Good Times with the Juniors

“Priscilla made fruit-baskets, and bowls for the nuts and candy, out of pumpkins. John sawed three large bright yellow ones for her as shown in the diagrams. After these had been scooped out, using the contents for pies, and dried thoroughly, we placed them on the table on mats of green tissue-paper cut in the shape of pumpkin leaves. The effect against the white cloth was quite pretty. For each of our poorer guests we made an old-fashioned reticule of yellow cloth tied with green braid. In these we placed a pair of woollen gloves, two pairs of woollen stockings or socks, a handkerchief, a cake of soap, and an order for a stout pair of shoes. In the way of gifts for the other guests there were little keepsakes such as pumpkin pincushions made of yellow silk and tied with green ribbons, Plymouth Rock paper-weights, and little models of Governor Carver’s chair in which we tied yellow pincushions with green ribbons. There were napkin-rings, needle-books, stamp-boxes, paper-cutters, and pin-trays, all with engravings of the Mayflower or some Pilgrim emblem. We had plenty of dinner for all. There was everything required for a Thanksgiving feast, from the turkey and cranberry sauce to plum pudding, into which Bridget had put plenty of plums. All who helped in receiving dressed in Puritan costumes.

“After the dinner had been eaten and the presents distributed, Miss Katherine Anderson, one of the teachers in the public school, gave a little talk, for fear the significance of the occasion might escape some of the most ignorant; but I am glad to say that there were none except the very smallest who did not know the history of our Pilgrim Fathers. The ladies of our old town have decided to give a dinner of this kind every Thanksgiving.”

When the Endeavorers are to give such a dinner, the little address would naturally be by the pastor, and the Juniors’ part of the preparations might well begin with the “mysterious basket-ball” described elsewhere in the book. In this case the small articles to be made or decorated would of course consist wholly of such as would be adapted for gifts at the dinner, and the Juniors should be told of the plan at the beginning of their work. They could also help in dressing the Puritan dolls and in receiving the guests; and, if they wish to do more, they might give a “Mayflower drill” in Puritan costume.

An entertainment of this kind could also be given to raise money for the church or society. In such cases, of course, the philanthropic features would be omitted, an admission fee charged, and the articles from the Mayflower sold.

Teddy and the Goblin.
(Teddy’s Dream on Christmas Morn.)
By Mattie-Marie Gamble.

The necessary requirements are a cot, a chair, a candle and candlestick, a large stocking, a small camera, and a large wooden frame with an opening about five feet square. The frame might be gilded or covered with yellow Canton flannel, and should have a support at the back of each side to hold it firmly in an upright position. There should be a box or platform high enough to be on a level with the lower edge of the opening of the frame, back of it.

The stage should represent a scene in the woods, with an abundance of green foliage; and leaves or green cloth should cover the floor. Near the back of the stage should be a curtain that could be drawn to each side, on which are painted trees, etc., to carry out the woods effect.

Back of this curtain arrange a small sleeping-room, in which are placed the cot and the chair with the candle on it; and in some prominent place is hung the stocking, well stuffed, with the small camera peeping out at the top.

Characters.

Costumes.

Teddy. Long nightgown reaching to just above the ankles, barefooted, and hair tousled.

Fun, the goblin. A boy of twelve or fourteen years, quite small for his age. Long beard, pointed shoes that turn up at the toes, long belted blouse and tight knee pants, stocking cap with tassel.

Red Ridinghood. Long red cloak and hood and a basket. A large dog may represent the wolf.

Old Woman. Pointed hat with brim. Old shoulder-shawl and dress to ankles, carrying a dilapidated broom.

Jack the Giant-Killer. Page’s costume and sword.

Giant. Very large man. Any fantastic costume.

Jack and Jill. Dressed as country children and carrying a pail, Jill with sunbonnet.

Tom, Tom, the Piper’s Son. Boy about sixteen, tall and slender; short waistcoat, trousers above shoe-tops, little old hat on back of head; a pig made of white Canton flannel under his arm. Or, if a small live pig could be procured, it would add to the merriment.

Jack-be-Nimble. Small boy in short waistcoat and trousers, with candle in candlestick.

