOLAS PLAYS AND OPERETTAS[Music as at first.

During the singing of thepart of the music (1), all balance andturn partners, then form a line, facing thefirstcompany.

,

f_2

,.

1

^

A LAWN DANCE FOR LITTLE PEOPLE
I),

-ft

170
c.

above.

DICKY DOT AND DOTTY DICK
BY

E.

S.

BROOKS

CHARACTERS
DICKY DOT boyish and buoyant.
DOTTY DICK matronly and maidenly.
ARABELLA, the doll

non-committal.

Let the characters be taken by two as bright little children
as can be selected for theparts; the younger the better;
DOTTY, a little girl of six or seven, and DICKY, a little boy ofseven or eight. The only properties necessary are the doll andDress in takdoll-carriage, with afghan and small umbrella.
ing costumes of to-day, with ulsters and large hats, if possible,
for better effect.
DICKY, at least, should have an ulster and hat.
Caution the children to speak slowly and distinctly.

Dotty enters, right, wheeling Arabella in doll-carriage ; stops
at center.

DOTTY.

[Disconsolately.]Oh, dear oh, dear
wearing!

!

a mother's cares are really very;

I did sowant to rest

but, noj

this child must havean airing.
[Convulsively.]

Why, Arabella Florence Dick, you '11 catch your deatho'danger!

How dare you throw that afghan off!

[Leans down to adjust it, and sees Dicky outside.
180

DICKY DOT AND DOTTY DICKMy goodness
Why, nowhy, yes

!

!

it 's

!

181

there 's a stranger.

Dicky Dot, a-prancing anda-dancing.

He 's got a brand-new ulster on

my

does

!

n't

he

look entrancing?

And does n't he think he just looks fine

In boys it 's!

too distressing

To see them thinking of their clothes
mind our dressing.

we girls must

[Enter Dicky, at the left, lifting his hat.

Good morning, Mr. Dicky Dot

I;

hope you 're welland hearty.
DICKY.

[Taking his hat off politely.]

Oh, thank you, Mrs. Dotty Dick;

I 'm quite a healthy

party.

And how are you, and [bending over carriage] how 's
the child Miss Arabella Florence?
DOTTY. [Dolefully.]
I 'm well enough but oh, that child!

weep in torrents

I justcould!

She does enjoy siich feeble health, I 'm in a constant
fever

!

I hardly dare to take her out

I can't go off and leaveher;

And so, you see, I 'm tied at homeand bothersuch a wear

it 's
;

!

Oh, Mr. Dicky Dot, be glad that you are not a mother.
DICKY. [Thankfully] I 'm sure I 'm glad.
DOTTY.
Ah yes our lives are just a lot of worry
While all you boys have easy times all fun and play!

;and hurry.

182

NICHOLAS PLAYS AND OPERETTASST.

DICKY. Oh, no, we don't.
DOTTY. Oh, yes, you do.
DICKY. We have to work for true, though.
DOTTY.
Well, so do we, and worry, too that does n't trouble;

you, though;

You walk around in pantaloons[With an injured air.]

DICKY.

Only one pocket,

though, ma'am.

DOTTY.

A brand-new ulster

DICKY.

\Proudly.]

Aint it nice ?

I 'm really quitea show, ma'am.

DOTTY.

And here I have to tend and mind a dreadful fretty
baby.
I 'm just a nurse-girl, I declare

DICKY.

[Consolingly.]

DOTTY. [Dubiously.]
DICKY.

[Seriously.]!

She '11 soon get better.

Maybe.

You 're only play-mad;

are n't

you, now?

DOTTY.

Of course it 's " nothings " worry
But that 's the way my mama acts when she 's all in;;a flurry.

DICKY.

[Hopefully.]

Some day we '11 both be big

folks, too.

DOTTY. [WtYA satisfaction.]I'11

wear my dresses

longer.

DICKY.

And I '11 wear boots, and big high hats, and be a great
deal stronger.

And you won't care for dolls!

DICKY DOT AND DOTTY DICK183

DOTTY. [Expostulatingly.] Oh, yes
DICKY. [Stoutly.] Oh, no
DOTTY. [Decidedly.] I '11 always love them.
!

!

DICKY. [Patronizingly.]
Oh, not when you 're a lady, Dot'Cause then you '11 feel above them.
j

DOTTY. [Thoughtfully.}
Dicky Dot? A butcher

And what
a

or

will

you

be,

teacher?

Oh, neither, Dot; I thinka preacher.
princeDOTTY. I 'd be a prince, if I were you all spangles,
DICKY.

I '11 be[Considering.]

or elseagold, and rattle.

DICKY.
I think I '11 be a general, and leadmy troops to battle.

What would you say to see, some day

a-galloping

and rearing

Me

Major-General Richard Dot

and hear the people

cheering ?

DOTTY.

[Coolly.]
I s'pose I 'd say, " Why, goodness me!

What is that Dicky trying ?
I 'm sure he '11 fall and hurt himself"!

And then you 'd tumble, crying.
DICKY.

[Indignantly.]

I guess I would n't, Dotty Dick

why

generals nevertumble.
I '11 be a

man then.

DOTTY. So you will.
DICKY.

[Contemptuously.]and humble.
DOTTY. [Energetically.]

And you '11 be scaredOh, no, I won't

I '11 be a queen so grand and glorious.

jfor then

184

NICHOLAS PLAYS AND OPERETTASST.

DICKY.

[Incredulously.]

You?

DOTTY.

[Magnificently.]

Yes

me

Well

well!

Dora, the victorious

DICKY.

Dotty Dick?
I '11 be Queen!

!

[Dumfounded.]

