Home Pastimes; or Tableaux Vivants Part 4

This tableau contains nine figures. The lady who represents Religion stands in the background of the picture, on a pedestal three feet high. She holds a cross on her left shoulder; the right hand grasps her mantle, which she unfolds, revealing herself to mankind. The lady should be of medium height, with light hair, which hangs loosely over the shoulders. The costume consists of a loose white dress, cut high at the top, sleeves fitting tightly to the arms, while over this dress is worn a second, which is open in front, and is made of white tarleton muslin. Position is facing the audience, eyes directed straight forward, expression calm and thoughtful. The second figure is a beautiful young lady, who kneels at the foot of the pedestal, on a small platform one foot high, and represents Hope. One hand rests on a large Bible; the other points up to the cross, and bids the captive, the dying, and broken-hearted, who kneel in the foreground, to look up to Religion. Costume consists of a white dress, cut high at the throat, short sleeves; hair arranged in curls, and wings of gauze fastened to the back of the dress. Position, kneeling at the foot of the pedestal, facing the audience, head turned slightly on one side, one knee resting on the floor, the body erect, the eyes directed to the figure of the captive in the foreground. The third figure is at the right of the pedestal--a young and handsome lady, who represents Faith. She holds a palm branch--the emblem of martyrdom. Her costume consists of a long white dress, over which is thrown a white mantle, which she gathers about her breast. Her hair hangs loosely over her shoulders, and a black band encircles the head. Her position is, standing on a small pedestal two feet high, so that we have a profile view of her form. Her head is raised to the cross, countenance expressing calmness and repose. Charity is represented, on the left of the pedestal, by a young lady who extends her protection to two helpless children. Her costume is a white dress, opening at the bosom; hair done up neatly, over which hangs a white veil. Her position is, seated at the right of the pedestal, on a small platform two feet high, body facing the audience, head bent forward, and turned towards Religion; eyes cast down; each arm embraces a small child, who is dressed in simple costume. The captive is represented by a gentleman wearing a suit made of coa.r.s.e cloth, long beard and hair, face painted to represent age, arms and waist bound with chains. He kneels at the foot of Charity, on the floor of the stage; his face is turned towards Hope. Both hands are clasped and raised in front of the breast.

Kneeling at the foot of Hope are two other figures. One is a female, dressed in deep mourning; the other, an aged man, who is supported by the lady. His costume consists of a loose robe of white cloth, trimmed with purple; his head is covered with white hair, and from his face hangs a long white beard. The hair and beard can be made of flax. The lady is kneeling next to Faith; the right arm is placed around the aged man, and the left points to Religion; the head is turned upward, and the expression of the face denotes grief. The aged man kneels beside the figure in mourning, his head resting on her shoulder, with his clasped hands stretched out in front; the eyes are closed, and the face downcast. The tableau must be formed in the centre of the stage.

The light should be quite strong, and come from the right of the stage. Music of a sacred character.

THE POET AND THE G.o.dDESS OF POETRY.

The poet's pen is the true divining rod Which trembles towards the inner fount of feeling, Bringing to light and use, else hid from all, The many sweet, clear sources which we have Of good and beauty in our own deep bosoms; And marks the variations of all mind, As does the needle an air-investing storm.

FESTUS.

One Female and One Male Figure.

This beautiful tableau is personated by two figures, a young man and a maiden. The scene represented is a dark and gloomy attic. An old table stands in the middle of the room; on it are a few books and ma.n.u.scripts, an inkstand, a candlestick, with a partly-burned candle inserted in it, a mug of water, and a roll of bread. Near the table is an old-fashioned arm chair, in which is seated a young man dressed in cheap clothing. He has leaned his head upon the table, and is lamenting over his poverty and misfortune. As he sits weeping, a mist gathers in the chamber; it slowly grows denser, till at last it becomes a cloud of light; and lo! in the midst of the cloud stands a divine shape--the G.o.ddess of Poetry--supremely beautiful. She addresses the Poet, gives him advice and consolation, and encourages him to renewed efforts in the path of fame; then vanishes from his sight. Besides the furniture already described, there should be a few chairs, pictures, and a piece of statuary, placed in various parts of the stage. The Poet's costume consists of a loose black coat, dark breeches, light vest, white hose, low shoes, knee and shoe buckles.

