Patriotic Plays and Pageants for Young People
by Constance D'Arcy Mackay
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GOODWIFE WILLIAMS (wildly). Let her give back my child! Here is the cap that I found on her door- sill.

PHILIPPE. Let me look at the cap, Goodwife Williams. (Turns it inside out.) There is a name embroidered on the band. (Reads.) "Hester Wordell." Not thy child's cap at all.

[Hands it back.

GOODWIFE WILLIAMS. 'Tis more witchcraft!

PHILIPPE. And is that witchcraft, too?

(A child's voice in the woods at right is heard singing:)

"In May I go a-walking to hear the linnets sing, The blackbird and the throstle a-praising Queen and King: It cheers the heart to hear them, to see the leaves unfold, The meadows covered over with buttercups of gold."

GOODWIFE WILLIAMS. 'Tis Barbara's voice! 'Tis Barbara! (Enter Barbara, fleet as a shadow, from right, followed by Fawnfoot. Both take the unconsciously tripping steps that belong to the wild freedom of youth.) It is my child! Barbara! Where hast thou been since yesternight?

BARBARA. With Fawnfoot yonder. She taught me to play games, and angle for fish, and——What be they staring at?

BRADFORD (dryly). Goodwife Williams, for children that rouse a village there is but one remedy.

GOODWIFE WILLIAMS (humbly). A physic?

BRADFORD (almost roaring). No! A slipper! See that it is administered. And light songs, such as we heard but now, are scarcely seemly on a young one's lips. She should learn graver measures.

[In groups of twos and threes the Puritans solemnly exeunt, left, Bradford marching ahead. Fawnfoot, with agile grace, disappears into background, dancing with her own shadow as she goes. Philippe and Goody Gurton are left alone. Philippe bends over the ducking-chair, and with his knife cuts the thongs which bind Goody Gurton, the while he talks, half-tenderly, half-gaily, for the first time allowing a hint of accent to creep into his speech.

PHILIPPE. They do not even stop to unbind thee! It is a strange thing, this witchcraft, that so turns the head!

GOODY GURTON. You do for me what others do not do—you whom I have scarcely seen before!

PHILIPPE. A good deed sown is ofttimes a good deed reaped. So say they in la belle France, and my tongue loves the words. 'Twas long ago that you did a kindness for me when my father lay ill of a fever; but—I—I have not forgotten. (He cuts the final thong that binds her.) Whither now, Goody Gurton? Nay, it would seem that we have need of each other. For you—a shoulder to lean on: for me—often I am lonely. I think what it would mean in my hut in the forest to look up and see a grand'mere sitting there! We be two outcasts; but the woods are kind. There is a song about that oversea: it says—


Blue the sky above you, Dans la foret; True the hearts that love you, Courageux et gai!

Come, Grand'mere, home!

[They exeunt right, he bearing himself with a proud erectness, she leaning upon his shoulder with the peaceful dependence of a soul whose problem is solved. The scene ends.


The Puritan women and girls wear black dresses with white lawn kerchiefs and cuffs, and Puritan caps. One or two of the women wear black cloaks, falling to the edge of their gowns. The material of which these dresses and cloaks may be made is black cambric with the glazed side turned in. The kerchiefs and cuff of lawn or white cheesecloth.

For the men and lads full black knee-breeches, black doublets with the sleeves a little fulled; white cuffs and Puritan collars. Long black cloaks ankle-length. Beaver hats. Any well-illustrated edition of "Pilgrim's Progress" will give an excellent idea of these costumes. (See notes on Hawthorne Pageant, page 220.)

PHILIPPE BEAUCOEUR. Philippe Beaucoeur wears a tan-Colored costume cut on Indian lines (supposedly dressed deerskin) with a sash of scarlet, such as the French voyageurs were in the habit of wearing. A fur slung across his shoulders and caught at his girdle. The costume is fringed, Indian-like, but is not painted Of beaded. The breeches come to the knee. Tan stockings and moccasins. The costume made of cotton khaki.

FAWNFOOT. The typical Indian maiden costume. Cotton khaki, gorgeously painted at the neck. Bead chains and bracelets. Tan stockings. Moccasins. Hair worn in braids. Scarlet head-band across forehead. Black quill.

This play may be given by a cast of girls. (See notes on Hawthorne Pageant.)

Music. The song which Barbara Williams sings can be found in "Songs of the West," by S. Baring Gould. ("Folk Songs of Cornwall and Devon, collected from the Mouths of the People.")


