In the first place the statues must be white—not nearly white, but very white—flesh, hair, and costume; then the background must be black, a dead, lustreless black. Given these two requisites any figure, or group of figures, will look like statuary; and when care and pains are taken in the posing and draping and the proper light is thrown on them, the living, breathing, warm flesh and blood so closely resembles the cold, lifeless marble, it is difficult to realize one is not looking at statues carved by the hand of man.

Arrange the background on the stage in the form of a three-fold screen, with sides slanting outward to the front. When possible, the top of this space should also be covered with the black material, slanting up to the front; in this way the statues are entirely boxed in, the only opening being the front of the stage. That is, the only apparent opening, for between the back and side panels a space about one foot wide must be left for side-lights, and on this account the back should extend at least one foot beyond each side-panel.

A strong calcium light directly in front of the stage, though some distance from it, is best for amateur tableaux, and the side-lights at the back need be used only when it is imperative that no shadows shall be cast on the background, as in the case of the armless statues. With the cross-lights thrown behind the statue, the black-covered arms melt into the black background with no shadows to betray their presence. Tall piano lamps are best for this purpose.

Again, the front light may be placed nearer one side of the audience-room, and a pleasing effect of light and shade on the statuary itself be produced.

Place a platform about one foot high, and of a size to hold the largest group, in the centre of the stage, and leave it there as a base for all other pedestals. Packing boxes of various sizes, chosen to suit the statues, make excellent pedestals, and these, as well as the platform, must be smoothly covered with white cotton cloth.

Pure white Canton flannel is the best material to use, as it drapes most beautifully and takes the true sculptor’s folds. It should not, however, be too heavy in weight, else it will be stiff and unmanageable.

The Greek or classical costume is almost the only kind you will need, and it is made simply of two breadths of the canton flannel sewed together and fastened at the shoulders; the slits for the arms being left open nearly to the waist. Under this is worn a sleeveless waist of the same material. A cord tied around and just under the bust, and the dress pulled up to bag over gives one style of costume; tied around the waist and bagging down far below it, gives another, and both under the bust and around the waist, still another. The dress should be long enough to allow of all this pulling up, and if too long when the statue is mounted on her pedestal, it can be turned up underneath; no hem is necessary on these garments. An extra piece of drapery is almost always a part of the costume, and is used for wrapping around the figure to give the narrow effect at Fig. 575.
Fig. 575. the feet; this should be about two yards long and of two breadths of the material sewed together.

Make the sandals of white insoles or two pieces of heavy card-board, cut to fit the bottom of the foot, extending half an inch beyond all around.

Cover the card-board with white material (Fig. 575), and sew together as in Fig. 576. Fig. 577 shows a simple and modified form of sandal. Cut the side and back pieces from the white material like Fig. 578, and sew them to the soles as in the Fig. Fig. 577.
Fig. 577. 577. Also sew white tape to the points of toe and heel pieces, as shown in the diagram, leaving free the two ends at the ankle for tying.

Mop-rope, the loosely twisted rope used for floor-mops, is the material from which to fashion imitation

Make a tightly fitting white cap to entirely cover the hair, as a foundation for the wig.

In order to have the parting of the hair directly in the middle of the head, put the cap on and, with a lead-pencil, mark the desired line. The rope must be then untwined and the middle of each strand laid across the top and stitched down along the pencil line, half the length falling on one side, half on the other. After this the wig can be donned, the hair arranged and pinned in place according to taste or the fashion selected, and then stitched securely to the cap.

When the hair is done up high and a side or back view is shown, it is necessary to sew the ends of the rope along the bottom edge of the cap at the sides and back, as the locks are drawn up from there. A narrow border of raw cotton sewed entirely around the edge of the cap so that it will extend a trifle over the forehead and neck, does away with the dark edge of hair which it is, otherwise, almost impossible to hide. When only a front view is desired, the back of the cap need not be covered with the rope. Men’s and children’s wigs are made on the same principle, be their hair long or short.

The face, arms, neck, and hands must be as white as it is possible to make them. Face powder applied in the ordinary way will not give the required whiteness, and it is easily rubbed off.

Here is a professional actor’s recipe which is perfectly harmless and will make the

Take one ounce of white-zinc powder and three ounces of glycerine and rose-water—two-thirds glycerine, one-third rose-water. Shake the glycerine and rose-water together, mixing them well, then add the ounce of white-zinc powder and shake again until thoroughly mixed. Apply with a sponge and let it dry, then smooth it with your hand and powder with any pure face powder.