Bo-Peep. Shepherdess costume. Long crook with ribbon tied on end.

Simple Simon. Trousers to shoe-tops; straight ragged garment extending almost to knees, and left open at neck; hair tousled. A tin pail and a rod about two feet in length with long string tied to it and piece of bent wire attached to the end of string.

Time. Just before dawn Christmas morning.

SCENE opens on the little bedroom. Teddy asleep on the cot. Keep the front of the stage as dark as possible during this scene, with woods curtain drawn aside, and throw a dim light on the bedroom from behind the scenes.

Teddy (waking, sitting up in bed, and rubbing his eyes). My, but it’s dark! I wonder if Santa Claus has been here yet. Guess I’ll see. (Strikes a match, and lights the candle, holds it above his head, and peers around. Suddenly seeing the stocking fairly bulging with gifts, he puts the candle on the chair, bounds out of bed, and makes a dive for the stocking. When about to take it down, he hesitates.) I know it ain’t time, but I just can’t wait. I’ll just take one thing out. (Reaches up carefully and takes down camera.) My! if it ain’t the camera I wrote to Santa Claus for. I wonder how it works. (Turning it over.) I’ll take Rover’s picture the very first one. (Dances back to bed, camera in hand, and, pulling the covers over him, begins examining it. Yawns several times, and talks in a sleepy voice.) Won’t ma and pa be (yawns) surprised—when—they—see—(yawns again)—it, though?—Wish—I—could—— (Falls asleep.)

(In runs little old goblin, frolics around the room a little, blows out the candle, and perches himself on the foot of the bed.)

Fun. Aha! been into your stocking already, have you? and sound asleep again. Well, well (then talking to himself), I will just wake him up in dreamland, and have a little fun with him. (Turning to Teddy.) Well, Master Teddy, how are you? Merry Christmas!

Teddy (very sleepy and still holding on to camera). How do you do?—but I—I don’t know you. What is your name? and where am I?

Fun. That’s so! Why, you are in dreamland; and you don’t know me?—ha! ha!—well, my name’s Fun. You think that a queer name? Well, I took that name because, you see, people are always wanting to do things “just for fun,” and so I thought I would be well taken care of!

Teddy. I wish I could take a picture with my new camera just for fun, but I don’t know how.

Fun. Is that so? Why, I can take fine pictures. Just come with me into the woods, and I will show you. (Jumps down and pulls Teddy, with camera, out of bed by the hand. Teddy hangs back as if frightened.) O, don’t be afraid. I will take good care of you, and bring you back again. Come on; we will take pictures of Mother Goose children in the woods.

Teddy. O—real sure ’nough live children?

Fun. Yes, I should say so. I know them all—Jack and Jill and Red Ridinghood and——

Teddy (excitedly). And Jack the Giant-Killer?

Fun. Yes—all of them.

Teddy. O, let’s hurry! (No longer holds back, but runs out, pulling Fun after him. As they leave, the foliage curtains should be quickly drawn together, leaving only the woods, and the light should now be turned on that scene. Enter Fun and Teddy, looking around. Teddy disappointed.) I don’t see anybody.

Fun. Just wait. Now you stand behind the tree and watch. Keep quiet. (Enter Red Ridinghood talking to the wolf, the dog. While she is talking, Fun takes the camera, and turns it in her direction. A stout rubber band can be attached to the camera so that no one can see it, and he snaps it very loud as he takes the picture. Fun turns to Teddy and grins.) I got that one; now we must get ready for the next. (Winds screw. At the same instant some one behind the scenes winds an old clock or something that makes an equally loud sound. This should be done each time a picture is taken. Just as he is ready for the next, Tom, Tom, the Piper’s Son, runs across the stage with pig, and Fun jumps quickly to snap the camera. Fun turns to Teddy and winks.) Nearly lost that one. (Winds again. After that the rest of the characters come in, in quick succession, so that all of them are in almost at the same time, each of course in his or her own way. Simple Simon should set his mother’s pail down at one side and begin fishing in it, always looking as silly as possible. Jack-be-Nimble places his lighted candle on the floor, and frequently jumps lightly back and forth over it. In the meantime the giant has lain down asleep, and Jack the Giant-Killer has taken his position with one foot on giant’s chest and sword in hand; Bo-Peep has fallen asleep, and so on. Fun skips in and out among them, snapping one picture after another, always winding after each. Finally he stops.) I wonder if I have them all.