The dance interlude should be symbolic of the spirit of youth as exemplified in the Indian and the Puritan. The music is MacDowell's "From an Indian Lodge." The two players taking part in the dance are Fawn-foot and Barbara Williams. The little Indian, dancing in the woods with her own shadow, tries to entice the little Puritan into following her steps. Barbara hangs back. But the dance proves too alluring. She finally tries to imitate what the little Indian does; but at first the quick motions of the other are quite beyond her. One is of the forest, the other of the town! Yet, in the end, the little Puritan should show that she has caught a little of the grace and freedom of her wild playmate. Good pantomimic dancing, with grace and humor, should be worked into this.




SCENE: An open glade at Merrymount on a Summer's day in 1626. Trees right, left, and background. In the center of the stage a maypole decked with streaming ribbons that are somewhat faded.

Towards the left background, at some distance from the maypole, a forest bed of pine boughs, sweet fern, and moss. Not far from this bed, towards foreground, a tiny glimmer of fire, over whose graying ashes is hung a small iron kettle. Scattered on the ground by the fire a goodly number of iron and pewter drinking-cups, and an iron skillet for brewing. The play begins by the entrance of Simon Scarlett from the left, with a troop of Merrymounters at his heels, Faunch, Nan, Moll, Tib, Joan, and Will Lackleather. All wear tattered finery. That of Simon matches his name.

SCARLETT. Hither! Hither! Come, Faunch the fiddler, give us another tune—one that will set the echoes of Merry-mount a-ringing, and make the lean Puritans in the valley to hold their ears.

ALL. A tune! A tune!

FAUNCH. What tune will ye have, Simon Scarlett?

SCARLETT. Let it be a maypole dance, Faunch the fiddler! And a merry one! (Faunch begins to play.) Let's see you foot it! (The folk of Merrymount begin to dance.) Oh, bravely, bravely! If the Puritans could see you you'd be led to the stocks and the whipping-post!

LACKLEATHER (darkly). 'Twill take less than a dance to lead us there! You know right well that the Puritans have sworn that if they catch us straying beyond the bounds of Merrymount 'twill be the stocks and the whipping-post, and that without mercy!

SCARLETT (with a laugh and a shrug). The stocks and the whipping-post! Come, drive such thoughts from your head! Look! Yonder comes Jock with a tankard of apple juice! Cups for us all! Quick, Lackleather! (Carved wooden cups are taken from the trunk of a hollow tree.) Come, where are we all?

TIB. All here, save Sarah Scarlett, who bides with Goody Gleason, and Bess, who hath been away since dawn. Robin and Kit have gone to search for her.

SCARLETT. Well, Bess or no Bess, the maypole is waiting! Play us another catch, goodfellow Faunch! My heels grow rusty!

[All start to dance.

ROBIN (bursting in from right, followed by Kit Carmel). Simon! Simon! You'll not dance so gaily when you've heard the news! Put up your music, Faunch! Give over your capers, Lackleather! Bess hath been taken by the Puritans!

[General consternation.

SCARLETT (as all stop dancing). You're jesting, lad!

ROBIN (as he catches breath). 'Tis no jest, Simon! 'Tis bitter truth. 'Tis towards the stocks they are leading her!

SCARLETT (outraged). You let them capture her?

KIT. What were we two against so many!

SCARLETT (passionately). All Merrymount to the rescue! Zounds! Shall a pack o' Puritans match their wits against ours? Who follows me?

ALL. All of us! All!

LACKLEATHER. There'll be a rescue!

FAUNCH (as he follows, fiddling gaily). A rescue made to music!

[All disappear into the woods, right, just as Sarah Scarlett, with Goody Gleason leaning on her arm, comes out of the woods, left.

SARAH. Faunch! Faunch! (Looks after the vanishing Merrymount folk.) He does not hear me! Where are they going that they do not hear me? Nay, then, dear Gran'am, rest on me. Step slowly. They've left off dancing at the maypole, and gone I know not whither. Will you not rest you, while I blow this flicker o' fire? (Leads Goody Gleason to bed of pine.) I'll make thee broth, and season it right pleasantly when the lads come back from their traps; for, now that I think on it, it may be to their traps they have gone. (Sees Goody Gleason placed in comfortable fashion on the bed of pine.) Rest, then, if you can, dear Gran'am. 'Twill strengthen you against your chills and fever. (Seats herself at fire.) Rest, if you can, and I will watch close by.

[Goody Gleason dozes off: Sarah sits by her and sings.

"Fortune, my foe, why dost thou frown on me, And will thy favors never better be? Wilt thou, I say, forever breed me pain? And wilt thou not restore my joys again?"

[A pause: then from distance comes tumult of voices: "Ho! Steady there, Will Lackleather! Have a care, Robin Wakeless!" (The voices are very faint but clear: the sound of them coming from a long distance.)

BESS (running ahead of the others, disheveled, breathless, excited, enters, and swinging about, halloos to those who are following her, her hands held clarion-wise). Have a care, Simon! Look well to the Puritan!