First wash with warm water, then rub with cold-cream. Wipe the cream off with a soft linen cloth, after which powder the skin to prevent chapping. Always allow plenty of time for making the flesh absolutely white, as this can not be done in a hurry.

It is a wise plan to choose a subject already presented by some sculptor and copy his work as closely as possible, for the artist has given much thought and study to the posing of his figures and the lines of his drapery, and one can be sure the artistic effect will be good; or a subject may be found in some painting which will be suitable for statuary, and this also will have the advantage of having been designed by an artist. Most of the tableaux should be selected in this way, but a few variations, where a surprise for the audience is prepared, or seemingly impossible effects are produced, gives piquancy and charm to the entertainment.

The effect of armless or mutilated statues which, to the audience, appear almost miraculous, may be produced by simply covering the parts of the body, supposed to be missing, with dull black cloth. Everyone knows that by covering one of the front teeth with a piece of black sticking-plaster the perfect effect of a lost tooth is given, and it is on the same principle that limbs are cut off or figures decapitated in statuary tableaux.

The illustration of the armless bust shows how the arms are made to disappear by drawing over them a pair of black Fig. 579.
Fig. 579. IN THIS MANNER MAKE THE ARMLESS BUST.
IN THIS MANNER MAKE THE ARMLESS BUST. stockings, or long, narrow bags. In this tableau the side-lights must be used to prevent any shadow from being cast upon the background; the lights must shine behind the statue, not on it.

The pedestal is made of a packing box, with the top cut out to admit the figure, as shown in the diagram (Fig. 579). A fine color effect is produced when this pedestal is covered with dark red material, upon which rests, to all appearances, the pure white marble bust. In covering the top of the pedestal cut the cloth to extend around over the opening at the back, and it can be fastened down after the bust is Fig. 580.
Fig. 580. in place. For this statue the front light must not be too strong and its full force should be concentrated on the head and bust, leaving the arms in shadow.

Another quite wonderful effect is that of the

To produce this set a frame up near the front of the stage, over which is tightly stretched the black material of the background. In the centre sew a piece of white cloth cut in an elliptical shape, about two and a half feet long by two feet wide (Fig. 580). Make a laurel wreath of white paper leaves fastened on wire stems and tie at the bottom a bow of white ribbon. Sew or pin the wreath upon the black Portrait Medallion.
Portrait Medallion. background, near enough to allow its inner leaves to lap over the white. Cut in the medallion, and through the background, a hole the shape of, but smaller than, the head and bust. This should be experimented with on other material before the medallion is cut, so that no mistake be made.

The medallion must be placed at a height easily reached by the standing figure of the person posing for the portrait. The head is thrust through the hole, then turned to present a profile view, while the shoulder is held back that it may not protrude too far through the opening. The illustration shows the effect of this tableau.

is an innovation in statuary tableaux which will receive a warm welcome, but, like the others, it must be well carried out to be a success. The figure and everything pertaining to it must be of one color, not white this time, but gray, all gray, to represent stone.

Study the pictures of old Egyptian statues; notice the costumes, and copy one carefully in gray canton flannel. Gray stockings must be worn and gray sandals, or the sandals may be omitted. Paint the face, arms, and neck with gray pastel, rubbing it on lavishly; this has been used without any harmful effect and is easily washed off with warm water and pure soap. Cover the hair with the typical Egyptian headdress (Fig. 581), made of a square of the gray material. Make Fig. 281.
Fig. 281.
Side View. Fig. 281.
Fig. 281.
Front View. a seat for the statue of a box which should be only wide enough to be comfortable and of a height to allow of a footstool under the feet. Nail a board the width of the box to the back to form a back for the seat and let it be high enough to extend a few inches above the statue’s head when she is seated. Cover the chair and footstool with the gray canton flannel.

The Egyptian statue must be stiff and formal, seated on her chair as in Fig. 581, with hands on knees and feet together. The entire absence of graceful curves of body or drapery makes a charming contrast to the other statues. In statuary tableaux the eyes must be kept closed, except in the tableau of Galatea, and the eyelids should be as white as the rest of the face. The eyelids of the Egyptian statue must, of course, be gray.