DOTTY.

And then the kings will crowd to beg my hand in
marriage.

And I will say[Haughtily.]"

Ah

DICKY.

[

General Dot, just order up my carriage
Taken all aback by this grandeur.]"!

must say of all the girls that plague, andtease, and tickle us

Well

I

You are about the
DOTTY.

[Sarcastically.]

Oh, Dicky Dot!

am

Dotty Dick, I

reallyJte-dick-alous

Oh, Dicky Dot!

!

do you think only

you, sir,Can grow up big, and grand, and fine? What you
do, I can do, sir
So why can't we be partners then, the same as when
we 're playing?
!

You be the general J '11 be queen, whom all theworld 's obeying.
And you will be so brave and strong that none canever humble me.
[Bombastically.]
Yes, 7 '11 protect you
DOTTY. [Starting suddenly away from carriage.] Oh
what 's that? a dreadful, horrid bumblebee
DICKY. [Running away.] Look out he '11 sting you

DICKY.

!

!

!

!

!

[Opens umbrella, and holds it before him.

DOTTY.

[Piteously.]

Drive him off!

DICKY DOT AND DOTTY DICKDICKY.

185[Backing farther off.}
I can'tCome under the umbrella!

he '11 sting a fellow.

quick

He 's there by!

Arabella.
[Dotty runs under the umbrella, and they both
sit on the ground, central, under cover of its

Then they cautiously put theirprotection.
heads out, at opposite sides, and afterward
look at each other.

DOTTY. [Sarcastically.] Well, Major-General Richard Dot, you are a brave defender!

DICKY.

[Apologetically.}

DOTTY.

[Critically.}

I 'm 'fraid of bees.

But generals ought n't to bequite so tender!

DICKY. [Starting bravely to his feet.]shall I charge the foe ?

DOTTY. [Rising, but guarding

Queen Dora,

herself with the open

umbrella.]Do, general, I implore you

He 's at my daughter!

and 1 11 adore you!

Oh, see there!

!

Save her,

7[Putting off his hat, and charging manfully
toward the carriage, beating the air as if he were striking

DICKY.

Be off, you traitor[Dodging him.] No,
I 've killed him, Dotty
you don't
Ha, ha[Clapping his hand to his mouth.] Oh, oh he 's stung me
DOTTY. Dropping the umbrella, and rushing to Dicky's
down a bee.]

!

!

!

!

!

!

[

Where ?
Dicky
and showing his hand toside, full of sympathy.]

DICKY.

!

[Jumping in pain

O-o-o
There
DOTTY. [Examining it critically.]

Dotty.}

spotty!

!

!

Say, will it kill you ?

How white and

186

ST.

NICHOLAS PLAYS AND OPERETTAS
I don't know.

DICKY.

[Dubiously.]
poison in it

I s'pose there 's!

DOTTY. [In tears.] Oh, dearOh, deardidI
it?
Oh, why
begin!

for me!

And all!

DICKY.

you fret!

[Consolingly.]
I '11
o-o-o-o

DOTTY. Poor Dicky

Now, Dotty, darling

!

don't

I '11 try to bear it.

!

me wrap it up [strippingand surveying it critically].

let!

the afglian off the carriage

Oh, dear ! I '11 have to tear it.
DICKY. [Putting it back.] No, no

your handker-;

chief will do.

DOTTY.

[Siveetly.]

DICKY.

That 11 cure itIkiss it'11!

!

[Dotty kisses the stung hand.
It don't pain half so badly now

DOTTY.

[

I think I can endure it.
hand
Wrapping Dicky's
up in her handker;

chief]

Oh, what a brave boy, Dicky Dot

You re gen?

!

eral no longer.
If I 'm the queen, then you be kingsir,:

you 're nobler,and stronger.

And Arabella

she shall be the fairy who shall leadus

To where our golden palace stands, with lords toserve and feed us.
DICKY. But we 've not got our king-clothes on'twill set the folks a-staring.

DOTTY.

I think I 'd rather see

my king his brand-

new ulster wearing.
DICKY.

[Utterly captivated]

DOTTY.

[Siveetly.]

Oh, are n't you niceAnd so are you.

!

DICKY DOT AND DOTTY DICKDICKY.

[

TJw ughtfully.

187]

My papa said, this morning,'T

was manlier to rule yourself than be a throne
adorning.

What did he mean ?

DOTTY.

[Puzzled.]

DICKY.

[Still thoughtful]ard 's mean

DOTTY.

and sniffy
You 're not.

DICKY.

[Accusingly.]

I ran.

DOTTY. [Emphatically.]
buzzerin a jiffy

I s'pose he meant a cow-!

But then

you killed that!

DICKY. [Confidingly.]

Well, Dotty, something said

right here [putting his hand on his heart]
u H'm

!

:

you 're a pretty fellow,

A-hiding from a bumblebee behind a big umbrella's 'fraid to fight will fail unless he 's!

A general thatbolder.

If you 're a 'f raid-cat now, you '11 be a 'f raid-cat when

you 're older."And so I up and. killed him dead.
DOTTY. [ShaMng her head.] He 's stung you badly,
maybe.
DICKY.

[Stoutly.]

I 'd rather be hurt awful bad than bea coward-baby.

How's Arabella?
DOTTY. [Examining Arabella carefully.]

She 'sallright.

No stings on hand or footy ?
DOTTY. Oh, no she 's just mussed up a bit
fix her nice and pretty.
DICKY.

;jI 7 11[Shakes Arabella out, and rearranges her in the
carriage.

188

NICHOLAS PLAYS AND OPERETTASST.