SARAH (running to her). Bess! What's here! What's happened?

BESS (still greatly excited). I'll tell thee when I catch my breath! I've been in the stocks with the whole of Wollaston to gape at me. Puritan heads a-wagging! Puritan eyes a-staring! And after the stocks 'twas towards the whipping-post that they were leading me! But I've learned a trick or two from our lanes here at Merrymount. I gave a sudden twist—the constable loosened his hold—I ran and ran! There was not one could catch me. And for the shaming they've done me they are to pay full dear. I ran ahead to tell you. Listen!

VOICES (coming nearer). Easy there, Kit! Have a care, Robin!

SARAH. Heaven's mercy, Bess, what is it they're bringing?

BESS (with a blaze of excitement and triumph). Can you not see? Our lads have stolen Resolute Endicott, spinning-wheel and all.

[It is soon seen that Bess speaks truly. Mistress Endicott makes her entrance seated on a pine board that is carried between Robin Wakeless and Kit Carmel. She is closely guarded by Jock, who marches behind. Scarlett and Will Lackleather carry her spinning-wheel. Faunch brings up the rear, with the Merrymount maidens following. Joan carries a spinning-stool.

SCARLETT (as he and Lackleather set down spinning-wheel, left). Look to your steps, Robin! Steady there, Kit Carmel! (As Resolute stands, center, he approaches her with elaborate mocking courtesy.) Mistress, we bid you welcome to Merrymount!

ROBIN. What will you have, Mistress Endicott? A merry stave, a cup of cherry wine, or a maypole dance? Speak, and we do' your pleasure!

SCARLETT (to Sarah). Rouse our gran'am, sister. Sure, such a sight as this will warm her bones! (To Resolute, indicating Bess.) See! There is one of our number who hath been royally entertained by your townsfolk. We are minded to do the same by you! (To the others.) Come, we'll spread a feast for Mistress Endicott. Empty your traps, Robin! Bring on your game, Will Lackleather! We'll show how Merrymount can sup when it has a mind!

JOAN (aside: outraged). What! Waste our substance on a Puritan?

KIT CARMEL. Why, lass, do you not catch Simon's meaning? 'Tis a rare jest to make a Puritan dance, whether she will or no. Can you not see she would rather go straight to perdition than vouch us a word or a glance? 'Twas a shrewd trick of Simon's to seize her as she sat in her dooryard. We'll have more mirth to-day than hath been here a twelvemonth.

SCARLETT. Come! Come! We must prepare to feast! (To Resolute.) Think not to stir from here, Mistress. Puritan feet can never outrun the heels of Merrymount! Come, lads, let's start, or the feast will not be ready. Who goes with us?

ALL. I! I! And I!

SARAH. I'll bide with my gran'am.

[Exeunt all the others, save Resolute, Sarah, and Goody Gleason. There is a pause of a moment or so. Sarah, seated on the ground by Goody Gleason, looks curiously at Resolute. Resolute stares straight in front of her.

SARAH (rising, and bringing Resolute her spinning-stool). Best to be seated, Mistress. You'll be a long time standing. What! Not even a word of thanks from a model of worshipful manners? It must be a sad thing not to be able to use one's tongue, Mistress Resolute. Indeed, I pity you!

RESOLUTE. Such words as I could speak would fall full strangely on Merrymount ears.

SARAH. I doubt it not. We are not given to canting here at Merrymount.

RESOLUTE. I might give you such answer as those words deserve, did I not know that they are the words of one who lives in sin and ignorance.

SARAH (crossing rapidly to left, her hands clenched, amazement and wrath in her voice). Sin and ig——Zounds! A plague take you!

RESOLUTE (turning: her fingers in her ears). Oh! Oh! Now you are swearing!

SARAH. You little weazened, mincing, purse-mouthed Puritan!

RESOLUTE (her fingers still in her ears). I do not hear a word that you are saying.

SARAH (starting to pull Resolute's fingers from her ears). I'll make you hear, I warrant!

GOODY GLEASON (moaning). Alack! Alack! Will the posset never be done?

SARAH (instantly remorseful). Gran'am! Your posset! To think I could forget you! (Runs to fire.) And yet—and yet——(Looks in kettle.) Alas! Alas! I am not skilled in brewing.

RESOLUTE (half against her will). There's cure for ague in our forest herbs.

SARAH. Oh, had I but your knowledge—! (With an effort towards healing the breach.) If you'll take back your words about sin and ignorance, never again will I call you a mincing white-faced moppet—even if you are one.

RESOLUTE(provokingly prim). I may not take back words that I have spoken.

SARAH. Then you are a prim-mouthed, white-faced jade, even as I have said.

