|
It was an hour of rest! but Hagar found No shelter in the wilderness, and on She kept her weary way, until the boy Hung down his head, and open'd his parch'd lips For water; but she could not give it him. She laid him down beneath the sultry sky,— For it was better than the close, hot breath Of the thick pines,—and tried to comfort him; But he was sore athirst, and his blue eyes Were dim and bloodshot, and he could not know Why God denied him water in the wild. She sat a little longer, and he grew Ghastly and faint, as if he would have died. It was too much for her. She lifted him, And bore him farther on, and laid his head Beneath the shadow of a desert shrub; And, shrouding up her face, she went away And sat to watch where he could see her not Till he should die; and, watching him, she mourned:— Willis. |
This group is a representation of Hagar and Ishmael in the wilderness, and is designed to imitate sculpture. The circumstances of the scene are well known in the simple narrative of the Scriptures. The boy, weary and exhausted by unaccustomed hardships and suffering, has sunk down in the desert to die; but Hagar, sustained by the measureless affection of a mother's breast, supports the fainting form of her son, and has just put aside the cup now drained of its last precious drops of water. She gazes upon his face, while in her own, hope still lingers, before yielding to the unutterable anguish of despair. The lady who personates Hagar should be of good figure and features, tall, and matronly. Costume consists of a white dress, cut low in the neck, sleeves five inches long, a white tarleton scarf worn across the shoulders, and tied at the left side, the hair hanging in curls on the neck, a white turban on the head, with two white strips attached to the side and passed under the chin, and white sandals laced across white hose. The position of Hagar is kneeling, so that a side view is had of the face. The left hand sustains the head of Ishmael, the right is extended to the pitcher which stands at the side of the group; the head is bent forward considerably, eyes fixed on those of the boy, countenance expressing anxiety and hope. A young lad of six years of age, of fair complexion and long, light, curly hair, is required to personate Ishmael. He should be costumed in a loose, white coat or frock, white hose and sandals, with a white gauze mantle draped about the breast. Ishmael's position is, reclining on his side, one leg drawn up and placed across the other, the left arm resting on the ground, supporting the body, the right lying carelessly at the side; the shoulders rest on the knee of Hagar, head thrown back, and resting on the hand of Hagar, eyes closed, mouth partially open. The pitcher should be of white porcelain, of ancient style. The group is formed on a square or round pedestal, five feet square or in diameter, and one foot high, covered with white cloth or marble paper. The exposed portions of the figures must be made as white as possible with chalk. Light soft, and come from the side of the stage. Music of a plaintive and sacred character.
line
|
They saw the princely crest, They saw the knightly spear, The banner, and the mail-clad breast, Borne down, and trampled here: They saw—and glorying there they stand, Eternal records to the land. Mrs. Hemans. |
This thrilling tableau represents a death struggle between an Arab standard-bearer and a French soldier. The Arab grasps the standard with the left hand, while the right holds a short cimeter at arm's length; his body is bent forward, right arm extended thirty inches front of the left, and eyes directed to those of the soldier, the countenance expressing firmness and excitement. Costume consists of a long white coat without sleeves, trimmed about the bottom with buff, open at the top, displaying the neck and chest; a heavy red sash wound around the waist; pants of light-blue, cut quite loose, and gathered in with a string at the ankle; shoes covered with red cloth; a turban on the head, the top of which is white, and around the bottom is wound a band of red and black cloth, with the ends falling over the shoulders; a belt and scabbard are fastened to the waist. The sword should be two feet long, four inches wide, and curve from hilt to point. This can be made of tin or wood, the scabbard of card-board or leather, and painted red. The French soldier's costume consists of blue coat, trimmed and faced with buff, gold epaulets, large gilt buttons, white pants with stripe of red, red belt and long scabbard, hat with plume and long, straight visor. He holds in his right hand a long, straight sword, while the left grasps the standard. His body is bent forward, and faces the audience, the right foot extended front of the left thirty inches, the eyes fixed on those of the Arab, countenance expressing determination and rage. The staff on which the flag is fastened is seven feet long, with a gilt ball, crescent, and tassels at the top. The flag is made of three stripes, one of light yellow, and two of light red, with a black oval, with red trimmings, in the centre. The flag should be unfolded so as to show the design, but gathered in at the centre by the hand of the soldier. Between these two figures are a French soldier and an Arab lying dead on the ground. Five feet behind this group, and at the right of the stage, are four Arabs, with long spears, charging on the same number of French soldiers opposite, who are holding their muskets in position, ready to repel the charge, their countenances expressing sternness, their eyes fixed on each other. Costumes are similar to those described. Spears can be made of wood, with gilt spear-heads. The skin of the Arabs must be stained light brown. The French soldiers should wear large mustaches. A slight quantity of smoke is seen floating in the background; the booming of cannon heard in the distance. The scene is illuminated by a red fire at the side of the stage. Music of a martial style.
line
This comic tableau is one that can be produced at short notice, and without expense. The scene to be represented is a parlor furnished with sofa, chairs, carpet, pictures, table, and a melodeon, which is placed on the side of the stage. A sheet of music is resting on the rack, and a young lady is seated on the melodeon stool, body facing the audience, head turned to the back of the room, both hands raised, and eyes fixed on a young man, who is seated on the sofa in the background. Her body is slightly inclined from the young man, countenance expressing affright. She should be costumed in a showy silk dress. The gentleman's costume consists of striped pants, reaching within six inches of the foot, red straps, thick boots, ancient style swallow-skirted coat, short striped vest, ruffle-bosomed shirt, standing collar reaching to the ears, large brass chain and watch seals hanging from the vest pocket, large red silk handkerchief laid across the knee, and a low-crowned white hat in the hand. Position is, seated on the sofa, one hand placed in the pants pocket, the other resting on the knee, body bent forward, eyes fixed on the keys of the melodeon, countenance expressing astonishment. The gentleman best adapted for this part is one who has a natural talent for performing in comedy. Light should be thrown on the scene from the lower end of the side of the stage, and of medium brightness. Music of a spirited character.