This tableau includes the sculptor as well as the statue, and requires a little acting on the part of the statue—herein lies the surprise.

The tableau illustrates the old story of the Greek sculptor Pygmalion, who fell in love with the statue he had made, and prayed to the gods to endow it with life. His First Position.
First Position. Second Position.
Second Position. prayer is granted and the statue, Galatea, gradually awakens.

When the curtain is drawn aside, Pygmalion, dressed in Greek costume of brilliant colors (to contrast with the white statue), is seen kneeling with arms extended at the feet of Galatea, who stands in the pose shown in “first position” of the illustration.

Pygmalion maintains his position without moving while Galatea awakens.

Standing, as in “first position,” with bent head, closed eyes and clasped hands, the right foot a little in advance of the other, the weight of the body resting principally upon the left, Galatea slowly, very slowly, unclasps her hands and gradually separates them. The left hand moves out from her side while the right hand, at the same time, is lifted outward and upward to her throat, “second position.” Keeping the left arm extended a little from her side, the hand slightly raised and fingers bent, she continues to raise her right hand until it covers her eyes, at the same time swinging her body around, bearing the weight heavily on the left foot, until the “third position” is assumed. Holding Third Position.
Third Position. Fourth Position.
Fourth Position. this pose for an instant, she turns slowly back again, lifting her hand until it shades her eyes; she then raises her chin and bends slightly forward as she opens her eyes and beholds Pygmalion. This is the “fourth position.”

Again she pauses for an instant, then by slow degrees the left arm is raised while the right one is lowered and the hands are held out in welcome, as in the “fifth and last position.”

At no time must the arms form parallel lines; even at the last the extended arms should be bent very slightly outward at the elbows. The two sharp angles, formed by bending the elbows in the same direction at the same moment, should be especially avoided. At all times during the awakening Galatea must be so posed that her movements might, at any moment, be stopped and she would Fifth Position.
Fifth Position. be found standing in a graceful and charming position. Success in this can only be obtained, and little awkwardnesses avoided, by practice before a large mirror, where every movement and every curve of the body may be seen.

No quick or sudden motion must mar the beautifully slow awakening; all should be as gradual as the unfolding of the petals of a rose until the climax is reached, where Galatea extends her arms to the waiting and expectant Pygmalion and the curtain is dropped.

There is no doubt of the success of the tableau when this little bit of silent acting is well done, and it makes an excellent winding-up piece to an evening’s entertainment.

Assured of their welcome, laughter, jollity, and mystery all attend the Halloween frolics which are given up to sports with kale, apples, nuts, mirror, etc. These ordinarily commonplace articles are claimed, on this eventful eve, to be touched with magic, endowed with the power of prophecy and enabled to tell of wonderful adventure or fortune which will befall any one who puts their virtues to the test. And it is Halloween, of all the nights in the year, that is best loved by the sprightly little fairies, gnomes, and elves, who delight in sallying forth from their homes under stones and in old hollow trees to play pranks on us poor mortals. The witches also are out, flying through the air to their annual dance, on their queer steeds, either cats or broomsticks.

James Hogg’s poem, “The Witch of Fife,” gives a comical description of the witch who flew out of the lum (chimney) and left her husband, who soon followed with his coat “waflling in the wynde.” The witches’ rides would not be apt to injure old broomsticks, but should you happen to see any cats the morning after Halloween, notice how tired the poor creatures look after carrying the witches all night! That is why the Scotch lads and lassies pity the pussies.

Of course, there are really no fairies, genii, or witches; they are all only “make-believe.” Nor are we to put any faith in

for these are merely tried to furnish sport for the time and to make us merry; a hearty laugh of itself is good fortune. Often it is the best kind of medicine.

Whether you will be

can be ascertained with three saucers. Fill one with salt, which, being white, stands for silver; another with cornmeal, signifying gold, its color being yellow; while the third remains empty (Fig. 582). If you dip your left hand into the cornmeal, you will be very wealthy; if into the salt, you will be comfortable, but lack the luxuries of life; if into the empty saucer, you will be obliged to work hard for a living.