DICKY.
Let s play the bee was monstrous big and had adragon's head on,
And you two be the princesses, such as they 're always
7

fed on.
I '11 be the prince

who 's galloped up, at just the luckyminute,And killed the dragon deadand left my sword a-

sticking in it.

DOTTY.
Oh, yes.

[Enthusiastically.]Well, I 'm the princess, thenfairy story

just like the;

And we '11 live happy all our days, with lots of gold
and glory.
DICKY.
All right. And as the dragon's dead, letthere d come to meet us

's

play

7

A big procession, with the king and all his court, togreet us.

Then

DOTTY. [Grasping the doll-carriage.]
Prince Dicky lead the way.
DICKY.

let[Shouldering the umbrella.]
Let Princess Dotty follow,

With Arabella, off of whom the dragon took a swallow.
DOTTY. She 's in the chariot

oh, so ill!

DICKY.

Move on now to the palace.
Guns boom, flags wave, because we 've all escaped thedragon's malice.

DOTTY. [Stopping him and taking his hand.\ But,
'fore we go, we ought to thank these friends who 've
listened to us.

DICKY DOT AND DOTTY DICK189

[Both face the audience.

DICKY.
If you are pleased, then we are gladsuch good yoursmiles can do us.

And if, sometime, you come to court, just ask
DOTTY.

We'11

come out quick[Both join hands.

DICKY. For Prince and General Dicky Dot.

DOTTY.

And Princess Dotty Dick.
[Both bow majestically.

NOTE.

If no curtain is used the children can then march off

Dicky, with umbrella, in front, and Dotty, rolling doll-carriage, following.

AN OLD ENGLISH FOLK-SONG(Arranged for Recitation with Musical Accompaniment)

1

BY EDGAR S. KELLEY

There was an old woman

The words of the text are to be recited throughout, except" whichthe line, " Lawk 'a' mercy on me, this is none of I
may
1

!

be sung ad libitum.
190

AN OLD ENGLISH FOLK-SONG
I

;

191

ve heard tell, She went to the market her eggs for to sell

=?^

;

gy

fe

She went to the market all on a market day, And she fell asleepon the king's highway.

'.

H[The peddler approaches.]

E?_l.

JU

:

^^

There

a poco.

crescendo.

192

ST.

NICHOLAS PLAYS AND OPERETTASHe cut off her petticoatscame by a peddler whosename was Stout;

all round

about

;

He cut off her petticoats
up to the knees,

Which made the
old

woman

to

PP

%
shiver and freeze.

Now when the old woman did first awake,

She began to shiver and she

She began to wonder and she

began to shakebegan to cry,;AN OLD ENGLISH FOLK-SONG

103

mf
f

J IJ=

II

"Lawk 'a'mer - cy

But

be

if

it

I,

as

on

I

me,

this

ia

none

of

I!

hope it be, I 've a little dog at home,eLz

and he '11 know me

:

If it

be I he '11 wag his little tail

;

194

ST.

NICHOLAS PLAYS AND OPERETTAS
If it be not I he '11 loudly bark

and wail."
Faster.

iH ll
nf-- ft-pS

SS-

7T

*--,

i.

[The little old woman
Slow.

p 8va.

rvends her way homeward.

_,

<

t

Home went the old woman all in the dark,
Up got the little dog and he began to bark.
Faster.

AN OLD ENGLISH FOLK-SONG

195

He began to bark, and she began to cry,
=*

=*

7*

,

,

Tempo I.

=>^st
Lawk'a'mer - cy

on

me,

this

is

none

of

I!"

^=^1=^=^==^=^
mf

^+

2.

^

HAYDN'S "CHILDREN'S SYMPHONY"
BY JAMES JUDSON LORD

Do you know that Haydn, the great musical composer, wrote a symphony for the special delight andexercise of children
a real symphony, wilder andsweeter than the chorus of a thousand birds?

The

children required to perform it need not be trained
little musicians.
They must only be attentive, andpossessed of a quick, true ear for music, and able tokeep the dimples quiet while the very funny yet beautiful performance is going on.
Now, you shall havefull directions for getting up the symphony.
Themusic can be obtained at almost any first-class music
publisher's, and the toy instruments at any importing

toy-house.

To perform the "Children's Symphony "successfully,
an experienced musical director is required, and four
instrumental performers, with first and second violins,
Then eight children, withvioloncello, and bass-viol.
viz.
The
cuckoo, with two tones,
toy instruments,
G and E. (The violins and bass-viol must be tuned:by this instrument.) The whistle is a large clarionetshaped toy, which must be in G. The trumpet, a large
196

HAYDN'S " CHILDREN'S SYMPHONY"
metallic toy,

must also be in G.

197

The part for the

drum (a full-grown toy) is identical with the trumpet.
(if a proper quail-pipe cannot be obtained) a second whistle can be used, which must be
a mug-shaped instrument, within F. The night-owl,

For the quail

an orifice in its side, through which a whistle is inwhen used, is partly filled with water, to give
serted,the tremulous owl-hoot sound. The common rotary
The cymrattle and an ordinary triangle are used.
horizontal
with
two
belstern is an upright standard,rings of different diameter, on which are fastened
many bells, various in shape and tone.

The four leading instruments, playing in concert,
seem to inspire the timid toys with confidence, andwith persuasive and kindly notes to draw them out,
each in its proper place, so that " Cuckoo cuckoo
cuckoo n appears as harmonious among the peerless!

!

!

notes of the great master as in the beautiful twilightof the summer sky, and the shriek of the night-owl as

weird and gloomy as at midnight hour in the dark
When we see one sorecesses of its woodland haunts.
eminent bending his heavenly art, like the rainbow
touching the earth, to meet the capacity and to makeglad the hearts of children, we can well believe that
his own soul must have been touched with the spiritof

Him who took little children in his arms andblessed them.