line
|
Faith, Hope, and Love, now dwell on earth, And earth by them is blest; But Faith and Hope must yield to Love, Of all the graces best. |
This is a statuary tableau, and is represented by three young and beautiful ladies of about the same height and figure, with regular features and long hair. Their costume consists of a long white robe, worn with few skirts, and cut extremely low at the neck, sleeves five inches long, a mantle of white tarleton muslin worn across the breast, tied at the side, and allowed to trail on the floor; the hair arranged in braids at the sides of the head, ornamented with large beads, clasped with a silver band behind, and allowed to hang in short curls in the neck. The ornaments should be entirely white. The three ladies stand on a pedestal three feet high, and four feet in diameter; this must be covered with black or green marble paper, and placed in the centre of the stage. The centre lady stands facing the audience, with the right hand raised above the head; the left clasps the hand of the lady at the left side, who is looking into the eyes of the figure at the right, and rests her right hand on the shoulder of the centre figure. The figure on the other side stands in a graceful position, resting her hands on the shoulder of the centre figure, and looking into her face. The countenances of the three should express pleasure. The light for the piece must be soft and mellow, and come from the side of the stage. Music low and plaintive.
line
|
Angels, joyful to attend, Hovering round thy pillow bend, Wait to catch the signal given, And convey thee quick to heaven. |
This is a most pleasing tableau, and represents the good angel, in whose existence and controlling power there is scarce any one so rude as not to believe, attending a young boy, who looks reverently upward, to heed the admonitions of his celestial companion. The lady who personates the angel should be of good figure, tall and slim, with fine features, and light curly hair. Costume consists of a loose white dress, over which is worn a robe of white tarleton muslin; these should be cut quite low in the neck, and long at the bottom; sleeves long, and fitting tight to the arms; a wide mantle of tarleton muslin worn across the breast, and allowed to trail with the dress at the side. Large wings, formed of wire, covered with white muslin, and ornamented with spangles, must be fastened to the back of the waist. The hair should hang in ringlets, and be encircled with a band of silver. The boy must be of small stature, good features, and have long, light, curly hair. Costume consists of a loose short frock, made of white cloth, trimmed around the collar and ends of sleeves with white lace; white breeches, white hose, white shoes, and a small satin sash about the waist. Both of the figures stand on a pedestal two feet high by three square, which should be covered with black marble paper. The angel stands in the centre of the pedestal, the left hand resting on the boy's left shoulder, the right hand on his right shoulder. Her head is turned away to the left, the eyes fixed on the floor, the countenance pleasant. The boy stands a little to the right of the angel, arms crossed on his breast, head turned sideways, and slightly back, eyes fixed on the face of the angel. The crimson curtains, without the fairies, that are used in the tableau of the "Dancing Girl in Repose," may be placed over the group. The side curtains can be held up at the side by crimson bands. A curtain of white gauze, drawn across the front of the stage, will give a good effect to the tableau. The light should be of medium brilliancy, and come from the front side of the stage. Music soft, and of a sacred character.
line
|
Beauty is as crystal in the torchlight, sparkling on the poet's page; Virgin honey of Hymettus, distilled from the lips of the orator; A savor of sweet spikenard, anointing the hands of liberality; A feast of angel's-food set upon the tables of religion. She is seen in the tear of sorrow, and heard in the exuberance of mirth; She goeth out early with the huntsman, and watcheth at the pillow of disease. Science, in his secret laws, hath found out latent beauty; Sphere and square, and cone and curve, are fashioned by her rules: Mechanism met her in his forces, fancy caught her in its flittings, Day is lightened by her eyes, and her eyelids close upon the night. Beauty is dependence in the babe, a toothless tender nursling; Beauty is boldness in the boy, a curly rosy truant; Beauty is modesty and grace in fair retiring girlhood; Beauty is openness and strength in pure high-minded youth; Man, the noble and intelligent, gladdeneth earth in beauty, And woman's beauty sunneth him, as with a smile from heaven. Tupper. |
This fine tableau contains fifteen female figures, who are arranged in the form of a pyramid. They should be quite young, of good figure and features. Their costume consists of a pure white dress, cut low in the neck, sleeves five inches long, a white satin sash about the waist, white shoes and hose, hair done up in a compact and tasty manner, and encircled with a wreath of myrtle, while a small bouquet of flowers is placed on the front of the waist. The pyramid must be first formed of boxes, fastened firmly together, and covered with white cloth; five ladies of the same height sit on the lower seat, four on the second seat, three on the third seat, two on the fourth, and one on the fifth and last. Each should be furnished with a garland of flowers fastened to ratan three feet long; these must be held in the hands of the ladies, making a complete network of flowers. The eyes should be directed straight forward, countenance pleasant. The lights for this piece are as follows: Just as the curtain begins to rise, a green fire should be gradually thrown on to the stage, and slowly moved off; at the moment it is leaving the picture, a red light steals over the faces of the performers; this shade vanishes in the same manner, and a purple light appears. This will give a happy effect, and can be accomplished by burning the fires in large boxes placed on pivots at the side of the stage, and by turning them at the proper time the different colors can be thrown on the stage; a few of the side or footlights may be burned at the same time, so that when the colored lights are leaving the stage, the figures will still be seen. Music accompanying the tableau, must be soft and plaintive.
