Home Pastimes; or Tableaux Vivants Part 12

Age sat upon 't when tired of straying; And children that had been a-maying; These trimmed their garlands gay; What tender partings, blissful meetings, What faint denials, fond entreatings, It witnessed in its day!

One Female and One Male Figure.

This rustic tableau represents a young shepherd and his betrothed seated on the village stile, engaged in conversation. In the centre of the stage, a weather-worn plank should be placed, resting on artificial banks at each side, which are three feet high and four feet wide; these can be shaped out of boxes or chairs placed together in a careless manner, and covered with green bocking; at each side of the stage, near the banks, place small spruce trees, and beneath the stile build a step out of old plank, one foot high, and the length of the s.p.a.ce between the two banks. Seated on the inner side of the stile is the young maiden. She is partially facing the audience, body slightly bent forward, right hand placed in that of the shepherd, while the left rests on a basket of flowers placed on her knee.

Costume consists of a showy plaid dress, with a green waist, trimmed with purple cloth, cut in scallops; a small pink scarf worn over the shoulders, and tied at the side; a pink ap.r.o.n, trimmed with white; a small straw hat, bound with green ribbon, and set jantily on the head; hair done up low in the neck, and ornamented with blue and red ribbons. The eyes are cast down to the basket, the expression of the face thoughtful. The young shepherd stands on the outside of the stile, reclining carelessly against the green bank. He partially faces the audience; his eyes are directed to the opposite side of the stage, the expression of the face denoting deep thought. The right hand clasps that of the maiden, while the left hangs carelessly at the side, and grasps a shepherd's crook, which is six feet long. Costume consists of a loose, light-blue coat, bound at the bottom of the skirt and sleeves with dark blue; a belt of the same encircles the waist; white hose, low shoes covered with red cloth, knee and shoe buckles, and low-crowned hat; a straw hat, covered with brown cambric, and bound with red, will answer. If a large dog can be procured, that will remain perfectly still, place him at the feet of the shepherd.

The light should be of medium brilliancy, and come from the front of either side of the stage. Music soft and of a secular order.

FLORENCE NIGHTINGALE IN THE CRIMEA.

The tender sigh, the balmy tear, That meek-eyed pity gave, My last expiring hour shall cheer, And bless a soldier's grave.

One Female and Three Male Figures.

This tableau is one that can be easily formed for an evening's entertainment. It represents Florence Nightingale nursing a young wounded soldier in his tent at the Crimea. Florence Nightingale was one of those philanthropic and humane ladies who left their homes and the comforts of life, and resorted to the Crimea, where, on the field of battle and in the pestilential hospital, she comforted and nursed the sick and wounded soldiers. The tent can be made of white cloth, fastened to a frame of light strips of wood eight feet square, with a small flag fastened in front. A couch should be formed at one side of the tent, on which reclines the wounded soldier, with an imitation of a large wound on the forehead, a large black patch on the side of the face, and a bandage around the head; his face must be made quite white, his body supported by pillows; eyes fixed on Florence, countenance calm and tranquil; his right arm is extended outside of the coverlet, and is held by a comrade who is at the side of the bed.

Florence's costume consists of a red dress reaching to the knee, a white collar, loose blue pants with red stripe, buff ap.r.o.n trimmed with white, a flat blue cap with gold band, a small, square, black bag, suspended at the side by leather straps pa.s.sing over the shoulders, the hair arranged low in the neck; she is standing by the side of the couch, body bent slightly forward, one hand resting on the pillow, the other grasps the hand of the sufferer. On the other side of the bed is a soldier, seated on a camp-stool, engaged in reading a Bible. He is dressed in a showy uniform, and is facing the audience.

The lights for this piece should be of medium brilliancy, and come from the front of the stage. Music of a military style.

THE FIREMAN'S STATUE.

One Male and Six Female Figures.

This tableau is quite a tasty design, and is represented by six females in a kneeling posture, supporting a circular shield, on the top of which stands a young and handsome fireman, dressed in his regalia. In his right hand he grasps a hose pipe, the end of which rests on the top of an imitation hydrant, which is placed on the top of the shield at his side. His position is, facing the audience, body and head erect, the left hand resting on the hip, eyes raised upward, countenance calm. The ladies' costume consists of a white dress, red waist, blue sash, hair done up snugly and encircled with a gold band, on the front of which is a silver star, with a blue border and spangles in the centre. The shield should be three feet in diameter, and placed on a pedestal high enough to allow the ladies to kneel beneath. It should be covered with a white cloth that will trail to the floor. The ladies kneel in a circle around the shield, the body facing outward, the head turned slightly to one side, both hands placed against the bottom of the shield, the eyes cast down. The two centre ladies should partially face each other. Expression of the countenance pleasant. Music of an operatic order.