Position is near the table, his arms laid across it, his head resting on his arms, and in a position that displays a profile view of the body. The G.o.ddess of Poetry should be a young lady of good height, figure, and features, and costumed in a flowing white dress, cut low at the neck, with short sleeves trimmed with white satin ribbon; a wide muslin mantle should be worn across the shoulders; a wreath of myrtle adorns the head. In her right hand she holds a golden harp; the left is placed on the shoulder of the Poet. Her position is behind the table, in the background of the picture, and facing the audience. Her head is slightly bent forward, and eyes directed to the face of the youth; her countenance expresses pleasure. The following machinery can be used, if desired, which will add very much to the beauty of the piece. In place of the G.o.ddess being at the side of the Poet when the curtain rises, a sliding platform can be made to move on to the stage from the ante-room, on which the G.o.ddess should stand. A stout post firmly fixed in one side will enable the lady to stand perfectly still while the platform moves to its position. All that is necessary in the construction of this part of the work is to make a set of ways, and a sliding platform that will run with ease from one side of the stage to the other. A rope attached to the platform, and fastened to a crank below the stage, will propel the G.o.ddess to her position. The ways and platform can be hidden from view by a strip of board, painted to imitate the floor of the room. A small quant.i.ty of the whitish-blue fire may be burned near the spot where the G.o.ddess appears. The light should be very dim, and come from the side of the stage opposite the Poet. Music soft and plaintive.

DEATH OF EDITH.

O'er her low couch an Indian matron hung, While in grave silence, yet with earnest eye, The ancient warrior of the waste stood by, Bending in watchfulness his proud gray head, And leaning on his bow.

Solemnly beautiful, a stillness deep, Fell on her settled face. Then, sad and slow, And mantling up his stately head in awe, "Thou'rt pa.s.sing hence," he sang, that warrior old, In sounds like those by plaintive waters rolled.

"Thou'rt pa.s.sing from the lake's green side, And the hunter's heath away; For the time of flowers, for the summer's pride, Daughter, thou canst not stay.

"Thou'rt journeying to thy spirit's home, Where the skies are ever clear; The corn-month's golden hours shall come, But they shall not find thee here."

The song ceased, the listeners caught no breath; That lovely sleep had melted into death.

MRS. HEMANS.

Three Female and Two Male Figures.

This tableau is suggested by the beautiful poem of Mrs. Hemans, called Edith, a Tale of the Woods. The circ.u.mstances of the poem refer to the western world in its first settlement, when fierce strife and combat raged between the wild Indian and the settlers from the mother country. In one of these fearful scenes a young and beautiful maiden was taken captive, and conveyed to the village of the red man. But the broken flower of England wasted and pined for the fine old home of other days.

"The parting sigh Of autumn through the forests had gone by, And the rich maple, o'er her wanderings lone, Its crimson leaves in many a shower had strown, Flushing the air; and winter's blast had been Amidst the pines; and now a softer green Fringed their dark boughs; for spring again had come, The sunny spring! but Edith to her home Was journeying fast."

The scene represented in this tableau is at the time when Edith is quietly sleeping in the wigwam of the Indian warrior. By her side sits an aged Indian matron, watching the sleeping one. Standing near the couch is an old Indian warrior leaning on his bow, gazing in grave silence on the dying girl. Kneeling at the foot of the couch are an Indian girl and lad, who are looking with wonder on the form of the pale-face. The wigwam should be six feet high, and five feet wide at the bottom. It should be made of light framework, and covered with brown cambric, on which are painted Indian hieroglyphics. This must be placed in the centre of the stage. The opening in front of the wigwam should be four feet wide at the bottom, so as to admit of the occupants being visible to the audience. The couch in the interior is composed of buffalo robes. The scenery in the background should represent woods and rocks. A few fir trees placed at the back part of the stage will answer, if nothing better can be procured. The lady who personates Edith should be one of good features and rather a small form. Her costume consists of a loose white dress, sleeves five inches long, hair done up loosely in the neck, and face and neck made as white as possible. Position, reclining on the couch, facing the audience, the lower part of the body covered with a leopard skin. The head and chest should be in an upright position, the head inclined back slightly, and supported by the right hand. The left hand laid carelessly over the bosom; the eyes are closed, the countenance calm.

The aged Indian warrior should be dressed in a costume like that described in Hiawatha; the aged matron's costume similar to that worn by Nokomis, in the death of Minnehaha; the young Indian children in appropriate costumes. The position of the Indian matron is, sitting at the head of the sleeping girl, one hand resting on the pillow, and the other raised to the side of the head; the eyes cast upon the ground.