Teddy (in loud whisper). You didn’t get the giant. (Is so interested that he forgets to keep back, and finds himself in the centre of the stage.)

Fun. Why, I forgot Little Bo-Peep! and the dear child is fast asleep. (Snaps camera again. At the same time, seeing Teddy, the children all begin to laugh and dance around him, having lots of fun. Teddy becomes frightened, and, burying his face in his hands, cries aloud. Fun runs to him, and when the children see the goblin they all scamper off the stage, Bo-Peep and the giant disappearing with the rest.) What is the matter, my little friend?

Teddy. I’m so (sobs) scared!

Fun. Scared at what?

Teddy. Because they’re all around me.

Fun. Who?

Teddy (looking up wonderingly). Why!—why, where are they?

Fun. You crazy child, who are you talking about?

Teddy. Red Ridinghood and Jack the Giant-Killer and—and all the rest!

Fun. Ha! ha! (Laughing heartily.) You don’t understand them. Now you see them and now you don’t.

Teddy. Wish I could see them again, but I don’t want them to see me.

Fun. Well, the pictures are all ready now, and they are fine ones, too. One hundred times larger than your camera. Think of it! Would you like to see them now?

Teddy. Well, I should say so!

Fun. All right; here goes. First we will have Little Red Ridinghood. (During the performance in the woods the cot, chair, etc., should be removed and the large frame with platform back of it put directly behind the foliage curtain. Back of the frame opening and platform should be a woods background if possible. When Fun announces the subject of each picture, some one behind the scenes, near the front, should read slowly and clearly the story or verse describing that picture. Meanwhile, those characters are taking their positions in the frame, and when ready must not move. As each story or verse is finished, the curtains are drawn aside for a minute, showing the picture, and then drawn together again. Then the next story and its picture, and so on until all are shown. As each one is presented, Teddy and Fun dance around and clap their hands, making such exclamations as “O my!” “Isn’t that great?” etc. Curtain falls on the last picture. Fun and Teddy are again alone in the woods.) Here they all come back again, I declare! Too bad they could not have seen their own pictures. O, well; it doesn’t matter. Why! where are you going, Teddy?

Teddy. I’m going home! (Runs off the stage.)

Fun. Wait a minute. (Talking to himself.) No use. Guess I had better see if he gets home all right. (Follows Teddy. Enter all the children singing Mother Goose rhymes. While they are dancing and singing, the large frame is removed, and the cot, etc., are replaced the same as in the first scene. As the music is finished, they dance off stage. Curtain opens on bedroom scene. Teddy asleep with camera, and the goblin perched on bed again.) Well, the little fellow has had quite a treat, and it is nearly time for him to wake up; so I must leave him for this time. (Jumps down, and as he steals lightly out, kisses his hand to Teddy.) Good-by, little chap. I hope you will have a fine Christmas day. Good-by.

(A bright light is now thrown on the cot, and Teddy wakes up.)

Teddy. My! it’s broad daylight, and I’ll bet the folks are all up. (Sits up on one side of the bed; suddenly thinks of the camera, and takes it up.) Wasn’t Santa Claus good, though? (Meditatively.) If I only knew how to use it! (Brightening.) Why, I do! Now who was it showed me how? O, yes! it was the goblin, I do believe; and I’ve been to dreamland. Yes, it all comes to me now, and I’ve resolved that —— (Standing and reciting.)

CURTAIN.

Cinderella Reception.

The Juniors come, if they wish, in fancy costumes; the smallest girl can be Cinderella, in pretty slippers, and a trained Empire dress of pink cambric, with her hair piled up on top of her head; and the smallest boy should personate the prince, in a light-blue cambric suit with many bows and buckles. Others may be the cruel stepmother, the proud sisters, the fairy godmother, the king, the queen, and various other distinguished people of the times.