line
|
Within that rich pavilion, High on a glittering throne, A woman's form sat silently, 'Midst the glare of light alone. Her jewell'd robes fell strangely still— The drapery on her breast Seem'd with no pulse beneath to thrill, So stone-like was its rest! But a peal of lordly music Shook e'en the dust below, When the burning gold of the diadem Was set on her pallid brow! Then died away that haughty sound, And from the encircling band Step Prince and Chief, 'midst the hush profound, With homage to her hand. Mrs. Hemans. |
This magnificent tableau contains thirty figures, and, when exhibited with proper scenery and wardrobe, is one of the best of this collection. It should be used as a grand finale scene, and is arranged in the following manner: A number of gentlemen's costumes must be procured at a costumer's or a theatre. Ladies' costumes can be easily prepared.
At the back of the stage, at equal distances between the sides, erect a throne. First build a platform five feet long, three feet wide, and three feet high, with steps in front, all of which must be covered with crimson cloth and gold paper. Over the platform place a canopy made of purple cloth, and decorated with gold paper, cut to represent fringe. Cover the wall back of the platform with the same material, and in the centre place a large gold V; a large chair, trimmed with scarlet and gold, should be placed on the platform, and tiers of seats arranged on each side of the throne; these must form half circles, reaching to the centre of the stage at the sides. Seated and standing on the seats and platforms are the ambassadors, dukes, earls, and officers, in their full dress. The queen dowager and other royal female personages are intermingled among them. The lord steward, and chamberlain stand near the side scenes in the foreground, while the extreme background is filled up by the queen's guards. Standing on the step in front of the throne is the archbishop, holding the crown. A little to the left stands Victoria, her body facing the audience, and bent forward slightly, head bowed, ready to receive the crown. At the other side of the throne stands Prince Albert, dressed in rich uniform. The ladies' costumes consist of rich silks and brocades, ornamented with gold lace, paste pins, brooches, &c.; the hair arranged to suit the taste of the performers, and encircled with a band of gold, to which fasten a colored plume. The attention of all should be directed to the queen. The archbishop's costume consists of a black robe, large white sleeves, white handkerchief, with square ends, hanging on the breast, and white wig. Queen Victoria's costume, if not procured at a costumer's, consists of a white satin or silk dress, with a long trail, and four flounces on the skirt, each flounce ornamented with a band of gold paper three inches wide, covered with open lace. The top of the waist and bottom of the sleeves decorated in the same manner. A belt of crimson velvet, covered with spangles and small paste pins, encircles the waist; the sleeves should be open, and fastened across with gilt cord, terminating in tassels, which fall on the arms; white kid gloves, bound around the top with a band of silver, ornamented with wax beads and spangles; a long ermine scarf should be thrown gracefully over the shoulders, and trail to the floor. The ermine can be imitated by inserting small pieces of black shag in white cotton flannel. The hair may be done up in a neat coil, and ornamented with wax beads and gilt pins. A long white veil of lace is fastened to the back of the head, and allowed to trail to the feet. The crown can be made of card-board, covered with gold paper and brilliant paste pins. The steward and chamberlain each holds a staff with a large gilt spear-head and tassels at the top. Costume consists of showy suits, similar in style, head covered with low-crowned Kossuth hat, ornamented with a gold band and white lace. The guards must be placed in the extreme background, on high platforms; they stand perfectly erect, and face the audience. The scene should be brilliantly lighted by lamps at the front and left side of the stage. The booming of cannon is heard in the distance. Music of a majestic style.
line
|
The gray morn Dawns on the scene; the sulphurous smoke Before the wind slow rolls away, And the bright beams of morning dance Along the spangled snow. There scattered arms, And lifeless warriors, whose hard lineaments Death's self could change not, mark the dreadful path Of the outsallying victors. Shelley. |
A scene representing a band of brigands in their mountain fastness, on the watch for plunder and rapine. The scenery in the background should resemble ragged rocks, made by fastening brown paper in a rumpled manner to a frame of wood, and shaded with light and dark-brown paints. This must extend two thirds across the stage, three feet from the extreme background. The sides should be covered with similar scenery. The floor is strown with small boxes, to give it an uneven appearance, and covered with buffalo robes. Two of the brigands are seated at one side of the stage, engaged in playing cards; one is reclining in the foreground asleep; another is leaning against the rocks, resting his arms and body on his carbine, while the chief is standing at the end of the ledge in the background, pointing with his right hand into the open space beyond. Behind him stands his wife, to whom he is in the act of speaking, and directing her attention to the road in the distance. She is stooping forward, endeavoring to see the objects which he points out. The costume of the brigands consists of a frock coat ornamented with large gilt buttons, and trimmed around the bottom with colored cloth; bright-colored vest bound around the front and bottom with fancy ribbon; black handkerchief tied loosely in the neck; knee breeches and hose, with a band of showy cloth around the top, fastened with a brilliant paste pin or silver buckle; low shoes; red or blue sash about the waist; high-crowned black felt hat, ornamented with red binding, wound in a spiral manner from the rim to the top of the hat, and a colored feather at the side. The coat can be decorated in a more profuse manner, if desired; each must be furnished with musket and pistols. The chief's dress should be of richer material, and more profusely decorated than the other characters. The wife's costume consists of a scarlet skirt, black velvet waist open in front and laced across with pink ribbon, a showy scarf tied about the head, the ends falling on the shoulders; the neck and arms ornamented with brilliant jewelry; a morocco belt encircles the waist, to which is attached a small dirk. The two card-players are looking at their cards, countenances expressing deep thought. The one who stands facing the audience looks to the floor. The one that is asleep should lie in a position so that the countenance can be seen, the head resting on the hand, eyes closed. The wife's position is, standing so that a side view of the countenance is had. The chief stands in front of her, and in the same position, but the head is turned around so as to face the audience; the countenances of both expressing curiosity and excitement. The face and other exposed parts of the persons of all the figures must be colored light-brown, and the men wear heavy beards. The light for this scene should come from a red fire, burned in small quantities at the front side of the stage. No music will be required for the piece.