The origin of the beautiful symphony is not generally known, but it has been pleasantly told by a Ger-man writer.
Would you like me to give a free translation of thestory ?

Here it is

:

198

ST.

NICHOLAS PLAYS AND OPERETTASPROLOGUE TO HAYDN'S CHILDREN'S SYMPHONY
Near Salzburg, once, good Father Haydn

Some leisure spent at Berchtesgaden(A rustic hamlet, cheered by mountain rills,
Perched like a birdling's home among the hills),
Where, with much thrift, the villager employs
His gentle time and skill in making toys,
As drums and trumpets, such as swell the din
Of mimic battles fought with swords of tin,

And tiny lutes, whose notes full oft inspire
In after years to string the charmed lyre

No trifler's art.
Is,:

(The maxim here unfurled

Please the child and you will please the world.)

Once, as he lingered in the village street
To sport with children he had chanced to meet

(For in his nature he was pure and mild
Like all the truly great, himself a child),;

Good Father Haydn to himself thus spokeu
Oft has your ardor for the grand awoke
Such strains as might a worldly mind elate,
And please the learn'd, and men of high estate
Now wake a grander symphony to please
And move the hearts of such dear ones as these
And with such instruments their hearts to move
As in their childish habits they approve.'
:

:

;

7

The morning brought the " Children's Symphony "Eight tiny trinkets chiming in their glee,

Led by the abler, as you see at school
The master foremost with his rod and rule.

HAYDN'S" CHILDREN'SSYMPHONY"199

The rattle, whistle, and the cymbelstern
Rattled and piped and clattered in their turn
The cuckoo, quail, and night-owl l could be heard,;

Whooping their best to be the better bird;

And drum and trumpet, with much clamor blest,
Were not a whit more bashful than the rest.
First an allegro, brisk as song of bird,

In which a cuckoo's cheering notes are heard,

And then a trio and a minuet,
Their graceful tones like sparkling jewels set;

And then a presto comes to close it all,Which cannot fail to please both great and small.
Although upon such playthings, still the partTo be performed will be no less an art.
And should some small affrighted trumpet shriek,
Or bashful whistle loose its voice and squeak,
Or some presumptuous little would-be drum
Should be puffed up, and then collapsed and dumb,Don't let such little things excite your wonder
You know, dear friends, great artists sometimes
jblunder.
1
Cuckoo, quail, and night-owl are
instruments.

names of German toy

A TOPSYTURVY CONCERTBY GEORGE BRADFORD BARTLETT
THIS is one of the funniest entertainments ever seen,
and one of the easiest to prepare.
It needs only a screen or a curtain stretched across

any room.
The height of the curtain may be determined by
the size of the children who sing in the concert, forthey stand in a row behind the screen or curtain.

have these singers nearly of the samethe screen or curtain should conceal all of

It is well tosize, astheir bodies except the head and neck.

The only preparation required is that the arms andhands of each should be covered with stockings, andthat shoes be worn upon each hand, with the soles ofthe shoes pointed forward, so that the toes will beturned toward the spectators, who are seated in frontof the curtain at a little distance.

At the conclusionof each verse the singers stoop down all together andvery quickly, and each, lowering the head, elevatesthe arms above the curtain.
200

A TOPSYTURVY CONCERT201

The effect thus produced is that all the singers
seem to be standing on their heads.

They keep time with their feet (or rather hands) tothe music of the song, and the sudden changes, when

done simultaneously, will never fail to amuse.

The ideaof thisunique performance probably

originated in the fertile brain of a Frenchman but it
has been adapted for the use of children, and will

prove an enjoyable addition to the holiday merrymakings.

THE CHANGELINGA FLOWER AND FAIRY MASQUEBY HARRIET PRESCOTT SPOFFORD
CHARACTERS

THE LITTLE MEN

LITTLE Jo.

THE ROSE-SPRITE.
THE NIGHT-MOTH.

IN

GREEN

(three).

THE MAIDENS OF THE MIST

BEES'-WINGS.

(three or more).

WHITE OWLET.
FLITTER-FLUTTER.

THE DAY-DREAM.

THE LOST TOYS (three).
THE BROKEN DOLLS (three).
THE FAIRY LADY.

HONOR, THE MAID.
FAIRIES:

JACK-O'-LANTERN.

COCKSCOMB.
MONK'S-HOOD.
WAKE-ROBIN.
MARIGOLD.

QUAKER-LADIES.
MOURNING-BRIDE.

SNAPDRAGON.
SWEET-WILLIAM.
SWEET-PEAS.
LITTLE MIGNONETTE.
PRINCE'S-FEATHER.
THE FAIRY HERALD.
THE VOICE OF CHANTICLEER.
PLACE. A garden terrace.
TIME. Between sunset and twilight.
Music. Cornet and clarinet. If a piano, then an accompanist who can modulate from one key to another for the various
songs and choruses.
COLORED LIGHTS.

The clarinet will always support the solo.
Toward the last. Pale rose for the dances

pale blue for the Fairy Lady's apparition.
202;

THE CHANGELING

203

Cheese-cloth, tarlatan, and other inexpensive matearranged according to the part. The Little Men in Green
entirely in green, with pointed caps, and spears representing
The Maidens of the Mist wrapped in white tarlatan, agrass.
long piece loosely folding one and passing to the next, folding
her and passing to the other. If there are but few to take parts,

DRESSES.

rial,

those who have already appeared may represent the Maidens of
the Mist by winding the long piece of white tarlatan round theirother costumes, and afterward hanging it on bushes in the fore-ground.