Among the games which might be played is “my lady’s slipper.” One player goes out of the room, and is blindfolded. The rest seat themselves in a line in seats low enough so that their feet all reach the floor. The feet must not be tucked under the chairs, or otherwise disposed of in any way except straight on the floor in front of the seated players. The blindfolded one is then called in, and tries to find out, by lightly stepping on the toes of each, who is the one thus trod upon. Some players can keep perfectly still while this is going on; but many have not the necessary self-control, and the slightest laugh, exclamation, or other noise often reveals the secret. The first one whose identity is thus learned must change places with the blindfolded one, and the game proceeds as before.

Perhaps the children will like to try a “slipper obstacle-race,” which is like the race in the “parlor mountain-climb” except that each Junior wears a paper slipper which must be kept on throughout the race.

“Fairy bowling” is another good game. Cover the dining-room table temporarily with a cloth of bright-colored flannel or other woollen material; arrange across it, near one end, a pasteboard arch, or one of heavy wire wound with ribbon, fastening the ends of the arch to bricks on each side, covered like the table. Prepare a large bowl of suds, made of soap, warm water, and glycerine; and arrange the players, boys on one side of the table and girls on the other, giving to each boy a clay pipe and to each girl a small fan. The boy at the head of the line takes the bowl, blows a bubble, and drops it on the table. The girl opposite tries to fan it under the arch before it breaks. Tally is kept with pink and blue paper disks on little tally cards which may be attached to the fans. Pink means a successful bowling; blue, a failure. As each two players complete their trial, they go to the foot of the line, which moves up to let the next two try. The game may consist of five rounds, or four if there are many players. A ribbon-bedecked pipe and a pretty fan might be the rewards given to the winning bowlers.

Here is a new kind of “slipper-hunt,” which is enjoyable. Tell the Juniors that there are forty pairs of slippers hidden about the rooms, and offer a reward to the one finding the greatest number that prove to be pairs. The slippers should be of different colors, and about three inches long. They are cut out of cardboard from patterns found in an illustrated catalogue.

The plan of a doll Cinderella seated in a pumpkin coach lined with light blue, with four and twenty chocolate mice harnessed to it with ribbons and driven by a colored doll coachman, is not new, but is very pleasing, especially to the younger ones. Refreshments may be slipper-shaped sandwiches or cookies, lemonade, and the chocolate mice.

Star Social.

If you wish decorative features, the following are attractive, though not necessary to the success of the social.

Cut from gilt paper as many stars about an inch in diameter as there are Juniors. Then take a large star-shaped wire frame, one of those supplied by florists for Christmas decorations, fill it with evergreen or holly, if the social is to be held near Christmas time, and suspend it from the ceiling or chandelier by ribbons, extending from each point upward and meeting at the centre. From each point of this large star hang a group of the little stars, by strings or baby ribbon of different lengths, so that from each point the gilt stars will be hanging in a cluster, some higher, some lower. Number all the stars, those in each group having a number of their own. Thus the cluster of stars from one point will all be numbered 1, those from another point 2, and so on.

Some of the Juniors are probably taking piano lessons, and making good progress; or learning to play on other instruments; and of course a number can sing well. Ask several of the musical ones to come prepared to play or sing. A few others should have recitations; and two or three who like to write can each write an original story not more than five hundred words long.

As the Juniors come in, give to each of them a pencil and a star-shaped white card with the words written from the centre towards each point, “Pictures,” “Music,” “Stories,” “Speaking,” and “Museum.” Ask them to write their names on the reverse side of their cards; and then to read what is written on the star-points, and to make a check or cross very plainly in that point having the name of the thing they like best. The cards are then collected, and will be, by the way, no slight help to a new Junior superintendent in learning to understand the tastes of the children with whom she is to work, even after this particular good time is over.

While the cards, after being collected, are examined and sorted, some game may be played. The “flying star” is a good one. Each player is supplied with a small empty spool, with a colored paper star pasted over one end. Half the stars are red, the other half blue, to distinguish which side the player is on. Arrange twelve berry-boxes, quart size, on the floor in a hollow square. Mark four of them on the bottom with the figure 5; four of them 10, and leave four blank. Place a tin cup in the centre. Let the players stand a few feet away, and they may test their skill in throwing. Each spool, or “flying star,” landing in the cup, counts 20; when landing in one of the boxes, it counts whatever that box is marked. Each side keeps tally, and when all the stars have flown, the scores are compared to see which side has the larger.