line
|
Not a drum was heard, not a funeral note, As his corpse to the ramparts we hurried, Not a soldier discharged his farewell shot O'er the grave where our hero was buried. Wolfe. |
The battle of Corunna, so disastrous to the British army, was fought January 16, 1809. Sir John Moore arrived in Spain in November, 1808, with a British army, and having advanced some distance into the country, he found himself compelled to make a rapid retreat. He was closely followed by the French under Marshal Soult, who attacked the British as they were embarking. Sir John Moore, while earnestly watching the result of the fight about the village of Elrina, was struck on the left breast by a cannon shot; the shock threw him from his horse with violence; he rose again in a sitting position, his countenance unchanged, and his steadfast eye still fixed upon the regiments engaged in his front; no sigh betrayed a sensation of pain; but in a few moments, when he was satisfied that the troops were gaining ground, his countenance brightened, and he suffered himself to be taken to the rear. As the soldiers placed him in a blanket, his sword got entangled, and the hilt entered the wound. A staff officer attempted to take it off, but the dying man stopped him, saying, "It is as well as it is. I had rather it should go out of the field with me." And in this manner, so becoming to a soldier, Moore was borne from the field. Several times he caused his attendants to stop and turn him around, that he might behold the field of battle. Night soon darkened the scene; the rumbling of baggage wagons, and the occasional booming of the distant cannon, alone disturbed the mournful silence of the scene; here and there the flames of burning villages shed a portentous light through the gloom. At length, to break the mournful silence, and to express the sympathy they might not speak, the band played a requiem for the dying general. The solemn strains arose and fell in prolonged echoes over the field, and swept in softened cadences on the ear of the dying warrior. Moore breathed faintly for a few hours, and before the morning dawned he had passed away. His corpse was wrapped in his military cloak, and was interred by the officers of his staff on the ramparts of Corunna—an event which is commemorated in the beautiful verses of Wolfe, the guns of the enemy paying him funeral honors. Soult, with a noble feeling of respect for his valor, raised a monument to his memory. Thus ended the career of Sir John Moore, a man whose uncommon capacity was sustained by the purest virtue. His tall, graceful person, dark, searching eyes, strongly defined forehead, and singularly expressive mouth, indicated a noble disposition and a refined understanding. He maintained the right with a vehemence bordering upon fierceness, and every important transaction in which he engaged increased his reputation for talent, and confirmed his character as a stern enemy to vice, a steadfast friend to merit, a just and faithful servant of his country.
Description of Tableau.—This magnificent scene contains twenty figures. On the centre of the stage, reclining on an English flag, is Sir John Moore, his countenance pale and deathly. He is dressed in rich uniform, which is described in the latter part of the tableau. His position is, lying across the stage, his face turned to the audience. At his feet stand two Highland soldiers, leaning on their muskets, and gazing on the dying man. A soldier with a bandage around his head is kneeling in front of them; one hand grasps the flag, the other points to the background; countenance expressing terror. At the head of Moore, partially stooping and holding the end of the flag, are two officers in full uniform; two other officers are seen back of the body, who are also grasping the flag and gazing on the face of the dying hero; three soldiers are kneeling in the foreground, their attention fixed on Moore; back of this group, on a platform one foot high, is seen a platoon of soldiers, one of which holds an ensign; their backs should be towards the audience, muskets to the shoulder, and position of soldiers marching hastily from the field in retreat; still further in the background, on a platform four feet high, is placed a second platoon, who are in the same position; one or two in each rank are looking back to the group in front; two soldiers directly back of Moore are levelling their muskets to the enemy in the distance. Cannon, muskets, drums, and swords should be strown carelessly on the stage, while a small quantity of smoke must be made to hover over the scene, and the booming of cannon imitated in the distance. Moore has one hand pressed to his breast; the other is held by one of the officers at his side. The costumes of the officers should be as varied and brilliant as can be procured. Scarlet coats would be most appropriate. The scene must be illuminated by a red fire burned at the right side of the stage. Music of a mournful and sacred order.