The Fairy Lady in any dress, shrouded with flowing

white, transparent stuff.

Flitter-flutter in a long,clinging,

primrose-colored gown, with very large wings. Little Mignonette with a waist looking like one bunch of mignonette, fromwhich her head and shoulders rise.

Day-dream, in skirts likethe scarlet poppy-petals, black bodice, and scarlet silk scarf towave.

The Night-moth in black, thin material, the rather longskirts spangled in rows of gold and silver, stomacher all spangles,

angel sleeves, long, narrow wings, black ostrich-feathers overthe head. The Rose-sprite in very full and rather long pinkskirts, cut in large scallops

and unhemmed, to be lifted andwreath of roses round the top

held out at one side in dancingof the half-high green corsage;;

hat like the petals of a hugetan-colored stockings andwild rose, on one side of the head;

These dresses may be varied according to individual
taste. All the lesser fairies are not indispensable. The Broken
Dolls, if unable to sing, may make jerky motions, the chorus
giving the words. The Lost Toys may represent a JumpingThe dancing is to be done like Queenjack, a Ninepin, a Kite.
Elizabeth's "high and disposedly," but with abandon.
boots.

A band of Fairies come dancing on the green in opposite
directions, each keeping to the right after passing, thus circling ina ring, led by the Night-moth and the Rose-sprite, who presently

withdraw inside the ring, still singing while the others dance.

CHORUS.
Air: "We are dainty little fairies." "lolanthe,"No. 1, Act I. (Repeat the first part of the tune for the last(No. 1.)verse.)204

ST.

NICHOLAS PLAYS AND OPERETTASAre we flowers or fairy people, always springing, al-ways singing?

When the sun forsakes the steeple, when the evening
breezes fan,

Look across the last ray slanting, purple mist youreyes enchanting;

THE ROSE-SPRITE.

Are we flowers or fairy people ? You may answer, if
you can!

Many a night-moth flits before us;

gayest laughter

follows after.
[Laughter behind the scenes.

Bees belated blunder o'er us

warning cries.

;

whippoorwills send

THE CHANGELING

205

When you hear our airy whistles, down that 's blowing off from thistles,[Whistles behind the scenes.

You may deem us, you may dream us
set 's in your eyes

From

but the sun-!

the roses faint and heavy,

softly stooping,swiftly trooping,
From the brambles in a bevy, from the blossoms,
from the bells,

Whether it is pansies springing, whether it is bluebirds winging,

Or canary-bird flowers singing, is a thing whitemagic tells!

[The fairies are

stilldancing when the Rose-

sprite separates from them, comes forward,

and sings.

ROSE-SPRITE.
(No. 2. )Air:" She wore a rose in her hair."George Osgood.

All day I slept in the rose,

And I hardly know myself
So sweet is the breath that blows
If I be flower or elf.
[The Rose-sprite whirls back among the others,
and the Night-moth steals forward, and singsto the same air.

NIGHT-MOTH.
(No. 3.)

I curled in the lily's cup

The livelong summer day,Till she folded her petals up,

And I slipped like the dew away.

206

ST.

NICHOLAS PLAYS AND OPERETTAS
the

[As

slidesNight-moth

back, Bees'-wings comesswiftly zigzagging across,pauses, and sings.

BEES'-WINGS.
"If

Air:

(No. 4.)

Adolphe Adam.

I

were king."(Beginningat second bar, singing
nine bars, omitting thenext twenty-five, singomitting all

ing four,the rest.)

I was just abigbrown bee,Buzzing home,
hey, nonny,

nonny

!

When the fairies captured me,
Stole my sting, andkept my honey!

[Runs off.

CHORUS OF FAIRIES.
FLITTEK-FLUTTER.

[

With

mischievous

glee.]

He was just a bim-bome-bim,
Buzzing home, hey, nonny, nonny!

When the fairies captured him,
Stole his sting, and kept his honey!

[The dance continues, the fairies swinging one
another, moving in and out, and Flitterflutter floats forward, singing.

THE CHANGELING

207

FLITTER-FLUTTER.
(No. 5.)

Air: Trio, "Every journey has an end."

the," No.

"lolan-Act II.

8,

Flittering, fluttering out of the sky,Primrose-petal or butter-%,
Flittering off on the wind
1 go,

Wherever its soft breathcares to blow.
[Floats back.

FAIRY
CHORUS.

[Blowing kisses into the air.
Flittering,

fluttering,

off she goes,

Wherever the fragrantsouth wind blows.
[The fairies join hands,
and run in a ring,leavingoutDay-dream, who sings to
the same air.

DAY-DREAM.
(No. 6.)The splendid poppy, to makemy tent,
His

scarlet*^ n * jsilkencurtains
THE FAIKY LADY.

208

ST.

NICHOLAS PLAYS AND OPERETTASThere all day long did I
drowse and sleep,
And my dreams were
soft, and my dreams
were deep.
[Bugle in the distance.

FAIRY HERALD. [Running on.]Recitative.

Hark

Sound

!

retreat!

Beat quick, ye fairy

drums

!

[Trills on base notes of

instruments.

haste

Haste,

hush

Hush,

!

This

!

mortal comes

way a
!

[Mingles with the fairies.

All show fear,

andhuddletoEnter Lit-

THE NIGHT-MOTH.
gether.
tle Jo, in his nightgown,

waving a butterfly-

net, hurrying on, and stopping

suddenly insurprise.

LITTLE Jo. [Speaks.]Why, I was sure I saw them;

I actually thought

That if I had been down here

A butterfly I 'd caught.
FAIRIES.