RESOLUTE. And that you dwell in sin and ignorance becomes more and more certain.

[They face each other as if with crossed swords, left.

GOODY GLEASON (sighing). Is the posset done?

SARAH (despairing). I cannot tell whether it be done or no.

RESOLUTE (with her back turned). If the brew be clear, then the posset is not yet done; but if a little wax float on the top——(Sees Sarah's perplexity, and comes to fire with the air of one bestowing wisdom.) All maids should know how to make healing potions. I marvel that you've learned no hearthstone arts.

SARAH (as Resolute seats herself at fire). Mayhap, if I had a hearth I could compass such knowledge, Mistress. But we be forest folk with no roof but the stars.

RESOLUTE. You chose——

SARAH (busying herself with pouring the posset into cup and giving it to Goody Gleason). Aye, Mistress, I know well what you would say. We chose to live the life of Merrymount. We brooked no Puritan rule: therefore on our heads be it! We suffer for the love of freedom. (Keenly.) Do you not suffer, too, for the same cause? It was for freedom you and yours left England. It was for freedom we and ours left Wollaston. You could not brook restraint: no more could we.

RESOLUTE. But your revels—your songs and dancing——

SARAH. We meet misfortune with a laugh instead of with a groan: where is the harm in that?

RESOLUTE (with dawning friendliness). Indeed you give me much to ponder on.

SARAH (with a burst of candor). Since I've known you I do not think so hard on Puritans. (Half- wistfully.) I wish—I wish I had your arts and knew wise household ways. I fear we be but addle-pates at Merrymount. I cannot brew a medicine, nor spin, nor——

RESOLUTE (rising). Come, I will teach you! (They go to spinning-wheel.) Aye, sit you so, and mind you do not break the thread. So! So!

[While the spinning lesson is going on, Scarlett and his followers enter from left background, carrying fish, game, and wild fruits, Scarlett in advance of the others. For a moment he stands transfixed by what he sees. Then tiptoes back, beckons to others, and points out the picture. Pantomime of surprise and stifled mirth.

SCARLETT (mockingly). Look! Look! Our Sarah hath turned Puritan! While as for Mistress Endicott—! Come, Faunch, a tune, lad, a tune! A wreath for our worthy guest! (Approaching Resolute.) Mistress, 'tis time you learned to trip it about the maypole. I claim your hand for a measure——

SARAH (suddenly returning from seeing to the preparations for feasting which are going on in background). You shall do no such folly. Mistress Resolute shall not dance if she holds that dancing is a sin. Take that in your teeth, Simon Scarlett!

SCARLETT. Are you bewitched? Hath the Puritan turned your head?

SARAH. My wits, good Simon, are as clear as thine. 'Tis true that the constables put our Bess in the stocks; but 'twas none of Resolute's doing! And when you stole her hence that debt was paid. Moreover, of her own free will she has made a healing brew for our gran'am, and for that I stand her friend.

ROBIN WAKELESS (drawing near and hearing the controversy). Is there no mirth left in you, Sarah Scarlett, that you cannot see the jest of making a sniveling Puritan to——

SARAH (promptly and blazingly). Cease your talk, Robin Wakeless! And when you speak of sniveling Puritans, speak of them that do snivel. For though you brought Mistress Endicott here in a rough and unseemly fashion, she has not once winced, no, nor plead for mercy. You are quick to laud a brave front in yourselves: are you less quick to laud it in your neighbors?

SCARLETT (as some of the other Merrymount folk gather about the scene). 'Tis true what Sarah says. The maid is not given to whining. (To Resolute, with an entire change of manner.) Well, then, Mistress, though our feast go forward, you shall not sup with us unless it pleases you. Say but the word, and we will take you back to Wollaston, you and your means of industry!

SARAH (eagerly). Will you not sup with us first?

RESOLUTE. I thank you, Sarah Scarlett.

SARAH (delightedly). Come, then!

FAUNCH (singing, as he puts his fiddle under his chin, while Scarlett tosses a wreath in the air). "Fortune, my foe, why dost thou frown on me, And will thy favors——"

TIB (rushing wildly in from right). Hush your music, Faunch! Down with your trumpery, Simon! The Puritans are upon us—Pritchard and Norcross and Warren and Hilton—all a- marching up the hill! Armed to the teeth they are, Simon, and there's not an ounce of shot amongst us!

SCARLETT (as Puritans begin to appear, right). Zounds! They're upon us!

GILLIAN PRITCHARD (as he and his followers come forward from right background). Make no resistance, ye scum of Dagon's brood, or Merrymount and all that is within it shall be sacked within the hour! Where is the maid ye stole?