Next, divide the Juniors into groups for the game “constellations,” which is really several games in one. The division is made according to choice as already marked on the cards given out on arrival. Those who chose “Pictures” are put in Constellation No. 1, and to them belongs the cluster of little hanging gilt stars marked with that number. Those who chose “Music” are in Constellation No. 2, and so on. The gilt stars are taken down and given to the Juniors thus by number, pinned to the dress of each; and thereby every Junior becomes a “star,” and must prepare to shine accordingly. As before stated, however, the star decorations are not absolutely necessary; the Juniors can shine even without being thus labelled.

The constellation of “star artists” sit together, and for half an hour engage in some drawing contest. Perhaps the game of “accidental high art” is as good as any. Spread a newspaper over a table; let each player be furnished with two pieces of paper and a pen; and on the table place a bottle of India ink and a fountain-pen-filler. With the filler let one drop of ink fall upon one of the pieces of paper belonging to each, and tell him to press upon it his other sheet of paper. This gives each player the foundation for two pictures, so that if his first attempt is not an entire success he can try again. The aim is to make of the grotesque and shapeless blot, by the help of the pen and imagination, a picture of some object—animal, tree, landscape, or whatever turns out to be most feasible. As blots are never twice alike, there is every opportunity for the fancy and skill of the artist.

While Constellation No. 1 is thus engaged, No. 2 is in the next room preparing its musical programme with the help of those who have brought something to sing or play; Constellation No. 3 is selecting recitations; No. 4, if this is the authors’ group, is deciding on the order of reading and perhaps the titles, or any other unfinished part, of its original stories; and No. 5 is arranging a museum of natural curiosities in the form of interesting hats, paper-cutters, and other small articles whose origin and method of manufacture and use they think they can at least partially describe.

At the end of the half-hour all the stars gather to listen to the entertainment provided by each constellation. The “star artists” exhibit their works of art; the star musicians play and sing; the star authors read their effusions; the star orators declaim or recite; and the star museum-directors give their exhibition. A vote of thanks, or some more substantial reward, may be given to the constellation furnishing the best entertainment.

Close the evening with refreshments consisting of cheese sandwiches cut star-shaped and filled, presumably, with green cheese from the moon; and glasses of creamy milk fresh from the Milky Way. What star or constellation could fail to be satisfied with such fare?

On leaving, each Junior might be given a star-shaped Christmas card as a memento.

This plan is capable, of course, like most of those given in this book, of endless variation. A “surprise constellation,” or some other preferred, might take the place of any one of those suggested. The stories, recitations, and music might be given without any previous arrangement outside, if a thoroughly impromptu programme is desired; but in most cases a little inkling of what will be expected of them, in the case of those likely to be called upon, makes the result more interesting. Some of the musical numbers and recitations could be humorous, others more serious; but most of them will naturally pertain to Christmas or stars. The following, once contributed by the writer to The New Voice, might be given by one of the more thoughtful Juniors as a recitation:

Holly and Mistletoe Drill.
By Imogen A. Storey.

An even number of small boys of uniform height must be used for this drill. Usually it will be found necessary for the Juniors to call in the aid of children outside the society, which will furnish a fine opportunity to win new members.

At the rear of the stage a small hut should be constructed of light framework, and covered with heavy brown paper. The roof and window-sills of this must be spread with cotton to represent snow.

On the floor of the stage a heavy white cloth should be stretched, and in the rear and at the sides boughs of evergreens covered with cotton should be arranged to represent the woods.

The floor of the stage must be laid off as shown by diagrams to prevent mistakes. Half of the children must be dressed in fairylike suits of white, carrying a half-hoop trimmed with mistletoe and white satin ribbons, the ribbons tied at each end of the hoop. The others must be costumed in like manner, only in red, having hoops trimmed in holly and red ribbons. All must wear green gauze wings.