line
|
And the flames in thick wreaths mounted higher and higher; O God! it is fearful to perish by fire. |
This tableau represents a dwelling-house, the interior of which is enveloped in flames. The front door stands open, displaying a flight of steps, on which is a heroic fireman descending from the burning chamber, with a beautiful child clasped in his arms, which he has rescued from the raging element. Kneeling on the step outside of the door are the parents of the child; their hands are clasped and raised upward, their eyes fixed on the doorway, countenance expressing intense excitement. Two firemen in the foreground are seen holding a hose pipe and hose; two others, at the extreme end of the stage, are screwing the other end of the hose to a hydrant; another stands ready with an axe to break in the windows. The captain's position is on the step of the house; he holds a trumpet in his hand, and is giving orders to his men. The firemen should be dressed in full uniform, the mother in white, and hair hanging loose over the shoulders; the father's costume should be dark, and the child dressed in a long white robe. The scenery of this piece consists of a frame the width of the stage, and rising from the floor to the ceiling, painted to represent brick, with mouldings, frame, cornice, &c. A door may be placed in the centre, and a window on each side. The stairs should be as wide as the door, and run up five feet, and covered with carpeting; fire and smoke must be painted as coming from the windows. A red fire burned behind the back scene will light it up with fine effect. The light for the front of the picture should be of medium brightness, and come from the side of the stage. Fire bells can be imitated in the ante-rooms.
line
|
Though perils did Abound, as thick as thought could make 'em, and Appear in forms more horrid; yet my duty, As doth a rock against the chiding flood, Should the approach of this wild river break, And stand unshaken yours. Shakspeare. |
Unattended even by a body guard, and confiding in the love of his subjects, James I. of Scotland was residing within the walls of the Carthusian monastery at Scone. Graham of Stratham seized the occasion, and brought down a party by night to the neighborhood. Seconded by traitors within, he gained possession of the gates and interior passages. The king's first intimation was from his cup-bearer, who, on leaving the king's chamber, found the passage crowded by armed men, who answered his cry of alarm by striking him dead. The noise reached the royal chamber; a rush of the assassins followed; and Catharine Douglass, one of the queen's maids of honor, springing forward to bolt the door, found the bar had been clandestinely removed. With resolute self-devotion she supplied the place with her naked arm.—To present a view of the interior of the room, and the passage outside, it will be necessary to place a partition from the front of the stage, near the footlights, to the left hand corner in the background. In the smallest apartment stands Catharine Douglass. The partition running in this manner will give to the audience a view of the door and iron fastenings through which the arm of the heroine passes, and also the passage where the assassins stand. The partition should be made of light strips of wood, covered with cheap cloth, and painted to imitate the interior of a room. The door must be quite near the front, of Gothic form, studded with large nails; two iron sockets, four inches square, should be placed on the door and frame; a mahogany table, globe lamp, chairs, carpets, and engravings may be placed in the inner room; the outer apartment should be empty. The lady who personates the heroine must be of good figure, tall and stout, fine features, and have long black hair. Costume consists of a blue silk dress, pink waist, sleeves five inches long, bordered on the edge with black crape, under sleeves of white tarleton muslin reaching to the wrist, a yellow scarf tied loosely around the waist, hair flowing loosely over the shoulders, a plaid scarf fringed on the ends with gold, bound around the head, the ends hanging in the neck. Position, facing the audience, the right arm bare, and thrust through the first socket, the hand grasping the second; the left is pressed against the door above the fastening; the head inclined towards the door, body perfectly upright, eyes looking straight forward with intensity, countenance expressing firmness. The assassins, to the number of six, stand around the outside of the door; each is costumed in a black coat trimmed around the edge and collar with green, and ornamented with large gilt buttons; colored vests, cut very long and trimmed with black binding, knee breeches of light color, black hose, and a band of bright-colored cloth around the top, low shoes, shoe and knee buckles, black felt hat turned up at one side and ornamented with a colored plume and gilt band, belt around the waist, side arms and pistols; the face covered with a shaggy beard. Each one grasps a sword, and is in the act of running towards the door, the left hand extended, the right with the sword raised on high, eyes directed to the door, countenance expressing excitement. The light should come from both sides of the stage, the room in which the heroine stands being the lightest. Music wild and animating.
line
|
'Tis known—at least it should be—that throughout All countries of the Catholic persuasion, Some weeks before Shrove Tuesday comes about, The people take their fill of recreation, And by repentance, ere they grow devout, However high their rank or low their station, With fiddling, feasting, dancing, drinking, masking, And other things which may be had for asking. Beppo. |
The masked balls, which supersede any other feature of the carnival in attraction, were introduced under the reign of the Duc d'Orleans. A great inconvenience was experienced in the want of an apartment sufficiently spacious to receive the hundreds which thronged to them. At length the Chevalier de Bouillon conceived a plan of converting the opera house into a ball room, and a friar named Sebastian invented the means of elevating the floor of the pit to a level with the stage, lowering it at pleasure. The project succeeded, and the first masked ball at Paris was held on the 2d of January, 1716. They are now given both before and during the carnival, at nearly all the theatres in Paris, as well as at most of the large ball rooms. The leading masquerade ball of the carnival, which reunites the best society and the most gorgeous costumes, is decidedly that which takes place at the Academy of Music or French Opera House. The greater portion of the company go in character, although gentlemen may appear in plain clothes, if they choose, and unmasked. Dancing appears to be the whole and sole motive of the guests, and dance they do, with a vivacity and untiring spirit that could only be found in a land so especially devoted to the worship of Terpsichore as France. In all the ball rooms parties of the Municipal Guard are in attendance to preserve order, and should any of the guests transgress the ordinary rules of decorum, they are immediately consigned to the lock-up of the nearest corps-du-garde. The most prevalent dress at the balls is that of the Debardeur. It is a piquant costume, and consists of dark velvet pantaloons, with satin stripe down the side, ornamented with bright studs, a pink or white shirt, red sash, and a glazed hat with tri-colored streamers, or small bonnet and wig, with cue behind. Considerably more than half of the carnival masques take up this dress, the remainder attiring themselves as hussars, pierrots, and all sorts of eccentric and anomalous costumes. The balls are kept up until six o'clock in the morning.