JOAN OF ARC AT THE SIEGE OF ORLEANS.

That was a joyous day in Rheims of old, When peal on peal of mighty music roll'd Forth from her throng'd cathedral; while around, A mult.i.tude, whose billows made no sound, Chain'd to a hush of wonder, though elate With victory, listen'd at their temple's gate.

But who alone And unapproach'd beside the altar stone, With the white banner, forth like sunshine streaming, And the gold helm, through clouds of fragrance gleaming,-- Silent and radiant stood?--The helm was raised, And the fair face reveal'd that upward gazed Intensely worshipping:--a still, clear face, Youthful, but brightly solemn!--Woman's cheek And brow were there, in deep devotion meek, Yet glorified with inspiration's trace On its pure paleness; while, enthroned above, The pictured Virgin, with her smile of love, Seem'd bending o'er her votaress.--That slight form!

Was that the leader through the battle storm?

Had the soft light in that adoring eye Guided the warrior where the swords flash'd high?

'Twas so, even so!--and thou, the shepherd's child Joanne, the lowly dreamer of the wild!

Never before, and never since that hour, Hath woman, mantled with victorious power, Stood forth as thou beside the shrine didst stand, Holy amidst the knighthood of the land; And beautiful with joy and with renown Lift thy white banner o'er the olden crown, Ransom'd for France by thee!

MRS. HEMANS.

One Female and Thirty Male Figures.

This historical tableau contains thirty-one figures. A less number will make a picture; but to give proper effect to the scene, there should be thirty-one. Joan of Arc, the heroine of this piece, at the age of nineteen was a simple and uneducated shepherdess, and by her enthusiastic courage and patriotism was the immediate cause of that sudden revolution in the affairs of France which terminated in the establishment of Charles VII. on the throne of his ancestors, and the final expulsion of the English from that kingdom. The town of Orleans was the only place in France which remained in the possession of the dauphin at the time when this heroine made her appearance, and that was closely besieged by the English, while Charles had not the smallest hope of being able to procure an army to raise the siege.

Benevolent in her disposition, gentle and inoffensive in her manners, and above all, dutiful to her parents, Joan had, from her earliest infancy, been ardently attached to her country. Her piety, her enthusiasm being thus united in her young and romantic mind with an all-absorbing feeling of patriotism, she was led to believe herself the humble instrument, in the hands of Heaven, by whom the interest and glory of France were to be redeemed. Under this impression, the maiden left her native village, and appeared before Charles dressed as a warrior, and informed him that she had two things to accomplish on the part of the King of heaven; first, to cause the siege of Orleans to be raised; and secondly, to conduct the King to Rheims, there to be anointed. The enterprise so courageously proposed was considered, and her services publicly accepted. On the 29th of April, 1429, Joan of Arc appeared before Orleans, with twelve thousand men. She made an attack upon Fort St. Loup, which she carried, sword in hand, as well as the bulwarks of St. John. She had a banner made after her own device; her sword was taken from the tomb of a knight, where it had lain more than a century; her helmet was surmounted with feathers. She remained at the head of the army until 1430, when she was taken prisoner by the English, at the siege of Campaigne. From the moment she was a prisoner, the heroine was forgotten. Joan was condemned at Rouen, by Cauchon, Bishop of Beauvais, and five other French bishops, to be burned alive for magic and heresy, and her cruel sentence was put in execution on the 24th of May, 1431. Thus was the admirable heroine cruelly delivered over in her youth to the flames, and expiated by the punishment of the fire the signal services which she had rendered to her prince and native country. The scene for the tableau is taken at the moment when Joan of Arc, sword in hand, is leading on the storming party over the bulwarks of St. John. She is seen on the top of the ramparts, near one of the cannon which has just been fired. Her soldiers are charging over the bulwarks around her. In the background are to be seen the troops of the various armies, engaged in hostile combat. The battlements should be three or four feet in height, two feet wide, running across the front of the stage, with an embrasure in the centre. Boxes covered with imitation-stone paper are to be used for its formation. If a small cannon cannot be procured, a mock one may be constructed of wood. Platforms rising gradually from the ramparts to the back scene must be used for the figures in the background to stand on. Joan of Arc should be tall in stature, of good figure, and fine looking, with large black eyes, and long black hair. Costume consists of a crimson skirt, coat of mail b.u.t.toned up to the throat, helmet with flowing plumes, riding gloves, crimson sash across the breast, belt and side arms. The banner is made of white cloth, trimmed with crimson, with a gold cross in the centre, and a gilt spear, and ta.s.sels on the end of the staff. Sword of rich design, and quite long. Her position is, near the cannon, the right foot on the top of the ramparts or cannon, the left a few inches lower, on a box placed behind the ramparts; the body bent forward; right hand grasping a sword and stretched out at arm's length towards the ceiling, the left holding the banner, which is held at the side of the body; the head slightly turned to the troops at the right; eyes directed partially to them; countenance animated. Three soldiers in uniform--the prominent colors scarlet--are lying on the ground in front of the battlements. Wounds should be imitated on the head; one soldier is lying across the cannon, holding a rammer in his hand; two others are stretched out on the battlements. The costume of Joan's soldiers should be blue and buff, and each wearing a large moustache.