[In chorus, softly, all stooping towardfrom the background in the right.]

Mm

THE CHANGELING

209(No. 7.) Air: "YetBritain won," chorus to Lord Mountararat's

song.

"lolanthe," No. 3,

Act II.

(Changedto 4 time.)

Ha, ha, ha he reallythought
That he a butterfly!

had caught!

[Jo listens, start-

but

led,

sumes

as

reif

convinced hehad not heard
anything.

LITTLE Jo.

Now, could it be a

BEES'-WINGS.

fairy

That I saw flitting by,

As I leaned from the window
Or just a butterfly 1
FAIRIES.
(No. 8.)[In chorus, turning to one another, amused.]Same as No. 7.

Air:Ha, ha, ha went flitting by,
Nothing but a butterfly!

!

LITTLE Jo.
I did n't wait to dress me,

For I 've been sent to bed.
I hurried just like wild-fire,

And 'most forgot my head
14

!

210

ST.

NICHOLAS PLAYS AND OPERETTASFAIRIES.
(No. 9.)[In chorus, quite uproariously.}
Air: Same as No. 5.

Ha, ha, ha

Fairies, hear!

!

He quite forgot his head, we fear!

LITTLE Jo.
I wish I had some fern-seed

They say it never fails
Or the salt that catches birdies,;

If you put it on their tails.

FAIRIES.
(No. 10.)[In chorus, very affirmatively.]
Air: Same as No. 7.

Ha, ha, ha it never fails
If you put it on their tails!

!

LITTLE Jo.

Perhaps I had been dreaming
I guess I was but then,;If I should wait a moment

They may come back again.
FAIRIES.

\In

chorus,moreboldly.]Air: Same as No. 7.

(No. 11.)Ha, ha, ha
Surely!

just wait, and then

they

again

'11

come

back

!

LITTLE Jo.
I wonder whether fairies

You really don't believe,

When Honor talks of fairies,
That she 's laughing in her
LITTLE jo.

sleeve ?

THE CHANGELINGFAIRIES.

[Indignantly.](No. 12.)

Air: Same as No. 5.

Oh, oh, oh!

211

yon don't believe

Honor 's laughing in her sleeve

LITTLE Jo.

[Looking about,

growing tired andvexed.]

There 's no such
It 's all a story!

thing as fairies
So!

!

THE DAY-DREAM.

!

[Amazed looks among
the fairies.

I wishI

am so sleepy

I don 7 t believe

I

oo oh

[Yawns.
!

[Yawns again, stretches, sinks down and sleeps.
FAIRIES.

[Crowding round.}Oh, oh, oh, oh!

[Tiptoeing, and singing one by one.

212

NICHOLAS PLAYS AND OPERETTASST.

"Down the shadowed lanes he goes." George(Beginning at "As she strayed and as she sang.")(No. 13.) Air

Osgood.

:Is n't he a little dear ?

Just the sweetest ever seen!

Let us take him
for a Changeling!

Take him to the
Fairy Queena shame heshould be mor!

is

tal!

Turn him, turnhim to a fay'

Wave your charms,
weave

and

your dances,
Sing your spells
away, away!

[All together, ina ring, dancing

round him andconcealing him
while he slips
off

his

night-

gown to show
costume
PKINCE'S-FEATHEK.

be-neath, repeat
to the same air
as before.

Is n't he a little dear ?

Just the sweetest ever seen

Let us take him for a Changeling!
Fairy Queen!

!

Take him to theTHE CHANGELING'T is a shame he should be mortal

him to a fay!

213

Turn him, turn!

Wave your charms, and weave your dances, sing youraway, awayspells!

[The fairies break
the ring, andJo isLittleseen in tights,
pea-trunks,cockwings,

andantenna).

He looks himself over, gazes

about him, nutters his wings,

looks over hisshoulder

them,

at

springs

to his feet, andsings.

LITTLE Jo.
(No. 14.) Air: "Little-

Bo-peep."
Goose's"Mother

Melodies," by El-.'.

liott.

SNAPDKAGON.

Why, there are such things as fairies!

And if any one says there are not,Take the dart of a bumblebee,
And shoot him on the spot!

[Meanwhile the fairies are mustering into ranks.

FAIRY CHORUS.

[Little Jo shoivs that he listens

fairies' singing ivith more and more pleasure.]

to the214

ST.

(No. 15.)NICHOLAS PLAYS AND OPERETTASAir: "Henceforth Strephon.""lolanthe."Where the summer reigns serene,
Where the winds are always low,
Spicy dells are always green,
Into Fairyland he must go!

Into Fairyland he must go!

Into Fairyland, etc.
[Fairies withdraw to the sides, still singing.

LITTLE Jo. [Bending over and slapping

his

knees

with delighted emphasis, sings.]

Into Fairyland I will go!

[The fairies now return, coming on from opposite sides with the steps of " Dancing in theBarn," as they sing.

FAIRY CHORUS.
(No. 16.) Air: "Dancing in the Barn, "adapted.
sixteen bars.)(The first

Who is half so happy now, half so gay, as we are ?
Riding on the rainbow, flashing in the foam,Sunbeams are our coursers, east to-day and west to-morrow.

Hear our bridles jingle as we lead the fireflies home
Just a tear would drown us, just a sigh would slay.
We think of nothing, dream of nothing, to annoy.

!

Mortals, we believe it, are only made of sorroware made of perfume, of music, and of joy
;

We

!

[During this chorus Little Jo has caught sightof Little Mignonette, a tiny fairy, and has
been following her in and out among thegroups, the shrubs, and vases, followed by
White Owlet and Bees'-wings, exclaiming,

THE CHANGELING215

and buzzing in his face at every meeting.
He pauses as he darts across the scene, as if
to take breath, and sings.