The warrior's position is at the opposite side of the wigwam. He is leaning carelessly upon his bow; his body inclined forward slightly; his eyes fixed upon the sleeping maiden. The children kneel at the foot of the couch; the boy rests his head upon his hand, and gazes upon the face of the dying one; the Indian girl kneels by his side, and points with her right hand to the couch, while her eyes are directed to the face of the boy. The face and other exposed parts of the bodies of the Indian family must be stained light brown. A red fire should be burned in the ante-room, so as to fall upon the performance. Music soft and plaintive.

ABOU BEN ADHEM AND THE ANGEL.

Abou Ben Adhem (may his tribe increase) Awoke one night from a deep dream of peace, And saw, within the moonlight in his room, Making it rich and like a lily in bloom, An angel writing in a book of gold.

Exceeding peace had made Ben Adhem bold, And to the presence in the room he said, "What writest thou?" The vision raised its head, And with a look made all of sweet accord, Answered, "The names of those who love the Lord."

"And is mine one?" said Abou. "Nay, not so,"

Replied the angel. Abou spoke more low, But clearly still, and said, "I pray thee, then, Write me as one that loves his fellow-men."

The angel wrote and vanished. The next night It came again with a great wakening light, And showed the names whom love of G.o.d had blessed, And lo! Ben Adhem's name led all the rest.

LEIGH HUNT.

One Female and One Male Figure.

This very fine tableau is taken from the beautiful lines written by Leigh Hunt. The tableau is represented in two scenes. In the first scene, Ben Adhem is seen reclining on his couch, gazing with wonder and surprise on the angel, who is standing in the centre of the room, engaged in writing in the book of gold. In the second scene, the angel stands at the foot of the couch, and holds the book towards Ben Adhem for him to read the names written therein. The couch can be formed by placing a small mattress on a few low boxes, and covering the whole with bed clothes, on the outside of which should be a white quilt. It must be placed in the foreground, at the right of the stage. Place a plaster pedestal near the side of the couch, on the top of which stand a lighted lamp. At the background of the picture fasten a set of crimson damask curtains; drape them at each side of the stage, and beneath them place a plaster pedestal, with a piece of statuary on the top.

The lady who personates the angel should be of good form and features, of medium height, and costumed in a white dress, over which is worn a loose white tarleton muslin robe, with large flowing sleeves; this must be cut quite low at the top, and made to trail on the floor; hair done up snugly, and encircled with a band of silver, one fourth of an inch wide; large wings, formed of wire, and covered with gauze, and ornamented with silver spangles, should be fastened to the back of the waist. The face and other exposed parts of the body should be whitened with flesh powder. Position in the first scene is, standing in the centre of the room, facing the audience. The book of gold can be imitated by placing sheets of gold paper on the cover and in the inside of a large book. Let it rest on the left arm, and be held at the top by the left hand. The right hand holds a long quill pen, the point of which rests on the pages of the book. Let the body and head incline forward slightly; the eyes directed to the book; the expression of the face tranquil. Ben Adhem's position in the first scene is, reclining on the couch, with the quilt thrown over the lower portion of his body; his left hand resting on the bed, from which he has partially risen; the right raised in front of the chest, the fingers spread out; the face turned towards the angel, the expression of the face denoting surprise and wonder. Costume consists of white pants and shirt, white lace collar and wristbands, and a velvet cloak thrown carelessly over the right shoulder. In the second scene, the angel stands at the foot of the couch, holding the book in the left hand, and pointing to its pages with the right. Her eyes are fixed on Ben Adhem's face, while the countenance is lighted up with smiles. Ben Adhem leans forward, slightly resting his arm on a cushion at his side, and looks with pleasure on the pages of the book. A number of names should be written in the book, and at the top, in large letters, place the name of Abou Ben Adhem. While the tableau is performed, the poem may be read by the announcer. The light for the first scene should be quite dim, and come from the side of the stage opposite Abou. In the second scene, a colored fire must be burned, so as to throw a strong light on the form of the angel. Music in the first scene very soft, and increasing in power in the second.

HIAWATHA AND HIS BRIDE'S ARRIVAL HOME.

Pleasant was their journey homeward!

All the birds sang loud and sweetly Songs of happiness and heart's ease; Sang the blue bird, the Owaissa, "Happy are you, Hiawatha, Having such a wife to love you!"

Sang the robin, the Opechee, "Happy are you, Laughing Water, Having such a n.o.ble husband!"

Thus it was they journeyed homeward; Thus it was that Hiawatha To the lodge of old Nokomis Brought the moonlight, starlight, firelight, Brought the sunshine of his people, Minnehaha, Laughing Water, Handsomest of all the women In the land of the Dacotahs, In the land of handsome women.