This tableau can be represented by ten couples. The ladies and gentlemen can dress to suit their own taste. The wardrobe of the company will contain a sufficient number of suits to fit out the tableau. A few of the comic and grotesque costumes should be intermingled, and all the figures wear masks of various patterns. The performers are engaged in dancing the schottische. The ladies and gentlemen must form in couples around the sides and back of the stage. A platform at the rear may be occupied by musicians in fanciful costume. The stage should be illuminated by a purple fire. Music, the schottische.
line
This comic tableau represents a young Irishman engaged in courting his true love. The stage should be furnished with kitchen furniture, a small stove, &c. The back of the stage can be hung with cheap room paper. Bridget is seated at a table in the centre of the stage, engaged in sewing. Her costume consists of a white dress and blue apron. Patrick is seated near her, smoking a short pipe. Costume consists of velvet coat and breeches, white hose, large shoes, with hob nails in the soles, buff vest, red wig, face and hands painted tan color. His left leg is placed across the right knee, hands placed in his pants pocket, eyes fixed on Bridget, countenance expressing curiosity. Music, Irish air.
line
|
Now the bright morning star, day's harbinger, Comes dancing from the east, and leads with her The flowery May, who from her green lap throws The yellow cowslip and the pale primrose. Hail, bounteous May! that dost inspire Mirth and youth with warm desire; Woods and groves are of thy dressing, Hill and dale doth boast thy blessing. Thus we salute thee with our early song, And welcome thee and wish thee long. |
So sings Milton to the sweet Birdmonth—he whose mighty mind "nigh sphered in Heaven," hymned the soft beauty of the first day that dawned upon the infant world, which surely must have been a May-morning.
|
"Sweet day, so calm, so pure, so bright, The bridal of the earth and skies." |
What must have been a May-morning in Paradise, when even now, in the homeliest districts, it gladdens the heart of man with its advent of young flowers and budding leaves and sweetly singing birds! It seems to be Nature's own birthday, throughout the varied kingdoms of her living world. All countries have greeted the welcome arrival of this fair day, but none more so than old Pastoral England, in the time of her elder poets. Time was, when, from the court to the cottage, all "rose up early to observe the rite of May;" some went a "dew-gathering," a sort of rustic love-spell that was sure to enchant every maiden, gentle or simple; others to "fetch in May"—a rivalry that "robbed many a hawthorn of its half-blown sweets;" and others set their wits to work to get up some pretty device, some rural drama, one of which our tableau represents.
The Fairies' Offering to the Queen of May is a tableau of great excellence and artistic beauty. The Queen of May is seated on a floral throne in the background, which is situated upon a platform about six feet high, with broad steps extending across the stage and to the footlights. These should be covered with green bocking, and on them are grouped the fairies, who are offering to the queen, baskets, bouquets, and garlands of flowers. On the lower step are other fairies ascending to the throne, and bearing baskets of fruit and flowers on their heads. The number of figures in the piece is twenty, nineteen of which are young misses, quite small and pretty, and one a beautiful maiden, who takes the part of the May Queen.
|
You must wake and call me early, call me early, mother dear; To-morrow'll be the happiest time of all the glad New-year; To-morrow'll be of all the year the maddest, merriest day, For I'm to be Queen o' the May, mother, I'm to be Queen o' the May. Tennyson. |
The stage scenery must be arranged in the following order: A large arm chair, with a shaft running up from the back, to which is attached a canopy, will answer for the throne chair; cover it with green cambric, and decorate with garlands and bouquets. This chair should rest on the platform, which is six feet long, three feet wide, and covered with French patch. A large gilt vase, containing a bouquet, must be placed at each corner. The queen's costume consists of a white robe, decorated with flowers, a garland about the head, the right hand grasping a wand trimmed with silver and gold paper, the body inclined forward slightly, the left hand extended, in the act of taking a bouquet from one of the fairies, whom she is looking at; her countenance is lighted up with smiles. Care should be taken that the fairies who are grouped around the throne do not take the view from the queen. The fairies' costume consists of a short white dress, flesh-colored hose, white slippers, and hair done up in ringlets. The sleeves of the dress made quite short, waist and skirt ornamented with gold bands and spangles, a wreath of pure white flowers, intermingled with myrtle, on the head, and a portion of them wearing gauze wings, studded with spangles. Four of the fairies are to be grouped around the foot of the throne, on the top step. They stand or kneel, so that a partial side view is had of the body; hands extended, and holding bouquets or garlands; eyes fixed on the queen; countenance pleasant. The rest of the misses must be placed on each side of the steps, assuming a variety of positions, and each have fruits or flowers. Those at the lower part of the steps can stand near the sides of the stage, which will allow those above to be seen. The scene should be illuminated by a trio of fires, consisting of green, purple, and red, burned at the side of the stage. For directions, see Pyramid of Beauty. Music soft and animating.