LITTLE Jo.
(No. 17.) Same air as No.

15 (but without the refrain),"Henceforth Strephon."If there is a flower that blows

Sweeter than the budding rose,

T is when dew is sparkling yet
On darling Little Mignonette

7!

WAKE-KOBIN.

BEES'-WINGS.

[At one side.]

Buzz

!

WHITE OWLET. [On the other side.]

Tu-whoo!

[Little Jo continues the pursuit. As he runs, theLittle Men in Green start up from the grass.

THE CHANGELING217

THE LITTLE MEN IN GREEN.
(No. 18.)

Air: "When darkly looms the day."(Ten bars.)

When moonlight floods the fields,
And mighty shadow shields
The glades and glens and wealds,
If you 're awake,

The Little Men in Green
Perhaps you may have seen
Haunting the silver sheen
Of bog and brake.
O'er dale and dingle far

Our hunting knows no bar,

By defile and by scar,O'er briers and thorns;

Through midnight far and near,If you 're awake you '11 hear
In what wild tunes and clear
We wind our horns.
[Music to represent horns behind the scenes.
They disappear with their horns at theirmouths as the Maidens of the Mist pass
slowly and sing.

THE MAIDENS OF THE MIST.
(No. 19.) Air: "Sounds from the Ball."-Gillet.
posed into the key of D.)

The lonely Maidens of the Mist,
Year in and out our threads we twist,
And, moving o'er the meadow-side,
Rose-leaves to blushes for the bride

We twirl, or distaffs drop and weave
Moonbeams to satin for her sleeve,(Trans-218

ST.

NICHOLAS PLAYS AND OPERETTASWHITE OWLET.

Or scatter jewels as we sail
Where the gossamer spider spins her veil.
[As they pass, the fairies muster into ranks
again, having been frolicking in and out theplace, and sing, the Night-moth and the Rosesprite, at the rightand left of the scene,

marshaling them. As each fairy's name iscalled, he or she appears and does obeisance.

FAIRIES.
(No. 20.)

weak[In chorus.]
Air: Duet of Phyllis and Strephon, "If weenough to tarry." "lolanthe," No. 10, Act(Sixteen bars.)

Why the hours do we waste?

Homeward, fairies, homeward haste
Jack-o'-lantern, lead the way!

;

Cockscomb, follow quick, we pray
Come, Wake-robin, play no pranksWith the Monk's-hood in our ranks
!

:

're
II.

THE CHANGELING

219

Marigold and Prince's-feather,

Fondly wander off together!

Quaker-ladies, Mourning-bride,
Throw your modest mask aside;

Give Snapdragon his adieu,
For Sweet-william goes with you.
Sweet-peas, spread your wings for flight.

Hurry

!

it is almost night!

Come, dark Night-moth, don't forget
Darling Little Mignonette!

LITTLE Jo. [Catching
LittleMignonette

at last, sings.]
Air: "The(No. 21.)
Mistletoe Bough," sungin quick time.
7

1 ve followed you far,and I 've followed

you longI;

Ve caught you at
last

will

I

sing

you my song.
For you 're bright as adrop that the sun
sparkles through,And you re only an
7

atom

sweet

of

honey-dew
BEES'-WINGS.

!

Buzz

!

WHITE OWLET. Tuwhoo!

A QUAKER-LADTC,

ST. NICHOLAS

220

PLAYS AND OPERETTASFAIRIES. [In chorus, dancing with a long swing, firston one foot and then on the other, facing the front, andsupporting the Broken Dolls, who come staggering on andsing jerkily.}

THE BROKEN DOLLS,(No. 22.)

SONG OF THE BROKEN DOLLS

Oh, the lone - ly, long and lone - ly

we
>i

-

've

m

found it!

E=p:wea - ry, drear-y

moth-ers

AH

lost

us,

Dust-y,way

must-yFair - y - land,tocob - webs

on -

ly,

-

gar -rets bound it!

in

the

cor-ners

our hearts were bro - ken,

and

When

our

lit- tiemwhere they tossed us,

our heads were, too!

THE CHANGELING

221

had they kissed us, had they missed us, 't would assist

Oh,

us,

J-*
=?=
5^^=*==*=^-

inour trav-el!

as

the

Queer-ly, cheer-ly

cu-rious paths un - rav - el.

wewould twist us

Fair - y

ways

are

it-

hard

and

hoi - lowwhen you have no nose

One

foot

gone, andgone thef ol - low,toeyes that were

so

blue.

[As they withdraw, the Lost Toys come limping on, singing.
(No. 23.)

Air

"
:

Virginia Keel."

When the days are quite canicular,

And the sunshine perpendicular,
If you are at all particular,

You should go to Fairyland.
There s moonlight there to tease
you, and
There 's strawberry-ice to freeze
7

you, andYou think of what would please
you, andIt 's yours, in Fairyland!

LITTLE MIGNONETTE.

222

ST.

NICHOLAS PLAYS AND OPERETTASFor no one caresa scapple there

With any task toIngrapple there;
your inouth
the very apple
there

Drops, when in
Fairyland.

You never needarticulate

A wish, but justgesticulate,

When once you
do matriculate
Inside of Fairy-

land!
MONK'S-IiOOD.

[They stagger off, and the music changes, andsoon in the distance is heard "Annie
Rooney." Little Jo, who has been sitting,whispering to Little Mignonette, in the centerof the scene, turns and listens, presently
hums, and at the right point sings.

LITTLE Jo.
(No. 24.)

Air: The chorus ofAnnie Rooney."