RESOLUTE (dearly). Here, Gillian Pritchard! Here, safe and sound, and courteously treated by the folk of Merrymount. Why use ye such words as stole? 'Tis most unseemly. And why come ye here unbidden? Sure, none sent for you?

GILLIAN PRITCHARD (amazed: disapproving). Resolute!

RESOLUTE (haughtily). Mistress Endicott, so please you, and the governor's cousin!

GILLIAN PRITCHARD (more and more pained). Resolute!

RESOLUTE (continuing quickly). May I not step from my door to do a deed of kindness for an old woman but what the whole of Wollaston is at my heels? Or give a lesson in spinning without a cry being raised that I am stolen? I do not take it kindly of you, Amos Warren; no, nor of you, Ebenezer Matthews. Pick up my spinning-wheel, Frugal Hilton, and let Fight-for-Right Norcross carry my chair. (To Sarah.) There are herbs in that pocket for your gran'am.

[Gives her herb pocket.

[The Puritans, including Resolute Endicott, exeunt right.

SCARLETT (breaking forth). She saved us! Saved us! Zounds! Was there ever anything like unto it! What dost thou make of it, Sarah?

SARAH. I make of it that Mistress Endicott hath a warm heart beneath her cold white Puritan kerchief, and that in this new land of ours we should better strive to understand each other; for, though our ways be different, are we not beset by the same hopes and fears, doth not the same sky arch above us all? (To Simon.) Think you not so, my brother? (As all begin to go towards background where the feast is in readiness.) Come, gran'am, lean on me. Our feast must be near to readiness. A Puritan hearthstone—sooth, it must be a goodly place; yet right glad am I that we live beneath the stars, and are still the light free-hearted folk o' Merrymount!


The costumes are those of the seventeenth-century cavaliers for the Merrymount lads. Slashed jerkins, full sleeves with puffs and slashings, or bishop's sleeves of white lawn showing through tattered velvet oversleeves. Their cloaks are sometimes topped with white lace collars. They wear either stockings and low slippers with buckles, or high cavalier boots. Their hair is worn in lovelocks. See the illustrated edition of "Pilgrim's Progress," or any good cavalier pictures. If the velvets and satins cannot be had, use cambric in gay colors with the glazed side out, which gives the effect of satin.

SIMON SCARLETT. Scarlet suit. Scarlet cloak with white lace collar. Scarlet shoes and stockings. His costume is the high note of color in the play.

WILL LACKLEATHER. Dark-brown cloak. High brown boots. Brown jerkin, through which show sleeves of white lawn. The jerkin is of leather.

ROBIN WAKELESS. Suit of blue satin. Gray cloak. Gray foot-gear.

CHRISTOPHER CARMEL. Dark-blue velvet slashed with orange.

JOCK. Very dark-purple cloak, with touches of tarnished gold. Leather jerkin, pieced out with fur.

FAUNCH THE FIDDLER. Costume of pale-blue satin and black velvet. A black velvet cloak.

All the Merrymount maidens wear fine raiment that is equally tattered and weather-worn. They have peasant bodices—that is, a very deep girdle the color of their skirts, worn with white square-necked waists that have soft semi-full sleeves; or they wear bodices of one piece made very plainly. Cambric in gay colors will do.

SARAH SCARLETT. Forest-green dress, ankle-length. White bodice showing through tattered green sleeves. Forest-green cloak patched with scarlet.

GOODY GLEASON. Leaf-brown cloak and dress, patched a little with black and gray.

MOLL. Olive-green dress, white bodice. It is pieced out with bits of leather.

NAN. Maroon dress, patched in black.

TIB. Dull blue dress.

JOAN. Dark dull-green and red flowered dress, giving the appearance of tattered brocade.

BESS. Gray dress. The maypole dancers are in dull-green, dull-violet, and dull-blue, bronze, and slate-gray. Some wear cloaks and some do not. All should have a wild, picturesque gipsyish look.

RESOLUTE ENDICOTT. Black dress, ankle-length. White Puritan cap, cuffs, and kerchief. (Black cambric with the glazed side turned in.) The Puritan men wear long cloaks coming to their ankles: deep, white plain collars, plain white cuffs on black sleeves. Black hats. "Boxed" hair, falling below the ears. Low black shoes. Black stockings. Black knee-breeches, somewhat full.