When the drill begins, old Santa and his wife should be seen busy in their little house, fixing toys. If presents are to be distributed, they must be placed in the hut previous to the beginning of the exercise. The children enter skipping to music, following the lines shown in Diagram A, mistletoes on the right and hollies on the left, or the reverse.

They skip, following lines as indicated by arrows in A, with arms in upward bend position and hoops arched overhead. When the leaders reach lines R and L, the skip step is changed to a march, and they join hoops with partners so as to make a complete hoop with bows at each side. This is a very easy movement, though it may seem the contrary. Those on the right extend the inside arm straight to the side, shoulder-high, holding the end of hoop with the arch down. Those on the left extend their arms in the same way with the arch up. Each child grasps the end of the partner’s hoop with his own in the inside hand.

On the leader’s reaching the front line the first position of the hoops is resumed by all with skip step. When the side lines are reached, they turn on the diagonal lines and begin a fancy step, dropping the hoop down around the neck like a boa. On a change of music drop the hoop, and advance the inside foot diagonally to inside (towards partner), and place it on the floor, first count; hop on the advance foot, and swing the outside leg across in front, bending the knee so that the foot which is crossed over comes almost as high as the knee of the inside leg, second count; swing the same foot diagonally forward to the outside again, and place it on the floor, third count; hop on it, and swing the inside leg across in front of the outside, fourth count. This step is called “swing-cross step,” which somewhat explains the movement. On the leaders’ reaching the front line the skip step with first position of hoop is resumed by all. On reaching the side lines again, instead of coming down diagonal lines as before, they turn on the rear lines as shown in B, and come down the lines R and L in C, with the following fancy step:

Advance the inside foot, and touch the toe to the floor, and the inside arm straight to the side and the outside hand on the chest, the arch of the hoop up, first count; change the weight to the forward foot, the hoop arched overhead the same as in skipping, second count; repeat the same to the opposite side, third and fourth counts. Continue this until the front line is reached. Then resume the skip step, and follow lines as before in A.

When they reach the side lines, old Santa steps to the front door of his hut, and blows a whistle or horn, and the skip step is changed to a run on the toes. The players run down the side lines, and turn on the lines shown in C leading to the hut. When the leaders reach the cross marks on these lines, a signal from the piano or another blast from old Santa’s horn is given for them to halt, which should be executed by them together. After they have halted, old Santa steps down from his door, and gives another blast, and all should turn facing inside; that is, towards lines R and L. Old Santa should walk up and down inspecting them.

Old Santa, in deep tones: “I have decided to engage you, Mistletoe and Holly Berry fairies, to do some work for me this beautiful Christmas night, for I am getting old and lame. Can I depend on you?”

Fairies all together: “Yes, sir.”

Old Santa: “I want you to take each child in this audience a gift from me and my wife. Will you do it?”

“Yes, sir; indeed we will,” should come in loud, emphatic tones from the little fairies. Santa should go back to the door of his little hut and receive the gifts from Mrs. Santa Claus, who hands them out to him. Santa must call out the names as he gives them to the fairies, as they file past on lines shown in C, turning on lines R and L, thence down the steps in the centre. After distributing the gifts they return for more by side steps as shown in C. In this way the presents, even for a large audience, can be easily disposed of.

Jack Frost Reception.

The Juniors may wish to give a Christmas tree to the children of some orphan asylum, combining with this plan a merry time for themselves as well. If so, a “Jack Frost reception” would be a good way of doing it.

One of the smaller boys, who is also one of the liveliest in the society, should be chosen to personate Jack. He should be dressed in a close-fitting suit of white Canton flannel, the fleecy side out, with here and there little tufts of cotton batting sprinkled with diamond dust. Long white stockings, with tiny bells sewed on them, and a few sprigs of holly, complete the costume.

Red crape-paper shades should cover all the globes. The tree should be hung with glittering icicles of rock-candy, and trimmed with tufts of sparkling cotton snow. An imitation bird’s nest for each guest is lined with crinkled white tissue-paper, filled with white sugar almonds, and placed among the branches. Then the presents, which might be toys or books that the Juniors have outgrown, in small boxes wrapped around with cotton batting and tied with white thread, make lovely snowballs. Pull the cotton out between the threads till each box is a fluffy, ball-shaped mass; then dip them in diamond-dust; label each with the name of the one for whom it is intended, and hang them with gilt or silver cord to the tree. Snowballs of all sizes may be made thus, and those too large to hang on the tree may be piled around the trunk.