line
|
Joy holds her courts in great Belshazzar's hall, Where his proud lords attend their monarch's call; The rarest dainties of the teeming East Provoke the revel and adorn the feast. But why, O king, Why dost thou start, with livid cheek?—why fling The untasted goblet from thy trembling hand? Why shake thy joints? thy feet forget to stand? Why roams thine eye, which seems in wild amaze To shun some object, yet returns to gaze, Then shrinks again, appalled, as if the tomb Had sent a spirit from its inmost gloom? Awful the horror, when Belshazzar raised His arm, and pointed where the vision blazed; For see! enrobed in flame, a mystic shade, As of a hand, a red right hand displayed, And, slowly moving o'er the wall, appear Letters of fate and characters of fear. In death-like silence grouped the revellers all, Fixed their glazed eyeballs on the illumined wall. T.S. Hughes. |
This sacred tableau is represented as follows: At the left of the stage, Belshazzar is seated on his throne. At his side stands his wife. Consternation and affright are depicted on their countenances. At the opposite side of the stage stand three wise men. In the centre of the stage is the feast table, covered with silver dishes, candlesticks, and refreshments. Around it are gathered the guests. In the background, on a platform, are seen a group of servants. The handwriting is placed on the back scenery, opposite to the group of servants. The number of figures in the piece is fifteen—eight gentlemen and seven ladies. The scenery in the piece consists of a table six feet long, two and a half feet high, and three feet wide, covered with a green cloth, fringed with gold paper, on this are placed a silver tea set, cake baskets, candlesticks, and refreshments. The throne chairs should be placed on a platform at the left of the stage, near the front; the platform can be formed of boxes, and must be four feet square and two feet high, covered with crimson cloth, trimmed with gold paper; two large chairs, with a canopy over the top, will answer for the throne; one occupied by Belshazzar, the other by his wife. Low seats around the table will be needed for the guests; the seats can be covered with white cloth; showy pictures, in rich frames, adorn the walls, and pedestals and statuary fill the corners of the room. The writing on the wall can be produced by means of a transparency, the words made large, and the letters in German text, with a halo around the whole sentence. Belshazzar's costume consists of a purple velvet coat trimmed with gold, a large cloak trimmed with ermine, velvet breeches, white hose crossed with red tape, sandals on the feet, and a velvet and gold crown on the head. His wife should be dressed in a showy brocade, cut low at the top, short sleeves, a band of black velvet ornamented with gold placed on the head, and a narrow mantle worn over the shoulder. The dress must be ornamented with rich jewelry, gold bands, and a wide belt of red velvet, decorated with paste pins, around the waist. The three wise men's costume consists of long, loose coats, reaching six inches below the knee, and gathered in at the waist with a wide belt. Each coat should vary in color from the others. They can be made of cambric. Colors, red, purple, and blue, with the edges trimmed with cloth of some other color. Black hose, crossed with red, reach to the knees, low shoes, covered with red Turkey cloth, on the feet, and a turban of bright colors on the head, the face covered with a long white beard—this can be made of flax. The ladies at the table must be costumed in silk or satin dresses, ornamented with spangles, and any kind of jewelry that will look showy; hair decorated with spar beads, hair pins, and plumes. The gentlemen's costume consists of rich velvet suits; long beards. Servants in short white coats, with border on the bottom, red breeches, white hose, and light felt hats with gold bands. Belshazzar's position is in the chair near the footlights; body inclined back, arms thrown up, eyes fixed on the writing, countenance expressing affright. His wife is seated in the second chair, one arm resting on the shoulder of her husband, the other raised in front of the face, eyes directed to the writing. The wise men stand opposite to the throne, at the extreme end of the stage, near the footlights; their backs are to the audience; the heads of two are turned to the king, giving a side view of their faces. One of them points to the writing. The party at the table must assume a variety of natural positions; a few look with astonishment, and point at the writing; others are engaged in eating and drinking. The servants stand in the background, and are all looking at the writing. A few lean forward and point to the wall; others take position as if about to flee from the room; the countenances of all express terror. The scene should be lighted by a brilliant red fire burned at the side of the stage opposite Belshazzar. Music, operatic style.
line
|
"I smile at Love and all his arts," The charming Cynthia cried; "Take heed, for Love has piercing darts," A wounded swain replied. "Once free and blessed, as you are now, I trifled with his charms, I pointed at his little bow, And sported with his arms; Till, urged too far, 'Revenge!' he cries; A fatal shaft he drew; It took its passage through your eyes, And to my heart it flew." J. Vanburgh. |
This tableau is represented by four persons—two young ladies, and two small lads. One of the young ladies is seated on a sofa, which is placed in the centre of the stage. She holds a valentine in the left hand, and points at it with her right. Her head is turned around to a young lady who stands behind the sofa. The countenance expresses mirth. The lady standing behind the sofa rests her right arm on the shoulder of her friend, and is looking to the valentine, her body inclined forward slightly, face beaming with smiles. Costume consists of a white dress, pink apron trimmed with green, hair done up in wide braids at the side of the head, and ornamented with a few flowers. The costume of the lady seated, consists of a white dress, buff apron trimmed with purple, hair hanging in ringlets, and ornamented with blue ribbon. On each side of the stage, within one foot of the curtain, place pedestals; they should be three feet high, two feet square, with cap and base, and covered with white marble paper or cloth, and decorated with a wreath of flowers on the front. On those stand the young lads, dressed to represent Cupids. Position is, facing the group in the centre of the stage, attitude of one running; one of them holds on high a large sealed letter. The other holds a small tablet in one hand, and a quill in the right; these must be extended towards the centre of the stage. Their costume consists of a short gauze dress, cut low at the top and decorated with spangles, pants of flesh-colored cloth, reaching to the ankles and fitting tightly to the legs, flesh-colored hose, white slippers, gauze wings fastened to the back of the body, and decorated with spangles and silver stars. A small quiver, formed of card-board, covered with blue and gold paper, filled with arrows and bow, suspended from the neck; a low-crowned hat, with a wide brim, covered with pink cambric, and decorated with a wreath of flowers, covers the head; the eyes directed to the group on the sofa, countenance expressing pleasure. The background may be ornamented with pictures and statuary. The light for this piece must be of medium brilliancy, and come from the right side of the stage. Music soft.
line
|
Love and Hope and Youth, together Travelling once in stormy weather, Met a deep and gloomy tide, Flowing swift, and dark, and wide. 'Twas named the River of Despair,— And many a wreck was floating there. The urchins paused, with faces grave, Debating how to cross the wave, When, lo! the curtain of the storm Was severed, and the rainbow's form Stood against the parting cloud, Emblem of peace on trouble's shroud. Hope pointed to the signal flying, And the three, their shoulders plying, O'er the stream the light arch threw— A rainbow bridge of loveliest hue! Now, laughing as they tripped it o'er, They gayly sought the other shore. Anon. |
This brilliant tableau represents a rippling stream of water, with luxuriant banks on either side, spanned by a beautiful rainbow. A party of fairies, wishing to pass the stream, have made use of the rainbow as a bridge. One of them is seen in the centre of the bridge, holding a golden wand, with which he endeavors to balance himself in his passage over the water. Standing on the right bank, near the end of the bridge, is a fairy who has safely passed over, and is encouraging his friend on the opposite side to make the trial, who is seated on the grass arranging a bunch of flowers. The scenery of the piece can be adjusted in the following manner: Boxes two feet wide and three feet high placed on each side of the stage, from the front to the background, and covered with green bocking, will answer for the banks of the river. A few branches of spruce, intermingled with flowers, should be fastened to the side scenes, and a few spruce trees arranged in the background. At the front end of the banks place showy vases of flowers; and at the other end, on pedestals two feet high, place larger vases, containing bouquets. To make the river show to advantage, it will be necessary to arrange it in the form of an inclined plane. Strips of wood placed across the stage at a distance of one foot from each other, on a rise of two inches to a foot, and covered with blue cambric, will answer for the river. Let the cloth festoon between the strips, paint the ridges of the miniature waves with white paint, and sprinkle them with small particles of isinglass. On the foreground of the scene place two swans, and around the edges of the banks fasten pieces of spruce and grasses. The bridge should be made slightly oval, and placed in the centre of the stage. Three stringers, sawed out of inch board, and covered with lathes two feet long, will answer for the flooring. This can be entirely hid from view by a railing on the front side, and is made as follows: Manufacture a frame to correspond with the curve and length of the flooring, and twelve inches in width; cover it with white cloth, and paint it to represent a rainbow; the colors may be purple, crimson, yellow, green, and white; lights placed behind it, will give a fine effect. The fairies' costume consists of a short muslin dress, with a border three inches wide, of pink muslin, decorated with gold stars—the white muslin ornamented with silver spangles and stars; flesh-colored hose, white slippers, a band of silver, ornamented with paste pins, about the head, and small wings attached to the back of the dress,—the wings formed of wire, covered with gauze, and ornamented with endless bands of blue tarleton muslin, ornamented with silver spangles. Each holds a gold wand three feet long. The position of the fairy on the bridge is such that a side view is had of the form, while the face is turned towards the front of the stage. The wand is grasped in the centre, and held across the bosom. The countenance expresses pleasure. The fairy who has passed over is standing at the end of the bridge, partly facing the audience, with both hands extended towards his friend, his countenance expressing mirth. The fairy on the other bank is seated on the ground arranging flowers. He faces the audience, and is looking at a large rose which he holds in his right hand. This scene must be illuminated by green, red, and yellow fire, which is described in the tableau of the "Pyramid of Beauty." Music, light and animating.
line
|
Dry thy tears for holy Eva, With the blessed angels leave her; Of the form so sweet and fair Give to earth the tender care. For the golden locks of Eva Let the sunny south land give her Flowery pillows of repose, Orange bloom and budding rose. J.G. Whittier. |
This tableau is one that can be easily produced, and will not be expensive. It represents little Eva seated in an arbor by the side of Uncle Tom. She has a large Bible before her, which she is reading and explaining to her friend. A rustic arbor can be made of strips of wood, covered with white cloth, and painted to resemble slats and running vines; the dimensions of which are six feet high, four feet wide, and three feet deep. A rough seat at the back part is occupied by Eva and Uncle Tom. A festoon of artificial flowers and spruce should be arranged in front, and a large spruce tree placed on either side. The person who personates Uncle Tom must be one of large figure and pleasant countenance. Costume consists of a coat of coarse material, white pants, light vest, colored handkerchief tied about the neck, striped hose, low shoes, a wig of black, curly hair, and a wide-brimmed straw hat, which lies on the ground by his side. The wig can be formed of curled horse-hair, fastened to a covering made to fit the crown of the head. Color the exposed parts of the body black, the lips red. Little Eva should be quite small, pretty, and have long light curls. Her costume consists of a white dress, trimmed at the top and around the sleeves with pink ribbon; a straw hat, trimmed with wild flowers, which hangs by the strings on her arm, and dark shoes. Uncle Tom is seated on one side of the seat, his legs crossed, body bent forward slightly, hands placed on his knees, his head turned towards Eva, and eyes fixed on the Bible with an expression of pleasure and earnestness. Eva is seated at his side, with her feet resting on a small stool, one hand placed on Uncle Tom's arm, while with the other she points to the pages of the Bible. Her face is turned towards her friend. The countenance expresses sadness. A small quantity of light is required for the piece, which should come from the left side. Music, soft and plaintive.
line