For a cast composed entirely of girls, such as a girls' camp or school, this play can be given with gymnasium suits forming part of the costumes for both Merrymount lads and Puritans. The girls can wear the bloomers of their gymnasium suits fastened with a ribbon-garter, so as to make the puffed seventeenth century garb. The ribbon should be gay in color and fastened either with a rosette or a bow. White, soft loose waists, with rather full long sleeves. The cloaks of cambric in bright colors should come to the ankles, the glazed side worn outward, to give a satiny look. The cloaks for the Puritans should be of the same length, made of black cambric, with the glazed side turned in. They should wear black cotton waists, and it will be easy and simple for the girls to fashion the white cuffs and collars out of white lawn or cheesecloth. The whole play can thus be costumed for a very small sum. If a further touch of color is to be added to the costumes of the Merrymount lads, their gay cloaks may be topped with white lace collars. Their stockings can be gay in color, and here and there a slashed jerkin will add variety. The maidens of Merrymount can wear dresses of cambric, made on the simplest possible lines. The color scheme of the foregoing costumes should, in the main, be adhered to. The ribbon-garters and stockings may match in color. Pale-blue, orange, purple, jade, corn-yellow, and hunter's green will prove effective. No pink or old rose should be worn, as scarlet is the high note of color in the play.

MUSIC: Any quaint old-time maypole dance will do for the maypole rout. The words and music of "Fortune, My Foe" can be found in Chappell's "Popular Musk of Antiquity," Vol. I, page 62.


The Hawthorne Pageant can be produced either indoors or out of doors. For the outdoor production there should be a level sward with trees right, left, and background. It is suitable for any of the Spring, Summer, or Autumn months, or for Hawthorne's birthday, July 4.

For an indoor production of the pageant if a green woodland set cannot be had, green screens with pine branches fastened to them, a green or brown floor-cloth, and forest-green hanging filling in the background may be used. Pine trees in green stands around which green and brown burlap is banked is another way of having an inexpensive and realistic scene setting. The setting for the whole pageant is the same. It can be given in an assembly hall, gymnasium, or armory.

The costumes for the episodes have already been indicated. The pageant may be given by a cast made up entirely of girls, if it is so wished.

THE MUSE OF HAWTHORNE. Pale-pink cheesecloth draperies. A tall white staff, on which is fastened a cluster of pink hawthorn blossoms. Flowing hair, and a chaplet of laurel leaves. White stockings and sandals.

THE SPIRITS OF THE OLD MANSE. Greek robes in colored cheesecloth or cotton crepe. There are eight of these maidens, and the colors they wear are pale-green, pale-lavender, pale-yellow, and pale-blue. They carry great garlands of moss interwoven with pine—about two yards for each player, so that it can be held gracefully. White stockings and sandals. Hair bound With Greek fillets of white or of silver. Symbolically these spirits represent Joy, Mystery, Peace, Dreams, Hope, Aspiration, Fulfilment, Ecstasy.

MUSIC. The songs of the episodes are already indicated on pages 194 and 203. The music for the chorus of the Spirits of the Old Manse can be found in "Songs of the West," by S. Baring Gould, which is a collection of the Folk Songs of Devon and Cornwall, collected from the mouths of the people. The music of this chorus is set to the seventeenth-century folk song called "The Sweet Nightingale" ("My sweetheart, come along," etc.). The incidental music for the Hawthorne Pageant when it is given indoors should be from Edward MacDowell's "New England Idylls" Op. 62, and from his "Indian Suite." "From an Old Garden," "Midsummer," "An Indian Idyll," and "From Puritan Days" can be played between the episodes and the Dance Interlude. An orchestra or piano can add to the music of Faunch's fiddle in the Merrymount scene. The music for the procession should be very stately, and by a seventeenth-century composer, if possible.

NOTES ON DIRECTING THE PAGEANT. The first verse of the chorus of the Spirits of the Old Manse should be sung off stage in the indoor production. The stage should be darkened: footlights low. With the next verse the spirits enter, four from right, and four from left, mystic, half-seen figures. As they enter the lights gradually begin to come up, until with the middle of the second verse there is full strong daylight. If the eight voices are not enough a hidden augmented chorus can be behind the scenes. If the stage is such that it can be darkened and lighted at will, a fire-glow effect should be given for the Merrymount scene. The light for all the scenes should be that of strong daylight. There should be no curtain. The characters simply appear and disappear. After the Spirits of the Manse have made their exit the Prologue enters. The procession at the end of the play may simply cross the scene to march music, the players not stiffly moving in ones and twos, but in more or less significant groups.

Those who direct the pageant should see to it that the players speak the dialogue in the episodes with the utmost briskness. There should be no waits and pauses. Simon Scarlett especially should enunciate clearly and swiftly, with dash and fire in both voice and gesture. Even if some of the words are lost, it is better to keep up the tempo of the piece. Philippe Beaucoeur should also speak with a rush of energy and determination. The players who are on the scene but not speaking, should develop their pantomimic powers, and form animated groups; their interest should be first with one character who is speaking, and then with another. They should never stand idle, looking blankly at the audience, as so many amateurs are in the habit of doing. In the Salem episode they should surge forward and back, and discuss in pantomimic groups all that is happening.



