Home Pastimes; or Tableaux Vivants Part 14

DEATH OF SIR JOHN MOORE.

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.

Twenty Male Figures.

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 pa.s.sed 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 n.o.ble 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 n.o.ble 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 quant.i.ty 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.

THE FIREMAN'S RESCUE.

And the flames in thick wreaths mounted higher and higher; O G.o.d! it is fearful to perish by fire.

Two Female and Eight Male Figures.

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 s.c.r.e.w.i.n.g 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.

CATHARINE DOUGLa.s.s BARRING THE DOOR WITH HER ARM.

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.

One Female and Six Male Figures.

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 pa.s.sages. The king's first intimation was from his cup-bearer, who, on leaving the king's chamber, found the pa.s.sage crowded by armed men, who answered his cry of alarm by striking him dead. The noise reached the royal chamber; a rush of the a.s.sa.s.sins followed; and Catharine Dougla.s.s, 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 pa.s.sage outside, it will be necessary to place a part.i.tion from the front of the stage, near the footlights, to the left hand corner in the background. In the smallest apartment stands Catharine Dougla.s.s. The part.i.tion running in this manner will give to the audience a view of the door and iron fastenings through which the arm of the heroine pa.s.ses, and also the pa.s.sage where the a.s.sa.s.sins stand. The part.i.tion 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 c.r.a.pe, 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 a.s.sa.s.sins, 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 b.u.t.tons; 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 s.h.a.ggy 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.

THE MASQUERADE BALL.

'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.

Ten Female and Twelve Male Figures.

The masked b.a.l.l.s, 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 s.p.a.cious 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 Terpsich.o.r.e as France. In all the ball rooms parties of the Munic.i.p.al 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 b.a.l.l.s 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 b.a.l.l.s 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.

IRISH COURTSHIP.

One Female and One Male Figure.

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 ap.r.o.n. 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.

THE FAIRIES' OFFERING TO THE QUEEN OF MAY.

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.

Twenty Female Figures.

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, a.s.suming 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.