Two platoons, each containing five soldiers, are in the act of charging over the ramparts at each side of Joan; they stand two feet from the breastwork, and look straight forward. One soldier on each side is in the act of piercing with his bayonet the soldiers on the breastwork. The background is filled up with troops of both nations, who are in the act of fencing and firing their muskets at the enemy in the distance; a variety of positions should be taken, to make the scene as attractive and life-like as possible. The booming of cannon and rattle of musketry may be imitated in the ante-rooms; a slight quant.i.ty of smoke can be made to hover over the combatants by burning a small quant.i.ty of the whitish blue fire on the stage before the curtain rises. Care must be taken not to burn too much, as a great quant.i.ty of smoke will hide the figures from view. The scene most be illuminated by a brilliant red fire burned on the side of the stage that will most reflect on Joan's face. The piece may be exhibited double the usual length of time of other tableaux, and should be used as a grand finale.

THE PARTING.

Ah! then and there was hurrying to and fro, And gathering tears, and tremblings of distress, And cheeks all pale, which but an hour ago Blush'd at the praise of their own loveliness.

And there were sudden partings, such as press The life from out young hearts, and choking sighs, Which ne'er might be repeated--Who could guess If ever more should meet, those mutual eyes, Since upon night so sweet, such awful morn could rise?

BYRON.

One Male and Two Female Figures.

This pretty tableau is one that can be formed without much expense or trouble. The scene represented is a young knight, about to leave his home, his wife, and child, to fight the battles of his country. A large flight of steps fills up one third of the stage at the background. These can be made by placing strips of boards on boxes, arranged in the form of steps, and covering them with white marble or light stone paper; at one side of the stage is a pedestal three feet high and eighteen inches square, on the top of which is a large vase of flowers. A box covered with marble paper, and fresco cornice, will answer for the pedestal, while a large earthen jar, painted white, will do for the vase. On the other end of the steps, two marble pillars reach from the upper step to the ceiling, and a couple of spruce trees placed back of the steps, at each end, will give a good effect. The knight is costumed in a black frock, trimmed around the bottom of the skirt and sleeves with purple cambric, a straight collar of the same material, ornamented with gilt b.u.t.tons and paper; belt and side arms, red sash, riding gloves, purple knee breeches, white hose, low shoes, knee and shoe buckles, a low cap, with a gilt band, and showy plume fastened to the side with a brilliant paste pin; a small velvet cape, trimmed around the bottom with gold paper, is worn carelessly over the left shoulder. Position is, standing on the bottom step, facing the audience; one foot rests on the floor of the stage, the other on the step; the right hand points to the back of the stage, while the left rests on the shoulder of his wife, who stands at his side; his body is bent slightly forward, eyes directed to those of his wife; countenance expresses animation. The lady who personates the wife should have black, curly hair, good figure, medium height, and regular features. Costume consists of a blue silk dress, velvet waist, hair arranged in curls, and ornamented with showy hair pins. Position is, at the side of her husband, two paces in advance, and in such position that a side view is had of the form; her body bent forward, so that her hands, which are clasped, will rest on her husband's shoulder, head thrown back, eyes directed to those of her husband, face expressing grief. A few paces to the left of the lady, is a cradle, containing a sleeping child. A large Newfoundland dog lies quietly watching it. The scene should be illuminated by a purple fire burned near the front of the stage. Music of a martial style.

HAGAR AND ISHMAEL IN THE WILDERNESS.

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 G.o.d 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.

One Female and One Male Figure.

This group is a representation of Hagar and Ishmael in the wilderness, and is designed to imitate sculpture. The circ.u.mstances 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 pa.s.sed 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.

THE FIGHT FOR THE STANDARD.

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.

Twelve Male Figures.