THE CINDER POND Illustrated by ADA C. WILLIAMSON. $1.35 net. Years ago, a manufacturer built a great dock, jutting out from and then turning parallel to the shore of a northern Michigan town. The factory was abandoned, and following the habits of small towns, the space between the dock and the shore became "The Cinder Pond." Jean started life in the colony of squatters that came to live in the shanties on the dock, but fortune, heroism, and a mystery combine to change her fortunes and those of her friends near the Cinder Pond. THE CASTAWAYS OF PETE'S PATCH Illustrated by ADA C. WILLIAMSON. $1.35 net. A tale of five girls and two youthful grown-ups who enjoyed unpremeditated camping. DANDELION COTTAGE Illustrated by Mmes. SHINN and FINLEY. $1.35 net. Four young girls secure the use of a tumbledown cottage. They set up housekeeping under numerous disadvantages, and have many amusements and queer experiences. "A capital story. It is refreshing to come upon an author who can tell us about real little girls, with sensible ordinary parents, girls who are neither phenomenal nor silly."—Outlook. THE ADOPTING OF ROSA MARIE A sequel to "Dandelion Cottage." Illustrated by Mrs. SHINN. $1.35 net. The little girls who played at keeping house in the earlier book, enlarge their activities to the extent of playing mother to a little Indian girl. "Those who have read 'Dandelion Cottage' will need no urging to follow further...A lovable group of four real children, happily not perfect, but full of girlish plans and pranks...A delightful sense of humor."— Boston Transcript. THE GIRLS OF GARDENVILLE Illustrated by MARY WELLMAN. 12mo. $1.35 net. Interesting, amusing, and natural stories of a girls' club. "Will captivate as many adults as if it were written for them...The secret of Mrs. Rankin's charm is her naturalness...real girls...not young ladies with 'pigtails,' but girls of sixteen who are not twenty- five...as original as amusing."—Boston Transcript.



TOM STRONG, WASHINGTON'S SCOUT Illustrated. $1.25 net. A story of adventure. The principal characters, a boy and a trapper, are in the Revolutionary army from the defeat at Brooklyn to the victory at Yorktown. "The most important events of the Revolution and much general historical information are woven into this interesting and very well constructed story of Tom and a trapper, who serve their country bravely and well. Historical details are correctly given."—American Library Association Booklet. TOM STRONG, BOY-CAPTAIN Illustrated. $1.25 net. Tom Strong and a sturdy old trapper take part in such stirring events following the Revolution as the Indian raid with Crawford and a flat- boat voyage from Pittsburgh to New Orleans, etc. TOM STRONG, JUNIOR Illustrated. $1.25 net. The story of the son of Tom Strong in the young United States. Tom sees the duel between Alexander Hamilton and Aaron Burr; is in Washington during the presidency of Jefferson; is on board of the "Clermont" on its first trip, and serves in the United States Navy during the War of 1812. TOM STRONG, THIRD Illustrated. $1.30 net. Tom Strong, Junior's son helps his father build the first railroad in the United States and then goes with Kit Carson on the Lewis and Clarke Expedition.


THE HOME BOOK OF VERSE FOR YOUNG FOLKS Compiled by BURTON E. STEVENSON, Editor of "The Home Book of Verse"

With cover, and illustrations in color and black and white by WILLY POGANY. Over 500 pages, large 12mo. $2.00 net.

Not a rambling, hap-hazard collection but a vade-mecum for youth from the ages of six or seven to sixteen or seventeen. It opens with Nursery Rhymes and lullabies, progresses through child rhymes and jingles to more mature nonsense verse; then come fairy verses and Christmas poems; then nature verse and favorite rhymed stories; then through the trumpet and drum period (where an attempt is made to teach true patriotism,) to the final appeal of "Life Lessons" and "A Garland of Gold" (the great poems for all ages).

This arrangement secures sequence of sentiment and a sort of cumulative appeal. Nearly all the children's classics are included, and along with them a body of verse not so well known but almost equally deserving. There are many real "finds," most of which have never before appeared in any anthology.

Mr. Stevenson has banished doleful and pessimistic verse, and has dwelt on hope, courage, cheerfulness and helpfulness. The book should serve, too, as an introduction to the greater poems, informing taste for them and appreciation of them, against the time when the boy or girl, grown into youth and maiden, is ready to swim out into the full current of English poetry.