LONGFELLOW.

One Male and Two Female Figures.

This interesting tableau is a representation of Hiawatha on the return to his home accompanied by his beautiful bride, Minnehaha. They have just arrived in sight of the lodge of old Nokomis, and are seen in the background of the picture emerging from the forest. A large tree lies in the pathway, and Minnehaha is in the act of stepping over it. She grasps Hiawatha's hand with her right, while the left is pointed towards the wigwam in the foreground. She has just asked Hiawatha if the lodge she sees is his home. Her countenance is lighted up with pleasure. Hiawatha is leading her by the hand, and is a little in advance of her. His face is turned towards her as he gracefully a.s.sists her over the fallen tree. His left hand clasps hers, while the right holds carefully his trusty bow.

_Hand in hand they went together, Through the woodland and the meadow._

Hiawatha's face is lighted up with pleasant smiles as he looks upon the face of his bride, and tells her that yonder lodge is to be her new home. The lodge of old Nokomis is in the foreground of the picture, at the right of the stage. Minnehaha and Hiawatha are in the background at the left. The door of the wigwam is open, and seated in the doorway on a log is old Nokomis smoking her pipe. In front of the tent are the half burned embers of the camp fire; a light smoke is curling up to the sky, and all is quiet and still. Nokomis is gazing vacantly into the embers of the fire: perhaps she is thinking of the days when she

Nursed the little Hiawatha, Rocked him in his linden cradle, Bedded soft in moss and rushes, Softly bound with reindeer's sinews.

Hiawatha, Minnehaha, and Nokomis should be dressed in Indian costume, which can be cheaply made with a little ingenuity. Hiawatha's coat may be made of light brown cambric, cut frock style, and belted around the waist. The skirt should reach to the knee, and be ornamented with two rows of fringe three inches wide; one should be red, the other yellow.

These fringes are also to be placed on the seams and bottom of the sleeves and around the collar; round pieces of bra.s.s should be fastened on various parts of the coat and around the belt. The leggings are made of buff cambric, fitting tightly to the legs, and ornamented at the side with red fringe. Black cloth shoes trimmed with beads are worn on the feet; the head is adorned with a gold band, in which are inserted bright-colored feathers. The belt around the waist should be made three inches wide, of red morocco, and contain a small knife and tomahawk; a quiver of arrows is fastened to the back, which can be fashioned of card-board, and covered with bright-colored paper or cloth. The exposed parts of the body should be stained a light brown, the hair brushed up to the top of the head, and confined with a band. Minnehaha's dress is of red cloth, trimmed with yellow fringe intermingled with colored beads. The waist of the dress should be of flesh-colored cloth made to fit the body very snugly. A scarf of ermine is worn over the shoulders, and tied at the left side. On the right side of the skirt is an over-skirt or side-ap.r.o.n, made of a darker colored crimson, and trimmed with ermine; it commences at the front of the body, and extends half way around the skirt; it is scalloped at the bottom, and ornamented with yellow fringe and beads outside of the ermine. The neck is adorned with a large necklace of white beads, while the head is encircled with a band of gold, ornamented with beads and showy plumes. The hair should be left flowing over the shoulders. The wrists are to be decorated with large gold bracelets. The leggings are to be of crimson cloth ornamented with yellow fringe, and small bands of yellow running around them at intervals of four inches. The feet are encased in shoes of black velvet studded with beads. A quiver of arrows is fastened to the back of the dress, and the exposed parts of the body stained light brown.

Nokomis has on a loose coat of brown cambric fringed with yellow, leggings of buff cambric fringed with light blue, dark shoes ornamented with beads and red binding. The hair should be black, and left to hang loose on the shoulders; a blue blanket trimmed with crimson fringe is gathered about the shoulders, and a black belt encircles the waist. The person who represents Nokomis should be of large figure and face. The features must be painted to represent old age. The scenery consists of the following articles, which should be arranged in perfect order to give the proper effect to the picture.

The stage must be covered with green cloth, and should gradually rise from the fore to the background; small spruce trees can be arranged at the back and sides of the stage, with vines of flowers hanging from them. Two or three stuffed birds should be fastened to the top branches of the trees. The fire can be placed in a furnace near the wigwam, and surrounded with dried branches. The fallen tree and Nokomis' seat may be represented by artificial or natural logs. The tableau should receive the light from the right hand side, the greater portion of which should be thrown into the background. The accompanying music should be of secular and inspiring order.