To foretell the complexion of your future mate, select three of the softest and fluffiest feathers you can obtain. If none is handy, take a pillow and rip open the end seam about an inch or so, making the hole scarcely large enough to admit of your pulling out a few feathers with the thumb and forefinger. The little opening can be sewed up again in a moment’s time. On the bottom end of each downy messenger fasten a small piece of paper; a drop of paste or mucilage will be sufficient to gum all three in place. Write the word “Blond” on one paper; on another, “Brunette,” and on the last, “Medium.” Label the papers before gluing them on the feathers (Fig. 583). With your right hand daintily hold up one feather, by its top, in front of you, and gently send it flying with a puff of breath. Do the same with the next, and also with the last one; the feather landing nearest to you denotes the complexion of your true love. To make the test sure, try the charm three times, but be careful not to use too much force when blowing the feathers.

For the

seven small, clean stones are required—six of the common grayish color, the seventh white.

All should be as nearly as possible the same in shape and size (Fig. 584). After being blindfolded and having the position of the stones changed on the platter, describe a circle in the air three times with your left hand, at the last bringing the forefinger down on one of the stones. Try the charm three times. Should you touch the white one twice your life will be full of light and happiness; if the gray twice falls to your share there will be shadows with the light.

Old friends are treasures and cannot be too highly valued, but new ones also frequently prove to be added joys in our lives. To determine how many new friends you will find in the ensuing year, count the number of buttons on the dress or coat of the first person the fairies send to you after twelve o’clock at noon on October 31st. Should someone enter whose clothing shows no buttons, you will be obliged to rest contented with the friends you now possess, as no more will be added to the list until the expiration of a year.

Before going to sleep on the last night of October name each of the four bedposts, the first being “Art”; the second, “Science”; the third, “Literature”; and the fourth, “Business.” The post you see first upon awakening will denote the pursuit in which you will delight. Should your eyes first rest upon the post called “Art,” many beautiful things are in store for you. If the “Science” post is first seen, you will rejoice in deep learning, etc. Be sure not to get the posts confused; remember the order in which they have been named.

Should you wish to know how any one of your friends may feel toward you, here is the test. Write your name out in full (Fig. 585—we will suppose the name to be yours). Under your name write that of a friend (Fig. 586), then carefully cancel all letters in the coupled names which are Fig. 585.
Fig. 585. the same (Fig. 587). Let us go over the first two names that we may thoroughly understand how it is done. Take the first letter in the first name—K; Fig. 586.                 Fig. 587.
Fig. 586.                 Fig. 587. you will not find the same letter in either Mary or Hallon. Take the next letter—a; there it is in Mary and in Hallon. We will cross out all the a’s. There are no t’s in the lower name, so we go on to the next letter—h—which is an initial in Hallon and again occurs in Smith. Cancel them all. There are no e’s, but we find r and n in the other name. Mark them both. I is not repeated in the lower name, and in Fig. 588.
Fig. 588. Smith we find only m (h being previously cancelled), which is the first letter in Mary. Cross them out, then repeat aloud these potent words:

giving each cancelled letter one word in the magic order (Fig. 588). In this way you find that the girls love each other. Try your name with a number of others. The results constantly vary. Couple two friends’ names together and put them to the test.

Apple-seeds, too, will act as charms. Stick one on each eyelid and name one “Home” and the other “Travel.” If the seed named “Travel” stays on longer than the other, you will go on a journey before the year expires. If “Home” clings better, you will remain at home. Again, take all the apple-seeds, place them on the back of your outspread left hand and with your loosely clenched right hand strike the palm of the left. This will cause some, if not all, of the seeds to fall. Those left on your hand show the number of

you will receive in the coming fortnight. Should all the seeds drop, you must wait patiently for your mail.

Gather up all the seeds and make them do duty again. There must be twelve of the little brown charms. Put them carefully to one side while you cut twelve slips of blank paper exactly alike and on one side of each write the name of a friend. Turn them all over with the blanks uppermost and mix them so you will not know which is which; then holding the seeds in your left hand repeat this verse:

Stop at each line to place a seed on one of the papers, and then turn the slip over to discover the name of the one you love or cast away, as it happens. Continue matching each apple-seed with a piece of named paper, as you count, until all twelve seeds and papers are used. It is both surprising and interesting to have one’s fate forecast in this way.