COSTUMES AND SCENERY FOR AMATEURS A Practical Working Handbook with over 70 illustrations and full index. 258 pp. 12mo. $1.75 net. A book that has long been needed. It concludes chapters on Amateurs and the New Stage Art, Costumes, and Scenery, but consists mainly of simple outline designs for costumes for historical plays, particularly American Pageants, folk, fairy, and romantic plays—also of scenes, including interiors, exteriors, and a scheme for a Greek Theatre, all drawn to scale. Throughout the book color schemes, economy, and simplicity are kept constantly in view, and ingenious ways are given to adapt the same costumes or scenes to several different uses. HOW TO PRODUCE CHILDREN'S PLAYS The author is a recognized authority on the production of plays and pageants in the public schools, and combines enthusiastic sympathy with sound, practical instructions. She tells both how to inspire and care for the young actor, how to make costumes, properties, scenery, where to find designs for them, what music to use, etc., etc. She prefaces it all with an interesting historical sketch of the plays-for-children movement, includes elaborate detailed analyses of performances of Browning's Pied Piper and Rosetti's Pageant of the Months, and concludes with numerous valuable analytical lists of plays for various grades and occasions. $1.25 net. New York Times Review: "It will be useful...practical advice." Magazine of General Federation of Women's Clubs: "There seems to be nothing she has forgotten to mention. Every club program chairman should have it."


SHORT PLAYS ABOUT FAMOUS AUTHORS (Goldsmith, Dickens, Heine, Fannie Burney, Shakespeare) By MAUDE MORRISON FRANK. $1.25 net. THE MISTAKE AT THE MANOR shows the fifteen-year-old Goldsmith in the midst of the humorous incident in his life which later formed the basis of "She Stoops to Conquer." A CHRISTMAS EVE WITH CHARLES DICKENS reveals the author as a poor factory boy in a lodging-house, dreaming of an old-time family Christmas. WHEN HEINE WAS TWENTY-ONE dramatizes the early disobedience of the author in writing poetry against his uncle's orders. MISS BURNEY AT COURT deals with an interesting incident in life of the author of "Evelina" when she was at the Court of George III. THE FAIRIES' PLEA, which is an adaptation of Thomas Hood's poem, shows Shakespeare intervening to save the fairies from the scythe of Time. Designed in general for young people near enough to the college age to feel an interest in the personal and human aspects of literature, but the last two could easily be handled by younger actors. They can successfully be given by groups or societies of young people without the aid of a professional coach.

LITTLE PLAYS FROM AMERICAN HISTORY FOR YOUNG FOLKS BY ALICE JOHNSTONE WALKER. $1.10 net. HIDING THE REGICIDES, a number of brief and stirring episodes, concerning the pursuit of Colonels Whalley and Goff by the officers of Charles II at New Haven in old colony days. MRS. MURRAY'S DINNER PARTY, in three acts, is a lively comedy about a Patriot hostess and British Officers in Revolutionary Days. SCENES FROM LINCOLN'S TIME; the martyred President does not himself appear. They cover Lincoln's helping a little girl with her trunk, women preparing lint for the wounded, a visit to the White House of an important delegation from New York, and of the mother of a soldier boy sentenced to death—and the coming of the army of liberation to the darkies. The big events are touched upon, the mounting of all these little plays is simplicity itself, and they have stood the test of frequent school performance.



THE BOYS OF BOB'S HILL Illustrated by GEORGE A. WILLIAMS. 12mo. $1.30. A lively story of a party of boys in a small New England town. "A first-rate juvenile...a real story for the live human boy—any boy will read it eagerly to the end...quite thrilling adventures."— Chicago Record-Herald. "Tom Sawyer would have been a worthy member of the Bob's Hill crowd and shared their good times and thrilling adventures with uncommon relish...A jolly group of youngsters as nearly true to the real thing in boy nature as one can ever expect to find between covers."— Christian Register. THE BOB'S CAVE BOYS Illustrated by VICTOR PERARD. $1.30 net. "It would be hard to find anything better in the literature of New England boy life. Healthy, red-blooded, human boys, full of fun, into trouble and out again, but frank, honest, and clean."—The Congregationalist. THE BOB'S HILL BRAVES Illustrated by H. S. DELAY. 12mo. $1.30 net. The "Bob's Hill" band spend a vacation in Illinois, where they play at being Indians, hear thrilling tales of real Indians, and learn much frontier history. A history of especial interest to "Boy Scouts." "Merry youngsters. Capital. Thrilling tales of the red men and explorers. These healthy red-blooded, New England boys."—Philadelphia Press. THE BOY SCOUTS OF BOB'S HILL Illustrated by GORDON GRANT. 12mo. $1.30 net. The "Bob's Hill" band organizes a Boy Scouts band and have many adventures. Mr. Burton brings in tales told around a camp-fire of La Salle, Joliet, the Louisiana Purchase, and the Northwestern Reservation. CAMP BOB'S HILL Illustrated by GORDON GRANT. $1.30 net. A tale of Boy Scouts on their summer vacation.



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