She 's iny airy, fairy, oh,
She 's my darling, I m her Jo
Soon we 11 vanish, won't we, pet ?
7;

Little-little-

\

iitfiipi:^Jlli^p'
i

'.','

/ft
'.'.'

I

1

1

;'>-

{

I

224

ST.

NICHOLAS PLAYS AND OPERETTAS[Speaks.]

Little[Looks

about

wonand ex-

deringly,

claimsDear methat sounds!

familiar
I

:

;

heard

've

that

strain before

In some other star, perhaps,

On some other shore.
It

seems tome thatreally[With recognition.]Oh, they play it on
the square,

They play it in the parlor,

They play it every-

A SWEET-PEA.
[Littlewhere!

Mignonette turns entirely around, still

sitting,and stares amazed at him.

But whatever has become of me ?
[With surprise.]

They Ve changed me!

I Ve got wings[With fear.]

What in the world these waggles areWith[anger.]
There they go, the horrid things!

[Tears off his antennce.]!

THE CHANGELING
makes off in terror.

[Little Mignonette

I can't be some one else, you know

[Bewildered.]
I 've dreamed some dream or

Why

don't you see

other-

I 'm all outdoors

With alarm.][

Oh I want to see my mother!

7[The fairies, who havebeen in the back-movingground,about restlessly, andthen creeping for-

now

ward,

sing

mockingly,

FAIRIES. [In chorus.](No. 25.)

Air

Same as:No, 7.

Ha, ha, some dreamor other!

Oh, he wants to see
his mother!

LITTLE Jo.
[Crying

loudlyandbeseech-ingly.]

Oh, you voicesOh,!

how cruel is

your joy!

I don't want to

fairy
15

Oh,

!

you people!

be a
MOUENING-BKIDE.

226

ST.

NICHOLAS PLAYS AND OPERETTAS[With exasperation.}
I would rather be a

FAIRIES.
(No. 26.)boy!

[Angrily.]
Air: Same as No. 5.

He '11 destroy all our joy
He would rather be a boy!

SWEET- WILLIAM.

LITTLE Jo.
Mother, help me
Help me, Honor
What in the world am I to do ?
!

Oh, you know I love you soCome unfairy me
Boohoo!

!

!

THE CHANGELINGFAIRIES.

[Wringing their hands,](No. 27.)

Air: Same as No. 7.

227

What in the world are we to do ?

We can't unfairy him!

Boohoo!

JACK-O'-LANTEEN.

Buzz!

BEES'-WINGS.

WHITE OWLET. Tu-whoo!

[Melancholy music in the distance.

CHORUS OF FAIRIES.
"[Dejectedly.]

The Lorelei."-Friedrich Silcher. (Repeat(No. 28.) Air
the first nine bars for the second stanza, and then continue:

for the third.)

228

ST.

NICHOLAS PLAYS AND OPERETTAS

We cannot stay where tears arej

They melt us quite away
Into the bubble's breaking wreath

And the water-gleam's pale ray.
Oh, call, oh, call our lady
Call with your weirdest rune.
!

Call to the star-swale on the sea,

And the halo round the moon.
[All kneel, having softly surrounded Little Jo
in a ring as they sang.
andA grown-up

beautiful figure, the Fairy Lady, appears,
pauses, extends her arms a moment toward

theimploringfairies,and passes while they
continue singing.

ofSovereign

the

World

of Dreams,
Reverse the spell, andthen,Great Fairy, make thisChangeling

Only a boy again!

[As they separate, on arising,

Little

Jo,

in

his

nightgown, is seen lying
asleep in the foreground.

The Night-moth comes
COCKSCOMB.

stealing across the scene,
singing as she moves.

THE CHANGELING

229

NIGHT-MOTH.
Air: "I can-(No. 29.)

what

not

tell

love

may be."this"Pa(Nine and atience."half bars.)

Vanishing into thesunset bars,
Sisterofmysticalwings and of stars,

When twilight kindles a silver sparkImust go vanishing into the dark.
[As she disappears,
theRose-sprite
enters from theother side droopingly, and passes,

singing

tothesame air.

MAEIGOLD.

ROSE-SPRITE.
(No. 30.)

Soon I shall fail, I shall faint, I shall die,As the color fades from the evening sky;Life were too lovely ever to close
If never, if never, one lost the rose.

FAIRIES CHORUS.
7

[Led

~by

the Rose-sprite

andNight-moth, ivho reappear.](No. 31.) Air Same as No. 15.
:

Where the Will-o'-the-wisp takes flight,

And the Firefly skims with the Shooting-star,
Where the light of other days burns bright,

And the yesterdays and to-morrows are,

the

230

ST.

NICHOLAS PLAYS AND OPERETTAS

Where the Elfin Knight rides, always young,Over the fields where the wild oats grow,To the tune of the songs that never were sung,

HONOK, THE MAID.

Into Fairyland we must go!

Into Fairyland we must go!

Into Fairyland, etc.

BEES'-WINGS.

Buzz

!

WHITE OWLET. Tu-whoo!

[Exit fairies.

THE CHANGELING231

HONOR. [Running on, picking up Little Jo, speaks.]
Oh, Master Jo, I am that quaking
For when I found ye gone, me heart was breaking
Sure it 's the lad's own luck that Honor found ye!

!

Before the little fairy people bound ye

LITTLE Jo.

!

[Half looking up, as if talking in his sleep,

speaks.]I thought I saw them, Honor, did n't you ?
[Exit in Honor's arms

VOICE OF CHANTICLEER. [In the distance.]
Cock-a-doodle-do!

.

/1FKFPAT. I TUB AP V

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