When all have arrived, there may be singing by the Juniors, after which the “snowballs” are distributed. Jack Frost capers gayly about, ringing his bells, and tossing the balls to the children, who in turn toss them lightly about from one to another till each one reaches its owner. The birds’ nests of almonds and the candy icicles are left on the tree until later in the evening.

Refreshments are served at the north pole. On the centre of the dining-table place an uneven block of ice, and extending up from the ice have a long pasteboard mailing-tube covered with the imitation snow. A white toy bear standing on the top of the pole, holding in its mouth a sprig of dusted holly or evergreen, and several other bears grouped around its base, complete your north pole, and, to further the arctic effect, the chandelier may be trimmed with icicles and dusted sprays of green, and for an added touch of elegance, if desired, there may be Jack Frost place-cards made in fancy shapes, spread with a thin coating of mucilage, sprinkled with diamond-dust and the names written in gold or silver lettering. Of course these are not necessary. A substantial but wholesome lunch should be served.

One or two simple games selected from the index in the back of the book may be introduced if wanted, but the presents and the little feast will take up most of the time. Finish unloading the tree; close the evening with the singing of more Christmas songs; and the guests will go away convinced that the Juniors are not only the happiest people in the world, but that they are glad to share their pleasures with those not so fortunate.

Mistress Mary’s Contrary Reception.

Another name for this entertainment would be “A Midwinter Flower Fête.” It is charming at any time of the year, however, as both the winter and the flowers can be made to consist wholly of costumes and decorations.

The guests are received by “Mistress Mary” of Mother Goose fame, with several “pretty maids all in a row.” The members of this reception committee should be dressed as for a garden party, in white or light dresses, large hats, etc. They may be chosen from the Intermediates or older Juniors, or from the grown-up society; perhaps they might be the Junior superintendent and Junior committee.

Entering, the guests find themselves, to their surprise, not in a garden, but in a world of ice and snow. Cotton sprinkled with diamond-dust is on all sides, with red berries and evergreen from the winter woods; tables are spread for a feast in an ice grotto where the palest of blue and green draperies are combined with mirrors and lights so arranged as to increase the illusion; and there is a constant tinkle of invisible sleigh-bells.

Just as every one begins to shiver, there comes a burst of gay music; and Mistress Mary’s flower-garden appears in the midst of the wintry surroundings. It is a striking and pretty contrast. The smallest Juniors are chosen for this part of the entertainment. While the children are coming in, some one should sing the time-honored lines:

or, as one version has it, “flower-maids all in a row.” The small Juniors are dressed as follows: The boys in closely fitting suits and caps of green, trimmed with strings of sleigh-bells and small shells; the girls in dresses and hats of tissue-paper or crape paper, each girl representing a flower. The blossoms most easily imitated can be selected by studying a florist’s catalogue or a botany with colored plates. Some wild flowers are delightfully suited to the purpose; such as the buttercup, the daisy, the blue marsh clematis, the pale yellow adder’s-tongue, the pink swamp mallow, the wild rose, the bluebell, and the Carolina lily in its brilliant hues of crimson, orange, and brown. Then there are nasturtiums, asters, morning-glories, sweet peas, and chrysanthemums; in fact, the list will be found to be a long one. Ribbons and artificial flowers may be used as trimmings where they will heighten the effect.

Each child should carry a basket decorated with the appropriate flower or with “cockle-shells” or “silver bells,” as the case may be, and filled with small articles for sale. A fancy drill is given on entering; and, if desired, some appropriate flower songs or recitations may be added. Then the contents of the various baskets should be offered for sale.

If any of the guests do not understand where the “contrary” part of the entertainment comes in, ask them if they ever knew a flower-garden so contrary to nature as to grow in such surroundings before their eyes. Of course, the Juniors are never contrary in any other way.

The Bells of Bonnydingle
In Two Acts
By Lilian M. Heath

Characters.

Dorothy Dot, A dear little girl under a magic spell.