“Bobby” Burns’s well-known poem “Halloween” tells of many charms and spells to be tried on “Witch Night.”

mean much on Halloween, but certain ceremonies must be carefully followed in order to insure the spell. Before going to sleep for the night have someone bring you a small piece of dry bread. No word should be spoken after this; silence must invariably prevail. Eat the bread slowly, at the same time making a wish and thinking of the pleasantest things imaginable. Then smilingly drop off to sleep, and your dreams in the land of Morpheus will be sweet and peaceful, and your wish will come true if the charm works in the way it should.

Here is an old verse on

which has been handed down for generations:

Watch for the star and when it comes, if your courage does not fail, look up a tree. Though you may possibly not find the desired sweetheart, you can make a wish on the shooting star, at the same time repeating these lines:

An entertainment suitable for any season of the year is called the

It is intended only for the older girls, not being adapted to little ones. The ghosts are jolly, bright, realistic beings, full of fun, who, being invited to your house, enter heartily into the frolic, each doing her best to make the entertainment a success. All the prominent past century ghosts must be included in the party. Artistic, dramatic, historic, literary, and political ghosts should be present, also the spirit of customs, ideas, events, and things belonging to the past century. Summon your fellow-ghosts to haunt your house three hours before midnight, appearing in costumes appropriate to their earthly existence.

Tell them that not a word must be spoken until the company is relieved from the spell of silence and state in your invitation that all ghosts are expected to promptly signify their acceptance in writing, otherwise they will not be admitted to the haunt.

When the ghosts have assembled each character should be announced as she enters the reception-room, where the hostess and one or two other spirits of the occasion await the arrivals. The announcement must be made in clear, well-enunciated tones, and always be prefaced by the words “The Ghost.” Guests after their introduction are allowed to speak and they should talk and act as nearly as possible like the spirits they represent. The event will then be a success if carefully planned, and you will have given to your friends a novel and delightful treat.

is a midsummer game for little folks. Such a beautiful, long day for a holiday, and no one remembers to keep it now, although many, many years ago Midsummer Day, the longest day in the year, was looked forward to with as much pleasure as we find in the anticipation of Christmas.

The people had strange beliefs in those days, and they thought a being called Fortune would send them gifts on this holiday if they went through certain performances to gain her good-will.

Now suppose we make believe, for a time, there is such a person as Fortune, and one of you shall play her part, and we will have a game of “Fortune’s Wheel,” which will be very appropriate and interesting for June 21st. At one end of the lawn we will mark off as many spaces, six feet square, as there are players, not counting Fortune.

Rope or twine tied to the fence at the back, and to stakes driven into the ground in front, as seen in the illustration, will mark the boundaries nicely, and we will tie some small flags or bright-colored streamers to the tops of the stakes to make them look pretty. These spaces we will call stalls. About ten yards from the stalls, and directly in front of them, we must stretch a rope, tying it to stakes or trees, so that Fortune shall be kept within bounds.

Now bring your rolling-hoop, and we will turn it into Fortune’s wheel by tacking two tapes across it, as shown in the diagram. In the centre, where the tapes cross, we will tie a little bag, which is to hold a gift.

Simple little toys, bonbons, and cake, only one at a time, however, are the gifts Fortune’s wheel will carry.

Come, little girl, whoever is to be Fortune, whip out your handkerchief and tie up your eyes, for Fortune must be always blindfolded; then stand by the rope, which will keep you from going too far away.

The rest of you scamper off and take your places, each one in a stall.

Now, Fortune, walk up and down a little that you may not know exactly where you are; then, standing so that you can reach the rope with your hand, take your wheel and strike it hard, sending it down toward the other players.

Whoever catches Fortune’s wheel may have the gift it carries, but no one must go beyond his stall to reach it. The wheel must enter a stall before it can be caught by the player in that stall, and when it enters a stall and falls to the ground before being caught, the player whose stall it is in must change places with Fortune, become Fortune, and roll the wheel. When the wheel stops before reaching the stalls and does not enter any of them it must be carried back to Fortune, who will roll it again.

Each time before the wheel is started the players in the stalls must change places.

When one gift has been won and taken from the bag put another in its place and Fortune will roll the wheel until all the gifts are gone and the game ended.

Characters: All the letters of the alphabet, half girls, half boys; teacher.

Costumes: Girls dressed entirely in red, boys in white. Teacher wears a pretty Dolly Varden costume, and carries a white switch tied with red ribbon.

The back of the stage is decorated with palms and other greens. The overture is played, which glides into a march as the curtain rises.

Enter the teacher and letters from the right. The letters march in single file in the order of the alphabet (alternately a girl and boy) headed by the teacher, who keeps time with her switch. After crossing the stage the teacher leaves the procession and stands at the left. The letters turn, march back to the right behind the advancing line, turn again, forming a reversed S, march to the left, then around the front of the stage to the right, marching in a circle until a half circle is formed at the back of the stage, where they halt and remain standing. Fig. 589 shows the order of march. As the letters enter they carry their shields on their left arms; as they turn to the right they shift them onto their right arms, always keeping the face of the shield toward the audience. When standing the shield is held with both hands directly in front so that the letters may be plainly visible.

Teacher. Attention! Present a greeting to our friends!

The letters A E L S T U step to the front of the stage and stand in line.

Teacher. Well, what do you say?

The letters change places and form the word SALUTE.

Teacher. Very good. Retire to your places.

The letters step back in line of the alphabet.

Teacher. We all know the alphabet is made up of two families. The name of one family is Vowel, and the name of the other is Consonant. The vowels will please step forward.

The letters A E I O U advance to the front.

Teacher. There are two step-sisters which we sometimes call Vowels. Where are they?

The letters W and Y join the others.

Teacher. That will do.

The vowels return to their places.

Teacher. Consonants come forward!

All of the letters except A E I O U W and Y advance then W and Y join the consonants.

Teacher. Very well.

The letters return to their places.

Teacher. We will now have our spelling-class, and be careful that you spell correctly. The letters for “Cat” step forward.

The letters ACT run to the front and stand spelling ACT.

Teacher. You are not spelling “Cat.” Try again.

The letters shift their position to form TAC.

Teacher. Dear me!

You haven’t got it right yet. I'm surprised!

The letters change, forming the word CAT.

Teacher. Right at last. Now spell something that cats love.

The letters NIP join CAT, spelling CATNIP.

Teacher. Can you spell another word?

C turns her back, while the others change places to spell PAINT.

Teacher. Another.

P turns his back, and the rest spell ANTIC.

Teacher. Spell one more word.

P remains with his back to the audience, I turns away, and the others spell CANT, and then return to their places in the alphabet line.

Teacher. Are you ready for your grammar?

The letters YES run to the front, spell YES, and then retire.

Teacher. Well, then, we will try verbs. Verbs signify action. Give me a word that denotes action.

The letters remain quiet.

Teacher. I will illustrate. Your sister runs. What does that signify?

The letters A M O U S E run out, spell A MOUSE, and return.

Teacher. We will try conjugating the verb “to be.” It begins: I am, you are—well?

The letters TIRED walk slowly forward, spell TIRED, and return to their places.

Teacher. So am I; we might sit. What do we stand for?

Here, for the first time, the letters speak. A steps forward two steps, answers immediately, and steps backward to her place. Then B does the same, followed by each letter of the alphabet in turn.

• A. A stands for Action, and that means to run.
• B. B stands for Baker and also for Bun.
• C. C stands for Catnip, the best of all tea.
• D. D stands for Darling, and that stands for me.
• E. E stands for Emerald, a most precious stone.
• F. F stands for Fun and my own Funny-bone.
• G. G stands for Gold, which is yellow and bright.
• H. H stands for Hope, Heaven, Holy and Height.
• I. I stands for Ink, which is not a good toy.
• J. J stands for Jelly and Jumping and Joy.
• K. K stands for Kitchen with a dear little stove.
• L. L stands for Laddie and Labor and Love.
• M. M stands for Maiden and Merry and May.
• N. N stands for Nonsense and Noddle and Neigh.
• O. O stands for Omelet and Only and Off.
• P. P stands for Painter and Palace and Puff.
• Q. Q stands for Quaker and Quiet and Queer.
• R. R stands for Rabbit and Racing and Rear.
• S. S stands for Sampler and Sewing and Shears.
• T. T stands for Taffy and Tar-drops and Tears.
• U. U stands for Upper and Under and Urn.
• V. V stands for Vane, which the winds always turn.
• W. W stands for Winter, snowy and white.
• X. X stands for Xylite, I think I am right.
• Y. Y stands for Yes, but never for no.
• Z. Z stands for Zero, and now we must go.

Music. Here the march music strikes up, the pianist playing “Marching Through Georgia.”

The teacher leads the procession, and the letters follow, singing to the air “Marching Through Georgia” these words: